Re: [microsound] |-| Re:eR [microsound] autechre/richard devine// techniques ]]

[Jeremy Tolsma <ccws@xxxxxxxx>]

> I'll go further and say that between two persons with equal amounts of
> creativity, equipment, technical proficiencies, etc., the one that possess
> that kind of musical knowledge *will* create better music (even if it is
not
> [consciously] used in the music he/she creates).

to a certain extent, maybe.  Theres also the dichotomy between theory and
application to consider.  Many musicians who reach a plateu in their ability
to play their instrument will switch to composition so that they can realize
their compositions through more competent players.  That allows them to
score music that other musicians will play.  If the composer wants to
compose experimental music that musicians will play, thats quite a
challenge.  It means the composer have to have such a thorough knowledge of
the lexicon of terminology standardly understood by competent musicians that
he is able to use this knowledge to communicate with his players about what
he is actually hoping to achieve in the peice.

An experimental music maker who is not composing peices for other musicians
to play would find it much easier to 'make music' than one who is, but he
may also have a more difficult time expressing it if he is not proficient on
the instruments he chooses to use.  The standard lexicon of musical
terminology is just a communications device, like any language or symbol
set.  It matters little to the solitary composer/performer wether he knows
he is peforming a "a deft resolution to the relative minor", or just
pressing keys in a manner that his brain has interpreted as 'a
watchimacallit to the next thingamabob'.