Pascal Haakmat wrote:
Because that's why a lot of us turned to making music with computers instead of16/12/02 16:51, Paul Davis wrote:I find your exposition on Indian rhythms fascinating and verywestern music's emphasis on integral beats per bar has led to a slipping away of a great deal of the fun and beauty to be found in other musical traditions. i've recommended it before, and i'll do it again now:
interesting, but I'm afraid I don't see how it relates to a discussion
about designing musical instruments.
I do not believe that the goal of instrument design should be to
accomodate every possible musical expression under the sun. A musical
instrument is always part of a culture and a history and this defines
its use.
only with acoustic instruments. Speaking for myself, I greatly respect and genuinely
love music from many different cultures (Indian, Middle Eastern, Korean...), but my
own music is pretty much purely western. However, western musicians from Steve
Reich to Brian Eno have studied and been strongly influenced by Indian and African
rhythmic concepts, and incorporated ideas from those concepts into their own work.
I do not think that the design of the piano is fundamentally broken because it is unable
to perform the microtonal intervals I like to use; I simply use instruments which can.
One cannot approach the design of a synthesizer API the way one approaches the design of,
say, the violin. In the case of the violin, an instrument of originally Middle Eastern origin
was borrowed into Europe, and adapted over time to the needs of European music, and then
(at least in Iran) borrowed back into Middle Eastern music with some slight modifications. However, if you look back to even the very early history of electronic music, you see an
attempt to create instruments which transcend cultural and aesthetic boundaries: the Theremin
makes no assupmtions of equal temperament, and the ondes Martenot, although possessing a
12-tone keyboard, can be played in any scale. We have a unique opportunity, because of the
multicultural nature of the postmodern era, to design instruments capable of accomodating
as many aesthetic positions as exist. This, as I see it, is a good thing.
I'll personally probably never use a beat-synced arpeggiator, but it's absolutely essential that
a modern synth API allow for such a thing, because so much tekno and rave music depends
upon it. Similarly, much "modern western classical" as well as many non-western musics
require non 12-TET tunings, and arbitrary non-simultaneous tempi. (These last items are
also, it has been noted, useful in ambient music and soundscapes.)
-dgm
It makes little sense to say that the piano is a flawed instrument
because it is so closely tied to Western musical values. In fact the
opposite is true: the piano is one of the great instruments precisely
because it lends itself so well to the expression of Western musical
values.
Modern technology (and software in particular) allows us to design
incredibly flexible instruments without needing to commit to any
particular musical tradition at all. That doesn't mean that doing so
is also always a good idea.
After all, is it preferable to have a piece of wood with the potential
to become any kind of instrument, or a guitar?
Pascal.
