----- "Mathieu Bouchard" matju@artengine.ca a écrit :
On Wed, 10 Nov 2010, patko wrote:
particulary Xi for flûte, http://james-ingram-act-two.de/stockhausen/Xi/sxia1l.html
I just noticed the parts in IPA (phonetic alphabet). [y] [ø] [œ]
First time I see those on a score. Interesting.
yes he has wrote some pieces that use phonemes as musical events, that's really interesting indeed.
Also, how a composer would do when he need to build his own scale,
from
empiric harmonic rules? Let me try to explain, music composition has
evolved a certain way technically that one composer could build up a
scale for each different piece he makes. How could he write scores
that
could be read by any genuine musician any time?
What's a genuine musician ?
That could be a complicated question, because I'm not sure to have used to good word, for describing who in the future will be able to have a clue about what is wrote on the paper, and this is also influenced by what E. Varese said about music in the future, interprets would disappear only composers would remain, that's what happening with using machines or tape instead of musicians, and from my point of view, only 'genuine' musicians could have a knowledge by doing some researches or studies about how the scores should be interpreted, the 'false' ones would be the machines for example, or the "lambda machine users"
by 'lambda' I mean someone that only use the machine without asking questions.
| Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
On Mon, 15 Nov 2010, patko wrote:
That could be a complicated question, because I'm not sure to have used to good word, for describing who in the future will be able to have a clue about what is wrote on the paper, and this is also influenced by what E. Varese said about music in the future, interprets would disappear only composers would remain, that's what happening with using machines or tape instead of musicians, and from my point of view, only 'genuine' musicians could have a knowledge by doing some researches or studies about how the scores should be interpreted,
So, why should we stick to interpreting pieces with fidelity to the original intent, when we can also be original and decide to change or add things to the original pieces ? E.g. Bach on analogue synthesisers, to take a very well known example (Wurman, Carlos, ...)
would be the machines for example, or the "lambda machine users" by 'lambda' I mean someone that only use the machine without asking questions.
The lambda users use the machine for doing what ??
Which lambda users ? (Taken from which set of people ?)
| Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
-
Mathieu Bouchard -
patko