Rob Beschizza at 7:20 am Mon, Oct 8, 2012
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Dangit, I was hoping for an explainer, to see what they did.
26 hours long
Don’t let the CIA find out about this.
It’s not torture, it’s enhanced interrogation, citizen.
I find this more pleasing than almost all of Webern’s Variations. I could listen to it for quite a while. Twenty-six hours, you say?
Mind you, I’d rather listen to Tenney’s Ergodos II than Vebern. Maybe if I’d been born in continental Europe, my tastes would be, er, educated?, conforming to expectations? I find Vebern to be the auditory equivalent of Stieglitz’s Equivalents. More on that later…
Here’s one I wish would go on for half an hour, Euler’s Samba:
Keith Jarrett — The M.I.T. Concert
sounds a bit like Hauschka. http://hauschka-net.de/.
So the high G# is the only variable note? I don’t get it
Interesting… but not for long.
The one time I got an “A” as a music composition student at the U of North Texas was for my procedural music program for a Commodore-64:
My professor was gobsmacked that I was doing something with my C-64 that he couldn’t do with his $10,000 “Synclavier”. That’s when i decided to stop “studying” composition.
I’ve long been interested in mathematically generated music.About 12 or 13 years ago I found a cool little freeware program that creates midi files based on a mathematical sequence related to the Prouhet-Thue-Morse sequence.
The human ear finds self-similarity pleasing, so the Prouhet-Thue-Morse sequence and related sequences seem to be good candidates for music generation. The complexity of this generated music, (when several sequences are mapped to different instruments and played alongside one another), is astounding.
MusiNum – The Music in the Numbers http://reglos.de/musinum/
My son was so very disappointed this wasn’t Chocolate Rain.
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