Re: PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC (PCCOM)

From: adario (adario@thingsburnup.com)
Date: Tue May 08 2001 - 21:46:20 CEST

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    hmm, kinda reminds me of the Dogma 95 "Vow of Chastity":

    http://www.dogme95.dk/

    ----- Original Message -----
    From: Shane Schaetz <shane@noncompliant.com>
    To: <acid-jazz@ucsd.edu>
    Sent: Sunday, April 29, 2001 2:09 PM
    Subject: PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC (PCCOM)

    interesting stuff from www.matthewherbert.com

    1. The use of sounds that exist already, subject to article 2, is not
    allowed. In particular:

      1.. No drum machines.
      2.. All keyboard sounds must be edited in some way: no factory presets or
    pre programmed patches are allowed.

    2. Only sounds that are gernerated at the start of the compositional process
    or taken from the artistís own prevously unused archive are available for
    sampling. The use of, ordering and manipulation of noise-sound/found-sound
    is to be held as the highest priority in composition.

    3. The sampling of other peopleís music is strictly forbidden.

    4. No replication of traditional acoustic instruments is allowed where the
    financial and physical possibility of using the real ones exists.

    5. The inclusion, development, propogation, existence, replication,
    aknowlegement, patterns and beauty of what are commonly known as accidents,
    is encouraged. Furthermore, they have equal rights within the composition as
    deliberate, conscious, or premeditated compositional actions or decisions.

    6. The mixing desk is not to be reset before the start of a new track, for
    the specific purpose of applying a random eq and fx setting across the new
    sounds. Once the ordering and recording of the music has begun, the desk may
    be used as normal.

    7. All fx settings must be edited: no factory preset or pre-programmed
    patches are allowed.

    8. Samples themselves are not to be truncated from the rear since extra
    audio and recording information is often heard at the end.

    9. A notation of every sound, its source and a full description of all
    technical equipment used per track to be taken and made available at a
    future date.

    10. Remixes must be completed using only the sounds provided by the original
    artist including any packaging the media was provided in.



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