Situating Computing at the Center of Compositional Pedagogy: An Argument
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The aim of this article is to build an argument in support of a belief I’ve come to hold after nearly 20 years of teaching composition, namely, that computer music skills are an essential component of modern compositional thinking, and hence, they should be a central component of composition pedagogy. Through a series of examples, I will show how statistical, procedural, and algorithmic thinking is a crucial part of modern compositional practice. Tracing the causes that brought about serialism, I will show how this pitch organization method transformed from a structural tool, as used by Schoenberg and Webern, to a statistical one as well as a component of more complex algorithms. I will then look at some examples of procedural and algorithmic works, specifically, from composers who are not associated with computer music. The final points of my argument will address ways that electronic music have seeped into compositional techniques for acoustic music. I will also explore some counterarguments and briefly address some potential challenges for the implementation of such a change in compositional pedagogy.
Abstract
The aim of this article is to build an argument in support of a belief I’ve come to hold after nearly 20 years of teaching composition, namely, that computer music skills are an essential component of modern compositional thinking, and hence, they should be a central component of composition pedagogy. Through a series of examples, I will show how statistical, procedural, and algorithmic thinking is a crucial part of modern compositional practice. Tracing the causes that brought about serialism, I will show how this pitch organization method transformed from a structural tool, as used by Schoenberg and Webern, to a statistical one as well as a component of more complex algorithms. I will then look at some examples of procedural and algorithmic works, specifically, from composers who are not associated with computer music. The final points of my argument will address ways that electronic music have seeped into compositional techniques for acoustic music. I will also explore some counterarguments and briefly address some potential challenges for the implementation of such a change in compositional pedagogy.
참고문헌 (14)
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