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What is music?
Just thought I'd throw this up, since some of the recent randomization comments have lead to something that I feel needs further exploration. As most of you know, I use Different Drummer a lot, and it has a number of ways to randomize things. I rarely use them, but I still like that they're there, as they have helped me break through some road blocks from time to time.
Do I feel like I'm cheating? Sure, at times, but it has a lot of tools to give me a high degree of control, so I usually don't feel too guilty about the outcomes.
I realize there's a wide range of emotions regarding DD, but that's not really my point. My point is that there's nothing truly original out there in basic terms, but, I believe there is still originality in how anyone pieces all the bits together.
With any randomization, the decision to use it is still with the artist. Those who opt out can still be great artists though.
Comments
idk man, I can only seem to do deliberately composed music. the algorithmic music just doesn't do it for me.
Do birds make music?
I used to live in a flat above a greengrocers that had lots of trees at the back. One summer, when we had the windows open, we could occasionally hear a bird which whistled the the tune to "I'm a barbie girl" (not the whole song just the tune that went behind that bit).
Of course we weren't impressed as this bird clearly hadn't spent the time to develop it's own composition.
I think there are degrees of bird music. Some is rather lovely, but at the end I realize they're not composing for me.
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is the best.
@funjunkie27 Any process including those which involve randomization and any other experimentation are secondary to what You (the artist / chef / etc) decide to retain and present.
HOW you generate your craft is completely secondary to WHAT you keep.
One's Filter is their Voice.
This website generates whole public domain albums with randomly generated artwork and titles, quite fun http://www.fakemusicgenerator.com
I particularly like:
Gimme All Your Indifference
by Wilier Triestina
Grace Slick - It's Only Music
Hi @funjunkie27,
Good question ! To me, music is a pleasing sound but that which pleases me may not please all.
Randomisation can make pleasing sound and I use it occasionally, to help break creative barriers or to throw up random ideas that can be edited, built upon and up to.. if I did a whole song (beat, bass, lead etc) all the way thru using randomise button I'd feel like I've cheated.. but using it for a drum part that I can build from and tailored to help make the big picture works for me (occasionally ).
What is NOT music?
Doesn't music transcend sound?
The randomize features feel like cheating but I submit to you: Use any and all tech that makes you happy. Even if you start with a preset and then randomize it, its still about how it sounds in the end. Put a 75% ration of your soul to the robotics of iPad. OR similar. Integrate, peace bro
Good feedback from you guys! Thanks for the many great points you've brought up. I'll still stick with ~ 5% randomization though ;-)
That's really cool.
I think the only real difference for me between curating randomly generated sounds and sequences I like or directly composing them is efficiency.
"Cheating" seems an absurd charge, unless you've moved beyond consciously curating sounds and depend on an algorithm to make that choice for you as well.
In most cases I'm more efficient composing than curating, but that's come from years of practice.
Also, while curating, I can get a lot of crap in my head I wish wasn't, but "happy accidents" are usually worth the trouble.
Finally, most classical music seems nearly random in timbre, tempo, and dynamics compared to modern music, in a way many DAWs, especially on iOS, can't even handle. I think added randomness to the formula of modern composition can only be a good thing.
I like those Starlings that do car alarms.
One mans Starling is another mans crow, who cares what a thing is, as long as you can whistle along to it
Some people make a living out of that sort of thing..
I used to love Percy Edwards. You don't get stuff like that on kids telly anymore
I have a thing about crows/ravens. Very under-rated. Put aside the summer thriller that's leaving you unthrilled and read:
Mind of the Raven: Investigations and Adventures with Wolf-Birds by Bernd Heinrich. It's good, as is he.
'Making' music covers a lot of ground, although in my mind limited to a human purposely trying to produce (new or cover) music him or herself.
'Composing' music is a subset of the above, involving the creation of a (hopefully) singular new piece. I expect this point of view could garner discussion...
Music ultimately is in the ear of the beholder.
Music is a creative process, the tools and techniques used are secondary.
The primary things are that the creator and listener enjoyed it. It's an energy exchange and totally relative to the individuals concerned..
I like looking at music as sound put to motion. There's a good deal of music that I enjoy that I have no idea how it was done, and if I later learn, I don't like it any less, although if it turns out to be mostly loops and randomizations, I might not feel quite the same about the performer.
So with regard to nature, did music exist before mankind? Or is it merely a fabrication of mind, human or otherwise?
i think music is discovery, and production. you may discover something by playing it. you may discover it by hearing it. you may produce it by playing it. you may produce it by pushing a button.
Music and technology have always walked hand in hand. Enjoy.
Perhaps the phrase you are looking for is suble variation? There is cetainly nothing random about classic music. It's composed down to the last stacatto note.
Well, no, not that I disagree that notes on paper might seem static, but a solo performer or conductor in classical doesn't create music in a performance to a click track, and once you get deeper into the variability a performer can bring to a classical piece, with breaks/pauses, and their internal, imperfect tempo, you start to get a grasp of how much randomness exists in that world for putting your personal imprint on a piece.
I consider that randomness compared to those playing 4/4 120BPM to a click track derived from an atomic clock.
The amount of effort necessary to push a DAW into representing that unique performance of a player not using a click track is tremendously, overwhelmingly difficult.
So for me, that atomic clock foundation is evident throughout the entire work, and I do believe it is a source of the monotony of modern music.
I would like DAWs to focus on making those things easier to achieve, and randomization could be very useful in that/
/ease intentionality.
Michael Haneke, the author of films, who is cited by @JohnnyGoodyear in the Song_of_the_Month_Club, says in this interview (with Lisa Zielinski):
'I’m always keen to stress that music is the queen of the arts because in music, form and content are identical. Oh, music is a beautiful thing. If I had been given a choice—up there, where they pick your gifts for you—I would have preferred to be a musician. But my talents didn’t quite suffice for that.'
and:
'... I never use scores, because I make realist films and there is no musical accompaniment to reality, unless, of course, the radio is on.
... classical music doesn’t really lend itself to use in film because it is structured too rigidly. But some of Schubert's pieces—the Impromptus, for example—are like little dots that you can apply pointillistically, as citations. And that’s what I do—I cite. And that may or may not spark associations for my viewers.
And in an interview (with Alexander Horwath):
'I don’t think that any artwork based on a vector of time can be constructed in a free-flowing manner. You can certainly write a novel or a poem without knowing at the start where it will lead you. The author of a book can navigate differently from its reader. But the distinct vector of time involved in any drama, film, or musical piece asks of you to include a notion of the viewer or listener in your artistic construction.'