3 ms·
I've always liked the idea of electronic music that eschews keyboards and the 12 tones, but a lot of the stuff I've heard is, uh, wank. I don't think the probl
by jim-jim-jim 7y ago
I've always liked the idea of electronic music that eschews keyboards and the 12 tones, but a lot of the stuff I've heard is, uh, wank.
I don't think the problem stems from the technology used or the musical ideas at play, but rather the fact that something like a Buchla or Max or whatever invites solitary improvisation, which rarely ends well. My criticism extends to all the bullshit made on conventional modular systems with standard keyboards as well. It's too easy to have fun and forget to write an actual song.
So I'm interested in hearing these tools used in a collaborative and polished setting. There's still a lot of potential there.
Here's Richard Boulanger playing some weird 3D controller (made by Max Mathews I think?) The piece is in Bohlen-Pierce scale. Yet it still sounds heartwarming and musical. I need more stuff like it in my life:
https://youtube.com/watch?v=Jq8RIE3iDD4 https://youtube.com/watch?v=Jq8RIE3iDD4
- boomlinde 7y ago> It's too easy to have fun and forget to write an actual song. Like any other musical technique, improvisation takes time to master. In my view, this is simply a matter of the difference between a skilled performer/composer and an unskilled one. No surprises there; a skilled improvisor will keep you interested and avoid the meandering and drawn out "wank" that characterizes unskilled improvisation. Of course, meandering and drawn out music has its place too, but I find it easy to tell when it's applied intently and for good reason and when it's not.