ResonanceFM, a streaming show from London that was formerly a broadcast station, Has quite a few good shows. One the best for modern music is the one done by the Langham. They have a few disks and CDs. What I have I’m happy with. I’ll probably skip the cassettes, but the vinyl is good.
They played some Ambrose Seddon, but only an extract. He has a new CD on Empreientes Digitales I was hoping to hear. Got a small listen. I like Ambrose’s work so far. It’s ‘classical acousmatic’ in the sense that it isn’t afraid to delve into the tried and true structural hierarchies, but doesn’t sound like anyone else’s work. https://electrocd.com/en/album/6094/Ambrose_Seddon/Espaces_éphémères
A quick paste of Langham’s program notes for today:
Langham Research Centre
[Repeated from Tuesday 8pm.] Langham Research Centre present their favourite electronic music and musique concrète, mixing classics and new releases, on the third Tuesday of each month. Tonight: music from Robert Farnon and His Orchestra, Denis Smalley, Ulrich Troyer, Langham Research Centre, Philippe Petit & Michael Schaffer, Annette Vande Gorne, Micheline Coulombe Saint-Marcoux, and Ambrose Seddon. Presented by Iain Chambers and Robert Worby.
I’m proud to have a split CD release with Emmanuel Mieville on Denis Shapovalov’s OBS label .
Available for download on Bandcamp now.
CD available in January
The conference in Brazil accepted the paper. It’s a tad long so still some work to be done. I’m given the impression that there’s a good chance an acceptance is a sure precursor to the Journal of New Music Research issue and will need to be expanded to 25 pages. SO!
Update: The final review wasn’t positive, but corrections and improvements are being made. It seems unlikely. Most of the weaknesses pointed out were not only legitimate, but from one point of view possibly core to what the research was about. A lot of this could have been avoided had i foreseen these issues earlier. A shift in perspective is easy enough to conceive, but a bit tight to rewrite it from scratch.
It was nice to be asked though.
Music as a Plastic Art
An ecological strategy Facilitating emergence in an instrumental composition ecology
Abstract. This recounts and expands on a method for fixed-sound composers to construct music for solo as well as fixed-sound accompanied instrumental performance. It uses aural models instead of written or graphic systems to stay congruent with concrete studio practice, rarifying the aural feedback cycle. The composition is realized within this heightened aural environment with the com- poser situated as an embedded organism. Results gathered in the studio, from individual samples to the finished composition, can be thought of as eigenstates, resulting from the complex interaction of various perceptual, audible, conceptual, and computer aided mechanisms. Aural models can potentially reduce the interpretive degrees of freedom to near zero, creating an ’impossible’ task, paradoxically producing a bounded yet infinite spectrum of musical outcomes. The ideas are largely from part of my 2007 PhD research (sponsored by De Montfort University).
I need to unbind my ideas or some of my ideas about this project.
Why does a finished sketch need to be more than a minute, or 30 seconds, or even 10?
I need to crank out handfuls of these and throw them by the shovelful at these performers.
Just a sketch so far, but this space will constantly be being replaced with updates as the work progresses towards a December 2018 deadline.
I’m excited that it’s this far along and isn’t going to be finished for many months yet.
Much to expand on and time to do it.
email me if you download (and you see this note)
Originally posted on 6/8/16 in response to:
CEC — eContact! 17.4 —
Back to the Future: On misunderstanding modular synthesizers
by Richard Scott
The infinitely shifting tool. (the soft weapon)
Historically, objects carried information about their usage with them. You don’t flip an egg with a hammer.
General purpose machines require a decision on the part of the user as to what the tool will be required to afford in a given situation. This is an increase in the overall cognitive load that begins even prior to the object in question being approached.
Simple example: From across the lawn, the shovel imparts information about its uses. The information includes the specific purposes of that tool (digging) as well as other uses that are implied from its shape and materials (possibly as deduced from, and because of it’s intended use) i.e. a lever.
Although having a machine which has nearly unbounded applications available to it is (obviously) useful, it also brings with it known and unknown extra energy expenditures in terms of choice and organizational pre-planning.
It is possible that over time this constant conscious reconfiguration of a single device prior to each different use (calculator, calendar, solitaire, flight simulation or word processor?), becomes inefficient and the difference between the general purpose tool and the single purpose tool is more salient. (A good organism tries to rectify the efficiency)
In the case of computer music devices, as the tools popularized, it became apparent the widest application involved historic and popular models of music. The interfaces standardized relatively quickly, and the rise the keyboard controller with a clear cut set of control parameters emerged (primarily MIDI), thus once again, bounding the tool towards a quickly and simply (more and less) definable purpose.
The modular, or single purpose object, was left out, or hidden. The actions associated with music making along those lines were continued, but mostly through software renditions of those modules’ functions. Software that exemplified object oriented notions were developed (MAX languages and SuperCollider for example). So essentially, for many performers and composers, they were accessing the same functions that analog synthesis afforded, except they were using an infinitely reconfigurable single tool. The question arises: “Is that the only way to make music?” “Is a digital computer the best tool for the music I am trying to make?” If all you are doing is using that computer to recreate synthesis modules, then maybe it isn’t.