Despite an engineer or producer’s best attempts, a new work cannot pass transparently through a DAW; there are always stopgaps, enhancements, deletions, and tweaks being exerted that, I think, fundamentally color the recorded piece as separate from the composer’s instruction and the performer’s execution. This begs the question of how best to characterize the DAW’s everyday impact on our musical world.
While mainstream media outlets have called attention to Jay Z’s nine nominations as well as contenders such as “Blurred Lines” (the Robin Thicke song and not the 10-minute microtonal violin and harpsichord duo by Canadian composer John Beckwith), there have been fewer reports about nominees in other categories and there are a total of 82 of them this time around.
Until we rid ourselves of the notion that the best music of all time was created by a handful of men who lived an ocean away from us and who all died more than a century before any of us were born, we will never have programming that truly reflects the vast array of musical creativity all around us.
Experienced musicians eventually arrive at a point where the physicality of the instruments they play seems to disappear. It’s at this point that proprioception, e.g. muscle memory, provides the player with a cognitive shortcut that frees the conscious mind from primarily focusing on the mechanical details of music performance and allows it to address issues of aesthetics.