EMUSIC-L Digest Volume 44, Issue 07 This issue's topics: Education Electronic Music Schools (2 messages) Keynote, DARMS, MAX and others.... (2 messages) TIMARA: You can't go home again 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: Sat, 26 Sep 1992 22:16:00 PST From: BISHOP_M@PLU.BITNET Subject: Electronic Music School This past academic year, I left a message on this list-server asking for infor mation concerning the electronic music facilities, faculty, quality, focus of the dept., etc... Thanks to those who took the time to respond. I looked into Wooster and Connecticut College and Cogswell (I personally visited the school). I am writing again because I still need more input so... If you would like to write me or leave a message on the list-serv plugging your college, and it's amazing facilities, please do. I will be a junior this coming year and I desperately want to transfer to a school with some kind of research geared toward the field of electronic music. I would appreciate any response, even a just a name of a school, so I could research it on my own. Thanks, Mike Bishop ( Ceci n'est pas une pipe) BISHOP_M@PLU.BITNET Ordal Hall Pacific Lutheran U. Tacoma, WA 98447 ------------------------------ Date: Tue, 29 Sep 1992 20:38:00 EDT From: ROTHBART@ITHACA.BITNET Subject: Re: Electronic Music School Give me a call at the Ithaca College School of Music, 607-274-3171. I'm Peter Rothbart, Director of the EMS here. We've three studios, one intro analog studio, another is a Mac based MIDI with SoundTools, SampleCell, Performer, DX and TSX synths, a bunch of other Samplers, SMPTE lockup to video, etc. Studio A is Synclavier based, with FM and direct-to-disk recording. We've four electroacoustic courses offered on a regular basis, a variety of independent studies including a lot of film scores done in conjunction with the Communications School and a variety of internships available. I'll be glad to talk to you, or anyone else who is interested. Peter ------------------------------ Date: Fri, 11 Sep 1992 14:52:49 BSC From: Flavio <87141167@BRUFSC.BITNET> Subject: Keynote, DARMS, MAX and others.... Hello, I'm coursing a computer music class here, where we talk/think about computer science at music and vice-versa. Last week we did an exercise to create a new notation, and the results are curious. One of the notations showed was similar to DARMS (Digital Alternative Representation of Music Simbols), that I saw only one time at KEYBOARD magazine (Deee-lite cover June 91, maybe). I'd like to know if someone knows anything about or where I can find info about DARMS. We are curious also for informations about KEYNOTE and MAX. Thanks in advance, Flavio _-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_- FLAVIO BRESSAN - 87141167@BRUFSC | FLAVIO BRESSAN GRAD IN ELECTRICAL ENGINEERING | R AFONSO PENA, 987 - ESTREITO FEDERAL UNIVERSITY OF SANTA CATARINA| 88070-650 - FPOLIS - SC - BRASIL -_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_ ------------------------------ Date: Sun, 13 Sep 1992 10:58:00 LCL From: DOWRJ@VAX1.COMPUTER-CENTRE.BIRMINGHAM.AC.UK Subject: DARMS DARMS (Digital Alternate Representation of Musical Scores) was originally designed by Stefan Bauer-Mengelberg in 1963 and further elaborated by a group of people working with him. The symbols of music notation in DARMS are represented in various ways, such as abbreviations (Q=quarter [crotchet]) graphic equivalents (> for an accent) and numeric codes (1=first line of the staff). There are further codes to allow complex polyphony etc. to be encoded. We use it here at the University of Birmingham in conjunction with thoughtprocessors "Note Processor" for the IBM PC. It can take in DARMS (or, in fact standard MIDI files - with a MIDI card one can also record MIDI too) asn and interpret the code, displaying the result on the screen. It can then be edited on the screen (though it cannot then be put back to DARMS, only printed out). There is a Postscript driver available. It will convert MIDI to DARMS! I only put this out as information. In fact we have had a lot of problems with the package, and many tearful students doing our 'computers in music' course! However it is interesting for those interested in DARMS. Robert Dow DOWRJ@vax1.bham.ac.uk University of Birmingham Department of Music ------------------------------ Date: Tue, 8 Sep 1992 12:49:34 EDT From: metlay Subject: TIMARA: You can't go home again I would like to take a moment, amidst everyone's worries as to whether they should buy Workstation X or Workstation Y in order to qualify for the Standard Rich And Famous Contract (TM), to thank a gentleman who's quietly doing amazing things in a renovated basement in northern Ohio for his time and hospitality last Sunday. That man is Gary Nelson, the director of Oberlin's TIMARA (Technology In Music And Related Arts) program, and the renovated basement is their new studio complex, which I got a tour of for the first time on this Sunday. When I was a student at Oberlin in the late 70s and early 80s, the TIMARA labs were three converted storerooms in the corner of the Conservatory's basement, next to the boilers and the Graveyard Of Old Pianos. I have many fond memories of spending long nights down there playing with the Scullys and the two modulars (one Moog and one Buchla). The labs always gave the impression of chaotic, frenetic genius-- wires strung everywhere, bits of tape on the floor, etc. By contrast, the new setup has expanded to fill almost the entire basement, and includes a set of new studios, lots of Macintoshes and MIDI gear (neither of which existed when I was a student), a full-sized recording studio, and a reverential place for the old gear (they still have the modulars, the Scullys, and three beloved VCS3s). The primary emphasis in terms of gear is on the old Yamaha FM stuff, which is used in profusion, and on mid-vintage Ensoniq gear, thanks to a grant from that company. One now gets the feeling of involvement in a professional, disciplined program, and everything is organized efficiently and (one hopes) with an eye toward sonic quality in monitoring and recording. I was very impressed with the strides TIMARA has taken in recent years, and would encourage visitors to Oberlin to see how far we've come since electronic music became something to be proud of (all of a sudden?). I hope to stop back there later this fall, once classes are in full swing, and see the labs in action once more. Again, my thanks to Gary for showing me around and taking time for a nice chat on what was supposed to be a quiet Sunday afternoon alone in the studio (his last until the Christmas break, I'll bet). Cheerio, -- dr. michael metlay \ TEAM-METLAYISM OF THE WEEK (from N. Rothwell): atomic city \ "Neeed." As in, "I know I have a huge rig of \ twenty synths and a computer I don't know how metlay@minerva.phyast.pitt.edu \ to use yet! But I Neeed a K2000, too!" ------------------------------