Ooops! Didn't realize it had a max number of words....
Ethic B, however, sees the virtuality of both score and orchestra as representing a complete break from this dialogical connection, and thus the "score" may never even exist in its traditional form (i.e., a logic session, never "scored" on real or virtual paper), and there is really no need for the work ever to be performed "live" for it to be complete.
The sampled run is "disgusting" to the composer of ethic A, since it sacrifices the score, symbolically, in honor of a surrogate performance—any score made for the run would only reveal the starting note and duration of the run, which is clearly a contravention of the integrity of the score. Evan shows the purity of his dedication to ethic A when he mentions his practice of creating passages shorter in duration for muted horns than for open horns. If not for the fact that it is ultimately the _live_ performance that is the (ethical) goal of the score, such a gesture would be meaningless. Of course, the whole theory flies on the aesthetic grounds that the surrogate performance will honor the real with greater veracity the more closely the integrity of the score is represented in the midi realization. Composers of this ethic will use properly "notated" (and realized) slurs, up and down bows, will avoid looped sustain, except perhaps in tutti strings, won't use runs, riffs, crescendi, and so on, or any sample that circumvents conventional, "long-hand" notation.
For ethic B the sampled run is not a problem, since the sample itself is 'native' to the _library_, and therefor has a place in each and every composition which could potentially be created from such a library. The score is not seen as an authoritative/prescriptive document -- a representation of truth -- but rather as a means to an end. In the viewpoint of ethic B, in fact, the score is seldom a consideration at all, except insomuch as it allows the midi realization to be rendered at a futre date (e.g., the logic session file). For the composer of ethic B, a written score may be realized at a later date, if and when a live performance is required. The live performance, however, may very well stand as a disappointment, or second-rate realization, as it is not likely to capture each and every decision made by the producer of the _original_ performance (midi in this case).
So, as long-winded as that was, what we're talking about are two distinct musical ethics, with their accompanying semiotics which, although they share a similar locale (film, CD, etc.), have totally different paths to realization. One will refer to the computer/library as a "tool" and the other as an "instrument". Considering the computer as a tool, one will see the abuse of such a tool as a moral affront, while the other will see the adherence to specific rules of orchestration surrounding the score and performance as simply naive.
Both are right.
Ethic B, however, sees the virtuality of both score and orchestra as representing a complete break from this dialogical connection, and thus the "score" may never even exist in its traditional form (i.e., a logic session, never "scored" on real or virtual paper), and there is really no need for the work ever to be performed "live" for it to be complete.
The sampled run is "disgusting" to the composer of ethic A, since it sacrifices the score, symbolically, in honor of a surrogate performance—any score made for the run would only reveal the starting note and duration of the run, which is clearly a contravention of the integrity of the score. Evan shows the purity of his dedication to ethic A when he mentions his practice of creating passages shorter in duration for muted horns than for open horns. If not for the fact that it is ultimately the _live_ performance that is the (ethical) goal of the score, such a gesture would be meaningless. Of course, the whole theory flies on the aesthetic grounds that the surrogate performance will honor the real with greater veracity the more closely the integrity of the score is represented in the midi realization. Composers of this ethic will use properly "notated" (and realized) slurs, up and down bows, will avoid looped sustain, except perhaps in tutti strings, won't use runs, riffs, crescendi, and so on, or any sample that circumvents conventional, "long-hand" notation.
For ethic B the sampled run is not a problem, since the sample itself is 'native' to the _library_, and therefor has a place in each and every composition which could potentially be created from such a library. The score is not seen as an authoritative/prescriptive document -- a representation of truth -- but rather as a means to an end. In the viewpoint of ethic B, in fact, the score is seldom a consideration at all, except insomuch as it allows the midi realization to be rendered at a futre date (e.g., the logic session file). For the composer of ethic B, a written score may be realized at a later date, if and when a live performance is required. The live performance, however, may very well stand as a disappointment, or second-rate realization, as it is not likely to capture each and every decision made by the producer of the _original_ performance (midi in this case).
So, as long-winded as that was, what we're talking about are two distinct musical ethics, with their accompanying semiotics which, although they share a similar locale (film, CD, etc.), have totally different paths to realization. One will refer to the computer/library as a "tool" and the other as an "instrument". Considering the computer as a tool, one will see the abuse of such a tool as a moral affront, while the other will see the adherence to specific rules of orchestration surrounding the score and performance as simply naive.
Both are right.