Thank you for sharing!

Thank you so much for sharing. When was this lecture given?

@MartinRitter

5 ай бұрын

I believe that was 2019... but don't quote me on the date...

@AlyssaAska

5 ай бұрын

@@MartinRitter November 13. 2019

0:00 Hi Pablo ;)

What is the name of the program he mentions at 1:00:12?

@auedpo

2 ай бұрын

Patchwork from IRCAM. I've really enjoyed learning OpenMusic and implementing it in my works!

@MartinRitter

2 ай бұрын

I believe he was talking about the Finale notation software

@auedpo

2 ай бұрын

He's talking about "Patchwork" from IRCAM. considered to be the predecessor to Open Music. As is shown at that point in the lecture, Ferneyhough uses it to manipulate 'chunks' or musical information - in this case rhythm.

@TheoKoskoff

2 ай бұрын

@@auedpo Thank you!

Thanks for giving me nostalgia of music university . Music is exciting, and avant-garde needs freedom . Posing as “science” in academia is today absolutely boring for composers . Without playfulness inspiration dies, with fix salary and bureaucratic students composers become lazy to teach. The spirit of freedom is missing, so no avant-garde happens. Important for the typical professor of today is to gender correctly and criticize theories of tonality as it please . For the student it is important maintaining just enough output to live out of scholarships founded almost always ideologically

@zeitschleife

2 ай бұрын

I actually think it is the opposite, that in the universities they are stopping to teach orchestration and theory, and not encouraging a lot of the explorative methods from the 20th century. It becomes more and more about knowing the right people. I love concerts and festivals, but I also think this kind of festival culture has really not benefited the development of music.

@MorganHayes_Composer.Pianist

2 ай бұрын

I‘m diametrically opposed to his approach and feel increasingly remote from much of his music. However, I don’t doubt for a moment that there’s plenty of scope for playfulness and inspiration within what BF does. It doesn’t come across all that vividly here but in a masterclass on a two guitar piece where he talks about Japanese washing machines and insects and all kinds of extra musical stuff the impulse is very clear.

The height of pretension and incompetence

@kdsf12

2 ай бұрын

Pretense.

@zeitschleife

2 ай бұрын

Many argue that new complexity is pretentious, and it maybe isn't everyone's cup of tea but incompetent? Not at all.

@MartinRitter

2 ай бұрын

I know my camera skills aren’t the best but… 😂

@markbrown6978

Ай бұрын

@@MartinRitter I think you could call that Trolling at its most incompetent?

@MartinRitter

Ай бұрын

@@markbrown6978 lol... to be honest, the older I get the more I probably would personally agree with that sentiment

In summary, Composer comes and explains nothing about composition and just explains some halfwit formulas to produce material

@MartinRitter

2 ай бұрын

halfwit or not, producing material (with whatever method works for the composer) is a large part of composing no matter the style. While I would personally not ever use anything resembling his process, nor recommend people copy it, it has worked for him. I always find it fascinating how different composers create and manipulate materials.

@MorganHayes_Composer.Pianist

2 ай бұрын

@@MartinRitter a remarkably sane and intelligent response!

@andrewtrovato1828

Ай бұрын

@@MartinRitter While different than Fern's presentation/material generation, I dont think someone coming in and explaining how you can for instance roll dice and generate material by chance has anything to do with composition. There is of coarse a dialectical relationship between material and composition, just as there is between the different ages, stone age, bronze and so on, and the composition of items, houses, towns, or more specifically for instance between the processes of cloth making and clothing. But this relationship does not exist in a vacuum, and composition is not simply the product of the material, just as the edged stone is not just the product of intelligent being acting upon the stone. The composition of the material, the form by human of the edged stone tool, arises from the needs of humans. Composition of art, arising from the forces of much more complex and varied social needs, and the insight of compositional technique to combine and bring out multiple layers of processes so as to communicate with a subtle sensual richness the vast thoughts and feelings of society and human history, is similarly very distant from and unrelated to the question of material. That is materials is one thing, there is no shortage of materials or infinite ways to generate them , but the question of composition, what materials to select, which to discard, how and what to combine, what artistic/social needs to fill, what aspects of life to cognize and portray through music and the compositional insight to bring said cognitions to their sharpest expressions, these questions and the drawing out of compositional processes and how they are handled in musical examples I see as composition. The generation of material, just as where to find rocks or where to find copper, I do not see as having much to do with the composition of a edged stone tool or copper pipes, jewelry and so on.

@MartinRitter

Ай бұрын

@@andrewtrovato1828 I totally agree with you. at the highest level of craft we shouldn't be talking about where to find the stone - to use your metaphor. However, there is still the need for an expert geologist to know how the stone was formed, where it could possibly be found, how to extract if from its surroundings without damaging it, and how to further process it so a craftsman or artist can further process it into something useful or beautiful :) I personally don't roll dice, I personally would never let a system choose things for me without my ability and sensibility to interact with it, but I know many that do...