4 ms·

Even classical music has a similar 'problem'... performances of the 'same' work can be very different. (And I'm sure that would be true even if the same instru

Even classical music has a similar 'problem'... performances of the 'same' work can be very different. (And I'm sure that would be true even if the same instruments and same musicians are used.) Most of the differences come from different conductors/ensembles. (Orchestas also have 'traditional performances' that they'd rather cling to, and may resist conductors (often younger ones) who attempt any 'wild-haired' differences.) Music's very fluid. Recordings of performances are probably as close to 'same' as we can get. Non-musicians may prefer to listen to these 'same' performances over and over for the 'fidelity' of their experiences. But it might stop them (as they age) from discovering better ones. If MIDI is used to create the dynamics, 'patches' and all other modulations, oscillations, tempos, et.al of a synth or ten, then something close to 'same' might be approachable. But that means, oh, say, ten times as much work. Depends on the listener whether that's a good thing. In my experience, a superior cover of a single recording (same or different singer, different producer) can turn a OK single into a damn! single. Edit: (Case in point: 'Major Tom (Coming Home)' 1983 version: https://www.youtube.com/watch?v=wO0A0XcWy88 https://www.youtube.com/watch?v=wO0A0XcWy88 )

munificent 2y ago
I think this is a good insight. When designing a notation, you're choosing what parts of a work you consider to be essential (notated) and non-essential (non-notated). That is itself an artistic choice. Everything you choose to not represent in the notation is something that you are letting future performers or cover artists choose for themselves. The notation serves as sort of a negotiated dividing line between what the original artist wants to claim for themselves and consider a required part of "the work" versus what future artists are allowed to participate in. Given that modular music is rarely played by anyone except the original author, I suspect that standardized notation isn't very important. All that really matters is each author having their own private shorthand so they can recreate what they care to recreate.
- goblin89 2y ago
  Where to improvise is always up to the performer. Even a precise score can be reinterpreted creatively, it is nothing but a hint.
  - 8bitsrule 2y ago
    True today! In classical orchestra performances, that usually required the composer to insert a solo 'cadenza' section where the soloist was free to be expressive without a conductor 'click-track'. Today, bands (esp. jam bands like the Dead) might agree to back up anyone who decides to go 'off-plan'. (These days, we can even take big samples of someone else's tracks (if they agree) and do 'covers' that are an entire re-working of their originals.)

munificent 2y ago

I think this is a good insight. When designing a notation, you're choosing what parts of a work you consider to be essential (notated) and non-essential (non-notated). That is itself an artistic choice. Everything you choose to not represent in the notation is something that you are letting future performers or cover artists choose for themselves. The notation serves as sort of a negotiated dividing line between what the original artist wants to claim for themselves and consider a required part of "the work" versus what future artists are allowed to participate in. Given that modular music is rarely played by anyone except the original author, I suspect that standardized notation isn't very important. All that really matters is each author having their own private shorthand so they can recreate what they care to recreate.

goblin89 2y ago
Where to improvise is always up to the performer. Even a precise score can be reinterpreted creatively, it is nothing but a hint.
- 8bitsrule 2y ago
  True today! In classical orchestra performances, that usually required the composer to insert a solo 'cadenza' section where the soloist was free to be expressive without a conductor 'click-track'. Today, bands (esp. jam bands like the Dead) might agree to back up anyone who decides to go 'off-plan'. (These days, we can even take big samples of someone else's tracks (if they agree) and do 'covers' that are an entire re-working of their originals.)