Flexatone HFP
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  • System Detail

System: blue

Authors

Description

blue is an object composition environment for use with Csound. blue interacts with Csound by generating .CSD files, which it then feeds to Csound for compilation. any version of Csound that can be called by commandline is able to be used with blue. one of blue's main features is the graphical timeline of soundObjects, of which a special soundObject-the polyObject-is able to group other soundObjects. polyObjects feature their own timeline, allowing for timelines within timelines. soundObjects can be anything that generates notes, be it a block of Csound SCO, a script in python, or a graphical object. (at the time of this writing, there are no graphical soundObjects currently made). soundObjects may further have noteProcessors added to them, which may do things like "add .3 to all p4 values" or "of these notes, only generate the first three". noteProcessors are especially useful when used with instances from the soundObject Library. the soundObject library allows for working with soundObjects by making instances of a soundObject. instances point to a soundObject, and when they generate notes, they use the soundObject they are pointing to to generate the notes for them. instances however can have their own properties which they will apply to the generated notes, so that they can be of different duration and have different start times, as well as have different noteProcessors used with them. the advante of instances versus manually copying a soundObject over and over again is that if you want to change the notes for all of these soundObjects, you'd have to manually go and change all of them, while with instances, you'd only have to change the one soundObject all of the instances are pointing to. (which also means you could make a song template file, all pointing to empty soundObjects, build the form of the piece, then change the soundObject's note material to "fill in the form".) other features include the orchestra manager, which allows for importing of instruments from .CSD files, a list to manage instruments, and the ability to selectively generate instruments when compiling .CSD files. instruments can be either a single Csound instrument or may be a GUI instrument. (at the time of this writing, there are no graphical instruments currently made).

References

“The characteristics of every sound depend on the way in which the sound was produced. Each art-form exploits its special production methods in order to endow the phenomena with unmistakable characteristics. Artistic economy demands that the means be appropriate to the end, and that the exploitation of the means be an end in itself.”

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“... the use of numerical machines no longer stands in need of justification. It is not a mystery. If there is a mystery, it is in the mental structures of music and not in the computers, which are only tools, extensions of the hand and the slide rule.”

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“The use of computers is the logical outcome of a historical development. It by no means heralds a new musical epoch; it simply offers a fast, reliable and versatile means of solving problems that already demanded solution. The person who writes the computer programme must bear the development of musical language up to the present in mind, and try to advance a stage further.”

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“The computing machine is a marvelous invention and seems almost superhuman. But in reality it is as limited as the mind of the individual who feeds it material. Like the computer, the machines we use for making music can only give back what we put into them.”

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“The danger is great of letting oneself be trapped by the tools and of becoming stuck in the sands of technology that has come like an intruder into the relatively calm waters of the thought in instrumental music.”

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“With the development of electronic and computer music, multidemnsionality of sound representation turned out to be both natural and useful. But music goes beyond multidimensionality -- it is even more complex.”

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“Composers are now able, as never before, to satisfy the dictates of that inner ear of the imagination. They are also lucky so far in not being hampered by esthetic codification -- at least not yet! But I am afraid it will not be long before some musical mortician begins embalming electronic music in rules.”

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“Music is then no longer primarily conceived as a guide for premeditated emotions, but as the density of the possible relationships which first become actuality during production under the influence of chance, and which during performance are presented to the listener as sounds beyond any environmental associatiations, independent of bodily actions required to produce sounds...”

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“... the individual and the society are deprived of the formidable power of free imagination that musical composition offers them. We are able to tear down this iron curtain, thanks to the technology of computers...”

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“... but beware, technique can submerge the user: We must defend ourselves; it is good to use techniques, but we have to dominate them, to stay alert.”

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“... and the hope of an extraordinary aesthetic success based on extraordinary technology is a cruel deceit.”

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