It's clear that current music software is poor for conveying information when compared to editors for many other tasks. It is easy to blame musical notation for that, but in fact in most music software there are several equivalent views (tracks, piano roll, notation), and you'll find that notation is the _most_ efficient of those.
Consider this: In this system, your most complex Classical scores for an entire orchestra are written, and present day trained composers continue to work efficiently in it. That tells you about its expressive power. It is in fact not stupid, but very well tuned to a lot of music theory. Other than complex timbre manipulation (and even that), you can do probably everything you want to accomplish with just software that does nothing but notation.
Instead, what most music software lacks is in the organization department. The organization of non-linear ideas, their programmatic (as in music) occurrence, the automation of repetitive tasks, and the completion of obvious intent. Tracks and loops are probably not the right view of musical structure, at least far from a _complete_ view. There needs to be a better bridge between musical phrases and ideas at the local level (for which musical notation is perfectly suited) and the organizational structure of a complex piece at the macro level (for which tools are very lacking). There also needs to be a better bridge between some conception of events (for which musical notation is slightly ill suited, being restricted to notes) and the microscopic world of timbres, effects, and transformations.
Until music software makers recognize that what they should be helping with is neither engraving, nor mixing console simulation, but a non-linear creative task, music software will continue to suck.
Consider this: In this system, your most complex Classical scores for an entire orchestra are written, and present day trained composers continue to work efficiently in it. That tells you about its expressive power. It is in fact not stupid, but very well tuned to a lot of music theory. Other than complex timbre manipulation (and even that), you can do probably everything you want to accomplish with just software that does nothing but notation.
Instead, what most music software lacks is in the organization department. The organization of non-linear ideas, their programmatic (as in music) occurrence, the automation of repetitive tasks, and the completion of obvious intent. Tracks and loops are probably not the right view of musical structure, at least far from a _complete_ view. There needs to be a better bridge between musical phrases and ideas at the local level (for which musical notation is perfectly suited) and the organizational structure of a complex piece at the macro level (for which tools are very lacking). There also needs to be a better bridge between some conception of events (for which musical notation is slightly ill suited, being restricted to notes) and the microscopic world of timbres, effects, and transformations.
Until music software makers recognize that what they should be helping with is neither engraving, nor mixing console simulation, but a non-linear creative task, music software will continue to suck.