Help
RSS
API
Feed
Maltego
Contact
Domain > regenerativemusic.net
×
More information on this domain is in
AlienVault OTX
Is this malicious?
Yes
No
DNS Resolutions
Date
IP Address
2019-07-05
67.210.124.90
(
ClassC
)
2024-10-28
204.44.192.45
(
ClassC
)
Port 80
HTTP/1.1 200 OKDate: Mon, 28 Oct 2024 22:19:26 GMTServer: ApacheUpgrade: h2,h2cConnection: UpgradeLast-Modified: Thu, 04 Jun 2020 18:39:27 GMTAccept-Ranges: bytesContent-Length: 17703Vary: Accept-Encoding,User-AgentContent-Type: text/html HTML>HEAD>TITLE>Music of Composer R.S. Pearson -- Innovative Classical Electronic Music/title> p>META Namedescription ContentR.S. Pearsons music sounds like a post-industrial andoften pleasant musical surrealism. A prolific and studied composerof over 25 hours of music which is currently being released on CD,he gets outside of the normal forms of music while still often stillremaining in tonal and harmonic ranges.>META Namekeywords Content American, classical composers, composer, synthesizer, electronic music, moog, neo-classical, modern, classical, alternative, experimental, electronic, industrial, free, mp3s, composer, generative music, music, online, internet, free, video music, movie music, film, music> /HEAD>body TEXT#000033 LINK #400040 VLINK#0000FF>p>br>img srchttp://www.regenerativemusic.net/regenerativemusicbanner_eye3.jpg>p>br>h1>Music of Composer R.S. Pearson/h1>br>p>P>NEWS: a href RS_Pearson_Serendip_2017 Interview.html target_blank> Robert Scott Pearson Sampler Album /a> on French Label Serendip Just ReleasedP>Albums Online:P>New AddditionP>a href Enchantment_Born_of_Grace.html>Enchantment Born of Grace (2001)/a>br>p>a href External_Omnipotent_Moments_Recalled_and_Haunting.html>External Omnipotent Moments, Recalled and Haunting/a>br>a href Hieroglyphic_Audio.html>Hieroglyphic Audio/a>br>a href Higher_Impressions.html>Higher Impressions/a>br>a href Purple_Martin_Morning.html>Purple Martin Morning/a>br>a href Cartoon_Wheel.html>Cartoon Wheel/a>br>a href Eleven_London_Bridges.html>Eleven London Bridges/a>br>a href A_Free_Minds_Land.html>A Free Minds Land/a>br>a href Unavoidable_Axiom.html>Unavoidable Axiom/a>br>a href Luck_of_Innocent_Auras.html>Luck of Innocent Auras/a>br>a href Glass_Electrode_Solar_System.html>Glass Electrode Solar System/a>br>a href Naked_Index.html>Naked Index/a>br>a href Joseph_Cornells_Television_Show.html>Joseph Cornells Television Show/a>br>p>p>P>a href rspagecomments.html>Listener Comments/Endorsementsp>/a>P>Much behind my music has a theorectical basis. From the titles, to the chordal structure,to the rhythms, there are interesting ideas I am going for. Sometimes these theories reference other moderntheories, sometimes they just spring from something I think is humorous, or something I think ismeaningful in a heartfelt way, sometimes something in a spiritual way. p>Generative music is not the only music that I make, not the only music that I feel is necessary that I make. It is a type of music that I find interesting and aesthetically pleasing. It often allows elements of the unknown and impossible to enter into music. By generative I mean music that is somewhat based on controlled chance, or randomness within pre-ordained constraints. p>All great music that benefits humanity in some way caresses the listening.In some senses, it is a loose use of the word caresses, in some ways it is a very literal use. Bachs music often caresses the listening in the same way a lover would caress the listener. Sometimes a massage can be a bit painful and therapeutic, but my belief is that much of the anti-aesthetic and dissonant music produced after the 1950s was really not much of a benefit nor a true intellectual exercise.p>The purpose of my music therefor is not to merely create beautiful music, but to create beautiful music that has not been already created. To do this would take an tremendous amount of time without using elements of chance. Because there is math involved in the creation process, and because I am trying to do something new, I wonder if this music would help boost peoples IQ. I have had several painters and other artists tell me that theyve improved their creativity by listening to my music. p>For myself, a large part of my musical career and effort has being staying in the stateof mind and cultivating the kind of life that could produce the feelings that would manifest in the music I wanted to create. I saw that no amount of training could produce this quality in music. In fact, it could be inevitable that under duress of training I could have these states of mind bred out of me.p>Some may not see fully that to create new music that sounds pleasant andis in some way different than all music that came before is an end in itself.It is more important to us to do this, then it is to be lauded by our contemporaries.There is an inner guide in us that lauds us when we create this music thatis mightier than the words of our contemporaries. p>Music is the language of heaven that simultaneously is also the language of psychology. If you can get music to move in a new powerful and simultaneously pleasing way, you have improved psychology.p>Im writing a book about my music based on the pleasant intersections of chance and regular music. Max Ernst was a major influence and I saw that I stumbled on a way of putting some ofhis ideas into music. P>Some of the things that are important to me are concepts around the titles of pieces.I have studied linguistics, as well as psychology, and have a B.A. in English Compositionwith an Art History minor. Cultural Anthropology was my first major, and so the worldmusic influence was important to me, but not to sound like someone else, but to use theidea that music could be very different and still be pleasant and hit people at a gut level.P>I use humor in my titles. For instance, Im not waiting for a Minor but Significant Re-Distributionof Wealth but at 21 I thought that was a humorous title.P>Sometimes, when I play a piece on one of my CDs, it may not be the best performance possibleof the work. I envison the work being played better, being arranged or orchestrated (at least by a keyboardist),but I dont have the time to do so myself. I see myself as a composer more than a great instrumentalist.I am more like a painter of songs than a performer at an instrument. P>p>There is no way to avoid the fact that chance adds elements of beauty and intelligence to the arts. This started being openly documented in the 1920s by Max Ernst and other Surrealists but it may have had an earlier history. Tristan Tzara showed us the cut-up around 1917, but there wasnt the rhyme and reason that Ernst gave it by using intelligence and controlled chance as a backdrop which he used his gifted artistic technique on. /p>p>Max Ernsts asethetic theories and painting techniques did not really have much of a musical equivalent until recently. Ernst was really a theorist of chance in a different way than John Cage, because Ernst used intelligent and limited chance and then used his masterly realistic painting techniques to create realistic and figurative embellishments on structures that chance created. While I had an interest in Dada and Surrealism since my teen years, I did not aim to ape Ernsts techniques. I actually was creating in this medium mostly because my keyboards sequencer was a totally unique one, using an algorithm that no other sequencer used. /p>p>The music I have been creating has developed along these lines./p>p>At 20, by luck I happened upon a mathematical machine that as an art object ranked up there with any of the machines built by modern artists like Marcel Duchamp or Moholy Nagy. At first, I didnt realize the complexity of it and I did not see that using it was a musical discovery that had huge implications. Only as I tried to analyze the music did I see that it brought into bear many concepts in musical mathematics and by elaborating on them (would I be able to grow as a theorist) would I be able to make a contribution to a new aspect of music theory that is just beginning with the advent of computer-processors./p>p>I was able to create music that many people thought sounded very good, andeven the work of virtuosos in ways that usual sequencers could never produce. The music I was producing with it sounded more like well thought out and worked out MIDIcompositions but it was produced in a totally different way. Since I had some classicaltraining and my aspiration was to be a traditional harmonic composer/musical innovator,producing music that anyone could enjoy, I was able to create music like this with thisstrange tool that probably no one else was using in this way. I was able to use it in thatway because of my early interest in Surrealism, Dada, and other modern art ideas./p>p>Most electronic composers operate in the area of creating new sounds for their composition. Ligeti even emulated the sounds created by electronic means in his orchestral works. However, the aspect of computer augmentation and generative work in intervals has yet to be fully developed. There are many types of ways that this can be done, you could say, there are many algorithms if you are looking for a good word, but it may not be the right word. /p>p>There is a very interesting type of sequencer that is built on intervals. For instance, you have the digits from 1-10....1-9 are intervals between steps, and 0s are rests. You can have something like 167 steps which then repeat. The most important thing however is that this sequencer is triggered from the keyboard. I have been using this technique since 1983 and it has given me great results in composing music. I would like to bring it to the MIDI age and Im thinking MAX/MSP is the best vehicle. I have no desire to own the application, although in a way this writing here is a type of copyright in case someone creates the application and charges a huge fee for it./p>p>I create sequences like this/p>p>12462002424210002642864100001624/p>p>(well call this the loop)/p>p>and for each note I play on the keyboard, when the sequenceBR>starts, it goes in a loop and assigns the 1 to the first key pressed down, the 2 to the second, and so on. If there are 9 different intervals all used in the loop, but only 3 keys held down the program will play the octaves of the notes, so that 123 would be abc, and 456 would be abc...and so on./p>p>You have to isolate everything Im talking about to get the full algorithm and why its so interesting:/p>p>1) the full interval pattern 1-9, and then 0 for rests, isBR>looped -- this creates a living pulsing sequencerBR>2) the fact that this loop is triggered by an accomplishedBR>or just lucky persons playing of the loop on the keyboardBR>3) the fact that the interval loop will do interesting thingsBR>if less than the number of original keys are held down thatBR>are in the loop (the loop becomes intelligent).BR>4) You do not have to create full 167 step sequences, and in fact,BR>creating smaller ones create different contexts for new musical patterns. SmallBR>sequences can create different accompaniment structures that canBR>change just like regular ones do (that is, I IV V type changes).BR>Longer sequences tend to have complexities in them that can beBR>fascinating to listen to because they develop different sub melodies.BR>These sub melodies can actually change within a piece.BR>For some reason, when different keys are held down different submelodiesBR>come out. One reason why this happens is that different notes are combined BR>in what seems like different rhythms. /p>p>The loops I create take on visual aspects or patterns. /p>p>For instance, I would create patterns like/p>p>135 4321 111 123 123BR>135 4321 222 123 345BR>135 4321 333 1357999/p>p>This would be an example of one using no rests./p>p>Here is one, in which the 0s are rests/p>p>0003/p>p>0040050060076BR>0004BR>001002001002BR>0020040064076BR>0002BR>00900200865432/p>p>Of course, such patterns can create totally unique rhymic structures./p>p>Art history was my minor in college, and I had planned on getting a mastersdegree in linguistics (which I decided against pursuing), so all these areas came together in some interesting ways./p>p>There is something core about this concept, somethingabout it that relates to the nature of music...its likeworking at a genetic understanding of what can be good musicstructure. Those into generative music I think will bevery interested in this./p>p>I do not have a background in mathematics but I imagine if one startedto look at some mathematically theory and patterns one could use thisin creating patterns. The repeating pattern is a part of the structure of much great music. One can see it especially Baroque music, such as Bach. Since the keyboard changes the notes thatthe pattern plays in, it is not the repeated over and over again pattern oneoften thinks about when one thinks of sequencers./p>p>The interesting thing about my generative music technique is that itsbuilt on a pattern, and that pattern is put into an environment, and then it produces something of value. The environment has a skill aspect to it,and the interaction to has a skill aspect to it, and so does the pattern, (orwhat I should say, the creation of the pattern) So there are three degreesof intelligence. And this could be put into any area, and so there is a science based onthis, which could have a name, and I could write a book on that./p>p>1) The creation of the pattern - the numerical aspect of the pattern, and themathematic aspects of this2) then how it changes when different notes are being played.3) The creation of the environment that it is played against - the chordallandscape, the soloing on top, the different fugal voices being played, or differentloops or other sequences that are played./p>p>Before I purchased the keyboard with the unique sequencer, I had ten yearsof synthsis behind me. The most similar experience I had was with thearpegiattor on the Roland Juno 6, which I had used for about a year and discovered interesting ways of augmenting my keyboard abilities. Sound synthesis has beenin music since Varese, but what I was doing was actually interval synthesis orusing computers to augment the human ability to put together interval patterns.Although it had been done before in various ways by experimental composers, my aim wasnt in creating a type of academic music, but instantly exotic musicthat people of all backgrounds could relate to. I had my own theories behindthis, but they were no different than what Stravinsky, or people like John Adamswouldd. I already had Philip Glasses Einstein on the Beach, his most adventurouswork, in which I heard how modern music could be very powerful and innovative,and only use the traditional 12 notes. /p>p>We have to be able to experience the music of the past mastersas the mathematical expressions that they themselves conceivedtheir music to be. What I mean by mathematical expressions are simply thepurest form of musical expression that can only exist in the mind and the heart.If we can only experience music as it is in sound, as it exists in waveforms, we lose the most vital experience of music, as a living breathing rapture thattakes all of us in. After it becomes expressed through the instruments,it is already a secondary expression. Not only has 200 or three hundredyears past since the works were composed. Not only is it now the interpretationnot only of a conductor but 200 or 300 years of musical interpretations. We should listen to the music as it is being played ,but we should then giveit an additional life in our own mind, hearing the music as it can best be possible.We should remake the music in our own mind, and then perhaps we canunderstand what the composer intended by the music. In this way, musicof the greats which can now seems somewhat stale can be given new life,and the idea of a modern music can no longer be needed to be dissonant anduncomfortably abstract, but can have a mental, emotional and physiological resonance with us. /p>p>One could talk about two waves of electronic music. The first wave of electronic music was the creation of new sounds, the second waveis the creation of new interval relationships. There has been computer music thathas created new interval relationships, but at this present date it is still very obscureand who really knows if it has a pleasant manifestation in the same way as Pre-twentieth century music was pretty much always pleasant. /p>p>Playing and creating patterns that are too hard for us toplay or impossible to create shows musical evolution, one that is already happeningin some way naturally. We of course would not believe this is a superior music,just a different music, a music that has a right to be explored and appreciated.I also believe that when it is playable, its preferable to be reinterpreted, andre-created outside of the electronic sphere, into perhaps interpretations by pianistsarrangers, or orchestrators. It should also have other electronic realizations, especiallymusic created on the Casio 1000P, because it is such a simple keyboard. /p>p>The trick is to use the generative sequences or arpeggiators in ways thatBR>do not sound mechanical./p>P>All music and texts by Robert Scott Pearson. All rights reserved. Copyright 1982 to 2018p>p>Contact at regenerativemusic (at) yahoo . comp>font faceArial,Helvetica>center>a href http://www.paramind.net target_blank>img src paralogobetter.jpg>p>p>/center>p>/center>p>
Port 443
HTTP/1.1 200 OKDate: Mon, 28 Oct 2024 22:19:26 GMTServer: ApacheUpgrade: h2,h2cConnection: UpgradeLast-Modified: Thu, 04 Jun 2020 18:39:27 GMTAccept-Ranges: bytesContent-Length: 17703Vary: Accept-Encoding,User-AgentContent-Type: text/html HTML>HEAD>TITLE>Music of Composer R.S. Pearson -- Innovative Classical Electronic Music/title> p>META Namedescription ContentR.S. Pearsons music sounds like a post-industrial andoften pleasant musical surrealism. A prolific and studied composerof over 25 hours of music which is currently being released on CD,he gets outside of the normal forms of music while still often stillremaining in tonal and harmonic ranges.>META Namekeywords Content American, classical composers, composer, synthesizer, electronic music, moog, neo-classical, modern, classical, alternative, experimental, electronic, industrial, free, mp3s, composer, generative music, music, online, internet, free, video music, movie music, film, music> /HEAD>body TEXT#000033 LINK #400040 VLINK#0000FF>p>br>img srchttp://www.regenerativemusic.net/regenerativemusicbanner_eye3.jpg>p>br>h1>Music of Composer R.S. Pearson/h1>br>p>P>NEWS: a href RS_Pearson_Serendip_2017 Interview.html target_blank> Robert Scott Pearson Sampler Album /a> on French Label Serendip Just ReleasedP>Albums Online:P>New AddditionP>a href Enchantment_Born_of_Grace.html>Enchantment Born of Grace (2001)/a>br>p>a href External_Omnipotent_Moments_Recalled_and_Haunting.html>External Omnipotent Moments, Recalled and Haunting/a>br>a href Hieroglyphic_Audio.html>Hieroglyphic Audio/a>br>a href Higher_Impressions.html>Higher Impressions/a>br>a href Purple_Martin_Morning.html>Purple Martin Morning/a>br>a href Cartoon_Wheel.html>Cartoon Wheel/a>br>a href Eleven_London_Bridges.html>Eleven London Bridges/a>br>a href A_Free_Minds_Land.html>A Free Minds Land/a>br>a href Unavoidable_Axiom.html>Unavoidable Axiom/a>br>a href Luck_of_Innocent_Auras.html>Luck of Innocent Auras/a>br>a href Glass_Electrode_Solar_System.html>Glass Electrode Solar System/a>br>a href Naked_Index.html>Naked Index/a>br>a href Joseph_Cornells_Television_Show.html>Joseph Cornells Television Show/a>br>p>p>P>a href rspagecomments.html>Listener Comments/Endorsementsp>/a>P>Much behind my music has a theorectical basis. From the titles, to the chordal structure,to the rhythms, there are interesting ideas I am going for. Sometimes these theories reference other moderntheories, sometimes they just spring from something I think is humorous, or something I think ismeaningful in a heartfelt way, sometimes something in a spiritual way. p>Generative music is not the only music that I make, not the only music that I feel is necessary that I make. It is a type of music that I find interesting and aesthetically pleasing. It often allows elements of the unknown and impossible to enter into music. By generative I mean music that is somewhat based on controlled chance, or randomness within pre-ordained constraints. p>All great music that benefits humanity in some way caresses the listening.In some senses, it is a loose use of the word caresses, in some ways it is a very literal use. Bachs music often caresses the listening in the same way a lover would caress the listener. Sometimes a massage can be a bit painful and therapeutic, but my belief is that much of the anti-aesthetic and dissonant music produced after the 1950s was really not much of a benefit nor a true intellectual exercise.p>The purpose of my music therefor is not to merely create beautiful music, but to create beautiful music that has not been already created. To do this would take an tremendous amount of time without using elements of chance. Because there is math involved in the creation process, and because I am trying to do something new, I wonder if this music would help boost peoples IQ. I have had several painters and other artists tell me that theyve improved their creativity by listening to my music. p>For myself, a large part of my musical career and effort has being staying in the stateof mind and cultivating the kind of life that could produce the feelings that would manifest in the music I wanted to create. I saw that no amount of training could produce this quality in music. In fact, it could be inevitable that under duress of training I could have these states of mind bred out of me.p>Some may not see fully that to create new music that sounds pleasant andis in some way different than all music that came before is an end in itself.It is more important to us to do this, then it is to be lauded by our contemporaries.There is an inner guide in us that lauds us when we create this music thatis mightier than the words of our contemporaries. p>Music is the language of heaven that simultaneously is also the language of psychology. If you can get music to move in a new powerful and simultaneously pleasing way, you have improved psychology.p>Im writing a book about my music based on the pleasant intersections of chance and regular music. Max Ernst was a major influence and I saw that I stumbled on a way of putting some ofhis ideas into music. P>Some of the things that are important to me are concepts around the titles of pieces.I have studied linguistics, as well as psychology, and have a B.A. in English Compositionwith an Art History minor. Cultural Anthropology was my first major, and so the worldmusic influence was important to me, but not to sound like someone else, but to use theidea that music could be very different and still be pleasant and hit people at a gut level.P>I use humor in my titles. For instance, Im not waiting for a Minor but Significant Re-Distributionof Wealth but at 21 I thought that was a humorous title.P>Sometimes, when I play a piece on one of my CDs, it may not be the best performance possibleof the work. I envison the work being played better, being arranged or orchestrated (at least by a keyboardist),but I dont have the time to do so myself. I see myself as a composer more than a great instrumentalist.I am more like a painter of songs than a performer at an instrument. P>p>There is no way to avoid the fact that chance adds elements of beauty and intelligence to the arts. This started being openly documented in the 1920s by Max Ernst and other Surrealists but it may have had an earlier history. Tristan Tzara showed us the cut-up around 1917, but there wasnt the rhyme and reason that Ernst gave it by using intelligence and controlled chance as a backdrop which he used his gifted artistic technique on. /p>p>Max Ernsts asethetic theories and painting techniques did not really have much of a musical equivalent until recently. Ernst was really a theorist of chance in a different way than John Cage, because Ernst used intelligent and limited chance and then used his masterly realistic painting techniques to create realistic and figurative embellishments on structures that chance created. While I had an interest in Dada and Surrealism since my teen years, I did not aim to ape Ernsts techniques. I actually was creating in this medium mostly because my keyboards sequencer was a totally unique one, using an algorithm that no other sequencer used. /p>p>The music I have been creating has developed along these lines./p>p>At 20, by luck I happened upon a mathematical machine that as an art object ranked up there with any of the machines built by modern artists like Marcel Duchamp or Moholy Nagy. At first, I didnt realize the complexity of it and I did not see that using it was a musical discovery that had huge implications. Only as I tried to analyze the music did I see that it brought into bear many concepts in musical mathematics and by elaborating on them (would I be able to grow as a theorist) would I be able to make a contribution to a new aspect of music theory that is just beginning with the advent of computer-processors./p>p>I was able to create music that many people thought sounded very good, andeven the work of virtuosos in ways that usual sequencers could never produce. The music I was producing with it sounded more like well thought out and worked out MIDIcompositions but it was produced in a totally different way. Since I had some classicaltraining and my aspiration was to be a traditional harmonic composer/musical innovator,producing music that anyone could enjoy, I was able to create music like this with thisstrange tool that probably no one else was using in this way. I was able to use it in thatway because of my early interest in Surrealism, Dada, and other modern art ideas./p>p>Most electronic composers operate in the area of creating new sounds for their composition. Ligeti even emulated the sounds created by electronic means in his orchestral works. However, the aspect of computer augmentation and generative work in intervals has yet to be fully developed. There are many types of ways that this can be done, you could say, there are many algorithms if you are looking for a good word, but it may not be the right word. /p>p>There is a very interesting type of sequencer that is built on intervals. For instance, you have the digits from 1-10....1-9 are intervals between steps, and 0s are rests. You can have something like 167 steps which then repeat. The most important thing however is that this sequencer is triggered from the keyboard. I have been using this technique since 1983 and it has given me great results in composing music. I would like to bring it to the MIDI age and Im thinking MAX/MSP is the best vehicle. I have no desire to own the application, although in a way this writing here is a type of copyright in case someone creates the application and charges a huge fee for it./p>p>I create sequences like this/p>p>12462002424210002642864100001624/p>p>(well call this the loop)/p>p>and for each note I play on the keyboard, when the sequenceBR>starts, it goes in a loop and assigns the 1 to the first key pressed down, the 2 to the second, and so on. If there are 9 different intervals all used in the loop, but only 3 keys held down the program will play the octaves of the notes, so that 123 would be abc, and 456 would be abc...and so on./p>p>You have to isolate everything Im talking about to get the full algorithm and why its so interesting:/p>p>1) the full interval pattern 1-9, and then 0 for rests, isBR>looped -- this creates a living pulsing sequencerBR>2) the fact that this loop is triggered by an accomplishedBR>or just lucky persons playing of the loop on the keyboardBR>3) the fact that the interval loop will do interesting thingsBR>if less than the number of original keys are held down thatBR>are in the loop (the loop becomes intelligent).BR>4) You do not have to create full 167 step sequences, and in fact,BR>creating smaller ones create different contexts for new musical patterns. SmallBR>sequences can create different accompaniment structures that canBR>change just like regular ones do (that is, I IV V type changes).BR>Longer sequences tend to have complexities in them that can beBR>fascinating to listen to because they develop different sub melodies.BR>These sub melodies can actually change within a piece.BR>For some reason, when different keys are held down different submelodiesBR>come out. One reason why this happens is that different notes are combined BR>in what seems like different rhythms. /p>p>The loops I create take on visual aspects or patterns. /p>p>For instance, I would create patterns like/p>p>135 4321 111 123 123BR>135 4321 222 123 345BR>135 4321 333 1357999/p>p>This would be an example of one using no rests./p>p>Here is one, in which the 0s are rests/p>p>0003/p>p>0040050060076BR>0004BR>001002001002BR>0020040064076BR>0002BR>00900200865432/p>p>Of course, such patterns can create totally unique rhymic structures./p>p>Art history was my minor in college, and I had planned on getting a mastersdegree in linguistics (which I decided against pursuing), so all these areas came together in some interesting ways./p>p>There is something core about this concept, somethingabout it that relates to the nature of music...its likeworking at a genetic understanding of what can be good musicstructure. Those into generative music I think will bevery interested in this./p>p>I do not have a background in mathematics but I imagine if one startedto look at some mathematically theory and patterns one could use thisin creating patterns. The repeating pattern is a part of the structure of much great music. One can see it especially Baroque music, such as Bach. Since the keyboard changes the notes thatthe pattern plays in, it is not the repeated over and over again pattern oneoften thinks about when one thinks of sequencers./p>p>The interesting thing about my generative music technique is that itsbuilt on a pattern, and that pattern is put into an environment, and then it produces something of value. The environment has a skill aspect to it,and the interaction to has a skill aspect to it, and so does the pattern, (orwhat I should say, the creation of the pattern) So there are three degreesof intelligence. And this could be put into any area, and so there is a science based onthis, which could have a name, and I could write a book on that./p>p>1) The creation of the pattern - the numerical aspect of the pattern, and themathematic aspects of this2) then how it changes when different notes are being played.3) The creation of the environment that it is played against - the chordallandscape, the soloing on top, the different fugal voices being played, or differentloops or other sequences that are played./p>p>Before I purchased the keyboard with the unique sequencer, I had ten yearsof synthsis behind me. The most similar experience I had was with thearpegiattor on the Roland Juno 6, which I had used for about a year and discovered interesting ways of augmenting my keyboard abilities. Sound synthesis has beenin music since Varese, but what I was doing was actually interval synthesis orusing computers to augment the human ability to put together interval patterns.Although it had been done before in various ways by experimental composers, my aim wasnt in creating a type of academic music, but instantly exotic musicthat people of all backgrounds could relate to. I had my own theories behindthis, but they were no different than what Stravinsky, or people like John Adamswouldd. I already had Philip Glasses Einstein on the Beach, his most adventurouswork, in which I heard how modern music could be very powerful and innovative,and only use the traditional 12 notes. /p>p>We have to be able to experience the music of the past mastersas the mathematical expressions that they themselves conceivedtheir music to be. What I mean by mathematical expressions are simply thepurest form of musical expression that can only exist in the mind and the heart.If we can only experience music as it is in sound, as it exists in waveforms, we lose the most vital experience of music, as a living breathing rapture thattakes all of us in. After it becomes expressed through the instruments,it is already a secondary expression. Not only has 200 or three hundredyears past since the works were composed. Not only is it now the interpretationnot only of a conductor but 200 or 300 years of musical interpretations. We should listen to the music as it is being played ,but we should then giveit an additional life in our own mind, hearing the music as it can best be possible.We should remake the music in our own mind, and then perhaps we canunderstand what the composer intended by the music. In this way, musicof the greats which can now seems somewhat stale can be given new life,and the idea of a modern music can no longer be needed to be dissonant anduncomfortably abstract, but can have a mental, emotional and physiological resonance with us. /p>p>One could talk about two waves of electronic music. The first wave of electronic music was the creation of new sounds, the second waveis the creation of new interval relationships. There has been computer music thathas created new interval relationships, but at this present date it is still very obscureand who really knows if it has a pleasant manifestation in the same way as Pre-twentieth century music was pretty much always pleasant. /p>p>Playing and creating patterns that are too hard for us toplay or impossible to create shows musical evolution, one that is already happeningin some way naturally. We of course would not believe this is a superior music,just a different music, a music that has a right to be explored and appreciated.I also believe that when it is playable, its preferable to be reinterpreted, andre-created outside of the electronic sphere, into perhaps interpretations by pianistsarrangers, or orchestrators. It should also have other electronic realizations, especiallymusic created on the Casio 1000P, because it is such a simple keyboard. /p>p>The trick is to use the generative sequences or arpeggiators in ways thatBR>do not sound mechanical./p>P>All music and texts by Robert Scott Pearson. All rights reserved. Copyright 1982 to 2018p>p>Contact at regenerativemusic (at) yahoo . comp>font faceArial,Helvetica>center>a href http://www.paramind.net target_blank>img src paralogobetter.jpg>p>p>/center>p>/center>p>
Subdomains
Date
Domain
IP
mail.regenerativemusic.net
2024-07-28
204.44.192.45
View on OTX
|
View on ThreatMiner
Please enable JavaScript to view the
comments powered by Disqus.
Data with thanks to
AlienVault OTX
,
VirusTotal
,
Malwr
and
others
. [
Sitemap
]