I actually think it is the opposite, that in the universities they are stopping to teach orchestration and theory, and not encouraging a lot of the explorative methods from the 20th century. It becomes more and more about knowing the right people. I love concerts and festivals, but I also think this kind of festival culture has really not benefited the development of music.

I‘m diametrically opposed to his approach and feel increasingly remote from much of his music. However, I don’t doubt for a moment that there’s plenty of scope for playfulness and inspiration within what BF does. It doesn’t come across all that vividly here but in a masterclass on a two guitar piece where he talks about Japanese washing machines and insects and all kinds of extra musical stuff the impulse is very clear.

halfwit or not, producing material (with whatever method works for the composer) is a large part of composing no matter the style. While I would personally not ever use anything resembling his process, nor recommend people copy it, it has worked for him. I always find it fascinating how different composers create and manipulate materials.

@@MartinRitter a remarkably sane and intelligent response!

@@MartinRitter While different than Fern's presentation/material generation, I dont think someone coming in and explaining how you can for instance roll dice and generate material by chance has anything to do with composition. There is of coarse a dialectical relationship between material and composition, just as there is between the different ages, stone age, bronze and so on, and the composition of items, houses, towns, or more specifically for instance between the processes of cloth making and clothing. But this relationship does not exist in a vacuum, and composition is not simply the product of the material, just as the edged stone is not just the product of intelligent being acting upon the stone. The composition of the material, the form by human of the edged stone tool, arises from the needs of humans. Composition of art, arising from the forces of much more complex and varied social needs, and the insight of compositional technique to combine and bring out multiple layers of processes so as to communicate with a subtle sensual richness the vast thoughts and feelings of society and human history, is similarly very distant from and unrelated to the question of material. That is materials is one thing, there is no shortage of materials or infinite ways to generate them , but the question of composition, what materials to select, which to discard, how and what to combine, what artistic/social needs to fill, what aspects of life to cognize and portray through music and the compositional insight to bring said cognitions to their sharpest expressions, these questions and the drawing out of compositional processes and how they are handled in musical examples I see as composition. The generation of material, just as where to find rocks or where to find copper, I do not see as having much to do with the composition of a edged stone tool or copper pipes, jewelry and so on.

@@andrewtrovato1828 I totally agree with you. at the highest level of craft we shouldn't be talking about where to find the stone - to use your metaphor. However, there is still the need for an expert geologist to know how the stone was formed, where it could possibly be found, how to extract if from its surroundings without damaging it, and how to further process it so a craftsman or artist can further process it into something useful or beautiful :) I personally don't roll dice, I personally would never let a system choose things for me without my ability and sensibility to interact with it, but I know many that do...

Pretense.

Many argue that new complexity is pretentious, and it maybe isn't everyone's cup of tea but incompetent? Not at all.

I know my camera skills aren’t the best but… 😂

@@MartinRitter I think you could call that Trolling at its most incompetent?

@@markbrown6978 lol... to be honest, the older I get the more I probably would personally agree with that sentiment

Patchwork from IRCAM. I've really enjoyed learning OpenMusic and implementing it in my works!

I believe he was talking about the Finale notation software

He's talking about "Patchwork" from IRCAM. considered to be the predecessor to Open Music. As is shown at that point in the lecture, Ferneyhough uses it to manipulate 'chunks' or musical information - in this case rhythm.

@@auedpo Thank you!

I believe that was 2019... but don't quote me on the date...

@@MartinRitter November 13. 2019

Yeah man