Max/Msp Tutorial 1:
What I’ve learnt in this beginner tutorial video is that the composing process equals the program writing or even invent a brand-new instrument and that the strange “parameters” have nothing to do with traditional musical figures and the player’s fingers. Additionally, the composer can now realize whatever he/she wants to do with the work while one couldn’t design both tunes and timbre simultaneously before such softwares were invented (actually the timbre of an instrument is impossible to change) . Or we can say that only the timbre is left to further specification in computer music.(?) And as we can see in the worksite of Max/Msp, the software diminishes the original beauty of composition by changing the linear composition method to machinery distribution of “clicks”.
I adjusted my structure of the essay to two networks related to computer music.
a)network within the computer composing process.
b)system between the composition and audience.(material – language – discourse) Human perspective towards sounds is based on the human culture rather than the sound itself. (the lack of sources/any visual focus at the stage.) In traditional music times, the compositions always perfectly fit audience’s expectation and give impressions which are familiar to daily life. Listeners perceive physical distance from the source when exposed to computer music.
Study mission for next week:
a)”Music and Technology (Contemporary History and Aesthetics)” – MIT Lecture
b)Machine Learning to Identify Neural 5 Correlates of Music and Emotions. (By Ian Daly, Etienne B. Roesch, James Weaver and Slawomir J. Nasuto)