Thanks...

Timbre is important, but the composer is the king, or rather, silence is the king.

Timbre is big in computer music because we have a powerful instrument that affords a great deal of control over timbre. But it affords similar power over every other element of sound and music. 

I wish computer music would pay as much attention, for example, to harmony. Current mathematical music theory (Tymoczko and Mazzola, to name but two) gives us for the first time the tools to formalize and manipulate harmony, tonality, and atonality as we now do with timbre.

Regards,
Mike

-----Original Message-----
>From: rasputin 
>Sent: Aug 21, 2008 11:52 AM
>To: csound@lists.bath.ac.uk
>Subject: [Csnd]  Was: Modeled piano- Pianoteq becoming: something else
>
>
>The first listed Objective in the file CsoundVST.csd ("the Silence
>orchestra") that comes with the Csound distribution always intrigued me:
>
> "- Most beautiful sounds"
>
>I always thought: what does that mean?
>
>It's dawning on me, thanks to this discussion thread, that there is EQUAL
>validity in using modeled or sampled instruments depending on your
>compositional goals. For a long time I hung onto the notion that if I was
>writing a part that seemed to call for a small brass section, I should look
>for the best samples of a small brass section obtainable. Now I realize that
>that approach is not the only one...
>
>Also I remember a remark by Frank Zappa (I think it was in the Real Frank
>Zappa Book) to the effect that "timbre is king." 
>
>Please carry on. Most intriguing.
>
>-- 
>View this message in context: http://www.nabble.com/Modeled-piano--Pianoteq-tp19008978p19091616.html
>Sent from the Csound - General mailing list archive at Nabble.com.
>
>
>
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