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	<title>EMUSIC-L &#187; resources</title>
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	<link>http://www.ibiblio.org/emusic-l</link>
	<description>electronic music and other vaguely-related topics</description>
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		<title>A quick guide to opensource synthesis</title>
		<link>http://www.ibiblio.org/emusic-l/2007/11/05/a-quick-guide-to-opensource-synthesis/</link>
		<comments>http://www.ibiblio.org/emusic-l/2007/11/05/a-quick-guide-to-opensource-synthesis/#comments</comments>
		<pubDate>Mon, 05 Nov 2007 17:02:25 +0000</pubDate>
		<dc:creator>joemcmahon</dc:creator>
				<category><![CDATA[resources]]></category>
		<category><![CDATA[software]]></category>
		<category><![CDATA[chuck]]></category>
		<category><![CDATA[csound]]></category>
		<category><![CDATA[pd]]></category>
		<category><![CDATA[supercollider]]></category>

		<guid isPermaLink="false">http://www.ibiblio.org/emusic-l/?p=75</guid>
		<description><![CDATA[<p>A quick overview of Pure Data, ChucK, Supercollider, Csound, and several other synthesis languages/tools I haven&#8217;t heard of before. Looks like it would repay some link-mining. [Edited 01/08 ... I forgot the link!]</p> ]]></description>
			<content:encoded><![CDATA[<p>A <a href="http://diagrammes-modernes.blogspot.com/2007/08/music-control-languages-specialised.html" title="Diagrammes Modernes overview">quick overview</a> of Pure Data, ChucK, Supercollider, Csound, and several other synthesis languages/tools I haven&#8217;t heard of before. Looks like it would repay some link-mining. [Edited 01/08 ... I forgot the link!]</p>
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		<title>The Orchestra: a User&#8217;s Manual</title>
		<link>http://www.ibiblio.org/emusic-l/2006/10/30/the-orchestra-a-users-manual/</link>
		<comments>http://www.ibiblio.org/emusic-l/2006/10/30/the-orchestra-a-users-manual/#comments</comments>
		<pubDate>Mon, 30 Oct 2006 21:59:07 +0000</pubDate>
		<dc:creator>joemcmahon</dc:creator>
				<category><![CDATA[resources]]></category>
		<category><![CDATA[composition]]></category>
		<category><![CDATA[orchestra]]></category>

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		<description><![CDATA[<p>Fascinating site from the Philharmonia orchestra; includes an incredible amount of information concerning the individual instruments (including extended techniques, which I found particularly interesting).</p> ]]></description>
			<content:encoded><![CDATA[<p>Fascinating <a href="http://www.mti.dmu.ac.uk/~ahugill/manual/intro.html">site</a> from the Philharmonia orchestra; includes an incredible amount of information concerning the individual instruments (including extended techniques, which I found particularly interesting).</p>
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		<title>Roger Reynolds at LOC now up</title>
		<link>http://www.ibiblio.org/emusic-l/2005/04/27/roger-reynolds-at-loc-now-up/</link>
		<comments>http://www.ibiblio.org/emusic-l/2005/04/27/roger-reynolds-at-loc-now-up/#comments</comments>
		<pubDate>Thu, 28 Apr 2005 02:40:50 +0000</pubDate>
		<dc:creator>joemcmahon</dc:creator>
				<category><![CDATA[composers]]></category>
		<category><![CDATA[composition]]></category>
		<category><![CDATA[library of congress]]></category>
		<category><![CDATA[resources]]></category>
		<category><![CDATA[roger reynolds]]></category>
		<category><![CDATA[technique]]></category>

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		<description><![CDATA[<p>The Library of Congress&#8217;s site featuring the music of Roger Reynolds is an outstanding example of what such an organization can do. The site shows the depth of the Library&#8217;s holding in a particular are, covering everything from Reynolds&#8217; music to photographs of the composer.</p> <p>Reynolds has a close working relationship with the LOC; [...]]]></description>
			<content:encoded><![CDATA[<p>The Library of Congress&#8217;s <a href="http://lcweb2.loc.gov/cocoon/ihas/html/rreynolds/rreynolds-home.html">site</a> featuring the music of Roger Reynolds is an outstanding example of what such an organization can do. The site shows the depth of the Library&#8217;s holding in a particular are, covering everything from Reynolds&#8217; music to photographs of the composer.</p>
<p>Reynolds has a close working relationship with the LOC; I only wish I had heard the <a href="http://www.loc.gov/loc/lcib/0201/justice.html">performance</a> of <em>JUSTICE</em> performance while I was still living in DC.</p>
<p>As a composer of sorts myself, I find the <a href="http://lcweb2.loc.gov/cocoon/ihas/html/rreynolds/interview-part1.html">interview</a> with Reynolds particularly interesting. He&#8217;s an interesting character. Originally an engineer, he didn&#8217;t really come to music until he was 14. His approach is an interesting combination of intuition and formalism; he uses tone rows, but what to do next is <em>guided</em> by the row, not dictated. As he says:</p>
<blockquote><p> &#8230; It&#8217;s very clear that there will be an aesthetic consistency to anything that<br />
an artist does with commitment and capacity. It cannot be otherwise. Because what it is all about, and I&#8217;ve said this to you in our correspondence, what it is all about is <em>the exercise of aesthetic consistency</em>. I am a being, a creature; I hear and see and interact with the world, and when I am making something the ultimate question is: Does it fit? Does it belong in this thing? And that&#8217;s not a local question. It&#8217;s a question that involves understanding the whole project even the way the whole project fits in a larger set of things &#8211; something which may be locally inadmissible in terms of its relationship to the larger thing. So for me it&#8217;s always about my aesthetic sensibility, and the things that I al<br />
low in are <em>right</em>. Now they may be foolish, they may be banal, they may be<br />
trivial, but they&#8217;re &#8220;right&#8221; if they get past my filter.</p></blockquote>
<p>Now this is a principle I can agree with.</p>
<p>There&#8217;s an amazing variety of material here. I won&#8217;t link to all of it &#8211; better you visit the site and see it in context &#8211; but the particular bit I <em>will</em> link to is the <a href="http://lcweb2.loc.gov/cocoon/ihas/loc.natlib.ihas.200029025/track.html?ID=tr0001">recording</a> and <a href="ihttp://lcweb2.loc.gov/cocoon/ihas/html/rreynolds/interview-part3.html">analysis</a> of <em>Transfigured Wind III</em>. This interview intersperses comments by the composer, score excerpts, and the appropriate sound clips; this is something I hope other sites will aspire to doing.</p>
<p>Most contemporary classical music doesn&#8217;t do a lot for me. I like the electronic stuff because of the unique sonorities, mostly; I&#8217;m not an analyst by any means. Taking a composition apart in real-time is more work that I prefer to do when listening to a brand-new piece, especially when the piece is a complex one. <em>Transfigured Wind III</em>, however, does a great job of combining &#8220;extended&#8221; performances on various instruments with a very subtle computer part to produce a uniquely haunting and interesting piece that is an excellent esthetic experience even without deep understanding. Thanks to the analytic interview, I can have both the pleasure of listening to an excellent piece of complex music and the intellectual pleasure of really understanding the composer&#8217;s methods and intentions at the same time.</p>
<p>In short, this is an excellent presentation of a particular composer&#8217;s unique approach to music, and worth a detailed exploration. I plan to study it very carefully and perhaps to save a copy of the interview pages for reference.</p>
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