Mike C. wrote:
Well, it's not music if *you* program it...

Quite the subtle troll, er?

--
samuel
concerten.free.fr
http://composers21.com/compdocs/vriezens.htm

i just found this thread . i'm not going to read any of this but let
me just say that jazz has nothing to do with the perfect execution of
tasks. i just get my ya yas by playing jazz. i don't think computers
get ya yas better than me.

Samuel Vriezen sqv.do.not.spam@xs4all wrote in message
what if I program a computer to create aesthetic sounds meant to be
listened to by humans -
it's not music?

just like any other instrument at one end you have a person and at
the other you have music. i guess that even works for radios.

In article ,
Zoot wrote:
Samuel Vriezen sqv.do.not.spam@xs4all wrote in message
what if I program a computer to create aesthetic sounds meant to be
listened to by humans -
it's not music?

just like any other instrument at one end you have a person and at
the other you have music. i guess that even works for radios.

The person and the music are at different ends?
What about the discovery of a musical experience by a listener....



--
Matthew H. Fields http://personal.www.umich.edu/~fields
Music: Splendor in Sound
To be great, do things better and better. Don't wait for talent: no such thing.
Brights have a naturalistic world-view. http://www.the-brights.net/

Zoot wrote:
Samuel Vriezen sqv.do.not.spam@xs4all wrote in message
what if I program a computer to create aesthetic sounds meant to be
listened to by humans -

it's not music?


just like any other instrument at one end you have a person and at
the other you have music. i guess that even works for radios.

Imaginary Landscapes No. 4, John Cage.

--
The better the voyce is, the meeter it is to honour and
serve God there-with: and the voyce of man is chiefely
to be imployed to that ende.

Omnis spiritus laudet Dominum.

-William Byrd

Nightingale wrote in message ...
Zoot wrote:
Samuel Vriezen sqv.do.not.spam@xs4all wrote in message
what if I program a computer to create aesthetic sounds meant to be
listened to by humans -

it's not music?


just like any other instrument at one end you have a person and at
the other you have music. i guess that even works for radios.

Imaginary Landscapes No. 4, John Cage.

don't know it. is there music?

[[ This message was both posted and mailed: see
the "To," "Cc," and "Newsgroups" headers for details. ]]

In article , Zoot
wrote:

Nightingale wrote in message
...
Zoot wrote:
Samuel Vriezen sqv.do.not.spam@xs4all wrote in message
what if I program a computer to create aesthetic sounds meant to be
listened to by humans -

it's not music?


just like any other instrument at one end you have a person and at
the other you have music. i guess that even works for radios.

Imaginary Landscapes No. 4, John Cage.

don't know it. is there music?

Yes. I'm pretty sure that it's published by Peters. The notation is
very straight forward. If I recall correctly, it's notated in march
time in C major, with 2 parts each for 12 radios (each radio played by
two performers, one controlling the volume of the radio, the other
controlling the tuning).

There is, of course, also a sheet of instructions for how to interpret
the score, which is basically to divide the scale of the volume and
tuning knobs of the radio into fifths and tune according to where the
various noteheads are on the staff. I may be missing some of the fine
points. I've heard it performed several times and it's always worked as
an effective collage piece.

Herb Levy wrote:

[[ This message was both posted and mailed: see
the "To," "Cc," and "Newsgroups" headers for details. ]]

In article , Zoot
wrote:

Nightingale wrote in message
...
Zoot wrote:
Samuel Vriezen sqv.do.not.spam@xs4all wrote in message
what if I program a computer to create aesthetic sounds meant to be
listened to by humans -

it's not music?


just like any other instrument at one end you have a person and at
the other you have music. i guess that even works for radios.

Imaginary Landscapes No. 4, John Cage.

don't know it. is there music?

Yes. I'm pretty sure that it's published by Peters. The notation is
very straight forward. If I recall correctly, it's notated in march
time in C major, with 2 parts each for 12 radios (each radio played by
two performers, one controlling the volume of the radio, the other
controlling the tuning).

There is, of course, also a sheet of instructions for how to interpret
the score, which is basically to divide the scale of the volume and
tuning knobs of the radio into fifths and tune according to where the
various noteheads are on the staff. I may be missing some of the fine
points. I've heard it performed several times and it's always worked as
an effective collage piece.

Why would it take two performers per instrument? Even the giant console
radios of the 30s could have their two knobs worked by one person
simultaneously.
--
Peter T. Daniels

"Peter T. Daniels" wrote in message ...
Herb Levy wrote:

[[ This message was both posted and mailed: see
the "To," "Cc," and "Newsgroups" headers for details. ]]

In article , Zoot
wrote:

Nightingale wrote in message
...
Zoot wrote:
Samuel Vriezen sqv.do.not.spam@xs4all wrote in message
what if I program a computer to create aesthetic sounds meant to be
listened to by humans -

it's not music?


just like any other instrument at one end you have a person and at
the other you have music. i guess that even works for radios.

Imaginary Landscapes No. 4, John Cage.

don't know it. is there music?

Yes. I'm pretty sure that it's published by Peters. The notation is
very straight forward. If I recall correctly, it's notated in march
time in C major, with 2 parts each for 12 radios (each radio played by
two performers, one controlling the volume of the radio, the other
controlling the tuning).

There is, of course, also a sheet of instructions for how to interpret
the score, which is basically to divide the scale of the volume and
tuning knobs of the radio into fifths and tune according to where the
various noteheads are on the staff. I may be missing some of the fine
points. I've heard it performed several times and it's always worked as
an effective collage piece.

Why would it take two performers per instrument? Even the giant console
radios of the 30s could have their two knobs worked by one person
simultaneously.

that's what cage wanted. i wonder if zappa was thinking of this when
he refereed to a six foot high pile of transistor radios. each one
tuned to a different station. billy the mountain.