In article
<808e0e9c-0742-490c-96de-c65f039e4b9a@[EMAIL PROTECTED]
>,
ScottW <ScottW48@[EMAIL PROTECTED]
> wrote:
> On May 16, 8:45 am, Jenn <jennconductsREMOVET...@[EMAIL PROTECTED]
> wrote:
> > In article
> > <0a3e166c-236c-44e3-8b7e-8a7eff784...@[EMAIL PROTECTED]
>,
> >
> >
> >
> >
> >
> > ScottW <Scott...@[EMAIL PROTECTED]
> wrote:
> > > On May 15, 9:54 pm, Jenn <jennconductsREMOVET...@[EMAIL PROTECTED]
> wrote:
> > > > In article
> > > >
<d3944363-370e-40e8-bb4b-9628e5ed7...@[EMAIL PROTECTED]
>,
> >
> > > > ScottW <Scott...@[EMAIL PROTECTED]
> wrote:
> > > > > On May 15, 2:05 pm, Jenn <jennconductsREMOVET...@[EMAIL PROTECTED]
> wrote:
> > > > > > In article
> > > > > >
<9bdebaa0-b82d-49ea-81f2-e87c20faa...@[EMAIL PROTECTED]
>,
> >
> > > > > > ScottW <Scott...@[EMAIL PROTECTED]
> wrote:
> > > > > > > On May 15, 12:06 am, Jenn <jennconductsREMOVET...@[EMAIL PROTECTED]
>
wrote:
> > > > > > > > In article
> > > > > > > >
<80397619-fee5-4da4-81fd-79b74627b...@[EMAIL PROTECTED]
> > > > > > > > m>,
> >
> > > > > > > > ScottW <Scott...@[EMAIL PROTECTED]
> wrote:
> > > > > > > > > A replacement is in development.
> >
> > > > > > > >
>http://news.yahoo.com/s/ap/20080514/ap_en_mu/robot_conductor1st
> > > > > > > > >_ld_
> > > > > > > > >wr..
> > > > > > > > >.
> >
> > > > > > > > > ScottW
> >
> > > > > > > > Nah, he has no legato...
> >
> > > > > > > Simple subroutine. This is just a matter of time.
> >
> > > > > > Well, enjoy that music.
> >
> > > > > Millions do every day.
> >
> > > > How so?
> >
> > > How many drum tracks in pop music don't have a drummer
> > > but a programmer?
> >
> > I thought we were talking about conductors.
>
> Conductors who are programmed to mimic
> other conductors.
Which are we talking about: drum synth tracks or conductors?
>
> >
> >
> >
> > > > > So who is the greatest conductor ever who is passed?
> >
> > > > Matter of opinion. There's one of your problems.
> >
> > > Not im****tant, pick one, never mind we'll have the robot
> > > mimic you.
> >
> > Nope. Posture, subtle muscle movement, eyes, moment to moment
> > adjustments, facial gestures, human interaction, spontenious
expression
> > based on human experience, etc. You have too narrow a view of what
> > conductors do in performance.
>
> That is what the do in creating a live performance which leads to all
> performances being different.
Correct...
> This effort is more in trying to recreate a specific live performance
> with live instrumentation. I guess for this to work we need
> robot players too. Quite possible.
See below.
>
>
> >
> >
> >
> > > > > If there was a video of his greatest performance, would you be
> > > > > opposed
> > > > > to a robot mimicking that performance leading a fine orchestra?
> >
> > > > I wouldn't be "opposed" but I guarantee that it wouldn't sound the
> > > > same.
> >
> > > Do any two performances, even by the same conductor, sound the
same?
> >
> > > We're talking about replicating. Even a recording won't sound the
same
> > > as the original. But if one doesn't accept something short of
> > > perfection and strive to improve, you'll never have anything.
> >
> > It won't replicate anything except some of the movement involved. See
> > above.
>
> And this demo showed that with a properly rehearsed and trained
> orchestra, that is sufficient.
No, it hasn't shown anything of the sort. Scott, this is difficult to
explain in this sort of forum without using A LOT of words, but I'll
give it a try, and hope that it will be of some interest to some people.
The magic of live performance is that it's different every time. Part
of the reason to go to your umpteenth concert of a conductor or pianist
or singer-songwriter doing the same work you've heard them do before is
the hope that the next performance catches the "lightening in a bottle";
an evening that will transcend, that will be life changing. And it's
different every time because of a zillion decisions (conscience and
unconscience) that the performer(s) makes. And those decisions are made
based on so many things, ranging from that's day's activity, to the
performer's love live, to what she ate for breakfast, to the energy of
the audience (or lack thereof), and most im****tantly, the totality of
that performer's life experience. Further, in the case of conductors,
there are SO many moment to moment reactions that take place between
her/him and the players/singers. Is the 2nd trumpet too loud? too
soft? Dragging or ru****ng slightly? Is his sound too cool? too hot?
Is the articulation wrong? Too legato? too marcato? too staccato? And
these are examples of ONE player among many in just ONE spot in ONE work.
I had a concert Wednesday evening with my college wind ensemble. The
last two works were illustrative of conductors' influence in the music
making. They were both by the fine living composer Frank Ticheli. The
first of the two was his beautiful setting of the folk tune Shenendoah.
There is a lot of bending and flexing of the pulse in this kind of work,
a technique called "rubato". In this case, I was really feeling a sense
of melancholy and longing at that moment, and my conducting of the work
that evening reflected that. I stretched it more than I ever had at
rehearsal. To make this happen, I had to get the attention of the
players in certain ways. One particular place of stretching, I knew
that it would all depend on the 3 second clarinets, due to a harmonic
situation that only they have (Stephen: a beautiful passing tone from a
dom 7 chord to a maj.9). I had to know exactly what to do physically to
get those 3 players to follow what I was doing... not just any 3
players, but THOSE 3 player with THEIR skills, THEIR way of watching and
reacting, etc. The result of all of this rubato, skillfully carried out
by the players, was a very, very special performance that left people
with tears in their eyes. It was possible because I brought my
humanness that I was feeling at that moment to the music. Those moments
can't be rehearsed.
The other Ticheli work was his "Vesuvius". It's wickedly fast, with 24
time changes in the piece; a real workout. My job in this case is all
about keeping it together. Could a robot mimic me in how and when to
conduct 9/8 as 3+3+3 vs. 2+3+2+2, or 7/8 as 3+4 vs. 4+3? Sure. Would it
know when to trust my trumpet section to do certain things in those
situations and when to pay more careful attention to them, based on my
experience with those players, their response during the worm-up, etc?
I think not.
The HUMAN factor in music making is what makes it art.
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