{"id":846,"date":"2012-12-25T13:50:06","date_gmt":"2012-12-25T18:50:06","guid":{"rendered":"http:\/\/pugix.com\/synth\/?p=846"},"modified":"2024-06-29T15:24:12","modified_gmt":"2024-06-29T20:24:12","slug":"prediction","status":"publish","type":"post","link":"https:\/\/pugix.com\/synth\/prediction\/","title":{"rendered":"Prediction"},"content":{"rendered":"

At the end of David Byrne’s book, How Music Works<\/em>, he says, “Why not let music play itself?\u00a0 The composer, in the traditional sense, might no longer be necessary.”\u00a0\u00a0 A short time ago I attended a piano trio concert by the Kandinsky Trio.\u00a0 They played all sorts of compositions from classical to very recent post-modern pieces.\u00a0 Yet, I was struck by the fact that all of these pieces had in common that they were composed in a musical notation, performed by an ensemble, and listened to by a passive audience.\u00a0 I thought, Cage said there is composition, performance, and listening.\u00a0 But then I thought that only listening is essential to music.\u00a0 And herewith, Prediction<\/em>, a piece that is neither composed, nor performed.\u00a0 It was, rather, discovered, as I played with the patch I described in the previous post.\u00a0 It is rather long for a postcard recording at some eight and a half minutes.\u00a0 It is worth listening through.\u00a0 You experience the power of the Cocoquantus to invent musical changes.\u00a0 All I did was to listen, and to turn on the recorder.<\/p>\n\n\n