EMUSIC-L Digest Volume 43, Issue 09 This issue's topics: Miscellaneous A moment of silence, please... nets continued New MIDI message (2 messages) odd sod 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: Thu, 13 Aug 1992 08:17:25 MDT From: Adam Schabtach Subject: A moment of silence, please... ...in memory of John Cage, who died at the age of 79 yesterday. (Or maybe that should be 4'33" of silence.) --Adam schabtac@stout.atd.ucar.edu ------------------------------ Date: Mon, 3 Aug 1992 15:02:51 EDT From: Mark Subject: Re: nets continued Mike Metlay writes: "Hmmm. You're making an eye-ear-brain connection here. I don't know if that ext ra link in the chain is either necessary or helpful -- aftera ll, when *I* look at a score, I see a bunch of funny lines and dots. I see motion and density o nly in the vaguest sense, and have no cognitive link between ink-blots and note s." Most well-trained musicians do develop a cognitive link between ink-blots (not es) and musical sounds. This is, for example, what allowed Beethoven to compose his later works without being able to hear them. This is what allowed pianist Walter Giesking to peruse a score while riding on a train, memorise it and then perform it that evening without having so much as touched a piano in the inter im. When I look at a score, I hear the music in my head, perhaps not with the s ame level of comprehension as when I read English, but the eye-ear-brain connec tion is most definitely there. Likewise when I hear music I can visualize the written notes whizzing by. --Mark Simon tip@cornellc.cit.cornell.edu ------------------------------ Date: Fri, 21 Aug 1992 11:43:38 ADT From: Alan Edwards Subject: New MIDI message The drummer and I were discussing the need for a colossal sound at the end of a piece, as well as MIDI things in general. We decided that a new MIDI message was needed: All Notes On Of course this would be implemented as a companion message to All Notes Off, and effectiveness would vary dependent on the available polyphony. We thought it was a good idea, but are not sure how to present it to the IMA. :-) ...in case you were wondering... (-: Alan =============================================================================== Alan Edwards UNB Physics internet: aedwards@unb.ca Canada -------------------------------------------------------------------------------- If the K2000 is VAST...does that make the K1000 half-VAST? ------------------------------ Date: Mon, 24 Aug 1992 09:32:03 GMT From: Edgar Hellfritsch Subject: Re: New MIDI message Alan Edwards writes: >We decided that a new MIDI message was needed: All Notes On *falling down choking with laughter* This one's GREAT!!!! Finally someone had a REALLY useful idea how to improve good old MIDI. I'll be the first one to use it!!! Way to go, Alan!!! Edgar Hellfritsch, Erlangen/Germany. ------------------------------ Date: Mon, 31 Aug 1992 12:45:07 EDT From: ronin Subject: odd sod and i do mean dirt... i've been scanning vinyl bins (and cd seconds) recently, and have come across various schulze and td that i have bought largely to keep up the collections. for the most part, i have simply added to my understanding of the concept of the canon... the collection of an artist's works which are best known and distributed. these albums are definitely lesser products, and seem to have been printed and released more for the purposes of archival completeness than any real merit. specifically, i picked up 'pergamon' and 'tyger' by td, and 'en=trance' and 'dreams' by schulze. uniformly, these things are second rate, more like half-realized experiments than the products of significant inspiration. pergamon is a live album (in e. germany, i think), of no particular distinction. 'tyger' is one of the few released td experiments in vocal works... much more extensive than that on 'cyclone', it includes an entire song cycle based on blake, sung with some degree of conviction by someone who sounds trained as a soul singer. not a total failure, but not a wow, either. 'dreams' starts off like one of schulze's standard sequence jams, which is nice, but about half way through one side someone begins to sing here, as well, and it does not even seem rehearsed. the voice has been processed enough to be unitelligible, but not enough to be interesting. bleah. the other one, 'en=trance', is a series of diddles on an entire rack of roland synths, the d quite prominent among them. i bought it thinking that i might like to hear what schulze would make of this suite of sounds, and found what appears to be his sound pallette (the tape that one makes of one's patches, mostly for personal reference). pretty cheesy, for klause. in short, if, like me, you *must* have everything an artist does, then by all means pick up these albums. they have a certain historical value, and in no case are wretched... just generally uninteresting. if, however, you are in the market for music to listen to, and are not so concerned with the obscure back corners of german pop-synth music... skip 'em. pick up wendy carlos' 'switched on bach 2000' instead... more on which later. -----------< Cognitive Dissonance is a 20th Century Art Form >----------- Eric Harnden (Ronin) or The American University Physics Dept. 4400 Mass. Ave. NW, Washington, DC, 20016-8058 (202) 885-2748 ---------------------< Join the Cognitive Dissidents >------------------- ------------------------------ End of the EMUSIC-L Digest ******************************