Today’s practitioners of what we once called "modern" music are discovering themselves for being suddenly alone. A bewildering backlash is scheduled against any music making that will require the disciplines and tools of research for the genesis.
Simple composing, of analyzing and of listening are definitely the new bywords that signal success in the music world. Those who extol such virtues herald the appearance and flourishing of post-modernism and all its guises, whether it be neo-romantic, clustering or eclecticism. The proud cry these days, is “Now we can do about anything we’d like.” Better, perhaps, to perform nothing rather than to embrace such intellectual cowardice. The promise of returning to musical fragrances that walk in harmony and synchronicity with intellectual potency was precious and vital. It ought to signal step 2 of evolution while in the creative humanities. The task to create concerning this potential of a marriage of humanities was overwhelming. No adequate text seemed to exist. I really had to provide one. Everything that was lacking for just a bestseller was a unifying theme.
Algorithms control the walk from the sounds. Algorithms are schemata that work the features of sound to be able to unfold meaningfully. A formula is a step-function that could range between a fairly easy diagram to stochastic or Boolean functions. Even serialism is surely an algorithm. When they are important, algorithms take second set up importance to the focus of music: its sound. This concentration is given a terminology by composer, Gerard Pape: sound-based composition. Isn’t all music sound based? Means that sound, in the end. Well, yes, although not really. The aim of the definition of will be to highlight the emphasis with the approach due to being on the sound, rather than to the means used for its genesis. In sound-based composition, one focuses on a sound, then conjures the right way to create it. In serialism, ordering takes precedence over quality. The actual result often is vapid: empty sound. Directionless pointillism robs music of its vital role, the conjuring of imagery, in whatever guise. Another leading practitioner of sound-based composition is Dr. Julio Estrada. In the composition classes and seminars at UNAM (Universidad National Autonomy de México), he emphasizes the mental formation of an imaginary, variety of an idealized imagery. Next the composer/students are given to formulate a conspirator sound essence that conveys something of your élan of your imaginary. Only then, as soon as the construct of sound is concocted, will be the way of sound shaping in the form of notation employed. Familiarity with imagery and also fragrance precedes their specification. That is a sophisticated instance of sound-based composition. A curious, special case arose out from the arcane strategies for Giacinto Scelsi, who made explicit what long ended up being lurking without anyone’s knowledge. He posited a ‘3rd dimension’ to sound.