What is the difference between music and noise? [years-dead slappyfight revived]

[hibidy]

Robo, I think you are being pretty rough. I don't really see what the problem is.

[robogone]

Robo, I think you are being pretty rough. I don't really see what the problem is.

Read the posts of anyone that has quoted Eduardo and you'll see.

[hibidy]

Ogg vorbis is right

[Ogg Vorbis]

Robo, I think you are being pretty rough. I don't really see what the problem is.

Read the posts of anyone that has quoted Eduardo and you'll see.

I happen to like reading Eduardo's posts. Please don't attack. I'd like to know what you think about a topic, not who you have a problem with.

[vurt]

also, which one is necassary for music to exist? the composer or the listener?
only the composer, the listener is merely an afterthought

Does this means that the listener is a passive observer rather than an active participant?

in general terms yes.

but one can involve the listener to a certain extent.
also you could try "active listening"....

I think that the audience exists. I think that in live interactions, the audience can be involved on an energy level.

I think to gear things to meet criteria such as 'this crowd which gravitates to that bin in the stores' is a consideration you look at to sell some product. Not that there is anything wrong with doing that, as people have to make a living, and (in my unpopular opinion), it's better for an artist to make a living in the same field as the 'art'.

yes, the audience exists.
but they are not necassary for a piece to become music.
if you sit and play your guitar alone, it doesnt need an audience beyond the creator for it to be music.
therefore only the compose is a necassary part.
but yes, playing for an audience can imbue an ego with energy, and the ego will enjoy that moment, but ego and creator are two different personalities within a being, no?

I'm no solipsist.

when it comes to me and making my sound, i am.
ill put it out, and if people listen thats great, but if they dont it wont alter what i do, as i do it as a conduit for the sound, not as an energiser for my ego.

[robogone]

playing for an audience can imbue an ego with energy, and the ego will enjoy that moment, but ego and creator are two different personalities within a being, no?

Absolutely! In terms of whether or not it's necessary to have an audience the fact that both states exist shows that it's not, regardless of any potential affect the audience might have on what someone puts into a public performance.

Personally I get a lot of enjoyment out of playing alone, particularly if I'm bored as just noodling around is a great way to find new things to do musically. Don't really need an audience for that at all.

[trimph1]

To me noise is when I have something that is not running right. Namely my car.

In music that becomes a little iffy at best because I think that we are conditioned not just by what we hear in terms of music as such but also by our environment. Right now my wife and I are hearing cicadas all over the place. Some have referred to that as noise. I've listened to concerts from LeMonte Young's Theatre of Eternal Music and found myself lulled into a meditative state by his drone pieces--some referred to that as noise. I've listened to sitar music, middle eastern nay music, Indonesian gamelan music, and still have not found very much "noise".

I still think that it depends on what one was exposed to when younger---

[jancivil]

[...]

I did not know this was a slappy fight. I do feel that at least as much subtext is revealed by appending that to my post as there is in my reply to vurt in particular. I was looking for something else, and found this thread and this peculiar attempt to characterize what I said like it was a joke. Someone likes to sAy bullshit, to me, it is me being me to counter it.

[jancivil]

(the term 'accidental' here is I think a puny human concept;

as is the term "music" hence birds do not make music.

also, i like the fact you think "birdsong" is free of ego, thats most amusing.

it isn't, nor does it much resmemble, what I said, so the amusement is 100% yours.

You speak for birds? Me, I wouldn't know really what is in a bird's mind, or if there is anything that resembles human conception. I think what comes out of them is music often enough. I wonder if there are times when I don't hear it and if the problem will be with the gull really.


it's curiously inconsistent that the person to whom the remark 'music is a way of listening' was attributed to deciding to deny birds in such a gesture.

[vurt]

it's curiously inconsistent that the person to whom the remark 'music is a way of listening' was attributed to deciding to deny birds in such a gesture.

I coined the term 'performer-noise-music' to describe my most radical approaches to generative composition. When planning my intellectual modules, I often find that informing a somewhat electroacoustic array of musical juxtapositions helps a great deal. In short, the rhythm must never contextualise the sound. My aim is simple - to juxtapose all structured electronic-riffs, whilst simultaneously (and ambiguously) premiering the idea of 'apparent-movement-hemiolas'. My work aims to seek actively-pre-recorded possibilities with technologically-ultra-Romantic resonances whilst exploring certain elements or rational ensembles. I spent the bulk of my composition degree contrastingly writing extended module-music, a most rewarding (if critical) pursuit.
my overall aesthetic is that of the 'dynamically-psycho-gestural' school of melodic tetrachords. One of my most atonal influences is the concept of modulating 12-tone tessituras, which recreates my non-linearity and causes my sound to become somewhat percussive. My piece is the only one of its kind, due in part to the inclusion of highly-literal orchestration-modulations, with a hint of so-called 'colour-challenges'. As a highly conceptual composer, I explore the connection between substances and counterpoints, and search for new ways to 'deconstruct the art'. Working heterophonically means that my focus is always additively-based, and never rhythmic. My aim is simple - to create all dramatic pro-discontinuous-synchronisations, whilst simultaneously (and pro-electronically) creating the idea of 'professional-polyphony-challenges'.
As a rather contrasting composer, I yearn to perceive, and compose improvisatorily-dramatic conflicts, an approach that features prominently in my recent radical works. My work is, in short, a re-imagining of the 'post-War-noises' school of contemporary 'modulation-notion' composition. My work aims to allow radically-post-Webern synergies with similarly-octatonic linearities whilst composing certain awarenesses or ultra-resonant solos. To influence is a natural desire, but my current compositional activity seeks to cultivate all tessituras. It also challenges and rejects intellectually-random continuity-pitches. To put it concisely, the poly-cognitive forms of any given oscillation must never clash with the ultimately literal endeavour of developing frameworks wherever possible. Combining improvisations, semitones and reactions (as well as solitarily allowing), my overall aesthetic is that of the 'choreographically-transformative' school of sub-heterophonic gestures.
To put it concisely, the modernistic forms of any given riff must never clash with the ultimately tonal endeavour of dismissing themes wherever possible. I have found that diametric systems, in combination with musical perceptions enable me to similarly dominate brand-new procedures in a highly resonant and extremely resonant way. My goal, in essence, is to abandon musical passages. As a rather diametric composer, I yearn to perform, and interpret acoustically-virtuosic meanings, an approach that features prominently in my recent 12-tone works. When planning my sub-creative performances, I often find that visualising a somewhat pro-orchestral array of musical challenges helps a great deal. I never generate phrases, despite the fact that any performer or tetrachord can be, and has been interpreted as a rather pro-fragmentarily-pseudo-resonant set of 'tritone-fundamentals'.
i hope that helps

[shankfiddle]

I know bullshit when I see it!

http://www.dominicirving.com/temp/cccbsg.pl

that site cracked me up wayy more than it should have

[hibidy]

I miss ed

[ZenPunkHippy]

http://www.youtube.com/watch?v=jUZL6wbxKok


Music, or noise?

[debra1rlo]

I miss ed

aw i was hoping he was back

anyway, back on topic


The most important tip I can give anyone is this: Never examine multimedia arrangements; rather, endeavour to incorporate your site-specificly-spectral orchestrations. My aim is simple - to contextualise all transformative additive-substances, whilst simultaneously (and chromatically) dominating the idea of 'chromatic-notion-intricacies'. As a rather symbolic composer, I yearn to recreate, and seek multimedially-disparate unities, an approach that features prominently in my recent contemporary works. My art is the only one of its kind, due in part to the inclusion of highly-choral instrument-passages, with a hint of so-called 'awareness-modules'. My work aims to repeat semantically-Romantic approaches with choreographically-pre-recorded mechanisms whilst incorporating certain performances or collaborative oppositions. By engaging in static dominating, I seek to overcome the existing tonal models, and establish a more cognitive and resonant paradigm.

[jancivil]

[quote="vurt clicking the contemporary classical composer bullshit generarator"][/quote]