EMUSIC-L Digest Volume 35, Issue 09 This issue's topics: EM Subjectivo (2 messages) grrrrrroooooooooovvvvvee (4 messages) Looking for MIDI files (2 messages) Mibac is JAZZ Neuron Digest V8 #12 PC software Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ------------------------------------------------------------------------ Date: Mon, 2 Dec 1991 17:34:51 EST From: Mark Simon Subject: Re: EM Subjectivo On the issue of to quantize or not to quantize: It seems to me that the hardest thing in the world to sequence is a slow l yrical piece for solo piano. You want to get the expression just right, some ru bato here, a gradual crescendo there, but at a slow tempo it's virtually imposs ible to play with a sequenced track and get any acceptable kind of rhythmic pre cision. So inevitably I reach for the quantize button. Then I have to go back a nd insert all manner of tempo changes, adjust velocities, individual note lengt hs, etc. It's all very tedious but I still find it preferable to letting the un quantized slop fall where it may. You can conceal a world of imprecision behind lush orchestration, but a so lo piano leaves you bare. My impression from reading a lot of the messages post ed here is that not many people are likely to do much in the way of lyrical pia no pieces. Correct me if I'm wrong, and let me know how you've handled the prob lem. Mark Simon tip@cornellc.cit.cornell.edu ------------------------------ Date: Tue, 3 Dec 1991 09:07:11 EST From: "Joseph D. McMahon" Subject: Re: EM Subjectivo I do my slow solo pieces the old fashioned way. (take 1) Nuts, the solo's too short (take 2) Nuts, I blew the key change (take 3) Nuts... (take 4) ... You get the idea. Sometimes I can go back and record the fix on another track and splice it back in, but for rubato piano pieces, it's usually try another take until I get one I like. --- Joe M. ------------------------------ Date: Tue, 17 Dec 1991 08:46:55 PST From: "Matthew Rogalsky" Subject: grrrrrroooooooooovvvvvee What about messages etched on LP masters and appearing in the 1/2 inch of vinyl surrounding the label? At one time I looked thru my whole LP collection and found many obscure and tantalizing messages. I can't remember offhand which LPs. I'd have to go back and look again. Matt rogalsky@mailserver.sfu.ca ------------------------------ Date: Tue, 17 Dec 1991 22:59:36 MST From: Adam Schabtach Subject: Re: grrrrrroooooooooovvvvvee > What about messages etched on LP masters and appearing in the 1/2 > inch of vinyl surrounding the label? I loved these -- it's one of the things I actually miss about LPs. My favorite appeared on a Robert Fripp album (I think it was "Under Heavy Manners" but I'm not sure): "The next step is discipline". The interesting part was that not long after that, King Crimson's album "Discipline" was released. --Adam ------------------------------ Date: Wed, 18 Dec 1991 10:45:37 BRA From: Joao Edgar das Neves Sallay Subject: Re: grrrrrroooooooooovvvvvee I remember some phrases. Two are from Depeche Mode singles: "We do any style" (from the single "Behind the Wheel") "Gone fishing" (from the single "Never let me down again") I also remember two phrases from Joy Division albums, but I don't remember the names of the albums: "Buried in sand" "I've seen the real atrocities" Joao ------------------------------ Date: Sat, 21 Dec 1991 11:49:10 -0600 From: Randy Jones Subject: Re: grrrrrroooooooooovvvvvee "IF IT ROLLS, SINK IT." -randy ------------------------------ Date: Mon, 23 Dec 1991 15:08:39 -0800 From: latta@SCAM.BERKELEY.EDU Subject: Re: Looking for MIDI files Hi-- Vittorio Viarengo (viarengo@ice.ge.cnr.it) writes: > I'm looking for some place where I can find/exchange MIDI files. NetJam provides a means for people to collaborate on musical compositions, by sending Musical Instrument Digital Interface (MIDI) and other files (such as MAX patchers and notated scores) to each other, mucking about with them, and resending them. All those with MIDI-compatible (and other interesting) equipment, access to emailing and compression facilities and to the Internet (send mail as below for details), and who are interested in making music (who isn't?) are encouraged to participate. All participant and composition information is documented, and the most actions, such as subscription, submission, translation, and information distribution, are automated. If there is interest, the NetJam group may branch out to the support {soft/hard}ware other than sequencers. For example, there are a bunch of interesting sound synthesis programs out there, like CSound for the NeXT. Submissions, participant info, and other stuff is archived on scam.Berkeley.EDU (128.32.138.1), where it is available via anonymous ftp. To receive the document from which this blurb is extracted (and which explains NetJam at length) send mail to netjam-request@xcf, with a subject line containing "request for info". Anyway, here it is. I look forward to hearing from you. Craig Latta musician and moderator ------------------------------ Date: Mon, 23 Dec 1991 23:58:00 MET From: VIARENGO@ICE.GE.CNR.IT Subject: Looking for MIDI files Dear newtworkers I'm a musician and I use computer (Atari/mac & cubase 2.0 ubase 2.0) to make demos. I'm looking for some place where I can find/exchange MIDI files. Does anyone want to change some rock MIDI file with me. Thank you in advance Vittorio Viarengo viarengo@ice.ge.cnr.it Exit ------------------------------ Date: Wed, 11 Dec 1991 12:53:57 EST From: Brian Adamson Subject: Mibac is JAZZ The following is available via anonymous ftp on the info-mac archives at sumex-aim.stanford.edu to those of you interested... Date: Mon, 9 Dec 91 21:21 CDT From: JELLINGE@carleton.edu Subject: [*] MiBAC Jazz Demo 1.5.6.hqx A demo of MiBAC Jazz Improvisation Software v1.5.6. Self-extracting Compactor format. You will need a Mac Plus with system 6.0.x or later, a MIDI interface, and a synthesizer capable of playing piano, bass and drums. No MIDI == no sound. The program creates and plays realistic jazz backgrounds based on the chords you type in. You can write songs in any of twelve jazz styles. In the real program a song can have a 16m intro, a 96m chorus (can be repeated) and a 16m coda. On a 1 meg machine the song can total 480 measures, longer with more memory. If you wrote a 12 bar blues with 40 choruses, every chorus would be different. In a single song you can mix styles, write bass pedal points, change drum sets, use alternate endings, change chords in a specific chorus, rest instruments, play the bass ahead of or behind the beat, transpose, change the style of an individual instrument, create crescendos and decresendos. Program prints and transposes lead sheets and will export Standard MIDI files. APPLE MIDI MANAGER 2.0.1 IS INCLUDED WITH THE DEMO. This is an algorithmic composition program that really works. The demo has a limited song length and will not export or save files, otherwise is fully functional. Reviewed in Electronic Musician, September 1990; Keyboard, October 1990; and MacWorld, November 1990. Program written by John Ellinger, Music Department, Carleton College. Any problems, questions or comments can be sent through the INTERNET to jellinge@carleton.edu. [Archived as /info-mac/demo/mibac-jazz-improv-156.hqx; 444K] -- Brian Adamson NRL Code 5523 adamson@itd.nrl.navy.mil ------------------------------ Date: Mon, 2 Dec 1991 09:40:15 EST From: "Neuron-Digest Moderator" Subject: Neuron Digest V8 #12 sorry for all the header crud. don't really know how to clear it. but i thought this might be of interest: -------------------< Cognitive Dissonance is an Art Form >--------------- Eric Harnden (Ronin) or The American University Physics Dept. Washington, D.C ----------------------------Original message---------------------------- < much cut stuff...> Subject: MUSIC AND CONNECTIONISM Book Announcement From: todd@galadriel.stanford.edu Date: Fri, 25 Oct 91 14:50:47 -0800 BOOK ANNOUNCEMENT: MUSIC AND CONNECTIONISM edited by Peter M. Todd and D. Gareth Loy MUSIC AND CONNECTIONISM is now available from MIT Press. This 280-pp. book contains a wide variety of recent research in the applications of neural networks and other connectionist methods to the problems of musical listening and understanding, performance, composition, and aesthetics. It consists of a core of articles that originally appeared in the Computer Music Journal, along with several new articles by Kohonen, Mozer, Bharucha, and others, and new addenda to the original articles describing the authors' most recent work. Topics covered range from models of psychological processing of pitches, chords, and melodies, to algorithmic composition and performance factors. A wide variety of connectionist models are employed as well, including back-propagation in time, Kohonen feature maps, ART networks, and Jordan- and Elman-style networks. We've also included a discussion generated by the Computer Music Journal articles on the use and place of connectionist systems in artistic endeavors. A more detailed description of the book is provided below (from the jacket text), along with the complete table of contents. We hope this book will be of use to a wide variety of readers, including neural network researchers interested in a broad, challenging, and fun new area of application, cognitive scientists and music psychologists looking for robust new models of musical behavior, and artists seeking to learn more about a potentially very useful technology. MUSIC AND CONNECTIONISM can be found in bookstores that carry MIT Press publications, or can be purchased directly from MIT Press by calling their toll-free order number, 1-800-356-0343, and giving the operator this catalog number: 1CSAT 503, and this book code: TODMH. By phone and mail-order, the price is $39.95; in stores, it will probably be $45 (there is some confusion with the publisher on this point, so I wanted to give out the detailed information for phone orders to save people some money). Please drop me a line if you have any questions, and especially if you take up the gauntlet and pursue research or applications in this area! cheers, peter todd ***************************************************************************** Music and Connectionism edited by Peter M. Todd and D. Gareth Loy As one of our highest expressions of thought and creativity, music has always been a difficult realm to capture, model, and understand. The connectionist paradigm, now beginning to provide insights into many realms of human behavior, offers a new and unified viewpoint from which to investigate the subtleties of musical experience. \fIMusic and Connectionism\fP provides a fresh approach to both fields, using techniques of connectionism and parallel distributed processing to look at a wide range of topics in music research, from pitch perception to chord fingering to composition. The contributors, leading researchers in both music psychology and neural networks, address the challenges and opportunities of musical applications of network models. The result is a current and thorough survey that advances our understanding of musical perception, cognition, composition, and performance and of the design and analysis of networks. Music and Connectionism is based on a core of articles originally appearing as two special issues of the Computer Music Journal. These have been augmented with addenda covering more recent research by the authors. The book opens with tutorial chapters introducing neural networks in a musical context and relevant aspects of previous computer music research, making this a self-contained text. There are many new chapters, along with new section introductions, summaries of related work, and a final debate on the artistic implications of connectionist methods. Peter M. Todd is a doctoral candidate in the PDP Research Group of the Psychology Department at Stanford University. Gareth Loy DMA is an award-winning composer, member of the Board of Directors of the Computer Music Association, lecturer in the Music Department of UC San Diego, and member of the technical staff of Frox Inc. Contents: Preface and Introduction Peter M. Todd and D. Gareth Loy Part 1: Background Machine Tongues XII: Neural Networks Mark Dolson Connectionism and Musiconomy D. Gareth Loy Part 2: Perception and Cognition A Neural Net Model for Pitch Perception Hajime Sano and B. Keith Jenkins Connectionist Models for Tonal Analysis Don L. Scarborough, Ben O. Miller, and Jacqueline A. Jones The Representation of Pitch in a Neural Net Model of Chord Classification Bernice Laden and Douglas H. Keefe Pitch, Harmony, and Neural Nets: A Psychological Perspective Jamshed J. Bharucha The Ontogenesis of Tonal Semantics: Results of a Computer Study Marc Leman Modeling the Perception of Tonal Structure with Neural Nets Jamshed J. Bharucha and Peter M. Todd Using Connectionist Models to Explore Complex Musical Patterns Robert O. Gjerdingen The Quantization of Musical Time: A Connectionist Approach Peter Desain and Henkjan Honing Part 3: Applications A Connectionist Approach to Algorithmic Composition Peter M. Todd Connectionist Music Composition Based on Melodic, Stylistic, and Psychophysical Constraints Michael C. Mozer Creation By Refinement and the Problem of Algorithmic Music Composition J.P. Lewis A Nonheuristic Automatic Composing Method Teuvo Kohonen, Pauli Laine, Kalev Tiits, and Kari Torkkola Fingering for String Instruments with the Optimum Path Paradigm Samir I. Sayegh Part 4: Conclusions Letter from Otto Laske Responses to Laske by Todd and Loy Further Research and Directions Peter M. Todd List of Author Addresses ------------------------------ ------------------------------ Date: Fri, 6 Dec 1991 13:11:55 LCL From: David Ford Subject: PC software Hi ! I'm after the locations/thoughts/etc of *ANY* music software which can read/write MIDI, and which allows you to compose music in N channel... It's got to be for a PC and preferably for a Roland MPU, although anything would be good. If there's some Public Domain (PD) stuff (in any language) that'd be good too. I have a project to give a laptop and small keyboard to a disabled (wheelchair) person and allow them to compose on that, but of course my problem is with keeping it cheap ! Thankyou ___________________________________________________________________________ David Ford Voice : +61 02 49 6887 Claremont College Fax : +61 02 49 1984 Link Rd email : david@slick.clare.tased.edu.au Claremont TAS 7011 AUSTRALIA The Internet : "Wherever you go... There you are..." Buckaroo Banzai ------------------------------ Date: Wed, 18 Dec 1991 12:20:33 PDT From: James Hedberg Subject: performance info I'm looking for some help - again. I'm in a band and we have alot of "stuff" with MIDI capabilities that during performances we don't ever use. I was interested in any suggestions y'all might have. The Stuff- Korg M-1 (keyboard) " A-3 (signal processor) ADA MB-1 (Bass) Roland R-5 (drums) " PM-16 (drums) " MC-50 (Micro Composer) Tascam M2516 (16 ch Board w/MIDI) Right now there is no MIDI stuff for guitar so if anyone has any suggestions as to what to get (if anything) that would be helpful too! Thanks, Jim Hedberg -- ------------------------------ End of the EMUSIC-L Digest ******************************