This is very interesting indeed and almost diametrically opposed to my approach.<div><br></div><div>My own principles:</div><div>- No synthesized sound (I only use processed acoustic sounds or musical phrases--filtered and/or stretched and/or contracted repeatedly)</div>
<div>- Retain the 'organic' character of the sounds</div><div>- Everything (onsets, durations, pitch shifts) is determined from the sound itself, although I might nudge things into place here and there</div><div><br>
</div><div>Some consequences of the above principles:</div><div>- No live interaction (it's more like tape music)</div><div>- There's no concept of individual "notes", but rather "events"</div>
<div>- All "gestures" come from each individual sound, they are not hand-built from separate notes or events</div><div>- Apart from the nudging, I just "let the sounds be" (to paraphrase Feldman)</div>
<div><br></div><div>I do have works that fall outside these parameters (and I am currently playing with the notion of using synthesized sound), however these principles have been my focus for the last 10 years. To hear what has come out of all this, check the pieces on the page in my signature. The pieces I am most happy with are "Menons klagen um Diotima" (where all material derives from a 15-sec violin solo phrase) and "Konzentrische" (where all material derives from an orchestral passage).</div>
<div><br></div><div>//p</div><div><a href="http://www.interdisciplina.org/00.0">http://www.interdisciplina.org/00.0</a><br><br><div class="gmail_quote">On Fri, Sep 18, 2009 at 4:34 PM, Korhan Erel <span dir="ltr"><<a href="mailto:listekutusu@gmail.com">listekutusu@gmail.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">My principles in digital instrument design on the laptop:<br>
<br>
- No random processes - everything is determined by the instrument player<br>
- No long delays or reverbs that keep on processing the sound even after the player has stopped playing. Instrument makes sound when triggered and stops when the trigger (nowadays either a Wiimote or an iPod Touch running TouchOSC)<br>
- No wide frequency ranges - every instrument can play only a certain range of frequencies at any given time - the total range may be wide, but you don't hear the full sound spectrum at the same time<br>
- The instrument does not require looking at the laptop screen - the player may look at it from time to time, just like a guitar player looking at the fretboard occasionally, but the instrument's playability should not depend on the player focusing on the screen all the time<br>
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Since I play almost exclusively with other musicians, most of them being acoustic instrumentalists, these principles allow me to play with them, to create space for them, to remain silent whenever I feel it's necessary....<br>
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My sound sources are usually samples (own sound designs, location recordings, recordings from my analog setup) being scanned LiSa-like (using Live's Simpler instrument). There may or may not be some processing of these sounds, usually the processing is nothing more than playback speed change and a slight touch of reverb.<br>
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Korhan</font><div class="im"><br>
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On 15.Eyl.2009, at 09:12, Kim Cascone wrote:<br>
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</div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div class="im">
I'm gathering some info for a lecture I'm giving about structure in laptop music (read: electro-acoustic, noise, microsound, etc).<br>
<br>
What sorts of structure do people use in creating their work?<br>
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