Thanks to Phil Ewell and his paper:https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.ewell.htmlSupport this channel: https://www.patreon.com/adamneelySOURCES...
However sophisticated you make the process of building a cheese sandwich to be… a 5 course banquet can be at least five times the sophistication. It isn’t subjective.
Timbral complexity is Timbre. Number of instruments and their particular register is Texture, and perhaps TImbral elements, such as the chalumeau register of a clarinet.
There is no music in building a piano - that’s an altogether different craft, and one to be respected.
And if a “repetitive four-on-the-floor club-track” does the job, then it does the job. I’m not being a snob.
a 5 course banquet can be at least five times the sophistication.
I could serve 5 cheese sandwiches :D
Timbral complexity is Timbre
I just wanted to show that these parameters are kind of arbitrarily chosen and (sometimes) ill-defined. (E.g. whats the difference between an overtone spectrum and a harmony? Mostly just context.)
However sophisticated you make the process of building a cheese sandwich to be… a 5 course banquet can be at least five times the sophistication. It isn’t subjective.
Timbral complexity is Timbre. Number of instruments and their particular register is Texture, and perhaps TImbral elements, such as the chalumeau register of a clarinet.
There is no music in building a piano - that’s an altogether different craft, and one to be respected.
And if a “repetitive four-on-the-floor club-track” does the job, then it does the job. I’m not being a snob.
But I am done arguing about it.
I could serve 5 cheese sandwiches :D
I just wanted to show that these parameters are kind of arbitrarily chosen and (sometimes) ill-defined. (E.g. whats the difference between an overtone spectrum and a harmony? Mostly just context.)