1. Bill says:

    Bill Newbold – animoog-mixedtout-1

    from my valentines post yesterday..


    there is another song as well along similar types of sounds and then… the mix of the two done on my desktop ..

    Bill Newbold = animoog-mixedtout-2

    I am going to post stuff about this web site for a moment and the video work done… it is a dj machine for youtube videos… mixing the sounds and such…   and hopefully they will get the video going better—  the thing is called you.dj app  and is an add on app to chrome but has a stand alone web site as well…  https://mix.dj/mix/UibZo



    • Bill says:

      very pretty Paul

      I like that you just keep rewriting these song with almost a different take each time.   yet the fact that they seem to start in the same way mostly is pleasing… for me.  I can’t think of a way to combine these pieces too easily with another work that it would enhance both works.?  I  have some long drone like works I am doing … but the results would mostly be a dual independent works that  I am listening to both now and that is what I am hearing.   IF maybe just maybe I had the midi file from this piece I could parallel the sounds in a new mix but IDK … just a thought.. 🙂 ///

      • Paul Muller says:

        Thanks Bill,

        Actually, I’ve written only a single series of four-bar cells just once – something like 96 bars of music altogether.  Software recombines the cells randomly,  according to the notes in the score of ‘In C’ by Terry Riley.  There are probably hundreds of thousands of permutations possible.   The idea here is that my effort is reduced to supplying only the creative component – and the computer does the rest, including putting new versions on-line every 8 hours.

        The overall goal here is to automate as much of the realization as possible. Composers in the 21st century will not be able to create single pieces by hand, find players, make recordings of a single performance, digitize for distribution – and pay the bills.  The entire compositional enterprise must be divorced from live performance and static recordings and evolve to an automated process that produces new versions of original works on a rapid basis.  It will be the only way to escape the present commodification of music.

        • Bill says:

          I think as a commodity I would still rely on the Cage idea that nothing is created and nothing is accomplished by performance.   mmm that is not the quote.  – I can look that up and found it from the silence lectures…

          “nothing is accomplished by writing a piece of music
          nothing is accomplished by hearing a piece of music
          nothing is accomplished by playing a piece of music
          our ears are now in excellent condition.”

          ― John CageSilence: Lectures and Writings

          Nothing is not a commodity = commodities are tangible, right? – maybe but I think the process of creating is more a kind of container for the commodity process market.  From the idea that time is a Commodity that someone is paid for the use of their time.  would have an inverse effect of song commodifications … maybe, as I think, the act of listening would have have a kind of valuable asset part or attribute that as the music a person can hear or not hear what they want or like and need to … IMO.,  Commodities being a contextual concept are more ontologically void of real value and sorta like fluff in a cookie that is just there for filler and adding taste to the new organization of concepts at hand.   from nothing is nothing… full circle… but I have really digressed into ontological semantics like butter melting … or so.

          It is good to pontify the concepts with what we do or what we are organizing into processed events and make forward motion leading to growth into a new development and or mixtures.  It is like If you look at my midi piano roll scores sometimes there are obvious edits that I have made where I put whole squares in selection fields and – move to a different place in the work or to another work of midi process edits .. I will include something like this in the next post here in the midi file part.

          And so it is with the bill paying that it seems there is this new type of value measure coming with in a few years … based on personal work and product creation … And so there is mixed messages here (i think) but I hope I have not typed too much … because after a while I will change and the … “plot” of something like this could be different in the end…

          thanks for taking time Paul.

          • Paul Muller says:

            Thanks for your comments Bill.  At the risk of turning this into a discussion of philosophy, I suppose if we take Cage’s quote literally, he is correct: nothing is manufactured from music – it is pure experience.  These days, I do think the time taken to listen to music has a greater perceived value in that we are all seemingly pressed for time in our busy lives.

            My attempts to automate are purely practical, but related to our present circumstances.  We no longer make furniture by hand, automobiles – and most everything else – are mass-produced.  Most workers use computers to move tons of steel or gigabytes of data.  So how is traditional acoustic music expected to be relevant in the 21st century?  It takes an acoustic player years to become good, and good players still need to practice six hours or so a day.  A composer  must find a group of such players to perform a single piece – and so then you also need an audience to pay for all this training and skill so the the realization of the composition can occur.  It’s as if we built each automobile by hand, one piece at a time.  All of this made sense in the 19th century – but no longer.

            21st century music must mirror 21st century endeavors.  This means using computers, and the internet.  Humans must contribute the creative element – but that is all they must do – everything else that can be automated, should be automated.  Now I concede that traditional music making is a collaborative process between composer, the musicians, the conductor and perhaps even the venue. And that the result is of a very high order.  But all of this is far too inefficient and expensive now.  We must find a way to make art using contemporary technology.  And as composers we are lucky that this is now possible.

    • Bill says:

      this like is empty in that it is not a link but just text Ben..

      I did an edit with the link from the previous post were the link seemed the same except I changed .a to .b

      Putting the link in the post I saw it was uploaded at alonetone and I just went there and got the direct link and fixed it… 🙂

      • Benjamin Smith says:

        Bill, thank you very much Sir.

        I usually check the link but I posted it and then ran out the door to make a train on time (turns out it was 10 minutes late!) Thanks again.


  2. James Bailey says:

    James Bailey – Through the Tiniest Gap

    James Bailey – The Tiniest Details

    James Bailey – Tiny Made Large

    Three pieces based on the sound of a dizi (Chinese bamboo flute). The first is an attempt to imitate the sound of wind blowing through small gaps around doors or windows. The second expands on the small pitch fluctuations that often occur with such sounds. The third is the last minute or so of the second, stretched and pitch-shifted down.

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