That's a fair enough comment, I could do quite a lot more to sweeten the sound, too (it's just a simple sine oscillator atm, as I was concentrating on the score building process.
The idea is one of the central things in a lot of these styles, sometimes it's placed above the actual realization of the piece. Although it is nice to craft as much of your sound as possible. > Subject: RE: [PD] Pd "monosymphonia" > From: ro...@dds.nl > To: jbtur...@hotmail.com > Date: Thu, 30 Jun 2011 00:05:17 +0200 > > On Tue, 2011-06-28 at 22:01 +0100, Andrew Faraday wrote: > > That was one thing I wasn't sure about, although it does help with the > > kind of 'passive listening' part, something like Cage or Glass, where > > there is a huge amount of repetition and the value of the piece is > > discovered over time, almost as a meditative process. It's not for > > everyone, but it does lend itself to computer music > > > > from Cage i don't know about repetative music/scores, > but a.o. terry riley and steve reich did a lot with repetition and > shifting patterns. > i still love to listen to some of these old pieces like 'rainbows in > curved air' (riley) or 'drumming' (reich). > there's also composition nr.7 (1961) of La Monte Young: to play B&F# for > a "long time". in certain circumstances with a number of participating > musicians/voices this can be a wunderfull experience. > > maybe you know all this already. > > so to cut it short: > for me your present soundscape is not yet interesting enough, > where the patch cq the concept can be a good starting point. > > c'est tout. > > rolf > > > > >
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