this just arrived as I was writing the below stuff (there is the time
factor, the time domain in computer music . . the last shall be first, first
last . . )

>>Historically, the creation of musical instruments has always been a
separate action from the composition and (generally)composition a separate
action from performance and performance separate from recording and
recording separate from mastering and etc. A new form of music is emerging
from a joining of all these actions into one. Csound and "computer music" in
general facilitates this nicely. This new form involves creating a recording
in much the same way an author creates a book or a painter a painting. The
recording is the art.>>

the recording IS indeed the art.  I revel in this.  I relished your message
Michael.  I have romance vis all this stuff.  I'm an old man (47) yet young
in computer music . . I hope.  And when I chanced upon Csound, well  . . . I
thought, here is something for all of us.  rock on.  >>>>>>theory ends.
________________


I'm reading M Gogins site (i've kept up with your stuff for several years
now Michael, thank you for efforts), and his remarks are what led me to yet
more rant:  (blame HIM HIM!!!):   I have memories, as a young musician, of
standing in the library at my undergrad U, and reading Hiller's Illiac
Suite, there, in the rows, looking at these notes put out by computer (no
kidding, literal memory of reading the notes standing therehmmm m m m  m m
m )  . . and this memory is from way back, circa '75.  I remember thinking,
ok, it's notes of music.  it has a syntax. and NO buts.  none.  except:
well . . .  . . . the guy who wrote the algorithm, Hiller, was in fact the
guy who wrote the music.  Right??  the soul of the machine is the soul of
the man (or woman).  If I tell my hands to play certain configurations, they
are acting upon an algorithm.  this is of course rot-gut simple, please bear
with me . . they are, yet they are not.  simple, algorithms, but my hands
have knowledge from decades, that my mouth cannot articulate.  hmmm.  I
sense in myself depths of problems of music, and yet I have no way to
articulate them, aside from the 'traditional' ways.  I am a trad musician,
who loves and adores any way you can come at sound and silence.  If I can be
of service (I do have fairly decent playing mechanisms) please let me know.

i suppose I need to reinstall yet again, the java files, so I can continue
to explore M Goggins neewst iterations of Silence.  Jeesus, man, it just
never stops.  It really doesn't stop, music is never ending.

On a personal note, if I may, I think many of you will understand:  Robert
Cooper was my friend at LSU, we were both grad students.  both very bald
(hey rob, i know you know).  He and I jammed together (hey, my real book was
copied from his . . ) his enthusiam for all this stuff rubbed off on me, as
a grad student.  He and I sat together and talked about all this stuff (he
was particularly interested at the time in tunings beyond 12 TET).  I
remember him with honor, the classes we shared, the debates we had, the
music we talked.  We have all of us only a little time.  may we make the
best of it.

Jim