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Author Topic: Currently creating...  (Read 6840 times)
dotcommunist
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« Reply #150 on: 09:26:22, 03-10-2007 »

OK, mr cassidy, good luck with your UK move, hope it all goes as smoothly as one can't really expect it to go, you'll need to stack up on your umbrellas, I fear. . how was Warsaw ?

...& now for something completely different, & a tad more on-topic.

Due to having a few questions regarding SuperCollider (a program which has 'oliver-sudden-like' sprung to life for me) I looked up some of these forum-posts:

http://electro-music.com/

more specifically:   http://electro-music.com/forum/forum-139.html

& on idly surfing around this site I came across a priceless treasure, dealing with "where does/can our inspiration come from"  Cry  a worrying question in itself, -i really like to not have to go down that path too often:
 
http://electro-music.com/forum/topic-1158.html

seraph's 2nd post =  Huh  Shocked  Grin

so, wheeze away I did, UNTIL someone mentioned Brian Eno's Oblique Strategies, which I hadn't known about:

http://www.rtqe.net/ObliqueStrategies/

which , from this link seemed to have some amusing  one-liners. One can 'consult' Brian (as in Eno) for morning inspiration, here:

http://www.rtqe.net/ObliqueStrategies/Consult.html

from which I got:

Use Cliches  Tongue
Lost in Useless Territory  Huh
Honor thy error as a hidden intention  Cool
Look at a very small object, look at its centre
If in doubt, invoke Chafer

Has/Does anyone here use(d) Eno for inspiration ??
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oliver sudden
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« Reply #151 on: 11:03:51, 03-10-2007 »

They're not so good in French.

Quote
#!/usr/local/bin/perl # Greg's howlingly stupid hack 8/20/97 (formatting for versions is # in the text file. It was incremental, and it was late.... ############################################################################## # Random Text Version 1.0 # # Copyright 1996 Matt Wright mattw@worldwidemart.com # # Created 7/13/96 Last Modified 7/13/96 # # Scripts Archive at: http://www.worldwidemart.com/scripts/ # ############################################################################## # COPYRIGHT NOTICE # # Copyright 1996 Matthew M. Wright All Rights Reserved. # # # # Random Text may be used and modified free of charge by anyone so long as # # this copyright notice and the comments above remain intact. By using this # # code you agree to indemnify Matthew M. Wright from any liability that # # might arise from it's use. # # # # Selling the code for this program without prior written consent is # # expressly forbidden. In other words, please ask first before you try and # # make money off of my program. # # # # Obtain permission before redistributing this software over the Internet or # # in any other medium. In all cases copyright and header must remain intact # ############################################################################## # Define Variables # # This is the file in which all of your random text phrases are stored. # $random_file = "cartes.txt"; # The delimiter specifies how each phrase is distinguished from another. For# # instance, the common fortune file (a Unix program) is delimited by a new # # line followed by two % signs on the next line and then a new line. This is# # a pretty good format and you can read more about it in the README file. # $delimiter = "\n\%\%\n"; # Done # ############################################################################## # Open the file containing phrases (and edition formatting nonsense), read it. open(FILE,"$random_file") || &error('open->random_file',$random_file); @FILE = ; close(FILE); # As the Oblique Strategies say, "Adding On". Join lines into one string. $phrases = join('',@FILE); # Now split the large string according to the $delimiter. @phrases = split(/$delimiter/,$phrases); # Invoke srand; with a seed of the time and pid. If you are on a machine # which doesn't put the pid into $$ (ie. Macintosh, Win NT, etc...), change # this line to: srand(time ^ 22/7); srand(time ^ $$); # Return a number which corresponds to one of the random phrases. $phrase = rand(@phrases); # This is braindead, but it works. Set up the page.... print <<"DOODAH"; Content-type: text/html
DOODAH # Convert the selected number into the text we want to return and print it! print $phrases[$phrase]; #Finish the file.... print <<"DOODAH";
DOODAH # All Done! exit; # Was there an error? If so, let's report that sucker so it can get fixed! sub error { ($error,$file) = @_; print <<"END_ERROR"; Content-type: text/html
ERROR: Random File Unopenable
The random file, as specified in the \$random_file perl variable was unopenable.

END_ERROR if (-e $random_file) { print "The file was found on your system, so make sure that it is\n"; print "readable by the web server. This means you will need to\n"; print "execute the following command:

\n";
        print "    chmod 744 $random_file\n";
        print "

\n"; } else { print "The file was not found on your file system. This means that\n"; print "it has either not been created or the path you have specified\n"; print "in \$trrandom_file is incorrect.\n"; } exit; }

Hardly surprising since they appear to think quand il faut necessaire qualifies as genuine Frog...
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quartertone
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« Reply #152 on: 07:56:47, 05-10-2007 »

Tuba and string quartet, Biroc? How absurd. But I once knew someone who wrote a piece for alphorn and string quartet, which is surely even more absurd.

As it happens, I'm writing for double bass and string quartet at the mo. And simultaneously beginning a very tangly guitar piece.
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time_is_now
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« Reply #153 on: 12:24:41, 05-10-2007 »

Tuba and string quartet, Biroc?
Sounds like a No-no to me. Wink

Quote
As it happens, I'm writing for double bass and string quartet at the mo.
As in a form of string quintet? Or is the bass concertante?

And how are you notating your guitar piece?
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quartertone
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« Reply #154 on: 12:28:17, 05-10-2007 »

As in a form of string quintet? Or is the bass concertante?

More or less the latter, though more in the sense that they're two separate factions than in any real solo/accompaniment sense.

Quote
And how are you notating your guitar piece?

I'm not exactly sure what you're asking... do you know what sort of things I do to solo instruments? I'll need six staves for this piece, I can say that much.
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Animal
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« Reply #155 on: 12:37:37, 05-10-2007 »

Tuba and string quartet, Biroc?
Sounds like a No-no to me. Wink

I think this combination has been used before by Alvin Lucier - although I may be wrong and it might be a trombone...

I quite like it persnally!!  Grin Looking forward to hearing it Biroc Wink
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time_is_now
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« Reply #156 on: 13:01:25, 05-10-2007 »

Tuba and string quartet, Biroc?
Sounds like a No-no to me. Wink

I think this combination has been used before by Alvin Lucier - although I may be wrong and it might be a trombone...

I quite like it persnally!!  Grin Looking forward to hearing it Biroc Wink
I was making a (possibly obscure) joke: it sounded like the sort of combination a certain composer currently being festivalled in London might have liked in his later years. Wink
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
dotcommunist
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« Reply #157 on: 13:08:19, 05-10-2007 »

Tuba and string quartet, Biroc?
Sounds like a No-no to me. Wink

I think this combination has been used before by Alvin Lucier - although I may be wrong and it might be a trombone...

I quite like it persnally!!  Grin Looking forward to hearing it Biroc Wink

seconded
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time_is_now
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« Reply #158 on: 14:20:14, 05-10-2007 »

Quote
And how are you notating your guitar piece?

I'm not exactly sure what you're asking... do you know what sort of things I do to solo instruments?
Yes, that's why I was asking. I was also thinking of the tablature vs. notation discussions that have been going on recently (you may have missed them, but Richard was talking about the tablature notation he's developed for his new solo flute piece and Aaron and others joined in with similar stories).
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
quartertone
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« Reply #159 on: 14:39:14, 05-10-2007 »

Quote
And how are you notating your guitar piece?

I'm not exactly sure what you're asking... do you know what sort of things I do to solo instruments?
Yes, that's why I was asking. I was also thinking of the tablature vs. notation discussions that have been going on recently (you may have missed them, but Richard was talking about the tablature notation he's developed for his new solo flute piece and Aaron and others joined in with similar stories).

Ah, I missed those discussions. Any chance of a link?

Yes, I've been dabbling in tabbing since 2000. In fact, young Cassidy even adopted some notation of mine... anyhow, my guitar piece breaks up the right hand into fingers, strings, fingers (for two conflicting parts, usually thumb against fingers) and hand position, then the left hand into hand position and independent movements of the fingers. The hand position stave is a normal clef one, as I follow the convention of showing the position by notating the pitch fingered by the index finger, which can then be subjected to further deviations using the other fingers. I should add, though, that the piece (which will be between 10 and 20 minutes) doesn't consist purely of this spasmodic polyphony; it explores various degrees of differentiation, and also includes straightforwardly-played notes. A microtonally-inflected scordatura is also used.
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BobbyZ
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« Reply #160 on: 15:08:26, 05-10-2007 »


Ah, I missed those discussions. Any chance of a link?


Link to that thread.

http://r3ok.myforum365.com/index.php?topic=1860.0
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Dreams, schemes and themes
time_is_now
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« Reply #161 on: 15:24:43, 05-10-2007 »

Actually that's not the one, BobbyZ - that thread seemed to me to be based on a simple misunderstanding on increpatio's part, and in any case was related to a subject, time-space notation, which I don't imagine qt is in any rush to return to on these boards, since he'd participated in our previous extensive discussion of that topic.

The one I had in mind was actually about whether a composer notates the means or the ends, as it were (what sounds to make or how to make them). Here it is: http://r3ok.myforum365.com/index.php?topic=1751.0 (although it doesn't really get going till about here: http://r3ok.myforum365.com/index.php?topic=1751.msg58354#msg58354). The stuff about Richard's flute piece had actually started here: http://r3ok.myforum365.com/index.php?topic=1583.msg58088#msg58088.
« Last Edit: 15:31:57, 05-10-2007 by time_is_now » Logged

The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
harmonyharmony
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« Reply #162 on: 22:23:19, 24-02-2008 »

Quote
The following error or errors occurred while posting this message:
Warning: this topic has not been posted in for at least 120 days.
Unless you're sure you want to reply, please consider starting a new topic.
Well I'm fairly sure I want to reply...
Seems like a waste to start a new thread...
Hope nobody minds....
Ahem [echoes]

Well I wanted to post something to say that I'm composing again.
I feel like a composer again.
I'm writing a 9 minute work called VALENTINE for clarinet, violin, cello and piano.
It's a step towards what I think is a new style for me that has been emerging slowly over the last couple of years.
Lots of things are coming into focus, and I'm using a lot of lessons I've picked up on the way (Richard will be dismayed to hear that a number of things that he has either written about or suggested to me have finally sunk in).
I've been describing the style as 'sun-bleached' if that gives any kind of indication what it might sound like. Lots of silence and drones... Bit of a change from my earlier 'rhythmic complexity to the point of insanity' malarkey.
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time_is_now
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« Reply #163 on: 19:04:28, 05-03-2008 »

Hope nobody minds....
I don't mind at all, hh. I'm very happy about this.

Smiley Smiley
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
harmonyharmony
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« Reply #164 on: 10:29:52, 08-03-2008 »

Hope nobody minds....
I don't mind at all, hh. I'm very happy about this.

Smiley Smiley

Life, or at least marking, has intervened in the meantime. I'm hoping to have some time (no, not you) to get some more done (especially since I have all of the fundamentals, literal and figurative, worked out now) but I do have 50 essays to mark at some point, some dictation examples to put on Durham's internet, and 17 hours of tutorials to plan. While this looks like it should be on the GOR thread, I'm actually quite chilled and feel like I have some sort of a grip on things.

Have recently been pointed towards http://quintet.net - does anyone have any experience of this?
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'is this all we can do?'
anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965)
http://www.myspace.com/itensemble
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