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Topic: Just a bit OT; The Contemporary Composer's Bulls**t Generator

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  1. #1

    Just a bit OT; The Contemporary Composer's Bulls**t Generator

    One of my students put this link on Facebook:

    http://www.dominicirving.com/temp/cccbsg.pl

    I've never really liked writing program notes to my own music, and with this utility I may never have to again. When I have my next piece finished, I already have this program note ready:

    "I was first introduced to the concept of 'dodecaphonically-serialist source-commissions' last year, and it has allowed me a greater depth of developments, especially whilst sensing the ultimate aesthetic. I never superimpose octaves, despite the fact that any noise or rhythm can be, and has been interpreted as a rather Wagnerianistically-21st-century set of 'device-frequencies'. It has been said that those who modulate a experience are unable to modulate or perform motifs, at least not culturally, but I fundamentally disagree. The most important tip I can give anyone is this: Never visualise anti-visual tetrachords; rather, endeavour to dominate your modernly-predominant aesthetics. To put it concisely, the conceptual forms of any given silence must never clash with the ultimately iconic endeavour of juxtaposing meanings wherever possible."
    Dan Powers
    www.danielpowers.info

    "It's easier to be a composer than it is to compose."
    --Ray Luke (1928-2010)

  2. #2

    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    huh?


  3. #3

    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    Dan,

    You really make a point there!

    I can certainly agree that to morph is a natural desire, but my current compositional activity seeks to contextualise all modules. It also opposes and dominates post-Stockhausenly-discontinuous oscillation-transformations. My work has been seminal in the development of 'operatically-ambiguous contemporary-music', a highly intellectual, and rather choreographic genre. The unaccompanied consequences of contextualising imitations enables the use of a single leitmotif amongst many literal performers. Except in rare cases (for example, when you are transforming a particularly post-serial set of collaborations), contemporary composers of 'noise-music' should avoid the use of relationships. My latest composition explores the boundaries between devices and expressions, whilst utilising a highly dynamic attitude to a traditional, unaccompanied ensemble.

    This is absolutely great stuff! I am not sure it will work on my next 5th and 6th grade band concert program. Hmmmm...
    [Music is the Rhythm, Harmony and Breath of Life]
    "Music is music, and a note's a note" - Louis 'Satchmo' Armstrong

    Rich

  4. #4

    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    OH MAN! So THIS is where people come up with these things - Only, these random jibberings should be at least twice as long. Well, push "generate" 2 or 3 times, copy and paste the results - and there ya go.

    --Seriously though, before I post my next masterpiece--I wanted to give everyone a chance to be prepared for it. Here are my preliminary remarks about it - much more to come once I actually write the music and post it:

    My latest piece begins with a rather dynamic 'reaction-cadence', before actively transforming the existing rhythmic material into a more critically-graphic state, a process I term 'melodically-contemporary-influencing'.

    Working virtuosically means that my focus is always diversely-based, and never melodic. My pitch-class is the only one of its kind, due in part to the inclusion of highly-quasi-tonal composition-inventions, with a hint of so-called 'tritone-processes'.

    Recently, I have started to embrace sounds as a strongly-absolute alternative to established forms of resonant element-hemiolas, which has made my work integrally transdisiplinary. I build upon the so-called 'transcriptions of neo-periodic choreographies', and transform them into what I term 'octatonic-serialist passage-modules', which I see as a distinct improvement.

    I have found that chaotic systems, in combination with provocative synchronisations enable me to statically recreate brand-new developments in a highly eclectic and extremely meta-gestural way. My latest composition explores the boundaries between techniques and ensembles, whilst utilising a highly intra-electronic attitude to a traditional, contemporary linearity.

    By engaging in post-Stockhausen modulating, I seek to overcome the existing quasi-innovative models, and establish a more improvisatory and influential paradigm. The pursuit of rational key-signature-commissions to recontextualise the mostly-dynamic paradigm is a key focus of my visual study.

    I have found that extended systems, in combination with dynamic cadences enable me to innovatively suggest brand-new experiences in a highly random and extremely collaborative way.

    I coined the term 'narrative-semitone-music' to describe my most radical approaches to rhythmic composition. I coined the term 'technique-unity-music' to describe my most radical approaches to contrapuntal composition.

    It must be remembered that generating studies, especially if they are subtractive (or even choreographic), should be avoided. Rather than chromatically transposing complex narratives, I now prefer allowing technical types of notation, in conjunction with highly experimental compositions.

    The fact that intervals tend to (at least in their subtractive state), solitarily dominate, even in the presence of a strong analysis, is, you will agree, patently absurd.

    But this is just sketchy prelude to the opus I'll be presenting with more complete notes in the very near future. Thank you.

    Randy

  5. #5

    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    I thought this generator would actually generate contemporary music.

  6. #6

    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    Randy,

    "yawn" I really enjoyed the description "yawn" of your next "yawn" piece. Isn't the internet a wonderful place that you can find such useful programs that do so much for so little?

    Briff,

    It doesn't compose the music but instead gives you inspiration on what your next piece should include. Randy's got the idea on how it works!
    [Music is the Rhythm, Harmony and Breath of Life]
    "Music is music, and a note's a note" - Louis 'Satchmo' Armstrong

    Rich

  7. #7
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    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    It does compose Contemporary music in the spirit of John Cage.

    First, take a dictionary and assign each word a number – starting at 1 on up then change each number to mod 12 (divide by 12 and keep only the remainder) so you have 0, 1, 2,… , 11, 0, 1 etc to the end of the dictionary (a computer algorithm can assign the numbers and do the mod 12). As you might have guessed, 0 = A, 1 = A#/Bb etc.

    Take the babbling bull s… and plug in the numbers/notes based on the dictionary numbers created above. Use the number of letters as length – basic unit is a choice, I will say 1 letter = thirty-second or sixteenth note. Commas = quarter note rest, period = whole note rest. Each paragraph is another instrument, picked at random.

    I read that one time when John Cage was asked to give a speech he first wrote a conventional speech. Next he took scissors and cut it up, sometimes just words, sometimes phrases or sentences and occasional whole short paragraphs. He put the scraps of paper in a box and pulled out a scrap at a time and copied it down in that random order. This became his speech. I’m sure this generator could do just as well.
    Trent P. McDonald

  8. #8
    Senior Member rpearl's Avatar
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    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    At last, someone put into words what I have so desperately been trying to say all these years. Thank you, Dan, for giving us (and me) these words of wisdom. It gives me the courage to go on. I do wish the writer had been able to work in more about the intersection of thermodynamics and the use of LinkedIn - that is an important connection that needs articulating.

    And what is this Bullsoot you speak of?
    Ron Pearl

    Website:

    ronaldmpearl.com

    myspace:

    http://myspace.com/rmpearl

  9. #9

    Re: Just a bit OT; The Contemporary Composer's Bulls**t Generator

    This thing really does crack me up. Whoever wrote it has obviously been looking around at the musician forums online for inspiration, and nailed the BS perfectly.

    Randy

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