>>The word "previously" is the key. Obviously expectations
>>change. That doesn't make them less real, does it? Nor any
>>less important in the definition of form. So, what's false?
>
>By your rationale there was something wrong with atonality
>before it was an accepted norm.

I never wrote that. Never wrote anything like that.

>The time from then back to the first person to sing isn't a
>long time? Yeah okay.

You didn't specify. I was talking exclusively about digitally generated music. Address what I wrote, not what you wish I wrote.

>>But your point
>>is that the "palette" (I think the word you meant earlier)
>is
>>bigger now than ever before.
>
>Spell checks a bitch. But yes. We have a broader
>understanding of the variables that can be manipulated to
>produce expressive sounds than we did when the first human
>figured out how to sing.

What are those variables again?

>Peak doesn't have to mean best.

LOL...well, WTF does it mean then?

>>Except that circular breathing, to use your example, is an
>>ancient technique, used by wind players all over the world.
>As
>>for taking it to the max, I read in wikipedia that "In 1997,
>a
>>Guinness World Record was set for longest held musical note.
>>Kenny G used circular breathing to sustain an E-flat on a
>>saxophone for 45 minutes and 47 seconds. In February 2000,
>>Vann Burchfield set a new Guinness world record for circular
>>breathing, holding one continuous note for 47 minutes, 6
>>seconds, surpassing Kenny G’s record."
>>
>>Which raises the problem of diminishing returns. I don't
>>particularly care to hear a 47-minute held note, but it's
>>interesting to know that it can be done. But maybe you're
>>thinking more musically: what sort of circular breathing
>>territory will electronic music reveal that hasn't already
>>been explored?
>
>But see how your perspective shaped the whole notion. For you
>circular breathing is just about how long they can hold that
>note.

Actually, no. I mean hour-long free-form improvisations. I mean Evan Parker and Anthony Braxton. I mean a number of classical compositions. I mean all the things that have already been done. So no. I asked what YOU mean.

>But what if the techniques explored weren't in the how
>long, but in the what else can be done while?

Such as?

>That's the
>inspiration which could come from electronic while not coming
>from anything else.

Such as?