the "glitch" sound seems ot be described right now as having that
impression of what people would consider an "error" especially with
music playback machines....like the pops, the feel of "skipping"
because of sounds intentionally and unnaturally skipping, and so on. I
suppose also the turntable sound taken to the extreme?
one more thought though: what about that "grating" sound that you can
get when you play really fast notes on the drums...if that's done
really fast, it gives off the same kind of sound as sometimes how the
music sounds when a computer freezes up wihle playing music. also,
about kid 606...is he considered glitch? if so, why?
a lot of music seems to utilize this stuff but I guess the main thing
is using that in dominance.
On 9/2/05, shift8 <shift8@digitrash.com> wrote:
quoted 40 lines i've missed it intentionally because thinking of developement of
> > i've missed it intentionally because thinking of developement of
> > music styles as
> > linear processes is deprecated and you didn't tell what you mean by glitch.
> > the 1920's dadaist performances using defective gramophone players?
> > the 1930's performances by john cage using radios?
> > the 1950's distorted electric guitars?
> > but you want an answer anyway, right?
>
> all of those meet the criteria of being production techniques that
> utilize the asthetic of unintintional results in a musical way, so i
> guess that's our working definition.
>
> part of the reason that i asked the question is because "glitch" really
> is very difficult to define. you've given a good illustration for
> "glitch"s evolution. that's pretty cool. but with that, you've kinda
> negated your first sentence.
>
> and it seems the use of that technique is so pervasaive now in
> idm/ebm/blablabla, i'd almost call it a style, even though the
> fundaments could come from any of the previous linear progressions of
> music (genre). and with that, "glitch' could be genrefied as hiphop,
> ambient, soul, etc. etc. so i kinda understand why you think that
> evaluating musical styles as a linear process would be depreciated. but
> then again, if i played a slick rick track, then an edIT track, you
> would know the difference right away, yet still see the (linear?)
> progression.
>
> > ok - the next big thing (but don't tell your friends) is "scramblism".
>
> well - we got to find the next next big thing then, 'cause prefuse73 has
> the '70's soul LP in a blender' thing on lock. ;)
>
> -shift8
>
>
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!$#^*the rats and the children follow me out of. town....
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