Maybe you could say that PD/Max is computer music’s “west coast” to csound et al as “east coast”?
oh hell no. no. sorry. you did not just tell me that MIDAS is ‘east coast.’
not to go too far down some rabbit hole, but “determinate” is a red herring here; i’m not talking about playing back a fixed sequence of notes (well i guess i used that as a trivial example) but, MIDAS and csound and sc’s patterns give you not just a piano roll, but an environment for manipulating time structures, with arbitrary parameterization (midas
INQUIRE, &c), at a high level of abstraction (e.g. directly transposing / reflecting / stretching / repeating a sequence or subsequence), in realtime or as close as the designers could feasibly get at the time of the design. interesting forms of compositional indeterminacy flow directly from this.
sorry to harp on MIDAS, but it’s an interesting example, on my mind lately. it’s trivial to implement parameter feedback within a MIDAS program. it can be very hard to predict the output from the program text…
nothing could be more “west coast” as far as i’m concerned! (but i’ll admit that i can never quite predict what people will mean by this - no no, please don’t tell me.)
my rather spontaneous comment happened because i hadn’t quite realized (or had forgotten) that i do miss having some arbitrary pattern generation tools directly in pd (even though i am mostly not that kind of composer.) so maybe that would be a nice thing to think about? as it is, when i pull out PD to play with signal graphs (or because i am using its C API to try something) i often end up hooking it up to some other system for control. or i wrestle with
qlist and messes of
alas, i cannot get PdLua to compile (yet) and so still have no real idea exactly what it does. seems nice to have Lua in there but a more specialized musical language could be nice too.
yes, OK, miller had specific intentions, maybe PD was conceived at last partially, maybe mostly, as a “stateless” (yeah right) consumer of note data. i’m not so sure that’s the case, but so what? it has “noteout.” it’s a useful framework for many musical applications, and is uniquely extensible. that’s a good thing!