(no subject)
Isn't it gret when someone you look up to blesses you with the words you've been searching for for years?
"I, Squarepusher, hold the view that the influence of the structural aspect of music making is in general underestimated. By structural aspect, I refer to the machinery of music making eg: acoustic and electric instruments, computers, electronic processing devices etc. Use of a musical machine is obviously accompanied by some level of insight into its construction, operation and capabilities. It is common for a musician to have an awareness of harmonic and stylistic rules which may be observed or otherwise. It seems less common to be critically aware of the structural limitations. This structural limitation is inevitable; an analogy might be to try to talk without the use of a mouth. This point has a particular pertinence in our present era where so many pre- fabricated electronic devices populate the landscape of contemporary music making. These devices generate ouput according to input combined with mathematically defined rules of transformation, implemented electronically. These rules thus have a direct effect on any musical activity mediated by a given machine. Of course, this is why the machine is employed - to modify sound, generate sound etc. Yet this triviality seems somewhat more significant if one considers that the manufacturers of electronic instruments are thus having a considerable influence on modern music. Indirectly, software programmers and hardware designers are taking part. A naive notion of creativity seems compromised if we consider that a given musical piece was at least partially dictated by the tools of its realisation. Although I emphasise that never can a musician escape the use of some sort of musical tool, there is nevertheless a choice which is always made, unwittingly or otherwise. We can choose whether to understand what rules the tool imposes on our work, or we can disregard them and leave the manufacturers as "sleeping partners". I suggest we can enhance creative potential by a critical awareness of the modes of operation of these tools. Thus, I urge an unmasking of these black boxes of the contemporary musical landscape. Circuit bending can be one way - analysing and modifying electronic circuitry. Another is to understand the ways in which musical data is encoded and modified by currently ubiquitous digital means. In addition, various software platforms now exist which, with varying levels of flexibilty, allow users to generate their own instruments. The modern musician is subject to a barrage of persuasion from manufacturers of music technology. The general implication is that buying new tools leads to being able to make new and exciting music. While it is true that certain degrees of freedom are added by new equipment, it is not the case that this entails wholesale musical innovation. What seems more likely is that new clichés are generated by users unanalytically being forced into certain actions by the achitecture of the machine. For me it is parallel, if not synonymous with a dogmatic consumer mentality that seems to hold that our lives are always improved by possessions. Imagine the conception of structural rules to do with electric guitars before and after Jimi Hendrix. An instrument is always open to re-definition. Thus I encourage anybody remotely interested in making music to boldly investigate exactly what the rules are to which you, as a modern musician, are subject. Only thus can you have a hope in bending and ultimately rewriting them..."
"I, Squarepusher, hold the view that the influence of the structural aspect of music making is in general underestimated. By structural aspect, I refer to the machinery of music making eg: acoustic and electric instruments, computers, electronic processing devices etc. Use of a musical machine is obviously accompanied by some level of insight into its construction, operation and capabilities. It is common for a musician to have an awareness of harmonic and stylistic rules which may be observed or otherwise. It seems less common to be critically aware of the structural limitations. This structural limitation is inevitable; an analogy might be to try to talk without the use of a mouth. This point has a particular pertinence in our present era where so many pre- fabricated electronic devices populate the landscape of contemporary music making. These devices generate ouput according to input combined with mathematically defined rules of transformation, implemented electronically. These rules thus have a direct effect on any musical activity mediated by a given machine. Of course, this is why the machine is employed - to modify sound, generate sound etc. Yet this triviality seems somewhat more significant if one considers that the manufacturers of electronic instruments are thus having a considerable influence on modern music. Indirectly, software programmers and hardware designers are taking part. A naive notion of creativity seems compromised if we consider that a given musical piece was at least partially dictated by the tools of its realisation. Although I emphasise that never can a musician escape the use of some sort of musical tool, there is nevertheless a choice which is always made, unwittingly or otherwise. We can choose whether to understand what rules the tool imposes on our work, or we can disregard them and leave the manufacturers as "sleeping partners". I suggest we can enhance creative potential by a critical awareness of the modes of operation of these tools. Thus, I urge an unmasking of these black boxes of the contemporary musical landscape. Circuit bending can be one way - analysing and modifying electronic circuitry. Another is to understand the ways in which musical data is encoded and modified by currently ubiquitous digital means. In addition, various software platforms now exist which, with varying levels of flexibilty, allow users to generate their own instruments. The modern musician is subject to a barrage of persuasion from manufacturers of music technology. The general implication is that buying new tools leads to being able to make new and exciting music. While it is true that certain degrees of freedom are added by new equipment, it is not the case that this entails wholesale musical innovation. What seems more likely is that new clichés are generated by users unanalytically being forced into certain actions by the achitecture of the machine. For me it is parallel, if not synonymous with a dogmatic consumer mentality that seems to hold that our lives are always improved by possessions. Imagine the conception of structural rules to do with electric guitars before and after Jimi Hendrix. An instrument is always open to re-definition. Thus I encourage anybody remotely interested in making music to boldly investigate exactly what the rules are to which you, as a modern musician, are subject. Only thus can you have a hope in bending and ultimately rewriting them..."