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 Forum index » Discussion » Composition
Oblique Strategies
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Stanley Pain



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PostPosted: Sat Sep 23, 2006 5:20 am    Post subject: Oblique Strategies
Subject description: electro-music.com/obliquestrategy
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what are our oblique strategies. can't say i have Eno's memorized, so if we repeat some of his, so be it.

1. use a process of elimination
2. sidechain?

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bachus



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PostPosted: Sat Sep 23, 2006 6:03 am    Post subject: Reply with quote  Mark this post and the followings unread

Umm.. for those of us who are unfamiliar with Eno could you elebortate just a bit? (My window onto the world is verrrry tiny.)
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elektro80
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PostPosted: Sat Sep 23, 2006 6:04 am    Post subject: Reply with quote  Mark this post and the followings unread

try this one:

http://www.rtqe.net/ObliqueStrategies/

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PostPosted: Sat Sep 23, 2006 9:31 am    Post subject: Reply with quote  Mark this post and the followings unread

This kind of stuff was very big in the early 70s. Eno didn't conceive of this at all. The cards idea was used quite frequently. I wrote a piece called Breaths for the Pacific Chamber Players in 1971 that used cards dealt to players with vague musical instructions. It was called Breaths because the unit of meter was breaths. For example:

5 breaths - make sounds uncharacteristic for your instrument

4 breaths - thing of the most embarassing moment of your like and express it musically

6 breaths - stand up an recite a poem you learned when you were a kid.

8 breaths - rest

There were about 8 performers. Charles Amerkanian was the announcer/host if my memeory serves me right.

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bachus



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PostPosted: Sat Sep 23, 2006 12:05 pm    Post subject: Reply with quote  Mark this post and the followings unread

elektro80 wrote:
try this one:

http://www.rtqe.net/ObliqueStrategies/


Oh ... I see.

Think I'll stick with the I Ching.

Rolling Eyes

But thanks.

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PostPosted: Sat Sep 23, 2006 12:16 pm    Post subject: Reply with quote  Mark this post and the followings unread

But musical oblique strategies?

Much of the time it is still silent here except for natural sounds. So I take long walks alone on the road or in the woods and listen to what's inside my head.

Is that what you mean?

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PostPosted: Sat Sep 23, 2006 12:22 pm    Post subject: Reply with quote  Mark this post and the followings unread

bachus wrote:
But musical oblique strategies?

Much of the time it is still silent here except for natural sounds. So I take long walks alone on the road or in the woods and listen to what's inside my head.

Is that what you mean?


3. take long walks alone on the road or in the woods and listen to what's inside your head.

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PostPosted: Sat Sep 23, 2006 1:03 pm    Post subject: Reply with quote  Mark this post and the followings unread

mosc wrote:
This kind of stuff was very big in the early 70s. Eno didn't conceive of this at all.


This is very true.
Card based compositional systems, a kind of shroomed take on serialism were very hot. Creativity guidance systems like Eno´s OS were popular too. There were small shops that made their own takes on existing card systems and some of the resulting decks were pure art.

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PostPosted: Sat Sep 23, 2006 1:07 pm    Post subject: Reply with quote  Mark this post and the followings unread

As late as the early 80s you could buy one-off hand painted Tarot based "creatibvity guidance decks" at the hippie market on Ibiza ( and many other places too.. I am sure ).

All this does however not at all belittle the Eno OS stuff. I am only pointing out, as Howard did, that this

1. is not "new"
2. it was a 70s thing.

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PostPosted: Sat Sep 23, 2006 1:08 pm    Post subject: Reply with quote  Mark this post and the followings unread

bachus wrote:
I take long walks alone on the road or in the woods and listen to what's inside my head.



A good one. I do the same.

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orczy



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PostPosted: Sat Sep 23, 2006 2:54 pm    Post subject: Reply with quote  Mark this post and the followings unread

My personal mantra:"Keep out of your own way"
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PostPosted: Sat Sep 23, 2006 3:13 pm    Post subject: Reply with quote  Mark this post and the followings unread

Nescivi told me of a interesting variation. If I remember correctly the SuperCollider people had a game with cards (Or perhaps a digital equivalent) that held words from their programing language.

The idea was that you'd get a set of those and had to write a musical program using those. This was to knock people out of their usual habits, often there are many ways of aproaching a task but people tend to stick to some functions they know well.

To me that's quite a interesting twist. The idea behind livecoding is partially that the thought-process is made more clear and so this should show and share how habits affect the thought process and how one deals with having to abondon habbits.

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PostPosted: Sun Sep 24, 2006 4:36 am    Post subject: Reply with quote  Mark this post and the followings unread

Songs Without Words technique for instrumentals: Write or cop lyrics, set to music, erase lyrics.
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PostPosted: Sun Sep 24, 2006 7:34 am    Post subject: Reply with quote  Mark this post and the followings unread

4. translating the dream gets you you closer to reality
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PostPosted: Sun Sep 24, 2006 9:54 am    Post subject: Reply with quote  Mark this post and the followings unread

elektro80 wrote:
4. translating the dream gets you you closer to reality


Actually, I think it gets you closer to surrealism. Wink

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PostPosted: Sun Sep 24, 2006 10:07 am    Post subject: Reply with quote  Mark this post and the followings unread

..reading off the remnants of an old deck here.. Laughing I found some old cards I had been using as bookmarks..
there are trillions of profound statments here.. Laughing

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PostPosted: Fri Sep 29, 2006 5:55 am    Post subject: Reply with quote  Mark this post and the followings unread

5: What would Brian Boitano do?

Sorry... tongue

/Stefan

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PostPosted: Fri Sep 29, 2006 5:56 am    Post subject: Reply with quote  Mark this post and the followings unread

Antimon wrote:
5: What would Brian Boitano do?

Sorry... tongue

/Stefan


Laughing

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