>>>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.

You said expectations change, implying that prior expectations weren't wrong. In other words before atonality became accepted it was not music because it did not meet 'our' 'expectations' of 'music'.

>>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.

Actually I did see:

>From <a hey when i change the shape of my mouth it produces
>sounds>, to <b hmmmm i could simulate a sound wave digitally send
>it via wireless technology to a system which converts that
>digital source to the wave which vibrates the speaker>.... it's
>a long history.

>What are those variables again?

Read the piece.

>>Peak doesn't have to mean best.
>
>LOL...well, WTF does it mean then?

The peak is the summit, the highest point, the farthest a thing can go. In a musical context, the farthest that music can be pushed, may not meet 'our' 'expectations' of 'music' to be qualified as the best. It would still be the peak though.

>>>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.

Then why start with a swipe on Kenny G? Why emphasize the 47-minute held note?

>So no. I asked what YOU mean.

Said

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

The particular example I'm thinking of is a solo tenor performance in which while a note is held while playing a percussive drum and bass like rhythm that produces an improvised melody.

Specifically the playing of dnb parts rhythmically on the sax while circular breathing.


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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."