source file: mills2.txt Date: Sat, 26 Oct 1996 16:19:01 -0700 Subject: All Sides Sit At Table; Peace At Hand... From: "Jonathan M. Szanto" As Paul Turner confirmed, he meant no denigration of live players/playing, which is what I suspected anyhow. No harm, no foul. >It happens that for one reason or another, playing live can fail, >temporarily or otherwise, to be an option. Then the resort to non-realtime >at least has the compensation of being potentially without the encumbrance >of notation. I suspect that quite a few readers of this list may be in >that position - which would explain why not many could respond when asked >what method of notation they used. Couldn't agree more, and I would have been sunk long ago in my compositional development (hah! such as it is...) without the wonderful tools available to us now. Whether used as a mock-up for future live performance or as a creative avenue itself, we are having and eating cake. >The appeal of software can be compelling for all sorts of reasons. But >perhaps this is not the place to discuss the socialogical aspects of live- >versus canned music. Or is it? Hard to say, but then I'm relatively new here. As to my comments about the plethora of numeric data recently, Gary Morrison responded: >That's an old but valid criticism of the list traffic. I personally >think that there's value in both theoretical and musical traffic. >Some of it I believe has to do with the fact that it's easier to >discuss math in pure ASCII text mail than pure musical ideas. The latter point is undeniable, yet one would assume that the purpose of a specialized community like the tuning list is to have an environment to discuss issues of a more narrow focus. My only point (and this is where I am at a disadvantage for my short tenure on the list) is that *all* of the discussion is in the service of creating some sort of musical output, or at least a sonic field of dreams, is it not? I am guessing that the various forms of tuning aren't being explored simply for how they come out in a spreadsheet but for their current/eventual use in a musical context, and what I had not seen represented here, in healthy proportion to the datum, was the *end result* of these investigations. But then, I am new, and maybe have missed listings of the works composed by the parties involved. In any event, we're done, and the notation wars are clammering for fresh cannon fodder. Of which I will lurk blissfully on the sidelines. Cheers, Jon *--------------------------------------------------------------------* Jonathan M. Szanto | If spirits can live online . . . . . . . . . Backbeats & Interrupts | . . . then Harry lives in Corporeal Meadows jszanto@adnc.com | http://www.adnc.com/web/jszanto/welcome.html *--------------------------------------------------------------------* Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Tue, 29 Oct 1996 10:17 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA13945; Tue, 29 Oct 1996 09:39:24 +0100 Received: from eartha.mills.edu by ns (smtpxd); id XA14017 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id AAA00684; Tue, 29 Oct 1996 00:39:21 -0800 Date: Tue, 29 Oct 1996 00:39:21 -0800 Message-Id: <9610290840.AA02362@arthaud.saclay.cea.fr> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu