There are rules, yes, but they were made for humans, not computers. It is also a process that evolved as a specialized practice of people producing scores by hand. Making something really fit neatly on the page is usually a separate process and wants the opposite of that. To put it more simply: when you’re working with actual music, you’re constantly changing stuff and messing it up. Dorico 4 – really, not Cubase/Nuendo, though the comparison is intentional. Even without getting to the invention of the computer, the problem had always been that what composers, arrangers, orchestrators, and musicians do was separate from the role of engraver. It’s a tall order if you want to really produce publishing-grade output. It gets right at the crux of how music-making is evolving.ĭorico, built with the team who led the development of now Avid-owned Sibelius, already has some strong roots in making score production more fluid. There are many deeper challenges to trying to fuse essentially late 19th-century western concert score practice and hand engraving with 21st-century global electronic music, which are way too much to go into here in an upgrade preview, but suffice to say that all that tension is really interesting. But notation remains potentially wonderful – for all its limitations and specific cultural boundaries, there remain tons of people who can read it really fast. Once you’ve seen MIDI, it’s hard to see a score the same way. (Just in case you want to pick up an Atari and some 1987 software.) Even Apple’s Logic started as something called “Notator.” Like Cubase itself, it was a combination score writer – MIDI editor. Successfully marrying MIDI and scoring has been a long, long time coming.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |