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Originally Posted by Glice
Nah dude - you might articulate yourself differently, but I would suggest from your response here (cf. what Drone posted) that you're interested in some things that are not 'conventional' modes of playing the guitar.
If anyone would forgive me the diversion of the thread - I'm currently quite fascinated with the idea that a great many kiddies at the moment (apologies if that seem patronising) seem to have grown up with music like SY and your Wolf Eyes or Throbbing Gristle and such that allude to your Rowes, Baileys, Takayanagis who, in turn, support themselves with your Scelsis, Xenakises and particularly Cages or Takemitsus. The point being that there's people who have little appreciation of tonal music who are interested in the 'pure texture' [non-sequiter] as technique or practice of whose precursors/ narratives they are unaware.
Now, the question is how to constitute, formally, qualias for such a 'pure texture' music if it is absolved of its tonal roots (which Xenakis et al met by extension of Schoenberg, not by 'pure' intuition).
I can elaborate, if I can be fucked, tomorrow. Having said that, it's much more likely none of you fuckers care.
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Now this is a bit of a fascinating question, and probably the crux of this, and other, threads.
I'll start this off with a graph, and while it may not be a true or accurate example of the history of how atonal or experimental music turned from traditional serious music to "noise" for me it's a decent start (and I don't mean to insult any band or style in this post):
Schoenberg->Cage->Velvet Underground->Sonic Youth-Wolf Eyes->?
Schoenberg was a classically trained musician who opened up the scale with the 12 tone method, whereas (I'm assuming, please correct me if I'm wrong) Wolf Eyes is just seeing what can be done when you hold an instrument a certain way, classical sensiblities be damned.
I'm probably just as guilty as avantgarde1, I guess. I'm not all that interested in making a guitar sound like a guitar. Like the a/c unit outside, yes; like a guitar, no.
I like the theories of John Cage more than the music, and perhaps Glice that is where this modern "noise" movement started: "Hey I like Cage's use of sound and silence, but instead of notating it I can create a sound, wait, wait some more, and then hit the back of my guitar again."
Another theory on that: A few years back (early '00s perhaps) Spin magazine had a feature of the "Post SY" bands (Hair Police, Wolf Eyes, etc), and if I remember correctly it pointed out that it was a generation that didn't see further back than SY, in terms of soundscapists (or music in general, for that matter), but noise still did something for them.
Just a few theories.