A GLIMPSE OF THE FUTURE?
Even composers who do not use samplers use sequencing programs, and this has affected virtually everyone's musical style. Very common since the 1980s have been “layered” textures of polymetrically superimposed instrumental ostinatos, something that can be produced effortlessly by a computer with a MIDI connection to a bunch of synthesizers. Laying down track upon track is curiously reminiscent of the techniques of “successive” composition associated with the medieval motet. As in the case of Meredith Monk's vocal compositions, the late-twentieth-century avant-garde links up with musical practices prevalent in an age when literacy had not yet gotten very far in supplanting oral composition and transmission. Computer-assisted “real-time” electronic composition—used sometimes in performance, sometimes as a basis for written elaboration—is another aspect of the same resurgence of “orality.”
- Citation (MLA):
- Richard Taruskin. "Chapter 10 Millennium's End." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 22 Jan. 2020. <https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-010015.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 10 Millennium's End. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 22 Jan. 2020, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-010015.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 10 Millennium's End." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 22 Jan. 2020, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-010015.xml
