Wiardgroup

Matt,

I believe what Raymond Scott was doing was to bring Schillinger's
Automatic music machine to life. The yards and yards of material and
writings that Schillinger had left explains how this machine would
work (mathematically not electronically). He believed one could dial
in a style, an emotion and other parameters and new music would be
composed. It is tough to get a good idea of the Schillinger theories
from the Schillinger System of Musical Composition. There is a better
book he wrote call the Mathematical Basis to the Arts and of course
all the notes he left for us to ponder.


Phil

--- In wiardgroup@yahoogroups.com, frank death <maldoroar@...> wrote:
>
> I wonder if this might be where the future of electronic instrument
design lies, ie. building instruments (electroniums!) with a singular
purpose. And how a gang of different electroniums might be arranged to
arrive at a composition.
>      This might explain the long tradition of composers who build
their own instruments, in order to realise their musical vision. As
our brains continue to evolve, we might become more fluent in an
ability to sort of 'reverse engineer' instruments with
relative ease, from the musical vision. I think Raymond Scott had the
idea that one day the composer's mind would be so advanced, he or
she could project the composition to the audience with the mind only,
ie. using no instruments at all!
>  Matt
> 
> Grant Richter wrote: 
> >             I would completely separate music conducive to
meditation, from anything calling it self 
> > "new age". A lot of new age music becomes boring quickly, and
causes you to lose the 
> > meditative state. 
> > Here are a couple nominee's just from my personal collection: 
> > Alan Hovhaness "Magic Mountain", "Symphony for Metal Instruments"
, Koke No Niwa "Moss 
> > Garden" (1960) 
> > Beaver & Krause "All Good Men", "Gandharva" 
> > Nino Rota's Soundtrack to "Amarcord" 
> > Patrick O'Hearn "Slow Time" 
> > Korla Pandit even has his moments, god bless him. 
> >
>