His workflow reminded me of your cult of the written score video. It's interesting to see elements that are normally reserved for music created in a DAW to be performed by musicians reading sheet music.
as I said in a different comment, I think there's a big distinction between 'composing' where you come up with melodies, harmonies, instrumentation etc to end up with a piece of 'music', and 'sequencing' where you're sequencing a bunch of 'fragments' together in a daw to make a piece of 'sound' or something - I don't think they're the same thing at all.
@gorak9000 that has nothing to do with my comment.I was was talking about the presentation of the video itself. In regards to the music in the video it is very much composed.
Such an enthusiastic video about contemporary music (like so many other of yours) can do so much for spreading knowledge and love for this music that deserves so much more publicity.
I wonder if that passage here of the choir 9:44 has some Mike Oldfield inspiration on his early works, mainly the end of his piece “Tubular Bells”, quite a funny yet epic kind of moment where they cite every instrument that joins the band
I saw the Hallelujah piece on the Proms new music episode and it was clearly a masterpiece and expanded the concepts of orchestral textures so effectively and imaginatively. Really happy to go deeper into his process with the help of this video and looking forward to discover more of Ben's music. ❤✨️🙏🙌🎶🌿
Fantastic work David & Ben ! Lovely to hear the cultural and personal reasons that influence the fragmentation as the form of the music composition. It speaks to our experience of consuming disparate chunks of media through technology but it also reminds me of Kintsugi - the Japanese art of repairing broken pottery.
I was literally looking just today for content about anyone using a daw to produce "classical/art" music (for lack of any better term). This is really cool.
11:56 that's a good question, what makes a piece of music classical or not...I think classical music isn't one kind of music, etc, I've heard other people say things like that, etc...there are so many kinds of music that are thrown under that label, etc...but if you wrote down a pop, rock, or whatever, song, and notated it with great precision, I don't think that would mean it's classical music...and even though Vangelis didn't write his music down, I would still consider a lot of stuff he wrote as "classical"...it was begging for an orchestra, lol...which I think was the problem with him not knowing notation...so, even if there are many kinds of music thrown under that label, I think the type of music still decides whether it is classical or not...of course, perhaps it gets a little less clearly defined when it comes to deciding if something is an opera or a musical, etc, and there I've read that a huge element is what music the people who "deal with them" usually deal with, I mean...not my personal opinion, I was reading an article saying that The Phantom of the Opera, or Sweeney Todd aren't operas because the people who put them on usually do musicals...a case like that is more like what he's saying, that being classically trained and writing a piece of music makes the music classical music, but in general I don't think so...the singer from the rock band Disturbed used to sing opera...there are people in classical music who write non-classical music and the music isn't considered classical music...so there is an element about what the piece sounds like...rhythm is a defining characteristic, I would guess, for jazz, along with harmony, perhaps harmony is less a defining element for classical music, etc...but the presence of strings, the importance of bowed string instruments, perhaps is an element...I don't know...or whether the piece of music sounds like something written by X or Y, etc...
Vangelis' electronic instruments didn't prevent something about the way his music "went" from screaming "classical music" to me at least, lol...I would feel like it would have sounded better with an orchestra, etc...well, not that I am that familiar with his music, etc, I'm talking the few films scored by him that I've watched...so there's something more than merely being written down and being classically trained (well, he did receive some training, I guess, but he hated it and never really learned music notation, etc)...
...working with classical musicians doesn't work either, I would say...a lot of rock, pop, I don't know, a lot of those songs have a string section...perhaps even more so in the 60s, 70s, etc...nobody considers that makes the music itself classical, etc...
in popular culture the word "classical" has completely lost any definable meaning. "Classical" music hasn't been composed since around 1820. The accepted term for all music by, primarily, academically trained composers is "art music".The term for modern art music is "Contemporary" art music. I'm not going to reply to comments claiming I don't know what I am talking about. I got into one flame war with a commenter claiming film music is classical music. If you think otherwise please post your definition of classical music and we will see how it holds up to scrutiny.
@@avsystem3142 im well aware, that's why i put the term in scare quotes. the issue with the pretentious term "contemporary" is that all new music, including popular styles, is contemporary, and it refers to a time rather than a specific style or tradition. In another 50 years we will not be referring to the "art" music from this period as "contemporary."
It's so cool to learn more about the thoughts that go into Ben's work! I discovered hum last year and was very interested about what goes into his music. Thank you both so much for making this video!
I don't often listen to classical but I'm a fan of your videos nonetheless, precisely because of things like this! I've never heard Ben's music but I'm quite interested in changing that now, the compositions discussed here sound so interesting
Excellent concept and editing -- sort of transposes Ben's music into the key of video [appreciation from a seasoned video editor who's been part of an eclectic group of regional music makers that have been doing regular "experimental music jams" for decades. We've just been labeling it Open Improv with performances billed as the Available Resources Band😁].
Stopping at four minutes since I can't help myself: as a kid who was very into Kraftwerk, Mike Oldfield, Jean-Michel Jarre and was then blown away by the Art of Noise - I see absolutely nothing wrong with this idea. It is exactly where I thought music was going all the way back circa 1984.
I don't knwo what is more genious, the composer or the way the video explains the experiencing of the gain of knowledge! Kudos for the video and to the Composer too!
i think he likes that thing of breaking up something into a fragment and then you kind of like you have it recur but each time it sort of like the story sort of like unfolds a bit more
Seems to have triggered a revolution in David Bruce's video production method, too. Christopher Nolan's Memento springs to mind as an early example of getting the story to unfold, through repetition and expansion, but by starting at the end and episodically working backwards.
This reminds me of Kensuke Ushio's soundtrack for Liz and the Blue Bird. The first track encapsulates what I mean quite well, but the entire soundtrack is amazing
What Ben Nobuto is doing with his music is interesting enough, but I don't get why you would call him a classical music composer. I would call what I heard in the video electronic pop experimentations or electronic avant garde.
Very interesting! And very interestingly put together. I wonder what you think about the role of notation in this kind of music? Is it really necessary? As I think about this question, I think perhaps I’m really asking mainly about the rhythmic aspects of notation. I can understand the need to assign pitches to particular events, but the rhythms are so non-metrical, that I can’t imagine anyone being able to read them off the bat, much less, perform them accurately in time. I can, however, imagine people who could learn to imitate the rhythms of an audio recording, particularly one that is based around speech. Anyhow, I am curious to know about your thoughts on rhythm notation.
I guess the key question is - just for the running decade(s) - about instruction: who would you like to instruct how to perform pieces of the prepared part again, and how do you expect them to be trained? If you need highly precise and well trained humans, you end up with classical notation (however imperfect, see eg an Adam Neely vid on that). Otherwise, machine instruction (i.e. code or data recording) is your help. (What would be needed to instruct the snails that come after humanity dies out to play our music?)
Also, maybe replace "SPLICE" with just audio samples in general, I don't think there's anything splice-specific here, that's merely where he downloads stuff.
Great job, very insightful. Reminds me of Alex Schubert's "post-digital" phase. Perhaps there's a generation of 'pop culture sampling/fragmentation' composers active today? -Todd Harrop, Lübeck
The “tight unsion” bit gave me the impression that those create objects in his compositions in contrast to motifs or sentiments… is that a silly notion?
9:01 BASS! is this the Adam Needly sample without g=his voice? Sometimes I regret stopping making music in 2011 (because I knew I was going nowhere with it) when I hear people like this guy being so proud of his "music" (is this even music?). I mean, good for you if you have people listening at it. I (used to) like experimenting with sounds .... I wish I had some self-esteem doing what i was doing.
There is however a very valid reason not to use Splice - copyright clusterf.... More about it can be found in this excellent Benn Jordan video: th-cam.com/video/QVXfcIb3OKo/w-d-xo.html
This feels to me like the old saying, "The difference between science and screwing around is writing it down." In the sense that this is just screwing around and being called classical because it is written down. I mean this both ways you can take it.
I think there should be a distinction between 'composing' - aka coming up with a melody and harmonies and instrumentation / orchestrations, and "sequencing' a bunch of existing 'fragments' together in a daw - they kind of feel distinct to me and not really the same thing at all
Oh okay. I have no idea of this fellow, but he sounds kind of like the gen-Z equivalent to Witold Lutoslawski or Iannis Xenakis, or something of the sort 🤔😳 I'm intrigued with what he's doing there, thanks for bringing him up to everyone's attention here 🙌
A classic example to infer artistic talent is the use of upward inflection to finish sentences. Like breaking up something into a fragment, to unfold the story a bit more? I find this mode of speaking actually rather annoying? Me thinks young Ben’s been listening to Laurie Anderson. Hallelujah Sim. Music heard once but never again? Beep....... O Superman th-cam.com/video/Vkfpi2H8tOE/w-d-xo.html
Classical Composer discovers plunderphonics, got it. (edit: not saying it isn't good. I do like it. But I've heard this sound before, just in a non-classical setting)
I feel like a pleb listen to the most avant garde piece, I just don't what I am missing but I cannot take the bitcoin piece serious, coming from a meme sample and all.
Yes, pop-culture sounds and meme noises. Yes, that is what it is. But I guess it's classified as classical if the BBC Proms does it. I'll definitely be whistling that catchy bitcoin tune in the shower tomorrow!
Absolutely. I am so done with the boring, overly zealous obsession with the mechanics of sound people like this guy or Jacob collier have. I'm sorry but this is starting to approach gallery art levels of post-hoc rationalization. Yeah this is soooo cerebral and trailblazing and incredible, and also perfectly indistinguishable from a parody of itself, or a mario maker level. Ironically enough most of these people are immensely gifted. I can kind of get the appeal behind something like Adam Neely's music (who's in this comment section of course) but even then, I find it childish and absurd that it's always "let's see how many microtonal shifts and irregular time signatures we can cram into our music"; it feels silly. I find more merit and artistic intent in green day's Scooby Doo song than anything done by most of these people.
@@gd8838 I don't have a problem with people experimenting and trying radically new things. But I sometimes find myself in agreement with Milton Babbitt's suggestion that such advanced/specialized composition would be better undertaken in the spirit of "total, resolute, and voluntary withdrawal from this public world".
"Classical" composer, David can you elaborate on tge use of that term here perhaps? Ben's music is great but I'd never consider him "classical" in any way. There's so much experimental instrumental music being created with all manners of instruments, by single people, bands or ensembles or whoever. I'd see him more in that tradition.
"Classical" is a ridiculously large umbrella term (as you seem very much aware). Obviously Ben isn't a composer from the Classical period (a la Mozart, Haydn), nor was he around to compose historic, traditional music for any of various cultures worldwide (which some refer to as Classical Japanese, etc). Ben can be considered Classical In the sense of having strong ties to Western art music and its numerous branching musical developments (which often get lumped up all together and labeled "Classical") We really just need better labels for things XD Every label we have for musical genre (i.e. country, techno) makes its compromises, but "Classical" is something else lol. So many highly contrasting musical styles crammed all in one place.
@@danieltnewville The use of the term "classical" is so diffuse that it really doesn't have any definable meaning in popular culture. In music the "Classical Period" is specifically defined as the historical period from, roughly, 1750 to 1820. Contemporary art music, as discussed here, isn't classical.
Oh, boy! Shostakovich already tried that back in the '20s. There's really nothing new about it-just more modern equipment, and that's it. And no, this is neither beautiful nor interesting. If you can't produce anything beautiful, you should at least offer something interesting. If not even that, then it's not art at all-just an experiment. That's all.
I find classical music with electronics to always be acoustically confusing. As the orchestra's sound comes from multiple points interacting with the acoustics of the hall, electronic instruments don't have this position in the space. If you have an orchestra, why would you ruin its beautiful acoustical qualities with some quite boring speakers making sounds that come out just from "somewhere".
@@DBruce Ye, I agree it works quite well in his music as his whole musical thing is to splice up stuff and mix it together so it is already quite "electronic" in its nature.
Modern digital music production tools can place any sound in any spatial location supported by the playback equipment and in addition can reproduce the sound charastics of any space , e.g., reverb,, including concert halls. Your comment doesn't make any sense.
@@avsystem3142 Most commonly the sound comes from a very basic stereo setup that doesn't consider the acoustic qualities of the space itself. Just because it's possible to place the sounds in any spatial location doesn't mean it's done so in most cases. Also if they were used in such way there is still a feeling of gimickyness as the idea in writing for orchestra is the power and limitations of the orchestra itself and not relying on non-acoustical methods of producing sound. Though this is more of a feeling thing.
@@TheMikkis100 Sounds like you are comparing live music to recorded music. Any recording you listen to is affected by the room acoustics, regardless of genre.
thanks so much david!! such a massive honour - never thought i'd be made into my own bentobeat 😭💜
Was fun and fascinating to hang out. Definitely a good combination!
Ben, you blew our minds in a good way.
Really brilliant concept for a video! Beautifully realised.
Thanks for bringing me here, fantastic video indeed!
yes, thanks for bringing me here!
Truly, thanks for bringing me here too!
Oh hell yeah, I love Ben's stuff! So sick
repetition legitimizes
I thought the same thing when I saw the title
His workflow reminded me of your cult of the written score video. It's interesting to see elements that are normally reserved for music created in a DAW to be performed by musicians reading sheet music.
PM me if you would. I would like to talk to you about my opera/choral VST/AU singing synthesizer called cantai. Thanks!
Love how your video mirrors Ben's music and turns the viewing experience into a sort of meta-composition of its own
I'm loving the evolution of your editing style
I'm pretty confident its because he hired somebody else to do it.
the first david bruce video structured like To Pimp a Butterfly
and you're the first to notice, congrats!
Amazing music, amazing storytelling, amazing editing!
This is a terrific video. I loved every minute.
i love how the editing matches how expiremental his music is
Excellent video. Really enjoyed the format.
The whole video is a work of art!!
Fantastic video. Informative and entertaining. Loved it!
I really enjoyed the form of your video. I had to just listen to it as I was driving. It reminded me of radiophonics like Glenn Gould's Idea of North.
as I said in a different comment, I think there's a big distinction between 'composing' where you come up with melodies, harmonies, instrumentation etc to end up with a piece of 'music', and 'sequencing' where you're sequencing a bunch of 'fragments' together in a daw to make a piece of 'sound' or something - I don't think they're the same thing at all.
@gorak9000 that has nothing to do with my comment.I was was talking about the presentation of the video itself.
In regards to the music in the video it is very much composed.
This is an amazing video! Everything is fantastic - the framing, the repeated fragments, the ideas discussed - OUTSTANDING work.
insane production. Best video of yours so far!
Great video again, David!I didn't know about Ben, and he's a big discovering for me. Thank you! I really appreciate all your content so much :)
I love Ben Nobuto!! I'm so glad you're making a video of him.
Such an enthusiastic video about contemporary music (like so many other of yours) can do so much for spreading knowledge and love for this music that deserves so much more publicity.
This is a fun and creatively made video. Thanks!
the composition somewhat reminds me of bill wurtz.
They are both very abrupt and spontaneous and heterogenous
this video is fantastic!
What a fantastic video. The whole concept and editing is just great!
I wonder if that passage here of the choir 9:44 has some Mike Oldfield inspiration on his early works, mainly the end of his piece “Tubular Bells”, quite a funny yet epic kind of moment where they cite every instrument that joins the band
I saw the Hallelujah piece on the Proms new music episode and it was clearly a masterpiece and expanded the concepts of orchestral textures so effectively and imaginatively. Really happy to go deeper into his process with the help of this video and looking forward to discover more of Ben's music. ❤✨️🙏🙌🎶🌿
Never heard of him before but his music certainly sounded intriguing.
Great video. Very inspirational!
Fantastic work David & Ben ! Lovely to hear the cultural and personal reasons that influence the fragmentation as the form of the music composition. It speaks to our experience of consuming disparate chunks of media through technology but it also reminds me of Kintsugi - the Japanese art of repairing broken pottery.
I was literally looking just today for content about anyone using a daw to produce "classical/art" music (for lack of any better term). This is really cool.
11:56 that's a good question, what makes a piece of music classical or not...I think classical music isn't one kind of music, etc, I've heard other people say things like that, etc...there are so many kinds of music that are thrown under that label, etc...but if you wrote down a pop, rock, or whatever, song, and notated it with great precision, I don't think that would mean it's classical music...and even though Vangelis didn't write his music down, I would still consider a lot of stuff he wrote as "classical"...it was begging for an orchestra, lol...which I think was the problem with him not knowing notation...so, even if there are many kinds of music thrown under that label, I think the type of music still decides whether it is classical or not...of course, perhaps it gets a little less clearly defined when it comes to deciding if something is an opera or a musical, etc, and there I've read that a huge element is what music the people who "deal with them" usually deal with, I mean...not my personal opinion, I was reading an article saying that The Phantom of the Opera, or Sweeney Todd aren't operas because the people who put them on usually do musicals...a case like that is more like what he's saying, that being classically trained and writing a piece of music makes the music classical music, but in general I don't think so...the singer from the rock band Disturbed used to sing opera...there are people in classical music who write non-classical music and the music isn't considered classical music...so there is an element about what the piece sounds like...rhythm is a defining characteristic, I would guess, for jazz, along with harmony, perhaps harmony is less a defining element for classical music, etc...but the presence of strings, the importance of bowed string instruments, perhaps is an element...I don't know...or whether the piece of music sounds like something written by X or Y, etc...
Vangelis' electronic instruments didn't prevent something about the way his music "went" from screaming "classical music" to me at least, lol...I would feel like it would have sounded better with an orchestra, etc...well, not that I am that familiar with his music, etc, I'm talking the few films scored by him that I've watched...so there's something more than merely being written down and being classically trained (well, he did receive some training, I guess, but he hated it and never really learned music notation, etc)...
...working with classical musicians doesn't work either, I would say...a lot of rock, pop, I don't know, a lot of those songs have a string section...perhaps even more so in the 60s, 70s, etc...nobody considers that makes the music itself classical, etc...
in popular culture the word "classical" has completely lost any definable meaning. "Classical" music hasn't been composed since around 1820. The accepted term for all music by, primarily, academically trained composers is "art music".The term for modern art music is "Contemporary" art music. I'm not going to reply to comments claiming I don't know what I am talking about. I got into one flame war with a commenter claiming film music is classical music. If you think otherwise please post your definition of classical music and we will see how it holds up to scrutiny.
@@avsystem3142 im well aware, that's why i put the term in scare quotes. the issue with the pretentious term "contemporary" is that all new music, including popular styles, is contemporary, and it refers to a time rather than a specific style or tradition. In another 50 years we will not be referring to the "art" music from this period as "contemporary."
Been loving this guy’s music ever since I discovered him through score follower. Thank you for the highlight!
So tell me about score follower
Same here!! SERENITY 2.0 changed my life
YEAHHHH I love Ben's music! Super glad to see him getting a spotlight here!
Brilliant video, I feel like you really embodied Ben's approach to art. Playful and respectful, but in a way that develops it for your channel.
I was waiting for this video. loved it!
THIS IS A POST-VIDEO-ESSAY! Like it use video essays as itself as an art form, very cool and unique!
It's so cool to learn more about the thoughts that go into Ben's work! I discovered hum last year and was very interested about what goes into his music. Thank you both so much for making this video!
I don't often listen to classical but I'm a fan of your videos nonetheless, precisely because of things like this! I've never heard Ben's music but I'm quite interested in changing that now, the compositions discussed here sound so interesting
i am interested in how many of these things are perhaps ideas I've taken for granted in the genres i work in, but approached differently
Excellent concept and editing -- sort of transposes Ben's music into the key of video [appreciation from a seasoned video editor who's been part of an eclectic group of regional music makers that have been doing regular "experimental music jams" for decades. We've just been labeling it Open Improv with performances billed as the Available Resources Band😁].
Stopping at four minutes since I can't help myself: as a kid who was very into Kraftwerk, Mike Oldfield, Jean-Michel Jarre and was then blown away by the Art of Noise - I see absolutely nothing wrong with this idea. It is exactly where I thought music was going all the way back circa 1984.
I don't knwo what is more genious, the composer or the way the video explains the experiencing of the gain of knowledge! Kudos for the video and to the Composer too!
Thanks for another great video!
What a marvellous composer, thank you for bringing it to my attention! ❤
i think he likes that thing of breaking up something into a fragment and then you kind of like you have it recur but each time it sort of like the story sort of like unfolds a bit more
Awesome to see Ben Nobuto featured here! He’s crushing it.
This is pure gold. Sending this to every musician I know.
Such a beautiful video!
Love this video. I didn't know who Ben was but the bitcoin dream made me remember Bill Wurtz' music.
Both possess weird interesting minds!
Wonderful video editing
I lie in awe before this video ! Bravo and thank you 🤩
Fantastic video thank you! What is the piece that is playing during the "brain collecting coins" segments? I would love to hear the whole thing.
Seems to have triggered a revolution in David Bruce's video production method, too. Christopher Nolan's Memento springs to mind as an early example of getting the story to unfold, through repetition and expansion, but by starting at the end and episodically working backwards.
Mmm giving me a bit of a musique concrete vibe!
This reminds me of Kensuke Ushio's soundtrack for Liz and the Blue Bird. The first track encapsulates what I mean quite well, but the entire soundtrack is amazing
What Ben Nobuto is doing with his music is interesting enough, but I don't get why you would call him a classical music composer. I would call what I heard in the video electronic pop experimentations or electronic avant garde.
This was very fun!
It's like out of The School of Keigo Oyamada and a School of it's own! Fantastic use of the DAW in Performance based art! So Good!
This must be the highest effort/wackiest interview I've ever seen
Good damn, you know you’re in the right place when all of music TH-cam is in the comments
Very interesting! And very interestingly put together. I wonder what you think about the role of notation in this kind of music? Is it really necessary? As I think about this question, I think perhaps I’m really asking mainly about the rhythmic aspects of notation. I can understand the need to assign pitches to particular events, but the rhythms are so non-metrical, that I can’t imagine anyone being able to read them off the bat, much less, perform them accurately in time. I can, however, imagine people who could learn to imitate the rhythms of an audio recording, particularly one that is based around speech. Anyhow, I am curious to know about your thoughts on rhythm notation.
I guess the key question is - just for the running decade(s) - about instruction: who would you like to instruct how to perform pieces of the prepared part again, and how do you expect them to be trained? If you need highly precise and well trained humans, you end up with classical notation (however imperfect, see eg an Adam Neely vid on that). Otherwise, machine instruction (i.e. code or data recording) is your help. (What would be needed to instruct the snails that come after humanity dies out to play our music?)
Music is harder to lose if it's written down physically. EMP's won't affect paper.
@@TheGerkuman …but the snails will eat the paper, right @sytsew?
@@sytsew of course… the snails: I forgot about them
This is brilliant on so many levels (or should I say splices). Thanks!
Thanks for discovery and the interview. It remind me of Cornelius, the Japanese musician
wtf, this is a youtube masterpiece
this guy is my goat
Also, maybe replace "SPLICE" with just audio samples in general, I don't think there's anything splice-specific here, that's merely where he downloads stuff.
Isn't this quite close to John Zorn's approach with e.g. Naked City?
Cool! You can use this for Electronics parts as well
Great job, very insightful. Reminds me of Alex Schubert's "post-digital" phase. Perhaps there's a generation of 'pop culture sampling/fragmentation' composers active today? -Todd Harrop, Lübeck
The “tight unsion” bit gave me the impression that those create objects in his compositions in contrast to motifs or sentiments… is that a silly notion?
wow, so epic!
Fantastic video!! Ben is great. Listen to ‘Sol’ written for choir.
Who remembers Mike Patton and Fantomas?
Good Lord this is awesome!
@2:03 nice reference to eric wubbels this is this is this is lick
9:01 BASS! is this the Adam Needly sample without g=his voice?
Sometimes I regret stopping making music in 2011 (because I knew I was going nowhere with it) when I hear people like this guy being so proud of his "music" (is this even music?). I mean, good for you if you have people listening at it. I (used to) like experimenting with sounds .... I wish I had some self-esteem doing what i was doing.
From what little I've heard of Bens music in this video, it reminds me of Igorrr. Similar approaches to composing I think.
Wow! ❤
fascinating.
There is however a very valid reason not to use Splice - copyright clusterf.... More about it can be found in this excellent Benn Jordan video: th-cam.com/video/QVXfcIb3OKo/w-d-xo.html
11:38 The idea that genres other than classical don't have precision feels a bit off...
Hyperclassic 💜
Excellent presentation.
This feels to me like the old saying, "The difference between science and screwing around is writing it down." In the sense that this is just screwing around and being called classical because it is written down. I mean this both ways you can take it.
Well, most of Chopin's works were improvised don't see the difference.
It's classical because there's a theory and explanation about it, and that explanation is emphasised.
I think there should be a distinction between 'composing' - aka coming up with a melody and harmonies and instrumentation / orchestrations, and "sequencing' a bunch of existing 'fragments' together in a daw - they kind of feel distinct to me and not really the same thing at all
Oh okay. I have no idea of this fellow, but he sounds kind of like the gen-Z equivalent to Witold Lutoslawski or Iannis Xenakis, or something of the sort 🤔😳
I'm intrigued with what he's doing there, thanks for bringing him up to everyone's attention here 🙌
Davy Davd Bruuuccce
This is just such a beautiful, colorful portrait of him.
Zappa! 😃
A classic example to infer artistic talent is the use of upward inflection to finish sentences. Like breaking up something into a fragment, to unfold the story a bit more?
I find this mode of speaking actually rather annoying?
Me thinks young Ben’s been listening to Laurie Anderson. Hallelujah Sim.
Music heard once but never again? Beep.......
O Superman
th-cam.com/video/Vkfpi2H8tOE/w-d-xo.html
I feel that Ben and "bill wurtz" would get along :)
th-cam.com/channels/q6aw03lNILzV96UvEAASfQ.html
Yes, I too realized that their music seems to have similar aesthetic.
Also Cosmo D, the game designer and composer.
Damn he's cute
Classical Composer discovers plunderphonics, got it. (edit: not saying it isn't good. I do like it. But I've heard this sound before, just in a non-classical setting)
How do you hear about these composers, I mean where's the scene ?
Do I subscribe if I like your diatribe?
This is meta-music
I think I prefer Herr Wagner.
I feel like a pleb listen to the most avant garde piece, I just don't what I am missing but I cannot take the bitcoin piece serious, coming from a meme sample and all.
Yes, pop-culture sounds and meme noises. Yes, that is what it is. But I guess it's classified as classical if the BBC Proms does it.
I'll definitely be whistling that catchy bitcoin tune in the shower tomorrow!
Absolutely. I am so done with the boring, overly zealous obsession with the mechanics of sound people like this guy or Jacob collier have. I'm sorry but this is starting to approach gallery art levels of post-hoc rationalization. Yeah this is soooo cerebral and trailblazing and incredible, and also perfectly indistinguishable from a parody of itself, or a mario maker level. Ironically enough most of these people are immensely gifted.
I can kind of get the appeal behind something like Adam Neely's music (who's in this comment section of course) but even then, I find it childish and absurd that it's always "let's see how many microtonal shifts and irregular time signatures we can cram into our music"; it feels silly. I find more merit and artistic intent in green day's Scooby Doo song than anything done by most of these people.
@@gd8838 I don't have a problem with people experimenting and trying radically new things. But I sometimes find myself in agreement with Milton Babbitt's suggestion that such advanced/specialized composition would be better undertaken in the spirit of "total, resolute, and voluntary withdrawal from this public world".
"Classical" composer, David can you elaborate on tge use of that term here perhaps?
Ben's music is great but I'd never consider him "classical" in any way. There's so much experimental instrumental music being created with all manners of instruments, by single people, bands or ensembles or whoever. I'd see him more in that tradition.
"Classical" is a ridiculously large umbrella term (as you seem very much aware). Obviously Ben isn't a composer from the Classical period (a la Mozart, Haydn), nor was he around to compose historic, traditional music for any of various cultures worldwide (which some refer to as Classical Japanese, etc). Ben can be considered Classical In the sense of having strong ties to Western art music and its numerous branching musical developments (which often get lumped up all together and labeled "Classical")
We really just need better labels for things XD
Every label we have for musical genre (i.e. country, techno) makes its compromises, but "Classical" is something else lol. So many highly contrasting musical styles crammed all in one place.
@@danieltnewville The use of the term "classical" is so diffuse that it really doesn't have any definable meaning in popular culture. In music the "Classical Period" is specifically defined as the historical period from, roughly, 1750 to 1820. Contemporary art music, as discussed here, isn't classical.
AAAAAAARRRRRRRRGGGGHHHHH
but in a good way?
@@DBruce Is there a bad way?
@@boomshankah1123AAAAAAAARRRRRRGGGGHHHHH in a minor key has omens 😜😄
Thanks! Great stuff as always! PM me if you would. I would like to talk to you about my opera/choral VST/AU singing synthesizer called cantai. Thanks!
Oh, boy! Shostakovich already tried that back in the '20s. There's really nothing new about it-just more modern equipment, and that's it. And no, this is neither beautiful nor interesting. If you can't produce anything beautiful, you should at least offer something interesting. If not even that, then it's not art at all-just an experiment. That's all.
I find classical music with electronics to always be acoustically confusing. As the orchestra's sound comes from multiple points interacting with the acoustics of the hall, electronic instruments don't have this position in the space. If you have an orchestra, why would you ruin its beautiful acoustical qualities with some quite boring speakers making sounds that come out just from "somewhere".
I often have the same feeling, but in Ben's case I think it really works.
@@DBruce Ye, I agree it works quite well in his music as his whole musical thing is to splice up stuff and mix it together so it is already quite "electronic" in its nature.
Modern digital music production tools can place any sound in any spatial location supported by the playback equipment and in addition can reproduce the sound charastics of any space , e.g., reverb,, including concert halls. Your comment doesn't make any sense.
@@avsystem3142 Most commonly the sound comes from a very basic stereo setup that doesn't consider the acoustic qualities of the space itself. Just because it's possible to place the sounds in any spatial location doesn't mean it's done so in most cases. Also if they were used in such way there is still a feeling of gimickyness as the idea in writing for orchestra is the power and limitations of the orchestra itself and not relying on non-acoustical methods of producing sound. Though this is more of a feeling thing.
@@TheMikkis100 Sounds like you are comparing live music to recorded music. Any recording you listen to is affected by the room acoustics, regardless of genre.
Playful or gimmicky?
I remember Haydn, it's also his rule.