ricktaylor@xxxxxxxxxxxxx writes:
> I think the above methods need to somehow be extended to work with samples. Either that or computer audio needs its own form of musical representation.
That's a good point. Not only samples, though, synthesis and DSP as
well. However, there are as many 'scoring' systems as
there are composers. Stockhousen has actually realized a score for
his 'Studie II' which is an electronic composition for tape. The
score provides enough information to exactly recreate the work using
an oscillator (or a number of them, I can't recall) and a tape
recording/dubbing machine. Someone has actually used it to generate
the piece in real-time with Max/MSP. However, synthesis methods have
evolved in complexity a lot in the past 50 years...
>
> Maybe we need to just skip the idea of any sort of representation outside of a song or audio file? If so... maybe we need to break with tradition a bit and make "song" files themselves provide a higher degree of functionality?
Well, must be _the_ reason I started improvising :) I must have been,
like: ' Ahh... stop trying to write down what you mean. Just get out there and _play_!'
Also, no notation system is complete. Not even text. I'm talking
from a performer's point of view, of course.
./MiS
--
_
__ __ (_)___ Michal Seta
/ \/ \ _/^ _|
/ V |_ \ @creazone.32k.org
(___/V\___|_|___/
http://www.[creazone]|[noonereceiving].32k.org
