EMUSIC-L Digest Volume 45, Issue 2 This issue's topics: 'musician I' and .NOT file format Book Announcement: Interactive Music Systems (3 messages) Chaos in Composition (5 messages) Ear to Paper - rec.music.compose #894 How to subscribe to the Computer Music Journal MIDI ftp sites other than... (2 messages) Resynthesis Encyclopedia - comp.music #9194 XOR profile wanted!!! Please... 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, 22 Oct 1992 13:26:33 -0400 From: Dudy Subject: 'musician I' and .NOT file format Well, I'm new to this mailing list... (in fact, I'm new to mailing lists itself) so if this subject doesn't belong to this list let me know. I got a copy of a shareware program called 'Musician I'. It's a music composition/edition program that support the Sound Blaster's midi port. It can also display/print it's .NOT files with notes on a stave which I prefer that the other notation used by SP (Voyetra) of WinJammer. Now, my problem is this: - What is this .NOT file format!? - Is there a way to convert it to a more 'standard' format like .MID or .ROL? If someone knows something about this, please let me know. Also, does someone knows a music composition/edition program that can print a 'real' music score from a .MID or .ROL file? Something that would be in the <100$ range and that supports SB's midi port. Well, that's all! Thanx, Christian -- Johnny take a dive with your sister in the rain | Let her talk about the things you can't explain | To touch is to heal, to hurt is to steal | U2 If you want to kiss the sky, better learn how to kneel | (Mysterious Ways) -- Johnny take a dive with your sister in the rain | Let her talk about the things you can't explain | To touch is to heal, to hurt is to steal | U2 If you want to kiss the sky, better learn how to kneel | (Mysterious Ways) ------------------------------ Date: Thu, 22 Oct 1992 09:32:23 CDT From: Joseph Fosco Subject: Interactive Music Systems book (?) Hi all, Has anyone read Interactive Music Systems by Robert Rowe (published by MIT Press). What was it like? Was it any good? Is it worth buying? There is also a companion CD ROM. Would this be readable only on the MAC? Is the source code valuable? Thanks for any information. Joseph Fosco Internet: b38669@anlvm.ctd.anl.gov Bitnet: b38669@anlvm ------------------------------ Date: Thu, 22 Oct 1992 10:42:42 CDT From: "(Gregory Taylor)" Subject: Re: Interactive Music Systems book (?) > Has anyone read Interactive Music Systems by Robert Rowe (published > by MIT Press). What was it like? Was it any good? Is it worth buying? > There is also a companion CD ROM. Would this be readable only on the > MAC? Is the source code valuable? Well, it's not actually out and kicking around yet, but Robert Rowe (the author) *did* let me take a quick flip through the book at the ICMC. I think that it looks like a *very* interesting book - not least because the audio/ROM CD includes the patches used to make the pieces one hears. The patch format seems to be almost entirely in MAX [from what I could tell], which you may find a limitation. I phoned the MIT press and put in my order right after seeing Robert, so I guess you could say I was sufficiently impressed. Terms like "valuable" are a bit problematic for me; do I think that listening to/reading anyone's work who toils in the field is valuable? Yes. Is the source code valuable in terms of plunder for *my* uses? Depends on how familiar with MAX you are, probably. I *can* speak for the notion that I think that Robert has both thought carefully about the subject and actually worked in it, and that the volume includes a good subset of persons in the computer music field whacking away at the stuff. ------------------------------ Date: Thu, 29 Oct 1992 14:14:36 -0500 From: "(Joseph D. McMahon)" Subject: Book Announcement: Interactive Music Systems Interactive Music Systems Machine Listening and Composing Robert Rowe For the growing number of professionals in computer music -- composers, performers, and teachers -- who are looking for more from the computer music systems that are now available, _Interactive Music Systems_ provides the first comprehensive survey and evaluation of new computer programs that can analyze and compose music in live performance. Although Rowe focuses primarily on musical motivations and possibilities of interactive systems, he also takes up such practical considerations as how to build, analyze, and extend these systems, and he looks at the impact of music theory, music cognition, and artificial intelligence on the design of interactive systems and on ensemble performance. He describes in detail both the theory and practice of his own real-time interactive music program, Cypher, and further illustrates basic concepts and characteristic issues using the graphic MIDI programming environment Max. In a concluding chapter, Rowe assesses developments in hardware and software with implications for the evolution of interactive systems, including their implementation in multiple-processor environments, the impact of real-time digital signal processing, and extended prospects for sensing performance gesture. Interactive Music Systems CD-ROM This supplement to Interactive Music Systems contains audio and program examples that document a variety of systems and the music they produce. An extensive library of Macintosh software allows the user to experiment with or adapt existing interactive systems. Some parts of the library require the presence of underlying software environments, such as SmallTalk, LISP, or Opcode's Max language. The program discussed most extensively in the text, Robert Rowe's Cypher, will run on any Macintosh computer with no additional software required. Both the book ($35) and the CD-ROM ($19.95) can be ordered from The MIT Press/55 Hayward Street/Cambridge, MA 02142/ USA Joe McMahon | How could you understand the animals' language? P.O. Box 13 | How the rest-room is to be coloured? Lothian, MD 20711 | Which was the point to confuse Kandinsky? xrjdm@twinpeaks.gsfc.nasa.gov | --- m.alexander@itec.spb.su ------------------------------ Date: Mon, 5 Oct 1992 17:32:18 -0400 From: "(Joseph D. McMahon)" Subject: Chaos in Composition The 3rd-quarter issue of the Computer Music Journal has an interesting article "Chaotic Systems as Simple (but Complex) Compositional Algorithms". This article gives a good overview of methods for using both iterated maps and continuous-flow simulations to provide raw material for compositions. A number of clearly-written and well-commented C programs are included, alog with graphical "scores" of sample outputs. The Henon attractor, the standard map, the Lorenz butterfly, and the Henon-Heiles gravitational field simulation are all given as examples, along with ideas on mapping two-, three-, and four-dimensional chaotic systems into music. I heartily recommend this article to anyone who's interested in adding chaotic processes to their compositional toolbox. I'm hoping to write some special-purpose code to allow me to set these systems in motion and listen to and perturb them in real time. I see lots of wild applications for this stuff. How about a running system whose parameters are under continuous realtime control via a PowerGlove or other interesting continuous controller? How about installations which monitor something in their environment to changes the iteration parameters in real-time? Lots of good possibilities here. --- Joe M. ------------------------------ Date: Thu, 8 Oct 1992 12:56:16 CDT From: "guinan::kummer"@KIRK.MSOE.EDU Subject: RE: Chaos in Composition >The 3rd-quarter issue of the Computer Music Journal has an interesting article >"Chaotic Systems as Simple (but Complex) Compositional Algorithms". This >article gives a good overview of methods for using both iterated maps and >continuous-flow simulations to provide raw material for compositions. >A number of clearly-written and well-commented C programs are included, >alog with graphical "scores" of sample outputs. The Henon attractor, the >standard map, the Lorenz butterfly, and the Henon-Heiles gravitational >field simulation are all given as examples, along with ideas on mapping two-, >three-, and four-dimensional chaotic systems into music. I hear many good things coming from the Computer Music Journal; can someone tell me where I might subscribe to it and how much it costs? Thanks. Phantom Tryke kummer@kirk.msoe.edu --I apologize for the carbon copy, I messed up my return address and didn't want any confusion. ------------------------------ Date: Sat, 10 Oct 1992 17:16:22 MDT From: "(Adam Schabtach)" Subject: Re: Chaos in Composition >I heartily recommend this article to anyone who's interested in adding >chaotic processes to their compositional toolbox. Thanks for bringing this up, Joe. This is a topic I've wanted to find out more about for awhile. It's time for me to scurry off to the university library... Once I see the source code, I'll create some MAX objects to explore these systems. Would anyone else be interested in these objects, once I get them written? --Adam ------------------------------ Date: Sun, 11 Oct 1992 14:18:46 CDT From: "(Gregory Taylor)" Subject: Re: Chaos in Composition > Once I see the source code, I'll create some MAX objects to explore > these systems. Would anyone else be interested in these objects, > once I get them written? > --Adam Sure. Sounds intriguing! ------------------------------ Date: Fri, 30 Oct 1992 20:13:48 +0100 From: A.MULDER@ELSEVIER.NL Subject: For Adam: Re: Chaos in Composition Sorry guys, I don't know Adam's private email address ...... Adam, I'm little late in responding to your msg, BUT I would be very interested in receiving the MAX objects you develop ! Did you already make up something ? Axel a.mulder@elsevier.nl ------------------------------ Date: Mon, 26 Oct 1992 17:27:39 EST From: "(Joseph D. McMahon)" Subject: Re: Ear to Paper - rec.music.compose #894 The only notable omission here is the FTP address, which is unicorn.cerl.uiuc.edu. In article , cottle@cmp-rt.music.uiuc.edu (David M. Cottle) writes: > In article <1992Oct26.135831.29235@noose.ecn.purdue.edu> hiles@niblick.ecn.purdue.edu (Oh, you can't be serious, Mike.) writes: > > >My father plays piano and has a MIDI-capable synthesizer > >at his disposal. He plays virtually everything by ear > >and embellishes along the way. He wants a computer system, > >MIDI interface, and appropriate software to "capture" > >these tunes as he plays them and put them to musical scores. > >What do you think is the "best" computer/software system? > >Keep in mind that my father is by no means a "computer jock", > >so the more user friendly the better. > > Lime is powerful and intuitive. I've seen a number of non-computer > types learn it quickly. As a matter of fact, in one of the labs here > on campus, my biggest problem is getting people to read the manual. > Someone will have a piece pretty well finished and then will have some > small problem they don't know how to fix. I'll show them how and ask > if they'd read the manual. Turns out they didn't even know there was > one in the lab. > > There is one problem I've noticed with people who are not trained > musicans (no offense to your father, but playing everything by ear > implies he doesn't read) who want a way of transcribing as they improvise. > Lime works quite well in real time transcription, but it requires some > educated preparation. I sat one person down in front of the machine to > show him how it worked. I asked him what meter he would like and he > got this confused look. "Meter?" I knew this was going to be a task. > After determining the meter I asked how many measures he needed > (because Lime understands the music as music, rather than just > graphics, it needs to know how many beats to put in each measure). > Another blank look. I loaded it up with plenty of extra. After we > were all set up he started playing both hands, lots of > broken chords, etc. The music was correctly documented, but on one > staff, broken chords quantized, some values incorrectly tied because > they were held too long, some values too short because they were played > staccato, etc. There is not yet (perhaps future versions?) a way to > set a default that will place notes from different ranges in the > appropriate staff. It works one voice at a time, and most piano music, > when notated, requires at least three voices. > > Even so I think Lime is a good place to start. It is easy to learn, > and it does real time well. But it is not "magic." > > On the other hand, I've worked with a vocalist transcribing a set of > songs to be transposed and we just sat her accompanist down, and after > a few trials to get the feel of it, he just played the pieces in (one > voice at a time) and I worked on the layout and annotations. We were > done in a few hours. > > Here is a readme from the ftp site: > > This is the README file for free anonymous ftp distribution of > the demonstration version of Lime (version 1.1a). Lime is music > notation software for the Macintosh, developed by the CERL > Sound Group (University of Illinois in Urbana, Illinois) and > Queen's University (Kingston, Ontario). > > To use this free anonymous ftp facility, you will need: > 2 Meg or more of RAM on your Macintosh, > A program which can decode binhex files (Stuffit can do this), > Microsoft Word (version 4 or newer), > and access to a PostScript printer. > > If you have trouble using this free anonymous ftp facility, you > can purchase the demonstration version of Lime (on floppy disk) > with a hardcopy manual for $20. To order over the phone using > VISA, call 217-244-4298. To order by mail, send a $20 > check (payable to the University of Illinois) to: > Demonstration Lime > Lippold Haken > CERL Sound Group > University of Illinois > 103 S Mathews #252 > Urbana, IL 61801-2977 USA > > The demonstration version of Lime is for demonstration purposes only; > it is fully functional with printing and part extraction, but you > will be limited to 3 page pieces. If decide you would like to > purchase Lime, send a check for $160 to the above address, or order > with VISA by calling 217-244-4298. > > > If you want to proceed, follow > these steps: > 1) ftp LimeDemo.sea.hqx and LimeManual.sea.hqx to your Macintosh. > (You do not need LimeCProgrammer.sea.hqx -- that is only for > C-language experts who want information on Lime disk files.) > 2) Decode LimeDemo.sea.hqx and LimeManual.sea.hqx using a BinHex > decoding program. (If you have StuffIt, 'Decode BinHex File' > under the Other menu does this.) Now you will have two files > named LimeDemo.sea and LimeManual.sea. > 3) Double-click on LimeDemo.sea to extract the Lime demo program; > also double-click on LimeManual.sea to extract the Lime User's > Manual. > 4) Use the Finder to copy the files called "Marl" and "Tufa" from > the Type 3 Fonts folder into your system folder. These are > PostScript font definitions. > 5) If you are running Macintosh System 4, 5, or 6: > Use the Font D/A Mover to copy the Marl and Tufa fonts > from the Bitmap Fonts folder into your system. > If you are running Macintosh System 7: > Open the Bitmap Fonts folder using the finder, copy the > suitcase files onto your System folder's icon. > 6) You need to print the Lime Manual before you try to run Lime. > Do this by running Word 4, and printing the "Lime Manual" file. > If you have trouble printing, make sure you have a PostScript > printer, and make sure you completed steps (4) and (5) properly. > 7) To install Lime on your Macintosh, read the directions in the > manual under How To Install Lime. > > When new demonstration versions of Lime become available, they will > be distributed through this ftp facility. > > Please send Email to Lime@uiuc.edu when you use this facility; we > would like to have an idea of how much use it is getting. Also, > send Email to Lime@uiuc.edu if you have questions or comments > about Lime. > > >Thanks in advance for your input. > > > >Mike > > > > Hope it works for you. > > > > =============================== > David Cottle = > Lime Consultant = > CERL Sound Group at UIUC = Ballo ergo sum. > 103 S Mathews = > Urbana, IL 61801 = -des Cartwright > = > (217) 244-6686 = > Lime@uiuc.edu = > =============================== > -- Joe McMahon | How could you understand the animals' language? P.O. Box 13 | How the rest-room is to be coloured? Lothian, MD 20711 | Which was the point to confuse Kandinsky? xrjdm@twinpeaks.gsfc.nasa.gov | --- m.alexander@itec.spb.su ------------------------------ Date: Thu, 8 Oct 1992 16:01:00 -0400 From: "(Joseph D. McMahon)" Subject: How to subscribe to the Computer Music Journal Because of the overwhelming number (okay, four, I'm easy to overwhelm) of requests for the information, here's how to get the Computer Music Journal. To subscribe to the Computer Music Journal, send your name and address (along with the appropriate amount fom the list below) to MIT Press Journals 55 Hayward Street Cambridge MA 02142-9902 US Canada(*) All other Individual $38 $55.64 $52 Institution $80 $100.58 $94 Student/Retired $30 $47.08 $44 (ID required) The Canadian price reflects shipping/handling and 7% GST. The subscription can be paid via VISA or Mastercard, by money order, or by check (if drawn on a US bank). For those who don't know it, the CMJ is a journal devoted to the academic and research composer; it is definitely not Keyboard magazine. It does review currently-available music and instruments, but with an eye to their usability as experimental machines. I highly recommend it to anyone whose interested in more esoteric topics than are covered in the popular magazines. --- Joe M. ------------------------------ Date: Mon, 12 Oct 1992 17:55:13 -0400 From: "(M.J. Kociscin)" Subject: MIDI ftp sites other than... Hi all, Are there any other FTP sites with MIDI-related files other than: ucsd.edu louie.udel.edu I'm looking for sequences (MIDI files, especially) and SoundBlaster files in particular, but any MIDI-related files will do. Thanks! Mark Kociscin (ko-sis-in) mjk7911@ultb.isc.rit.edu ------------------------------ Date: Wed, 14 Oct 1992 23:10:56 CST From: Jason Keeler Subject: Re: MIDI ftp sites other than... Hi; Don't forget NIC@FUNET.FI....HUGE library! Also try PRINCETON.EDU Let me know if you find any more...I'm always looking myself! Regards, Jason Keeler ------------------------------ Date: Mon, 26 Oct 1992 10:53:37 EST From: "(Joseph D. McMahon)" Subject: Re: Resynthesis Encyclopedia - comp.music #9194 Reply-To: xrjdm@calvin.gsfc.nasa.gov In article <1c9ukbINNbo@calvin.usc.edu>, alves@calvin.usc.edu (William Alves) writes: > In article <1992Oct23.211559.16099@cgrg.ohio-state.edu> david@osc.edu (David Knight) writes: > >In article <19807.2ae67aff@ul.ie> oriordains@ul.ie writes: > >>>On a different note, does anyone know of a book of spectrum information > >>>for various sounds, sort of like an encyclopedia for resynthesis? I > >>>am specifically looking for 3-d plots of frequency vs. time vs. amplitude. > > >>I would also be VERY interested in such a reference. > > This has been asked for a number of times. The problem is the number of > variables and the amount of data which would make this encyclopedia use- > ful. Every instrument's frequency spectrum changes not only in time, but > also according to loudness, pitch, and articulation, not to mention from > player to player. These changes can often be radical, that is, the spec- > trum of an instrument's low pitch may have little or no resemblence to > the eye of a high pitch on the same instrument. The simple 2-d spectra > of a bassoon or a clarinet given in some acoustics texts sometimes leaves > readers with the impression that with just a few more pictures a catalog > of the orchestra could be derived. > > Fortunately, some comprehensive work of this kind has been done by James > Moorer and John Grey at Stanford. They analyzed four instruments in a > series called "Lexicon of Analyzed Tones." These were published as sep- > arate articles in the Computer Music Journal: The violin (CMJ 1#2, Apr. > 1977), the clarinet and oboe (CMJ 1#3, June 1977), and the trumpet (CMJ > 2#2, Sept. 1978). Much of the work of these two went towards trying to > identify the important parameters of timbre so that this information > could be reduced to a simpler psychoacoustic model. Grey's dissertation > _An Exploration of Musical Timbre_ is the culmination of a lot of this > research and is available from CCRMA at Stanford. > > There are a few other references along these lines listed in Deta Davis' > _Computer Applications in Music: A Bibliography_. No encyclopedia listed, > though. > > Bill Alves -- Joe McMahon | How could you understand the animals' language? P.O. Box 13 | How the rest-room is to be coloured? Lothian, MD 20711 | Which was the point to confuse Kandinsky? xrjdm@twinpeaks.gsfc.nasa.gov | --- m.alexander@itec.spb.su ------------------------------ Date: Fri, 2 Oct 1992 00:20:33 CST From: Rod Lemcke Subject: XOR profile wanted!!! Please... Does any body out there have a profile for the Alesis D4 drum module. The prof ile is for the DR.T's XOR on the Amiga. Please reply if you can help me. I would be MORE than thankful and dp my best to return favor. Thanks... Rod L. By the way I'm not on the emusic-l echo you can reach me on synth-l ...THANKS! ------------------------------ End of the EMUSIC-L Digest ******************************