========================================================================= Date: Sat, 21 Oct 1995 14:48:00 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bruce Edwards Subject: Fractal2Zip My first attempt at contributing to the Fractal fracas may or may not have made it across the nether-sphere . . . (if I was certain that it had, the compulsion to respond (vaguely incoherently) would have been satisfied, but, lack of clarity is such a motivater (If I just talk louder I am sure I will be understood!)). I really appreciated Amanda's equipment list. . .one of the pleasant surprises of this list has been the affirmation that as we are busily re-inventing the wheel all across the globe there are significant clusters that have pursued very similar patterns . . . I will refrain from dumping the details of equipment in my basement rig (I wonder if my list would be bigger than yours, Amanda?) The ease with which such information can be transmitted is part of the fractal zoom, in part a by product to fractal maintenance. After the third black box it became apparent that the old descriptive insurance list was going to be inadequate. It was relatively simple to expand the capabilities of the spreadsheet/database conjured for serial #'s to also track the relatively fluid physical locations of the tools (years ago someone abandoned a DR606 in one of my rooms, now that it is once again on the cutting edge of that "classic" sound I imagine the former owner wishes they could remember where they deserted it) cause most of my stuff is so damn portable (that you carry so much of it around as to defeat the premise of portability & establish mini work stations at 6 locations around town (the Yamaha QY series was such a nice idea, but the first one would not "loop" songs and had no usable sounds but an Anadek Pocket Record & piano module helped cure those problems and with the addition of a headphone amp, stomp box EQ, a close-out $10 Casio keyboard w/MIDI removed from its case and fitted into a standard Attaché case it is amazing how much work you can get done in the front seat of your car until your battery rebels and cigar lighter socket melts (but as long as you had a surge protector you can keep going as the tow truck carries you to work (something that suddenly moved from luxury to necessity as you are not quite sure when you will be able to afford to repair the car as it has suddenly become apparent that the way to "simplify" the music making process is to stick a 2 gig HD in the portable . . . never had any desire to be a used by "MAC" guy but it sounds as if MAX would help me simplify my life tremendously (I mean shouldn't I be able to develop an object that would let me use my toothbrush to input note data while cleaning my teeth? or better yet why couldn't I use the stuff I am typing now to create a piece of music at the same time . . .)) The basic design for serial #'s & physical addresses became easy to adapt for keeping track of instrument "groupings" and then the physical (and virtual) connections among intstruments. . . the point (or perhaps a counterpoint) whether I am dealing with a 4 piece punk act or a 30 piece Junior High band many of the problems and limitations are remarkably similar. Whether I am using one guitar & a harmonica or trying to control 100 virtual voices the pattern of the challenges remains remarkably similar (oh, I still buy the next piece of equipment expecting it will cure some problem and while it might enhance my capability (for making a fool of myself or creating the next exciting genre) it has never to date "cured" anything.. By the same token reducing the complexity of my musical options has never cured a thing either. Big rig or little rig you can crash and burn with just about the same ease when it begins to rain . . . the conflicts among craft & art & business have been very similar for a good number of generations and (internet or no) do not appear likely to change in the foreseeable future . . . I have always been weakest in craft -- will spend the rest of my life on my journey to intimacy with the guitar will never more than scratch the surface of the subtleties of more than 10% of the black boxes I own . . . even though I have slept with my head pillowed on the guitar, used it as a desk to write songs, eat meals, even while it is more truly my voice than anything that emanates from my throat it is an iconoclast, an individual bordering on anarchist. The computer has fewer pretentious and (even in pre MIDI days) has every desire to assist in integrating the skills of a arge array of black boxes . . . In working with a performer we can build a performance from the ground, establishing rhythm rules by input from guitar, keyboard, percussion pads, wind controller, foot switch & faders, or as numbers from a keypad -- in whatever manner with which the performer is most comfortable. This info, all from one input session, can be conveyed to other musicians across the country as print (standard notation or variation), as sequence (up/down loaded via telephone lines) as digital audio or analog audio. The same box that helps me do that assists in tracking schedules for a dozen musicians on the same number of projects, the current batch of which will not be completed for 2-3 years, then when I have a moment to spare for pontification it will help me correct numerous spelling errors before I hit the send key . . . Do not misunderstand, while I have cursed my tools for limitations that are inherently mine (in the past and in the future), have waited breathlessly for the lamp that will convert me from a stuttering dunce to a charismatic legend this is not a praise of technology -- we still are infested with far too many boosters and few too many critics -- The new tools, the electronic tools have expanded the complexity & diversity of the individual voice & their existence has opened paths to content and technique that did not exist before -- there is an element of terror in that -- but the complexity or simplicity of a "rig" will always be a much more minor problem than the traditional challenges of art, craft & business. regards B. Edwards ========================================================================= Date: Sat, 21 Oct 1995 15:10:36 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: THEREMIN LEGATO ========================================================================= Date: Sat, 21 Oct 1995 17:30:12 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: mark simon Subject: Black hole foam >I think you may have coined a new expression along the order of stupendous, >terrific, groovy, or bitchin'! If we can surmise that "black hole foam" is >something which is vast, amorphic, primal, and entropic (vape?), I would have assumed that "black hole foam" was some sort of contraceptive. //////////////////////////////////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Mark G. Simon mgs2@cornell.edu \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ///////////////////////////////////////////////////////// ========================================================================= Date: Sat, 21 Oct 1995 15:27:14 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: more info re: processing finale Comments: cc: synth-l@AMERICAN.EDU I didn't mean for my posted question regarding finale to be so vague....I just wanted to spare you the drudgery of the details, but here it comes: I am running finale on a Mac LC475 (essentially the same as a performa 475). I have 20 megs of RAM with 14.5 megs allocated to the program. This absurdly large allocation of RAM has decreased my deletion processing time from 8-10 hours to 45-60 minutes. While that is a vast improvement, it is still unacceptable and, given that my memory allocation is so much higher than the reccommended levels, that it is only addressing the symptoms not the problem. I am running Finale 3.0.1.......my mac is a 68LC040 machine running at 25mhz....and I'm mad as hell and can't take it anymore!!! What do I do, any suggestions? If you don't know the answer but are on the finale list, would you mind posting this query there to see if anyone there might have any other suggestions that you could pass on? Thank you for all your help and guidance! -Craig ========================================================================= Date: Sat, 21 Oct 1995 17:40:56 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eric Sluyter Subject: Re: THEREMIN In-Reply-To: <951021151036.14f0@FLO.ORG> Thanks, but no SEE-gar! I was referring to *detached* notes, thought not as short as stacato. Damn, am I actually gonna have t' crack a *book* on this one?! ...shoulda stayed in school... --=[ E r i c I a n S l u y t e r ]=-- email: bc492@scn.org telephone: (206)728-7145 On Sat, 21 Oct 1995 NEC_CEELY@FLO.ORG wrote: > LEGATO > ========================================================================= Date: Sat, 21 Oct 1995 20:59:29 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter K Schoenhoff Subject: Re: THEREMIN In-Reply-To: ; from "Eric Sluyter" at Oct 18, 95 1:43 pm These are the graceful words of Eric Sluyter: ->> Orchestrally, the only problem was with glissando. ->Clara Rockmore seemed to have overcome this "problem". I heard her play ->passages where the individual notes were played quite detached from one ->another (damn! What's the term? Not staccato, not stacatino, but, but...) detache'? marcato? non-glissando? =^) -- -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Sun, 22 Oct 1995 16:04:10 +350 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: sam salek-moghaddam Organization: University of Tehran Subject: history text from: sam@ece.ut.ac.ir if anyone have the text of the song of History from the albom of history of the King of Pop M.J. please send that text to me ========================================================================= Date: Sun, 22 Oct 1995 10:02:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractals and such To Mike Metlay or anyone interested: In a recent cogent discourse I was asked whether it is ok to write parts for violins if they were impossible to play by a human musician. In other words, if a machine can play arpeggiated 128th notes in allegro with a violin's voice, why designate the part for a violin on the printed score? Shouldn't the scored part read "Synth String?" As we go deeper into the science of music do we find new opportunities for the sequencer\synthesizer to be the virtuoso? Today's new students welcome any answer to the affirmative. :) jollyroger@iquest.net "You can multiply happiness by dividing it." - ? ========================================================================= Date: Sun, 22 Oct 1995 13:39:02 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Marshall Tuttle Organization: Torii Station 30Gig online at 405-733-7083 Subject: Re: fractals and such > In a recent cogent discourse I was asked whether it is ok > to write parts for violins if they were impossible to > play by a human musician. In other words, if a machine can > play arpeggiated 128th notes in allegro with a violin's voice, > why designate the part for a violin on the printed score? > Shouldn't the scored part read "Synth String?" at some point we have to confront the issue that if in fact we can not play these things the likelihood may become vanishingly small that we can actually hear them.... you make no statement as to tempo, but the quickest that humans can articulate is somewhere in the neighborhood of 13 events per second, if you start going any faster than that the nature of how events are heard transforms: 16 events per second begins to be heard as a pitch rather than a distinct series of events. recent research on hearing suggests entirely different mechanisms are involved in processing these two types of events. > As we go deeper into the science of music do we find new > opportunities for the sequencer\synthesizer to be the virtuoso? what is virtuosity, mere speed? i suggest to you that virtuosity is impossible for a machine to realize, virtuosity is the projection of heroic human achievement into the artistic dimension. sure, the machine can play faster, but can anything besides another machine actually hear it???? one more historical note - when the violinists saw the parts at the end of Walkure they told wagner that this was unplayable. Wagner replied: "but of course, if it were playable i would have written something different". apparently he wanted a diffuse unfocused sound which was only possible by giving a large number of violinists something they could only approximate in different ways. a "virtuoso" machine would have flubbed this entirely by playing it as written. mt ========================================================================= Date: Sun, 22 Oct 1995 22:40:28 GMT Reply-To: jetman@tunanet.com Sender: Electronic Music Discussion List From: jetman Organization: tunanet Subject: Re: fractals and such Comments: To: homer!AMERICAN.EDU!EMUSIC-L@AMERICAN.EDU Marshall Tuttle wrote: >i suggest to you that virtuosity is impossible for a machine to realize, virtuosity is the projection of heroic human achievement into the artistic dimension. > If machines can record virtuosity performed by humans why can't they _project_ virtuosity _conceived_ by humans. Virtuosity exists in the compositional realm as well as in performance. In through composed (as opposed to improvised) music, in fact, virtuosity could not exist without conception prior to the performance. To this extent then machinery or performance is only the means to the end. Virtuosity lies in the conception; the realization, whether mechanical or human is at best a necessary afterthought. This is not to belittle performance or the virtuostic in performance at all. Without it, there's no music, only the concept, as virtuostic as that might be. Jeff Talman NYC-USA jetman@tunanet.com ========================================================================= Date: Tue, 17 Oct 1995 06:12:00 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Trish O'neil Organization: NWCS Online * Oregon USA * 503-655-3927 Subject: Re: Coda e-mail address M>From: Matt McCracken M>To: Multiple recipients of list EMUSIC-L M>Date: Sun, 15 Oct 1995 19:13:33 -0400 M>Subject: Re: Coda e-mail address I don't know their e-mail address, but there is a mailing list, like this one- I just signed up for it (just found it yesterday...... send e- mail to: LISTSERV@SHSU.edu; in the body of the message put SUBSCRIBE FINALE Those were the directions I got- see you there, if it works.....I'm a newbie on Finale, the learning curve is a bitch, but I'm almost score-capable, I'd be glad to help if I can..... 10/16/95 trish.o'neil@bbs.locally.com Let us taunt it; perhaps it will become cross, & go awayCMPQwk1.42-R2 313 ========================================================================= Date: Mon, 23 Oct 1995 05:19:36 GMT Reply-To: music-vote@netagw.com Sender: Electronic Music Discussion List From: Bill Aten Subject: CFV: comp.music reorganization FIRST CALL FOR VOTES (of 2) unmoderated group comp.music.midi unmoderated group comp.music.misc (renames comp.music) moderated group comp.music.research Newsgroups lines: comp.music.midi Computers as components in MIDI music systems. comp.music.misc Miscellaneous use of Computers in Music. comp.music.research The use of Computers in Music Research and Composition. (Moderated) Votes must be received by 23:59:59 UTC, 13 Nov 1995. This vote is being conducted by a neutral third party. Questions about the proposed group should be directed to the proponent. Proponent: John Fitch Votetaker: Bill Aten RATIONALE: comp.music.midi As a consequence of the proposal for comp.music.research there needs to be a replacement for comp.music. The majority of the current traffic could loosely be called MIDI based, and so the proposal is to create this group to reflect this usage. RATIONALE: comp.music.misc Some material may not fit in either the research or MIDI category. This group exists to ensure that all aspects of computer-based music have a home. RATIONALE: comp.music.research The newsgroup comp.music was originally intended as a forum for Computer Music Research, but the rapid growth in availability of MIDI and multimedia personal computers, together with the number of sites who do not take rec.music.makers.synth, has meant that for many months over 90% of postings within that group have related to the use of computers to make music rather than research in such subjects. This dilution has led to the research community leaving the group, and the growth in specialist mailing lists. By creating this new newsgroup we wish to provide a publicly available single resource. It will not replace the mailing lists, but complement them in a more general context. The group needs to be moderated at least initially to maintain the separation of topic from the other comp.music groups. CHARTER: comp.music.midi An unmoderated group for the discussion of all aspects of MIDI and computers, including selection of equipment, organizations and control of synthesizers. It would be a suitable place for seeking advice and assessing software and hardware systems. END CHARTER. CHARTER: comp.music.misc A general group for the discussion of an aspect of computers related to music. It is expected that the other two more specialist groups will carry the bulk of the traffic. END CHARTER. CHARTER: comp.music.research comp.music.research is a moderated newsgroup for discussion of the uses on computers in any aspect of research into music, including composition, analysis, synthesis and sound generation. It also includes music representation systems, information retrieval systems for musical scores, music printing (but not commercial advertising), and computer-based musicology and ethnomusicology. It is a forum to ask questions, share information, and to announce new results. It is expected that the information may be used by the Music-Research Digest for their mailing list. END CHARTER. MODERATOR INFO: comp.music.research Moderator: Jeff Harrington Moderator: John Fitch Administrative contact address: mus-res-request@maths.bath.ac.uk Article submission address: mus-res@maths.bath.ac.uk END MODERATOR INFO. HOW TO VOTE: Extract the ballot from the CFV by deleting everything before and after the "BEGINNING OF BALLOT" and "END OF BALLOT" lines. Don't worry about the spacing of the columns or any quote characters (">") that your reply inserts. PLEASE, do not send the entire CFV back to me as this mail is archived. Mark the ballot and then MAIL it to: Just "replying" to this message should work, but check the "To:" line. In order to properly record your vote, please provide your REAL NAME and indicate your desired vote in the appropriate locations inside the ballot. 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Only the votetaker, the news.announce.newgroups moderator, and the proponent (if specifically authorized by the votetaker) are permitted to distribute copies of this CFV. Distribution of pre-marked or otherwise modified copies of this CFV is generally considered voting fraud and should be reported immediately to the votetaker or the UVV . In cases where voting fraud is determined to have occurred, it is standard operating procedure to delete ALL votes submitted by the violator. When in doubt, ask the votetaker. DISTRIBUTION: The only official sources for copies of this CFV are the locations listed below and the votetaker's e-mail CFV server which can be reached at . This CFV has been cross-posted to: news.announce.newgroups, news.groups, alt.emusic, alt.music.midi, bit.listserv.emusic-l, comp.music, rec.music.makers.synth, rec.music.compose This CFV will also appear on the following mailing lists: Music-Research Digest List address: csound List address: pcsound List address: ICMA List address: SOUND List address: Algorithmic Composition List address: Smallmusic list List address: MAX list List address: SMT List address: Digital Audio Workstation List address: Emusic-L List address: Synth-L List address: ========================================================================= Date: Mon, 23 Oct 1995 10:28:45 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert M. Sanders" Subject: The Fractal Conspiracy... (somebody's makin' a fortune off it) Maybe we're all suffering from some kind of marketing hype that all this stuff is absolutely essential to unleash creativity and more accurately express ourselves. Sounds alot like the cosmetic industry in a way. Go camping with your girlfriend if you don't know what I'm talking 'bout. Perms, manicures, tanning booths, lip liner, eye liner...clearosil...foundation (whatever that is)... Everybody harpin' on about how hard it is to keep track of every thing. Sounds like a church social with a bunch of ol' ladies sittin' around complaining 'bout how it took 'em two hours to get ready for the picnic, and no- they won't play on the volleyball team, thank you- it'll mess up their hairdos. Fiddlesticks! I just broke a nail! Meanwhile, at some remote island beach, there's a 'natural' women making passionate love in the surf. Without worrying 'bout no 'do, no facial jelly creams, eyebrow pencil or nothin'. The real tension underlying 'fractal zoom' may have more to do with being uncomfortable with your 'natural' self than whether some electronic crutch is inconvenient to use. -rob ========================================================================= Date: Fri, 20 Oct 1995 20:45:48 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: the great fractal zoom >>Examples: I'm finding that patch editing on the synth is too time-consuming >>so I'm attempting to write a patch editor. > >I wonder if you realize how howlingly funny this looks to a non-programmer, >Clive ole pal? :) It would look howlingly funny to this programmer as well, except that I've already done it ... at least three times ... Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Sat, 21 Oct 1995 14:52:29 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: the great fractal zoom >If you don't code for fun, why >are you not taking an easy route? Oh, fer shame, Mike. :-) Didn't somebody say something about how great artists eventually ended up making their own tools? To address the specific points you raise, not that I'm in a particularly antagonistic frame of mind, you understand: >Are funds that tight, Want to see a UK price list? Or for that matter, want to actually try and buy something here? >are you running on a platform that no one supports any more, I expect my PowerBook 100 to go that way sooner or later... As for my Terak 8510... >is the synth you're using unsupported...? Micro-Wave? (Galaxy doesn't have an editor for it, although there are others.) MKS-70? (The only *functional* editor I've ever seen for this is the one I wrote, although I'd expect SoundDiver to get it right as well, reputation-wise.) DMP7? (Galaxy bows out here as well.) Peavey QFX 4x4? Roland R-8 *MK II*? Digital Music MX-8? Peavey PC 1600 *editor*? Wavestation *effects* editor? Lexicon MRC librarian? >If you don't code for fun, why are you not taking an easy route? For the same reason you still hark back to the days of tape splicing? I came from the "not invented here" software culture rampant in UK universities in the late 70's/early 80's, and now realise how largely bogus that approach is. However, there is still some justification for building tools in order to make art. Any MAX user will agree (I hope). Maybe I should go and have some breakfast; that'll make me less argumentative. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Mon, 23 Oct 1995 15:50:45 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: harry haecker Subject: Re: The Fractal Conspiracy... (somebody's makin' a fortune o >Maybe we're all suffering from some kind of marketing hype that all this >stuff is absolutely essential to unleash creativity and more accurately >express ourselves. I agree...it's just one of many tools that a musician can use-- or not use. I don't think there's anything more wondrous about this tool than, say, 17th c. counterpoint theory. Both of these tools can generate horrid results in the hands of an ignoramous, much like how improperly used cosmetics can produce a Bride of Frankenstein. >Meanwhile, at some remote island beach, there's a 'natural' women >making passionate love in the surf. Uh, where's this happenin'? Don't think that's on my tour roster... >The real tension underlying 'fractal zoom' may have more to do with >being uncomfortable with your 'natural' self than whether some >electronic crutch is inconvenient to use. Fractals can be an electronic crutch, or a starting point...like a dust mote is to a raindrop. I can tell when it's used as a crutch because the music has no soul. /hfph ========================================================================= Date: Tue, 24 Oct 1995 12:16:38 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: the great fractal zoom Mike perceptively questions-- >>> >>>>Examples: I'm finding that patch editing on the synth is too time-consuming >>>>so I'm attempting to write a patch editor. >>> [SNIP] > >I gues the practical thing to ask would be, 'Why don't you buy an >editor that someone else wrote and debugged already?' Are funds that >tight, are you running on a platform that no one supports any more, is >the synth you're using unsupported...? If you don't code for fun, why >are you not taking an easy route? > Nick's already cogently answered this from his viewpoint. For me, as Mike has guessed, there's more to it than 'I need an editor so I'll get one' (this means I chose a bad example. Or did I?). And though the other considerations Mike mentions do have relevance, its Nick's 'great artists making their own tools' point that's the most telling for me. Great artist, no. But as part of the 'craft' bit of the 'art and craft' thread, then yes. As a newcomer to MIDI, writing a patch editor is teaching me a lot about Sysex, so let's call it part of the learning process. Make me a better musician/composer? Probably not, but I feel happier knowing something of the 'how'. And to prove I know how to live dangerously, here's another example: The K4 hiccups if I send it a Program Change in the middle of a sequence. But there are other MIDI messages it will take on the fly without complaining. I only found this out during the writing of the editor, and it's information I will use in composing. So even if the editor never gets finished, I've got something else out of it. But would I do it again? Would I do it three times? Time will tell. Regards Clive (who's had his breakfast, but who left his lunch at home. You want argumentative? Try me in about 5 hours). Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Tue, 24 Oct 1995 12:43:39 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: fractals and such Roger asks-- > >In a recent cogent discourse I was asked whether it is ok >to write parts for violins if they were impossible to >play by a human musician. In other words, if a machine can >play arpeggiated 128th notes in allegro with a violin's voice, >why designate the part for a violin on the printed score? >Shouldn't the scored part read "Synth String?" > But does it sound like a violin any more? If I heard this, I suspect I'm unlikely to think "goodness me, that violin's playing arpeggiated 128th notes in allegro". So for me it wouldn't really matter what it was called: the effect could only be achieved electronically. If on the other hand you were trying to achieve a particular quality of sound using real musicians (eg ragged sliding notes, mumbled swearing and violins bursting into flames) then you have to define the instruments in the score. Depends on what you are trying to create. >As we go deeper into the science of music do we find new >opportunities for the sequencer\synthesizer to be the virtuoso? > I don't think so. But they can expand capability (dangerous statement, that). Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Mon, 23 Oct 1995 22:50:13 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JAMZ69@AOL.COM Subject: Re: The Fractal Conspiracy... (somebody's makin' a fortune off >Sounds alot like the cosmetic industry in a way. Go camping with your girlfriend if you don't know what I'm talking 'bout. Perms, manicures, tanning booths, lip liner, eye liner...clearosil...foundation (whatever that is)... SCREW YOU ...from a girl who camps ========================================================================= Date: Tue, 24 Oct 1995 00:10:37 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MORGAN ELLINGTON SMITH Subject: Incidental Mysogyny Please folks, let's not make any references to women as sex objects (that bit about "a natural women [sic]") or women acting like sex objects (that bit about bringing curling irons when camping). Not only is it unrelated to our topic, but it's just plain rude. Mr. Morgan Smith @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ Morgan Smith Student of Music, about to receive smithme@hiramb.hiram.edu his degree. Currently abandoning all traditional Western musical values. @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ ========================================================================= Date: Tue, 24 Oct 1995 13:47:01 +0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andrew Horner Subject: ICMC96 call for papers Comments: To: tuning@eartha.mills.edu, gamelan@dartmouth.edu, icma@umich.edu, ilwc@acuvax.acu.edu, compfrm@maroon.tc.umn.edu, weidenaa@pilot.njin.net, Music-Research@comlab.ox.ac.uk, csound@noether.ex.ac.uk, pcsound@maths.bath.ac.uk, sound@acm.org, anglo-comp@heinous.music.uiowa.edu, smallmusic@xcf.berkeley.edu, max@vm1.mcgill.ca, smt-list@husc.harvard.edu, daw-mac@netcom.com, synth-l@american.edu, c-forum@woof.music.columbia.edu, composer@ucc.uwindsor.ca, sonicart@sonicart.demon.co.uks, oz-computer-music@latrobe.edu.aus, center@amc.nets, amc@dorsai.orgs, chenyi@aol.com, ceediscuss@vax2.concordia.ca, namu@siba.fi, il-cmf@cs.huji.ac.il, auditory@vm1.mcgill.ca, sigmedia@bellcore.com 1996 International Computer Music Conference - Hong Kong call for papers/participation The CS Department at the Hong Kong University of Science and Technology and the Hong Kong Urban Council will host the International Computer Music Conference from 19 to 24 August, 1996. DEADLINE: for paper submissions: 21 DECEMBER, 1995. ******UPDATE NOTE******* Abstracts are sufficient for submission. The submission forms indicate that full papers should also be submitted, but we've changed this so that full papers are not required until after notification of acceptance. All submissions require submission forms. For a detailed brochure and submission forms, please contact (and include your snail mail address): ICMC 1996 Department of Computer Science Hong Kong University of Science and Technology Clear Water Bay, Kowloon HONG KONG Telephone: (852) 2335-0558 Fax: (852) 2358-1477 Email: icmc96@cs.ust.hk The conference will feature papers, posters and demonstrations of current computer music technology. Topics include (but are in not necessarily limited to): * Computer music and digital art * Artificial Intelligence in music * Aesthetics, philosophy and criticism * Acoustics of musical instruments and voice * Audio analysis and resynthesis * Audio hardware design * Audio signal processing techniques * Composition systems and techniques * History of electroacoustic music * Interactive performance systems * Machine recognition of audio * Machine recognition of music * MIDI application * Music analysis * Music data structures and representations * Music education * Music grammars * Music languages * Music notation and printing * Music workstations * Performance interfaces * Psychoacoustics, perception, cognition * Realtime systems * Room acoustics * Sound in multimedia * Sound synthesis languages * Sound synthesis methods * Studio reports (especially from the Far East) * Emerging technologies for sound computation * Sound processing with genetic algorithms, alife, and neural nets * Computers and microtonality * Instrument design algorithms * Physical models * Spatialization * Acoustic ecology * Algorithmic composition The Music submission deadline is also the 21st of December. Enquiries to: Dr. Lydia Ayers, Conference Chair ICMC 1996 Department of Computer Science Hong Kong University of Science and Technology Clear Water Bay, Kowloon HONG KONG Telephone: (852) 2335-0558 Fax: (852) 2358-1477 Email: icmc96@cs.ust.hk http://www-mitpress.mit.edu/Computer-Music-Journal/Documents/ICMC_1996 .html ========================================================================= Date: Tue, 24 Oct 1995 10:47:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractals and such > >I don't think so. But they can expand capability (dangerous statement, that). > >Clive If I go out on stage and press play, and the jaws drop in the audience because they hear this tremendous guitar solo: But there's no one playing the guitar, just me sitting in a chair. Does the fact that I can manipulate sound to positive audience response erase the shame of not being able to mimic the cadenza on the ES335 using my own hands? The expansion of capability also expands the possibilities which can be realized through step time entry. Is it Kosher? jollyroger@iquest.net The artist formerly known as Jeremy Hillary Boob, "fudd." ========================================================================= Date: Tue, 24 Oct 1995 10:47:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractal fever The following World Wide Web sites offer fractal music info: Hearing the Mandelbrot Set http://www.vanderbilt.edu/VUCC/Misc/Art1/Sonify/Mandi.html Mathematica Sounds Gallery http://www.wri.com/mathematica/gallery/sound/index.html jollyroger@iquest.net The artist formerly known as Jeremy Hillary Boob, "fudd." ========================================================================= Date: Tue, 24 Oct 1995 10:47:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: "HEART SONGS" A student at Brown has an unusual CD out. It is called "HEART SONGS" and was reviewed on National Public Radio on Monday the 23rd. The son of a heart surgeon, the student took fractal information of heartbeats and applied them to diatonic scales. Thirteen patients were used for the fractal composition. The fractal composition was played by the righthand at the keyboard. The left hand filled in the harmony. If anyone has any ordering information in regard to "Heart Songs" please share it with me. I was driving and did not stop to write down the name of the independent label. Can anyone help me out? jollyroger@iquest.net The artist formerly known as Jeremy Hillary Boob, "fudd." ========================================================================= Date: Tue, 24 Oct 1995 11:20:44 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert M. Sanders" Subject: Incidental Mysogyny -Reply Apologies to all those who were offended by my admittedly gratuitous analogy between the cosmetics industry and the booming emusic gadget industry. I do think its relevant. In both industries there is a tendency to urge the wanton application of various touch-up techniques to enhance the aesthetics of the underlying basic stuff. It can work, and it can also be misapplied and overused. There is also an urge to cast the products as essential. They are optional. The general direction I was trying to suggest had more to do with moderating one's urge to accumulate more em toys. Other 'consumer society' analogies could have served the purpose equally well. For most traditional acoustic instruments, the performance techniques have matured, and the transfer of these techniques from one generation to the next is a long and tedious process performed under the mentored tutelage of a seasoned and recognized master. (She's taking lessons from Dr. SuchnSuchsky who received them directly from .... who was personally trained by Liszt.) One advantage of this 'mentored' approach is that the authority figure can nip in the bud the "If I only had a ..." urge, and refocus the student back onto the enlightened path. No immediate gratification allowed. Don't worry about the sustain pedal. We'll get to it eventually- when you're ready. We're in the process of replacing the 'mentor-driven model' with a 'self-actualized model' heavily influenced by short-lived technological fads and immediate gratification. Mentoring is no longer practical because the lifetime of each piece of equipment barely allows you to get through the manual before the device is 'obsolete' much less to develop natural proficiency using it. Twilight of the Mentors. Will someone ever say, "My daughter's taking DX7 programming lessons from Dr. Bunion who studied FM technology from Slash Kincaid who developed the original 'oink bass' sound used by the Sound Pigs on the Slopstyx CD"? I think we all hope this is a transition period, that someday (hopefully in our lifetimes) a new, mature user interface will be developed allowing ultimate control over our sound creations with minimum learning curve and maximum flexibility at an affordable cost. A 21st century Swiss army knife of music technology. Right now, we've got to have each new piece of gear that hits the street because it just might be the prototype 'can opener' and we don't want to be left out. Give a man a can of fish, feed him for a day Teach a man to open a can of fish ... -rob ========================================================================= Date: Tue, 24 Oct 1995 11:27:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: MMetlay & Cubism Mike: "The Music Machine" Rhodes, editor, the MIT Press 1989, has an essay on page 394 called "Multi-Dimensional Space Grammars." Pitch, velocity, duration, and waveform are four obvious dimensions. But it seems possible through mathematics to make more dimensions of the aural universe. The Rock subgenres you mentioned as your view of musical cubism, i.e. rave, acid, etc., really don't fit the equation. They may be philosophically multidimensional, but rely too heavily on distortion to make their artistic statement. So, instead of musical mind over matter we end up with no mind over matter, or cognitive dissonance with a good beat. Distortion fattens the wave but does not offer the "blow through the mouthpiece and hear it last week" phenomena you taught me. Punk is very expressionist, not cubist. "Hyperspace" by Michio Kaku, anchor books doubleday, (c) 1994 pp. 359: "Cubism was heavily influenced by the fourth dimension." p. 66. Kaku states over and over again that relativity becomes easier to prove when extra dimensions are added to the equations. This led me to wonder, in a mildly amused way, about its musical possibilities. jollyroger@iquest.net The artist formerly known as Jeremy Hillary Boob, "fudd." ========================================================================= Date: Tue, 24 Oct 1995 14:04:18 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Dr. Kirk Corey" Subject: Re: fractal fever In-Reply-To: Say, which of the sounds at the Mathematica address are fractal? They all look non-fractal to me. Am I missing something? -- Kirk On Tue, 24 Oct 1995, roger king wrote: > The following World Wide Web sites offer fractal music info: > > Hearing the Mandelbrot Set > http://www.vanderbilt.edu/VUCC/Misc/Art1/Sonify/Mandi.html > > Mathematica Sounds Gallery > http://www.wri.com/mathematica/gallery/sound/index.html > > jollyroger@iquest.net > The artist formerly known as > Jeremy Hillary Boob, "fudd." > ========================================================================= Date: Tue, 24 Oct 1995 16:31:59 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert M. Sanders" Subject: MMetlay & Cubism -Reply Roger King writes: "Multi-Dimensional Space Grammars." Pitch, velocity, duration, and waveform are four obvious dimensions. Q: Within these space grammars, I compose a piece of music. I am interested in the projected emotional reaction in the audience's mind. Is the 'emotional' content of a composition a mathematical function of these variables? I'm asking if there exists a function F such that: Emotion(t) = F[Pitch(t), velocity(t), waveform(t)] where t is time from start of piece (your duration dimension) I would assume it's also culturally dependent: Emotion(t, p) = F[Pitch(t), velocity(t), waveform(t), culturalBias(p)] where t is time from start of piece (your duration) and p is the person listening to the piece. Note I've assumed that the cultural bias is relatively constant during the duration of the piece. Thus the piece does not transcendentally alter the listener. ========================================================================= Date: Tue, 24 Oct 1995 15:24:43 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Spamboy Subject: Quadrasynth or 1080? After I desperately want a certain synth, I always give myself a few months to think about it. After thinking about the Quadrasynth Plus Piano for a few months I think I'm starting to get doubts. It hasn't had a good reputation for durability. The reason I want it is for the piano, but I was wondering how the JV1080 piano card compares to the Quadrasynth Plus Piano piano. I haven't been able to hear that card. What would be the better investment (I think I know the answer already)? Randy Budnikas * * * * * * * * * * * * * * Randy@isaac.biola.edu 8182 Glengarry Green *SPACE MONKEY ENTERPRISES * 714-522-BITE Buena Park, CA 90621 * * * * * * * * * * * * * * fax/modem:714-522-6323 ========================================================================= Date: Tue, 24 Oct 1995 21:02:15 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gr8teechr@AOL.COM Subject: Finding music keyboard Hello. Can anyone tell me where I may be able to find a Yamaha PSR 320 portable keyboard? I'm buying one through my school funds here in Madison County, Alabama, and I need on at a good price. Any help or suggestions would be greatly appreciated. Thanks. Greg Branham Music Teacher Lynn Fanning Elementary School 8861 Moore's Mill Rd. Meridianville, AL 35759 Phone: 828-6592 Fax: 828-9732 e:mail: Gr8teechr@aol.com ========================================================================= Date: Tue, 24 Oct 1995 21:21:17 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Bostel Subject: Re: Quadrasynth or 1080? >After I desperately want a certain synth, I always give myself a few >months to think about it. After thinking about the Quadrasynth Plus >Piano for a few months I think I'm starting to get doubts. It hasn't had >a good reputation for durability. The reason I want it is for the piano, >but I was wondering how the JV1080 piano card compares to the Quadrasynth >Plus Piano piano. I haven't been able to hear that card. What would be >the better investment (I think I know the answer already)? > Having heard the two, I wouldn't hesitate (more than a moment) to put my money on the JV. But if you are not interested in anything but a good piano then the field is much wider. MarkB ========================================================================= Date: Tue, 24 Oct 1995 22:00:44 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: john rossi Subject: Re: Incidental Mysogyny In-Reply-To: <951024001037.21c02203@HIRAM.EDU> On Tue, 24 Oct 1995, MR. MORGAN ELLINGTON SMITH wrote: > Please folks, let's not make any references to women as sex objects > (that bit about "a natural women [sic]") or women acting like sex objects > (that bit about bringing curling irons when camping). Not only is it > unrelated to our topic, but it's just plain rude. Please don't post any more politically correct bullshit here either. Not only is it unrelated to our topic but it is intellectually vacuous. Dr. John 3 [Much more likely to notice an ad with scantily clad female models. Much more likely to buy a product from a company which is politically incorrect enough to place such an ad. May political correctness die in the marketplace.] ========================================================================= Date: Wed, 25 Oct 1995 14:05:43 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: fractals and such > >If I go out on stage and press play, and the jaws drop in the audience >because they hear this tremendous guitar solo: But there's no one >playing the guitar, just me sitting in a chair. Does the fact that >I can manipulate sound to positive audience response erase the shame >of not being able to mimic the cadenza on the ES335 using my own >hands? Only you can answer this; if the shame's too great then I guess the only honourable solution is guitar lessons. But the audience came to hear you and they were moved by what they heard (witness the multiple jaw drops). Where's the shame in that? The expansion of capability also expands the possibilities >which can be realized through step time entry. Is it Kosher? Yes if it's an integral part of what you create as an electronic musician. No if you're pretending to be BB King. Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Wed, 25 Oct 1995 00:18:51 GMT Reply-To: jetman@tunanet.com Sender: Electronic Music Discussion List From: jetman Organization: tunanet Subject: Re: fractals and such Comments: To: homer!AMERICAN.EDU!EMUSIC-L@AMERICAN.EDU Marshall Tuttle wrote: >i suggest to you that virtuosity is impossible for a machine to realize, virtuosity is the projection of heroic human achievement into the artistic dimension. > Jeff Talman wrote: >> If machines can record virtuosity performed by humans why can't they >> _project_ virtuosity _conceived_ by humans. Virtuosity exists in the >> compositional realm as well as in performance. In through composed (as >> opposed to improvised) music, in fact, virtuosity could not exist >> without >> conception prior to the performance. To this extent then machinery or >> performance is only the means to the end. Virtuosity lies in the >> conception; the realization, whether mechanical or human is at best a >> necessary >> afterthought. This is not to belittle performance or the virtuostic in >> performance at all. Without it, there's no music, only the concept, as >> virtuostic as that might be. Marshall Tuttle wrote: >from the standpoint of this argument >how is the violin (a machine) any different in projection of compositional > virtuosity than a synthesizer? > a violin and e-music are no different in terms of projection of compositional virtuosity. they are instruments or means of projecting musical ideas. >if virtuosity is the condition of breaking the boundaries of what is >possible >compositional virtuosity is even less possible on a machine - since a >machine >can only do what it can do, and therefore machines cannot extend the >possibilities of virtuosity in terms of purely compositional achievement. > firstly, virtuosity is not "the condition of breaking the boundaries of what is possible." according to webster virtuosity is "great technical skill in some art." secondly, a machine can do what it is programmed or some how assigned to do (including performance) which can "extend the possibilities of virtuosity in terms of purely compositional achievement" through the imagination and programming/editing/sequencing skills (choose any or all) of the composer. >as to whether the realization is merely an afterthought, try selling your >unrealized conceptions to make a living..... > who's talking about selling, i though this was about virtuosity. besides, you'll notice i said that i wasn't trying to belittle performance chops, that without performance (obviously) there is no music. still the performance could be realized by a programmer writing code (i purposely choose the most abstract performance method, only to underscore the point) and playing back on studio monitors. >music exists only at the interface between performer and audience - composers >are almost irrelevant (as modern history is demonstrating quite clearly). if they can >in fact improve what happens at the interface they will get along, >otherwise they are basically parasites. > wow, ravel, late beethoven, brahms: they didn't perform, guess they didn't "improvve what happens at the interface," must be parasites, or if they did improve it I guess they "got along"; anyone that writes orchestral or choral music, but doesn't play or sing in the orchestra or chorus: all parasites or at best along-getters. then there's recorded music on radio, tv, multimedia - gee, not an improved interface, must be from parasites. the interface has changed over the last hundred years, music is often produced by speakers without a performer in sight. as far as improving what happens at the older interface - composers write it and when they don't produce it themselves, they just hope that it's played correctly. the problem with the cult of virtuosity is that many people actually think that because someone plays fast scales/arpeggios, the usual fireworks, that they are superior musicians. well webster said it all: "great _technical_ skill." not great music. Jeff Talman NYC-USA jetman@tunanet.com ========================================================================= Date: Tue, 24 Oct 1995 23:43:01 -0700 Reply-To: bc492@scn.org Sender: Electronic Music Discussion List From: SCN User Subject: HEARTBEATS Dear jollyroger, You can probably order "Heartbeats" from NPR's Soundsource by dialing (800)75-MUSIC, Monday-Saturday (?), before 8 p.m.(pst?) Hope this helps. Good luck! -- --=[ E r i c I a n S l u y t e r ]=-- email: bc492@scn.org telephone: (206)728-7145 ========================================================================= Date: Tue, 24 Oct 1995 11:28:31 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Re: THEREMIN > Date: Wed, 18 Oct 1995 13:43:23 -0700 > From: Eric Sluyter > Subject: Re: THEREMIN > > Clara Rockmore seemed to have overcome this "problem". I heard her play > passages where the individual notes were played quite detached from one > another (damn! What's the term? Not staccato, not stacatino, but, but...). I > believe that it was her input that brought Theremin to address the > "problem". Marcato. Bill Fox wbf@aloft.att.com ========================================================================= Date: Wed, 25 Oct 1995 11:06:06 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Brooke Wetzel Subject: Music Mobile to Play Computer Music at Peabody Comments: To: Max discussion list Comments: cc: ecm@peabody.jhu.edu The Computer Music Department at the Peabody Conservatory in Baltimore, Maryland is pleased to announce a concert of computer music given by the New York-based new music ensemble, Music Mobile, with percussionist Steven Schick, cellist Maya Beiser, and flutist Tara Helen O'Connor. The concert will take place on Wednesday, November 1, 1995 at 8:00 p.m. in the Miriam A. Friedberg Concert Hall at Peabody. Music Mobile appears as part of a concert series at Peabody entitled "Music for the Close of the Century". Admission is free and open to the public. On the program will be music by Roger Reynolds, Robert Rowe, Edmund J. Campion, Martin Matalon, and Igor Stravinsky. Many of the works on this concert make use of real-time computer-controlled electronics. For more information via World Wide Web, please see http://www.peabody.jhu.edu/depts/ecm/MusicMobile.html Music Mobile is a chamber ensemble dedicated to the performance of new music. It was founded in 1989 by composer-conductor Martin Matalon. Music Mobile presents an annual concert series in Manhattan, where works by both emerging and well-known American composers are performed in a concert setting that juxtaposes these contemporary pieces with masterpieces from the classic repertoire, to emphasize the ways in which they establish a transformed continuity with the complex traditions of the past. This wide spectrum of works is performed by a core ensemble of twenty-five players, many of whom have achieved recognition on an international scale. Music Mobile aims to foster a broader understanding of musical development through the performance of works by composers of different social and cultural origins within the United States, as well as those from different nations. Another continuing purpose of Music Mobile is to engender further advances in music by supporting the potentialities that modern technology offers the composer: we regularly program compositions that extend our musical language through electronic means. In sum, a major focus of the organization is to reshape the way we listen to and think about American music and music as a whole. Steven Schick performs internationally as a solo percussionist and as a member of the "Bang On A Can All-Stars." His appearances for the 1995-96 season include performances at the BBC Proms in London, on Lincoln Center's Great Performer's Series and at the Adelaide Festival (Australia), in addition to other concerts in the United States, Europe, Hong Kong, Mexico, Canada, Israel, Australia and New Zealand. He has recorded for SONY Classical, Wergo and CRI among others and recently released a CD of percussion solos with Newport Classics. Steven Schick is Professor of Music at the University of California, San Diego and visiting lecturer in percussion at the Manhattan School of Music in New York. Maya Beiser, "Israel's most exciting and promising young cellist," has toured internationally to audience and critical acclaim. Concert engagements have taken her throughout Europe and South America, and she has performed at international festivals in Berlin, Bayreuth, Evian, Jerusalem, Tanglewood, St. Petersburg, Moscow, Holland and Dublin. Ms. Beiser's recent solo engagements have included performances with the Berlin Radio Orchestra, South Bank Center in London, the Orchestra of St. Luke's at Lincoln Center, the Moscow Chamber Orchestra, the Israel Symphonietta, and a critically acclaimed recital tour in Russia that included the opening concert at the St. Petersburg Spring Festival. Her recent New York recital debut received critical acclaim from the New York Times. "Maya Beiser is a young cellist with strong talents...her firm technique is brightly voiced and musically attentive everywhere." She is dedicated to the cause of new music and has premiered many works for the cello. Maya Beiser is a member of the "Bang On A Can All-Star" ensemble and is the principle cellist of Concordia, a chamber orchestra devoted to playing new American music. Ms. Beiser made her American debut at 19 as soloist with the Israeli Kibbutz Chamber Orchestra on a tour that included concerts in Carnegie Hall, the Academy of Music in Philadelphia and Orchestra Hall in Chicago. Maya Beiser made her nationally televised debut at the Israel Festival when she was 15, and has played on major stages throughout the country. Among Ms. Beiser's many awards are First Prize in the Rubin Academy of Music competition in Tel Aviv, the M. Clairmont Young Artist Competition, and the continuos sponsorship of the American-Israel Cultural Foundation. Maya Beiser studied with Aldo Parisot at Yale University and has also worked with Isaac Stern, Yo Yo Ma, Timothy Eddy and Joel Krosnick. She is currently on the faculty of New York University. She has recording Compact Discs on the SONY and Koch International labels. Tara Helen O'Connor has become a much sought-after flutist, known for her versatility, virtuosity, stylistic integrity, and imagination in music from Bach to Babbitt. She gave her Carnegie Hall concerto debut in 1986 and Weill Hall recital debut in 1992. She has collaborated with the Orion String Quartet and performed in recitals with Charles Wadsworth and Beverly Hoch. Ms. O'Connor is a regular participant at the Santa Fe Chamber Music Festival and the Incontri in Terra di Siena festival in Italy, and will be resident flutist of the chamber music concerts at Spoleto, USA this coming summer. Ms. O'Connor is co-founder of the New Millennium Ensemble (a 6-person chamber group that plays new music, 20th century, and earlier classics), which won the prestigious 1995 Naumberg Chamber Music Award. The group has ongoing residencies at Columbia and Harvard Universities, and will be giving their Naumberg-sponsored Tully Hall debut next season. Ms. O'Connor has recorded for CRI, Koch, Bridge, and Arcadia Records, and holds a Doctorate of Music Arts from S.U.N.Y. Stony Brook, where she studied with Samuel Baron, Robert Dick, Keith Underwood, and Julius Levine. ========================================================================= Date: Wed, 25 Oct 1995 08:06:43 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: axiom based 'form' model In-Reply-To: from "Robert M. Sanders" at Oct 19, 95 05:23:59 pm Robert M. Sanders writes-- > >What do you guys think? I think I should be working for a living instead of answering this, but what the hey.... >Form, as an influencing force in the compositional process is both limiting >and enabling. In other words, the assumed form biases the possible >outcomes or resulting compositions created in compliance with the form. >[brief digression into definitions of axioms and theorems deleted] >Now back to music. The axioms would be some small unambiguous and >non-redundant set of characteristics which are universally associated >with a particular 'style' of music. Determining whether any given piece of >music adheres to the style in question is as simple as evaluating it's >compliance with all of the universal characteristics defining that style. A >trivial example that comes to mind is 'waltz'. > >You could measure the 'proximity' of a 'piece' to a given 'style' by >counting how many of the style's descriptor characteristics are violated >and how many are adhered to in the piece. (I'm not talking whether the >piece deserved to be composed. Like in math, The set of interesting >compositions is probably infinitely smaller than the total number of >compositions which can be described as belonging to a particular style.) > >Q: what are axiomatic-like constructs in music which unabigously >differentiate styles? I can't think of any in emusic, to be honest. Emusic is about disregard for axioms, and its many children and stepchildren from rap to hiphip to triphop to hardcore to acieeed to jungle to house to ambient to avant- garde to 'academic' have stylistic inclusions that are, how shall I put it, neither necessary nor sufficient to unambiguously label them as being in any particular subgenre. I could stretch a bit and perhaps name a few hesitant rules that might be 'axiomatic' by definition: the use of tone-rows in twelve-tone music (duh), the use of repetition with subtle alterations over time in the Minimalist school (but is it unique?), the use of spoken word in rap....anyone else? mike -- "When archeologists find an artifact the function of which they have no clue about, they often nod sagely and claim it to be a religious object. MAX is to MIDIphiles what religion is to archaeologists, that is, the explanation of final resort." (brian good) ========================================================================== Mike Metlay ~ ATOMIC CITY ~ P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com = http://pd.net/atomic-city = All of our CDs can now be ordered directly from our WWW site, or by calling INFINITE ILLUSIONS: vox 904-385-6463 or 1-800-548-6724, or FAX 904-668-5825 ========================================================================= Date: Wed, 25 Oct 1995 09:48:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: To Bruce Edwards Bruce Edwards wrote: "There is art and there is craft. While they may be intertwined they are not congruent." I wish gear designers would read your essay, Bruce. Your trouble with miking a stair rail raises the necessity for the development of "SMART MICROPHONES." A set of microchips and some artificial intelligence code would have let the mic decide how deal with all the extra sound waves. Sure, natural reverb sounds great to human ears, but the best way to mic it is to fake it: record clanging pieces of metal tubes inside the acoustically dead studio, and add the reverb to taste. After "SMART MICROPHONES" get developed, how about "INTERACTIVE SMART MICROPHONES." In this case, like an electronic guitar tuner, the mic would have a flashing light informing the engineer as to perfect placement in whatever the recording environment happens to be. I used to love marching under highway overpasses in band. For some reason once the players started hearing the natural reverb they would start playing *LOUDER*. I would start to blow a double forte amount of air through the Eb trumpet and enjoy the accoustic soup! Maybe Mike or Eric can come up with a pattent for an interactive smart microphone. jollyroger@iquest.net The artist formerly known as Jeremy Hillary Boob, "fudd." ========================================================================= Date: Wed, 25 Oct 1995 08:21:24 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: ADMIN: On spamming and counterattacks Comments: To: SYNTH-L In-Reply-To: from "isor" at Oct 20, 95 01:04:21 am someone who should know better writes-- > >actually if want to can this person's account (i don't personally) walk >into your local library. (do NOT login via your computer as it is not a >good thing) next set the search parameters to its max, and do a search of >something that will yeild a massive amount of hits, like 'government' and >email it to the offender the resulting message is easily 24,000 lines long. The moderators of the EMUSIC-L and SYNTH-L lists do not condone this kind of mail-bombing. Nothing we have seen here is sufficient provocation for list members to deliberately damage email spoolers; people seem to forget that things used to be a lot worse, and that we've come a long way toward excluding junk mail from this list. Further, the moderators of these lists make it a point to deal with the occasional spam-attack by going directly to people in a position of authority FROM a position of authority, which is always far faster and more effective than random mail-bomb attacks. We would very much appreciate the co-operation of our list members in allowing us to deal with these problems in a quick and effective manner, with the implicit understanding that in all cases we see and react to problems at least as quickly as our members. Or, for the politeness-impaired and/or hard of hearing and/or THICK: Look, people, we get these mailbombs clogging our accounts just the same as you all do, and we have the authority to actually catch and deal with the people who do it. All you accomplish by going after them yourselves is to screw up mail systems for other folks on the same machine as the offender (if in fact you're getting the right machine at all, and not chasing after a faked address) and to indirectly harm the reputation of these lists as having mature and Net-savvy users. Hit the delete key, inform us if you feel you must, take a chill pill, let the guys with the baseball bats do the kneecapping, and for heaven's sake, GROW UP! Hopefully I won't have to remind people about this for at least a week. mike -- "When archeologists find an artifact the function of which they have no clue about, they often nod sagely and claim it to be a religious object. MAX is to MIDIphiles what religion is to archaeologists, that is, the explanation of final resort." (brian good) ========================================================================== Mike Metlay ~ ATOMIC CITY ~ P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com = http://pd.net/atomic-city = All of our CDs can now be ordered directly from our WWW site, or by calling INFINITE ILLUSIONS: vox 904-385-6463 or 1-800-548-6724, or FAX 904-668-5825 ========================================================================= Date: Wed, 25 Oct 1995 08:25:17 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: the great fractal zoom In-Reply-To: from "Nick Rothwell" at Oct 20, 95 10:19:39 am Nick Rothwell writes-- > >Oh, *I've* got that one cracked. Vision runs on my "satellite" computer, >the PowerBook 100. This is connected via a single boring vanilla Apple MIDI >interface into the Studio-4, which is being controlled by the "main" >computer, the PowerBook 170, which runs MAX and/or OMS+patches to >distribute Vision's channel data to the real instruments. > >It sounds complicated, but in practice it's a nice separation of concerns. > >Is this why I do it? Nope. I do it this way because the Studio-4 is totally >broken when it comes to two-port operation. It just doesn't work. I'm >waiting for some news about a fix from Opcode's UK dealer. I reported the >problem early in 1994, and again in August '95. Are we having fun yet? I think the difference between me and thee, old friend, is that I view software and hardware faults as strictures within which to work (basically being too bovine and complacent to muster the mental ZAP to complain much), whereas you view each failure as a maddening itch to be somehow scratched. You probably get more hardware to jump through more hoops, but I think I sleep better at night. Or I did, before the baby came along. Er. So much for THAT metaphor.... mike -- "When archeologists find an artifact the function of which they have no clue about, they often nod sagely and claim it to be a religious object. MAX is to MIDIphiles what religion is to archaeologists, that is, the explanation of final resort." (brian good) ========================================================================== Mike Metlay ~ ATOMIC CITY ~ P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com = http://pd.net/atomic-city = All of our CDs can now be ordered directly from our WWW site, or by calling INFINITE ILLUSIONS: vox 904-385-6463 or 1-800-548-6724, or FAX 904-668-5825 ========================================================================= Date: Wed, 25 Oct 1995 08:30:25 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: the great fractal zoom In-Reply-To: <01HWNUR5Y01U90N2UQ@CCIT.ARIZONA.EDU> from "John Krikawa" at Oct 20, 95 11:53:00 am John Krikawa writes-- > >atomic speaks: >>I substituted 'fractal zoom' for 'black-hole foam' because the emusic >>reference sounded better, and more people know what fractals are than >>know what black-hole foam is. (Please don't ask me; I barely >>understand the idea myself.) > >Oh man, I MUCH prefer 'black-hole foam'! A perfect description, and >now that you've exlained it (well, sort of) we can all consider >ourselves educated on the matter and use the phrase with vindiction. Is 'vindiction' a word? It sounds like a Lewis Carroll 'portmanteau' like 'galumph' or 'chortle'... a combination of 'vindication' and 'conviction', a potentially powerful mix of inner and outer enabling. Easily as important a concept as black-hole foam (which, by the way, is what some physicists say the Universe is made of...a vacuum of infinitely tiny bubbles held together by an infinite number of infinitely tiny black holes. I think). >......hm, just noticed all my MIDI cables have been aligning themselves >over the past week toward Amanda's basement.........interesting effect. > >foamin' >-john In more ways than one, John. :) mike ps. This is all I'm likely to say on this topic-- it's hard to enjoy spam after issuing an anti-spam diatribe like my recent letter.... -- "When archeologists find an artifact the function of which they have no clue about, they often nod sagely and claim it to be a religious object. MAX is to MIDIphiles what religion is to archaeologists, that is, the explanation of final resort." (brian good) ========================================================================== Mike Metlay ~ ATOMIC CITY ~ P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com = http://pd.net/atomic-city = All of our CDs can now be ordered directly from our WWW site, or by calling INFINITE ILLUSIONS: vox 904-385-6463 or 1-800-548-6724, or FAX 904-668-5825 ========================================================================= Date: Wed, 25 Oct 1995 11:24:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: MMetlay & Cubism -Reply > >"Multi-Dimensional Space Grammars." Pitch, velocity, duration, and >waveform are four obvious dimensions. > Rob Sanders: >Q: Within these space grammars, I compose a piece of music. I am >interested in the projected emotional reaction in the audience's mind. Is >the 'emotional' content of a composition a mathematical function of these >variables? > >I'm asking if there exists a function F such that: > >Emotion(t) = F[Pitch(t), velocity(t), waveform(t)] >where t is time from start of piece (your duration dimension) > >I would assume it's also culturally dependent: > >Emotion(t, p) = F[Pitch(t), velocity(t), waveform(t), culturalBias(p)] >where t is time from start of piece (your duration) >and p is the person listening to the piece. > >Note I've assumed that the cultural bias is relatively constant during the >duration of the piece. Thus the piece does not transcendentally alter the >listener. > Rob: I recall your eloquent thread response as to who the listener happens to be, and the subjective emotional elements of the music. I want you to know that the psychology of music is one of my favorite subjects, and I really enjoy learning from people like you. To me emotion is an affected response, an agitation. The word "emotion" comes from the Latin "emotio" meaning *STIR.* What would *STIRRING* sound amount to as a fundamental dimension of music? One could address emotion as a STIR FACTOR: The amount of agitation in melody, harmony, rhythm, and timbre. A calculus equation integrating the stir factor with each variable element of the four dimensions would be necessary in order to stir up the acoustic soup to the varying taste of varying audience. What you have eloquently brought to the musical possibility universe is not all that overwhelming as to be beyond experimental approach. There's more to it, though, than merely lining each up with a (t) after it. In order to begin building the mathematical equation one needs to list all of the elements which can be used to stir one's feelings: particular keys (as Marshall Tuttle suggested), mode of minor or major, i.e. minor conveys a dark message, etc. As you, Rob, pointed out in the modal horns thread, there are twelve keys. There are five billion potential listeners. If we generalize that there are twelve different personalities then we can stir up the emotions of about 416 million people at a time, if key is the only element specified by the stir factor. But I think we can go deeper than that, eventually being able to come up with an algorhythmic formula that would randomly produce music in response to a brief electronic interactive questionaire. Have you ever stared at your CD stack and wondered what to listen to? You can't decide because your emotions say one thing and logic another. If someone would invent a dial-up "mood based" interactive music broadcast network, they might end up with a big pile of cash. Imagine this: The year is 2005. A teenager named Bobbie Sue in Kokomo, Indiana, wants to listen to music on her stereo. She uses her home theatre remote control to dial a "survey center-music." She is asked a series of questions: i.e. will you be doing homework while listening, etc. Her responses to these questions are matched with a pre-entered psychological profile and a mood scan. Bobbie Sue, the machine understands, is easy-going, even-tempered, generous, steady, and enjoys Bach. Bobbie Sue is currently in a very alert mood state according to the mood scan. She is indeed going to be doing her homework while listening. The machine begins to play "The Goldberg Variations." And Rob Sanders becomes filthy rich because he developed the interactive listening system, because he was sensitive enough to recognize the need for emotion as a dimension in the musical equation. :) jollyroger@iquest.net "I think that this new ensemble will suit us as well as the former version which includes mechanical instruments, something that could create all kinds of trouble for you." - Igor Stravinski 26 May 1921 Paris ========================================================================= Date: Wed, 25 Oct 1995 11:24:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractal fever >Say, which of the sounds at the Mathematica address are fractal? They >all look non-fractal to me. Am I missing something? > >-- Kirk > /mathematica/gallery/sound/index.html Doc: I'll check the site out and get back to you. Sorry for the confusion and trouble on your part. I'll try to be more specific in the future. jollyroger@iquest.net "I think that this new ensemble will suit us as well as the former version which includes mechanical instruments, something that could create all kinds of trouble for you." - Igor Stravinski 26 May 1921 Paris ========================================================================= Date: Wed, 25 Oct 1995 13:45:13 EST Reply-To: STERN@MAIL.LOC.GOV Sender: Electronic Music Discussion List Comments: CUBIST SCHMUBIST From: JOEL STERN Subject: CUBIST SCHMUBIST >"Hyperspace" by Michio Kaku, anchor books doubleday, >(c) 1994 pp. 359: "Cubism was heavily influenced by >the fourth dimension." p. 66. ...and other inspired typings by roger king... Cubism strikes me as an expression of a particular generation of artists' alienation from society, which is not to say that some admirable work wasn't produced. But that is the dilemna of 20th century aesthetics. I can't see why anyone would regard the achievment of an analogy to cubism in electronic music as particularly worth thinking about. In fact, there can't be such a thing as cubist music except in the minds of people who are willing to construct or accept some a posteriori aestheticist flim flam. Time is better put toward creating or appreciating music or art for what it is. If it takes an expert to label and sanctify it before anyone can enjoy, you might as well hang it up. Joel Stern stern@email.loc.gov j.stern11@genie.geis.com ========================================================================= Date: Wed, 25 Oct 1995 15:07:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: CUBIST SCHMUBIST >> Cubism strikes me as an expression of a particular generation of >> artists' alienation from society, which is not to say that some >> admirable work wasn't produced. >> >> Joel Stern Cubism is characterized by the simultaneous representation of many different views of the same object. One can apply the simultaneous views to a musical theme: assigning a separate sequencer track for each type of variation... Track One Theme Track Two Inversion Track Three Retrograde Inversion Track Four Transposition of Theme up a major 3rd. If the result of playing all variations is dissonant, then edit tracks two, three, and four. The edited variations remain variations. You edit until it sounds good or leave it until your ears get used to the confusion. It isn't truly cubism, but its a far cry from dada. :) jollyroger@iquest.net "I think that this new ensemble will suit us as well as the former version which includes mechanical instruments, something that could create all kinds of trouble for you." - Igor Stravinski 26 May 1921 Paris ========================================================================= Date: Wed, 25 Oct 1995 17:25:39 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Matthew W. Tanquary" Subject: Re: fractals and such >If machines can record virtuosity performed by humans why can't they >_project_ virtuosity _conceived_ by humans. Virtuosity exists in the >compositional realm as well as in performance. We as critical listeners will never enjoy listening to a synth, computer, or any other computerized performance tool as much as a living, breathing, capable-of-making-a-mistake, human-being. It's that edge that we love so much....the possibility that the performer might screw up. Or, in retrospect, the performer may have the most brilliant performance ever and we would have been there. ========================================================================= Date: Wed, 25 Oct 1995 21:50:05 GMT Reply-To: jetman@tunanet.com Sender: Electronic Music Discussion List From: jetman Organization: tunanet Subject: Re: fractals and such Comments: To: homer!AMERICAN.EDU!EMUSIC-L@AMERICAN.EDU Matthew W. Tanquary wrote: >We as critical listeners will never enjoy listening to a synth, computer, or any other computerized performance tool as much as a living, breathing, capable-of-making-a-mistake, human-being. It's that edge that we love so much....the possibility that the performer might screw up. Or, in retrospect, the performer may have the most brilliant performance ever and we would have been there. > don't count me in here. i enjoy listening to computer music and e-music as much as a living, breathing, capable-of-making-a-mistake, human-being. the prime edge for me is not in the chance of fault-making (although it is an edge i appreciate), but in the compositional chops and the risk that a composer takes in decision-making: transitions, construction, juxtaposition, emotive conflicts, etc. handling it all is a far harder task than learning to have performance chops, else why would there be so many great virtuosos and so few great composers? Jeff Talman NYC-USA jetman@tunanet.com ========================================================================= Date: Wed, 25 Oct 1995 23:03:14 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MORGAN ELLINGTON SMITH Subject: Re: Incidental Mysogyny > > Please folks, let's not make any references to women as sex objects > > (that bit about "a natural women [sic]") or women acting like sex objects > > (that bit about bringing curling irons when camping). Not only is it > > unrelated to our topic, but it's just plain rude. > > Please don't post any more politically correct bullshit here either. Not > only is it unrelated to our topic but it is intellectually vacuous. > > Dr. John 3 > > [Much more likely to notice an ad with scantily clad female models. Much > more likely to buy a product from a company which is politically > incorrect enough to place such an ad. May political correctness die in > the marketplace.] Dear John, You wouldn't doubt my words if you were a woman. Sorry for taking up list space with this message. Next time I see this kind of bullshit happening, I'll be sure and flame people like you directly. @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ Morgan Smith Student of Music, about to receive smithme@hiramb.hiram.edu his degree. Currently abandoning all traditional Western musical values. @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ ========================================================================= Date: Wed, 25 Oct 1995 13:20:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractals and such >>The expansion of capability also expands the possibilities >>>which can be realized through step time entry. Is it Kosher? >Clive: >>Yes if it's an integral part of what you create as an electronic musician. >>No if you're pretending to be BB King. >> > >Very well put, Clive. Even though Disco has returned here in >this city, Milli Vanilli is still out. There is truly no >reward for the finger-tip lip synchers of the music world. > >There is still a huge lack of public awareness as to what >instrument a listener is hearing, though. > >Here's a true story from a few years ago: >Anita Baker was scheduled to play in Merrilville. >The day of the show an entourage of Ms. Baker's act >came into Rubino's Music Store across the street >from what was then called the Star Plaza. >They needed a keyboard that could play standard >MIDI files. Mr. Rubino sold them one. The >entire musical score for their act came from >the MIDI files. Her beautiful voice was real, >of course. But that was the first time I got >the idea of the incredible potential of MIDI. >Since then I've seen shows like "Cats," where >they sing along with the synths. And the >audience truly doesn't care about step-time >or real-time; rather, it is the media hype of a >Milli Vanilli type of scandal that brings >out the hook on an electronic act. > >Along the same line, one could say that B.B.King >wouldn't be the same without Lucille. The guitar >is as much a part of his image as it is a feature >of the musical live mix. > > jollyroger@iquest.net "I think that this new ensemble will suit us as well as the former version which includes mechanical instruments, something that could create all kinds of trouble for you." - Igor Stravinski 26 May 1921 Paris ========================================================================= Date: Wed, 25 Oct 1995 15:25:35 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Harold C Cowherd Subject: Re: Incidental Mysogyny In-Reply-To: from "john rossi" at Oct 24, 95 10:00:44 pm > > On Tue, 24 Oct 1995, MR. MORGAN ELLINGTON SMITH wrote: > > > Please folks, let's not make any references to women as sex objects > > (that bit about "a natural women [sic]") or women acting like sex objects > > (that bit about bringing curling irons when camping). Not only is it > > unrelated to our topic, but it's just plain rude. > > > Please don't post any more politically correct bullshit here either. Not > only is it unrelated to our topic but it is intellectually vacuous. > > Dr. John 3 > > [Much more likely to notice an ad with scantily clad female models. Much > more likely to buy a product from a company which is politically > incorrect enough to place such an ad. May political correctness die in > the marketplace.] > Hear, hear!!!!!!!!!!!!!!!! ========================================================================= Date: Thu, 26 Oct 1995 05:19:10 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Bostel Subject: Re: CUBIST SCHMUBIST >>> Cubism strikes me as an expression of a particular generation of >>> artists' alienation from society, which is not to say that some >>> admirable work wasn't produced. >>> >>> Joel Stern > >Cubism is characterized by the simultaneous representation >of many different views of the same object. > >One can apply the simultaneous views to a musical theme: >assigning a separate sequencer track for each >type of variation... >Track One Theme >Track Two Inversion >Track Three Retrograde Inversion >Track Four Transposition of Theme up a major 3rd. > >If the result of playing all variations is dissonant, >then edit tracks two, three, and four. The edited >variations remain variations. You edit until it >sounds good or leave it until your ears get used to >the confusion. > >It isn't truly cubism, but its a far cry from dada. :) > >jollyroger@iquest.net >"I think that this new ensemble will >suit us as well as the former version >which includes mechanical instruments, >something that could create all kinds >of trouble for you." - Igor Stravinski > 26 May 1921 > Paris > Beethoven sez: Dadada daaaaaaa dadada daaaaaaa (5) ========================================================================= Date: Thu, 26 Oct 1995 10:16:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: CUBIST SCHMUBIST >>>> Cubism strikes me as an expression of a particular generation of >>>> artists' alienation from society, which is not to say that some >>>> admirable work wasn't produced. >>>> >>>> Joel Stern >> >>Cubism is characterized by the simultaneous representation >>of many different views of the same object. >> >>One can apply the simultaneous views to a musical theme: >>assigning a separate sequencer track for each >>type of variation... >>Track One Theme >>Track Two Inversion >>Track Three Retrograde Inversion >>Track Four Transposition of Theme up a major 3rd. >> >>If the result of playing all variations is dissonant, >>then edit tracks two, three, and four. The edited >>variations remain variations. You edit until it >>sounds good or leave it until your ears get used to >>the confusion. >> >>It isn't truly cubism, but its a far cry from dada. :) >> >>jollyroger@iquest.net >>"I think that this new ensemble will >>suit us as well as the former version >>which includes mechanical instruments, >>something that could create all kinds >>of trouble for you." - Igor Stravinski >> 26 May 1921 >> Paris >> >Beethoven sez: > >Dadada daaaaaaa dadada daaaaaaa (5) He also sez "One must not measure the cost of the useful." jollyroger@iquest.net "I think that this new ensemble will suit us as well as the former version which includes mechanical instruments, something that could create all kinds of trouble for you." - Igor Stravinski 26 May 1921 Paris ========================================================================= Date: Thu, 26 Oct 1995 11:31:11 EST Reply-To: STERN@MAIL.LOC.GOV Sender: Electronic Music Discussion List Comments: SCHMUBISM From: JOEL STERN Subject: SCHMUBISM Quoth roger: >The .gov can't tell any >American tax payer what to do with their time, Joel. Oh, oh. Another angry angry "tax payer." Hope you're not planning to blow up government buildings or derail Amtrack trains :) ...again, roger: >One can apply the simultaneous views to a musical theme: >assigning a separate sequencer track for each >type of variation... >Track One Theme >Track Two Inversion >Track Three Retrograde Inversion >Track Four Transposition of Theme up a major 3rd. Nice formula. Hmmm...Sounds suspiciously like something JS Bach was good at (except he didn't think in terms of "tracks"). I never realized he was a "cubist." As for who were THE alienated artists and who weren't...maybe it's not such a good idea to depend on brittle formulas and think instead about the meaning of the term (Please excuse the government intervention). Two of the meanings of alienation cuold be applied to many of the artistic movements of the 20th century. One is that non-representationalism or distortion of reality, along with divergence form traditional and/or popular tastes simply shows alienation in the sense of withdrawal or estrangement. The other sense is the political-economic one: that the masking of human relations behind the nexus of of market relations generates unique creative/productive dynamics that don't necessarily correspond to the overt or stated purpose of the work. This is a complex subject, but examples of what I'm talking about abound in the history of the art market in this century. The career of art historian Bernard Berenson and his sponsor, Baron Joseph Duveen, is a perfect case in point. Joel Stern stern@THIS ADDRESS CENSORED BY AGENTS IN BLACK HELICOPTERS j.stern11@genie.geis.com ========================================================================= Date: Thu, 26 Oct 1995 09:23:55 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: CUBIST SCHMUBIST Comments: To: STERN@MAIL.LOC.GOV In-Reply-To: from "JOEL STERN" at Oct 25, 95 01:45:13 pm JOEL STERN writes-- > > century aesthetics. I can't see why anyone would regard the > achievment of an analogy to cubism in electronic music as > particularly worth thinking about. In fact, there can't be such a > thing as cubist music except in the minds of people who are > willing to construct or accept some a posteriori aestheticist > flim flam. Time is better put toward creating or appreciating > music or art for what it is. If it takes an expert to label and > sanctify it before anyone can enjoy, you might as well hang it > up. Yo, Stern! What are you trying to DO, man? Put us out of business? :) ex cathedra de la flimflam, mike -- "When archeologists find an artifact the function of which they have no clue about, they often nod sagely and claim it to be a religious object. MAX is to MIDIphiles what religion is to archaeologists, that is, the explanation of final resort." (brian good) ========================================================================== Mike Metlay ~ ATOMIC CITY ~ P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com = http://pd.net/atomic-city = All of our CDs can now be ordered directly from our WWW site, or by calling INFINITE ILLUSIONS: vox 904-385-6463 or 1-800-548-6724, or FAX 904-668-5825 ========================================================================= Date: Thu, 26 Oct 1995 15:55:21 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Bostel Subject: Re: CUBIST SCHMUBIST >>>>> Cubism strikes me as an expression of a particular generation of >>>>> artists' alienation from society, which is not to say that some >>>>> admirable work wasn't produced. >>>>> >>>>> Joel Stern >>> >>>Cubism is characterized by the simultaneous representation >>>of many different views of the same object. >>> >>>One can apply the simultaneous views to a musical theme: >>>assigning a separate sequencer track for each >>>type of variation... >>>Track One Theme >>>Track Two Inversion >>>Track Three Retrograde Inversion >>>Track Four Transposition of Theme up a major 3rd. >>> >>>If the result of playing all variations is dissonant, >>>then edit tracks two, three, and four. The edited >>>variations remain variations. You edit until it >>>sounds good or leave it until your ears get used to >>>the confusion. >>> >>>It isn't truly cubism, but its a far cry from dada. :) >>> >>>jollyroger@iquest.net >>>"I think that this new ensemble will >>>suit us as well as the former version >>>which includes mechanical instruments, >>>something that could create all kinds >>>of trouble for you." - Igor Stravinski >>> 26 May 1921 >>> Paris >>> >>Beethoven sez: >> >>Dadada daaaaaaa dadada daaaaaaa (5) > >He also sez "One must not measure the cost of the useful." > >jollyroger@iquest.net >"I think that this new ensemble will >suit us as well as the former version >which includes mechanical instruments, >something that could create all kinds >of trouble for you." - Igor Stravinski > 26 May 1921 > Paris > 'To do is to be' - Gurdjieff 'do be do be do' - Frank Sinatra MarkB ========================================================================= Date: Thu, 26 Oct 1995 18:24:43 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert M. Sanders" Subject: Autocompositional methods Kids, try this at home: I point a camcorder at a TV in a feedback loop. The TV is playing back what the camcorder saw a couple of microseconds earlier. In between, I dangle Christmas lights. Off camera a strobe light is blinking. Play with the zoom and try cocking the camcorder at an angle to the TV screen. The resulting panoply of imagery generated can best be described using terms such as dynamic fractal-like growths, kaleidoscopic game of life displays, etc. In my family, we call 'em 'Halloweeneroids', 'Easteroids' or 'Valentineroids' depending on the time of year. Now I want to use these images in a real-time auto-compositional process. Preferably without a human directly in the sound-generation part of the loop. Specifically, I need to capture every Nth video frame, do some pixel-wise color comparison function on a random set of pixels with their colors in the last frame sample and perhaps a look at random adjacent pixel color matching within the current frame also. In each frame I'm estimating the fraction of pixels currently in each color, the fraction of pixels that are changing colors, and roughly the 'speckledness' of the display. By 'speckledness' I mean how many colored blobs are on the screen. The more blobs there are on the screen, the smaller the average blob size must be. The more blobs there are, the greater the probability that adjacent pixels are the same color. Thus I'm tracking these variables: CurrentScreenColoring....(% Red, % Blue, %Green) ChangeFraction.(% pixels than changed color from the last screen) Speckling....(% adjacent pixel pairs with different colors) I'm also tracking the change in these variables with each new screen, as shown below. 'k' means frame sample number 'k'. k-1 is the previous frame sample. Delta values are calculated by subtracting the previous value (k-1) from the current value (k) for each variable. Example frame-specific random variable values: CurrentScreenColoring(k-1) = (0.10, 0.35, 0.55) CurrentScreenColoring(k ) = (0.14, 0.19, 0.67) CurrentScreenColoringDelta(k) = (0.04, -0.16, 0.12) ChangeFraction(k-1) = 0.30 ChangeFraction(k ) = 0.22 ChangeFractionDelta(k) = -0.08 Speckling(k-1) = 0.15 Speckling(k ) = 0.21 SpecklingDelta(k) = 0.07 These 15 frame-specific random variables collectively are a crude measure of the visual 'excitement' currently happening on the TV screen. [Note to Roger: the 'stirring' level.] Once calculated, they could be used as control knobs for real-time auto-compositional algorithms that spewing out midi data to a bank of synths and drum machines. One scheme would consider each color on the screen (say Red, Green and Blue) as a different bank of instruments. Red.........Brass Green.... strings Blue........woodwinds Percussion and sound effects would be a function of the speckling. The level of each color and the level of speckling would roughly control the density of instruments in each family currently active and influence the pitch spread, volume and note durations for each part. The Delta between frames in each of these values would drive the excitement or intensity of each individual instrument family, influencing timbre, harmonic movement, contrapuntal complexity and syncopation. The Overall change (pixels changing from one frame to the next) would globally raise or lower the average intensity or activity level of all instruments by modifying global volume (crescendo) and tempo. Since this arrangement is basically a non-linear feedback loop, slight changes in the orientation of the camcorder relative to the TV, or even in the lens zoom position would tend to have severe, drastic effects on both the visual image train and the musical accompaniment. Finally, there would be a time lag between the music and the video. Perhaps some type of video buffer could be used to sync the input video to the output sound track. Of course, I've never done this. I have done the video step. Anybody got any ideas on a cheap way to sample those random pixels in each time frame? Finally, I feel this scheme would allow virtuosity in performance, even though the performer never micro-manages the choice of pitch, timbre, duration or other musical construct. -rob ========================================================================= Date: Thu, 26 Oct 1995 09:14:13 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: fractals and such In-Reply-To: from "roger king" at Oct 24, 95 10:47:00 am roger king writes-- >. Is it Kosher? Depends on how you kill it, I think. :) >jollyroger@iquest.net >The artist formerly known as >Jeremy Hillary Boob, "fudd." "Getcher ass in here, I want to talk to you. You're dead meat!" the artist formerly known as mike metlay -- "When archeologists find an artifact the function of which they have no clue about, they often nod sagely and claim it to be a religious object. MAX is to MIDIphiles what religion is to archaeologists, that is, the explanation of final resort." (brian good) ========================================================================== Mike Metlay ~ ATOMIC CITY ~ P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com = http://pd.net/atomic-city = All of our CDs can now be ordered directly from our WWW site, or by calling INFINITE ILLUSIONS: vox 904-385-6463 or 1-800-548-6724, or FAX 904-668-5825 ========================================================================= Date: Thu, 26 Oct 1995 19:05:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: SOLIPSISM Our resident OPCODE petitioner, THE Joel Stern vehemently states: As for who were THE alienated artists and who weren't...maybe > it's not such a good idea to depend on brittle formulas and think > instead about the meaning of the term* (Please excuse the > government intervention). *Alienation is the social condition of feeling powerless, apathetic, and estranged from society. This is very different from the nicknamed sample multidimension "formula," as a two-buns-on-a-chair.emp.gov called it. :) There is more than one connotation to the word "cubist." You can keep typing though, Two of the meanings of alienation > cuold be applied to many of the artistic movements of the 20th > century. One is that non-representationalism or distortion of > reality, along with divergence form traditional and/or popular > tastes simply shows alienation in the sense of withdrawal or > estrangement. Pablo Picasso was not by any means estranged. He hung out with the top echelon of Riviera society during the 1920's. He was not in withdrawal at all. In my humble opinion you are very wrong in stating that simultaneous representation of different views of the same object has something to do with alienation. :) The view is, as you correctly pointed out, contrapuntal. The difference being on the view's emphasis of the contrasting melodies being variations of the theme. After all, ANY other melody counterpointed with a theme is counterpoint. There is no adherence in counterpoint to just variations of the given theme. You see the difference? Here is counterpoint: C D F A G ...two contrasting lines E A A E B Here's multiviews: C D F A G ...played simultaneously G A F D C And, since *CONTRAPUNTAL VARIATION is only one form of variation (others being ornamental, figural, harmonic, canonic, nuvo melodic, and characteristic) there are many other ways to sequence the multivarious dimentions. Even one "withdrawn" from the private sector can see that. :) Counterpoint has no formula yet has many rules. Multidimensional formuli have no rules, leaving the editing to the subjective taste of the composer. If one is not pleased with the "distorted" view of the "alienated" artist then all one has to do is turn the other way, and run comfortably back to the somnambulant solace of traditional western harmony. ;) The career of art historian Bernard Berenson and his > sponsor, Baron Joseph Duveen, is a perfect case in point. Perhaps your school of thought could be called *SOLIPSISM* Your conscious is sticking with what has been said by those you admire, in an effort to disprove one you do not. :) Nice typing, Joel. ;) jollyroger@iquest.net "Even the most sacred friendship may harbor secrets, but you ought not to misinterpret the secret of a friend because you can not guess it." Beethoven Letter: Frau Marie Bigot about 1808 ========================================================================= Date: Thu, 26 Oct 1995 19:07:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: Autocompositional methods >Kids, try this at home: > >I point a camcorder at a TV in a feedback loop. The TV is playing back >what the camcorder saw a couple of microseconds earlier. In between, I >dangle Christmas lights. Off camera a strobe light is blinking. Play with >the zoom and try cocking the camcorder at an angle to the TV screen. > >The resulting panoply of imagery generated can best be described using >terms such as dynamic fractal-like growths, kaleidoscopic game of life >displays, etc. In my family, we call 'em 'Halloweeneroids', 'Easteroids' or >'Valentineroids' depending on the time of year. > >Now I want to use these images in a real-time auto-compositional >process. Preferably without a human directly in the sound-generation >part of the loop. Specifically, I need to capture every Nth video frame, do >some pixel-wise color comparison function on a random set of pixels >with their colors in the last frame sample and perhaps a look at random >adjacent pixel color matching within the current frame also. > >In each frame I'm estimating the fraction of pixels currently in each color, >the fraction of pixels that are changing colors, and roughly the >'speckledness' of the display. By 'speckledness' I mean how many >colored blobs are on the screen. The more blobs there are on the >screen, the smaller the average blob size must be. The more blobs there >are, the greater the probability that adjacent pixels are the same color. > >Thus I'm tracking these variables: >CurrentScreenColoring....(% Red, % Blue, %Green) >ChangeFraction.(% pixels than changed color from the last screen) >Speckling....(% adjacent pixel pairs with different colors) > >I'm also tracking the change in these variables with each new screen, as >shown below. 'k' means frame sample number 'k'. k-1 is the previous >frame sample. Delta values are calculated by subtracting the previous >value (k-1) from the current value (k) for each variable. > >Example frame-specific random variable values: > >CurrentScreenColoring(k-1) = (0.10, 0.35, 0.55) >CurrentScreenColoring(k ) = (0.14, 0.19, 0.67) >CurrentScreenColoringDelta(k) = (0.04, -0.16, 0.12) > >ChangeFraction(k-1) = 0.30 >ChangeFraction(k ) = 0.22 >ChangeFractionDelta(k) = -0.08 > >Speckling(k-1) = 0.15 >Speckling(k ) = 0.21 >SpecklingDelta(k) = 0.07 > >These 15 frame-specific random variables collectively are a crude >measure of the visual 'excitement' currently happening on the TV screen. >[Note to Roger: the 'stirring' level.] Once calculated, they could be used >as control knobs for real-time auto-compositional algorithms that spewing >out midi data to a bank of synths and drum machines. > >One scheme would consider each color on the screen (say Red, Green >and Blue) as a different bank of instruments. > >Red.........Brass >Green.... strings >Blue........woodwinds > >Percussion and sound effects would be a function of the speckling. > >The level of each color and the level of speckling would roughly control >the density of instruments in each family currently active and influence >the pitch spread, volume and note durations for each part. > >The Delta between frames in each of these values would drive the >excitement or intensity of each individual instrument family, influencing >timbre, harmonic movement, contrapuntal complexity and syncopation. >The Overall change (pixels changing from one frame to the next) would >globally raise or lower the average intensity or activity level of all >instruments by modifying global volume (crescendo) and tempo. > >Since this arrangement is basically a non-linear feedback loop, slight >changes in the orientation of the camcorder relative to the TV, or even in >the lens zoom position would tend to have severe, drastic effects on >both the visual image train and the musical accompaniment. > >Finally, there would be a time lag between the music and the video. >Perhaps some type of video buffer could be used to sync the input video >to the output sound track. > >Of course, I've never done this. I have done the video step. Anybody got >any ideas on a cheap way to sample those random pixels in each time >frame? > >Finally, I feel this scheme would allow virtuosity in performance, even >though the performer never micro-manages the choice of pitch, timbre, >duration or other musical construct. > >-rob > I love it, Rob. jollyroger@iquest.net "Even the most sacred friendship may harbor secrets, but you ought not to misinterpret the secret of a friend because you can not guess it." Beethoven Letter: Frau Marie Bigot about 1808 ========================================================================= Date: Thu, 26 Oct 1995 19:19:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractal fever >Say, which of the sounds at the Mathematica address are fractal? They >all look non-fractal to me. Am I missing something? > >-- Kirk Kirk: Try this web site instead: http://www-ks.rus.uni-stuttgart.de/people/schulz/fmusic as you probably already know... The Fractal Project mailing list: fmusic@kssun7.rus.uni-stuttgart.de to subscribe: fmusic-request@kssun7.rus.uni-stuttgart.de Forget about mathematica. Once you've had the project you won't wanna go back. :) It turns out you weren't missing something. I've been missing. Thanks for straightening me out. jollyroger@iquest.net "Even the most sacred friendship may harbor secrets, but you ought not to misinterpret the secret of a friend because you can not guess it." Beethoven Letter: Frau Marie Bigot about 1808 ========================================================================= Date: Thu, 26 Oct 1995 13:17:13 EST Reply-To: STERN@MAIL.LOC.GOV Sender: Electronic Music Discussion List Comments: RE: CUBIST SCHMUBIST From: JOEL STERN Subject: Re: CUBIST SCHMUBIST spake mike... >Yo, Stern! What are you trying to DO, man? Put us out of busines OOPS...I didn't know You were listening, Your Grace. Joel Stern stern@xxxxxxxxxxxxx j.stern11@genie.geis.com ========================================================================= Date: Thu, 26 Oct 1995 22:46:46 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: azimibol@MECH.SHARIF.AC.IR Subject: search for an address Dear friends, Does anybody know the e-mail of the "BeeGees" or any related usergroup? Please post your responds to "azimibol@mech.sharif.ac.ir" Thanks for your cooperation Good Luck Ali Azimi ========================================================================= Date: Fri, 27 Oct 1995 09:43:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractals and such >"Getcher ass in here, I want to talk to you. You're dead meat!" >the artist formerly known as >mike metlay > :-<> (shudder) Where in the world IS Mickey San Diego? He's not in Iron City anymore. Next time I'm among the Seminole tribe I'll bring you a case. Seems like you have a few extra brain cells to kill. :) jollyroger@iquest.net "Fanget an! So rief der Lenz in den Wald" -Richard Wagner "Die Meistersinger von Nurnberg" ========================================================================= Date: Fri, 27 Oct 1995 09:43:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: fractals and such > Yellow Submarine!!! Nowhere Man!!! > > I didn't think anybody remembered that movie!! :-) > >-- > -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us Correct Pete. Let's hope no one forgets it. :] jollyroger@iquest.net "Fanget an! So rief der Lenz in den Wald" -Richard Wagner "Die Meistersinger von Nurnberg" ========================================================================= Date: Fri, 27 Oct 1995 20:26:06 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: the great fractal zoom >I think the difference between me and thee, old friend, is that I view >software and hardware faults as strictures within which to work (basically >being too bovine and complacent to muster the mental ZAP to complain much), >whereas you view each failure as a maddening itch to be somehow scratched. Yes. Because failures are SOMEBODY'S FAULT. I have no problems if a machine can't do something through design, but if it's supposed to and doesn't I start to get narked. Actually, I can live with things which just don't work, although I find them annoying. What really throws me off is things which partially work, or work unreliably (such as software packages which crash). Then *nothing* gets done. >You probably get more hardware to jump through more hoops, but I think >I sleep better at night. ...er: >Or I did, before the baby came along. ...ri-i-ight. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Sat, 28 Oct 1995 02:48:36 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Bostel Subject: Re: Autocompositional methods >Kids, try this at home: > >I point a camcorder at a TV in a feedback loop. The TV is playing back >what the camcorder saw a couple of microseconds earlier. In between, I >dangle Christmas lights. Off camera a strobe light is blinking. Play with >the zoom and try cocking the camcorder at an angle to the TV screen. > >The resulting panoply of imagery generated can best be described using >terms such as dynamic fractal-like growths, kaleidoscopic game of life >displays, etc. In my family, we call 'em 'Halloweeneroids', 'Easteroids' or >'Valentineroids' depending on the time of year. > >Now I want to use these images in a real-time auto-compositional >process. Preferably without a human directly in the sound-generation >part of the loop. Specifically, I need to capture every Nth video frame, do >some pixel-wise color comparison function on a random set of pixels >with their colors in the last frame sample and perhaps a look at random >adjacent pixel color matching within the current frame also. > >In each frame I'm estimating the fraction of pixels currently in each color, >the fraction of pixels that are changing colors, and roughly the >'speckledness' of the display. By 'speckledness' I mean how many >colored blobs are on the screen. The more blobs there are on the >screen, the smaller the average blob size must be. The more blobs there >are, the greater the probability that adjacent pixels are the same color. > Snip ! >These 15 frame-specific random variables collectively are a crude >measure of the visual 'excitement' currently happening on the TV screen. >[Note to Roger: the 'stirring' level.] Once calculated, they could be used >as control knobs for real-time auto-compositional algorithms that spewing >out midi data to a bank of synths and drum machines. > >One scheme would consider each color on the screen (say Red, Green >and Blue) as a different bank of instruments. > Snip >Percussion and sound effects would be a function of the speckling. > >The level of each color and the level of speckling would roughly control >the density of instruments in each family currently active and influence >the pitch spread, volume and note durations for each part. > >The Delta between frames in each of these values would drive the >excitement or intensity of each individual instrument family, influencing >timbre, harmonic movement, contrapuntal complexity and syncopation. >The Overall change (pixels changing from one frame to the next) would >globally raise or lower the average intensity or activity level of all >instruments by modifying global volume (crescendo) and tempo. > >Since this arrangement is basically a non-linear feedback loop, slight >changes in the orientation of the camcorder relative to the TV, or even in >the lens zoom position would tend to have severe, drastic effects on >both the visual image train and the musical accompaniment. > >Finally, there would be a time lag between the music and the video. >Perhaps some type of video buffer could be used to sync the input video >to the output sound track. > >Of course, I've never done this. I have done the video step. Anybody got >any ideas on a cheap way to sample those random pixels in each time >frame? > >Finally, I feel this scheme would allow virtuosity in performance, even >though the performer never micro-manages the choice of pitch, timbre, >duration or other musical construct. > >-rob > Careful, you'll end up with Sale of the Century, or haemmarhoids (sic - I can't spell diaorhea either, funny that). Seriously(sic again), Todd Rungren might be your man. ========================================================================= Date: Thu, 26 Oct 1995 21:26:28 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bruce Edwards Subject: counter attacks >From: Mike Metlay ++ Atomic City >Subject: ADMIN: On spamming and counterattacks >The moderators of the EMUSIC-L and SYNTH-L lists do not condone this >kind of mail-bombing. Nothing we have seen here is sufficient provocation >for list members to deliberately damage email spoolers;> Remote communication is difficult in the best of times (to illustrate my point try getting your dog to perform his latest, killer "stupid pet trick" with instructions phoned in from the office; or proposing in semiphore across a bottomless gorge). While my initial reaction to "brides, free magazs, chpstuf & bad porno" is seldom a wry smile because someone has flipped this (occasionally) stuffed shirt list the bird, it is my understanding that the rest of us are guests of Joe & Mike . . . my feeling is that we have a certain responsibility to respect & reflect the courtesy with which this list is moderated. We have enough evidence that not only are the moderators not absent but that they respond actively to the peccadillos of computer communication . . . they also have the courtesy and good sense to not waste our time & mail slots explaining how they are dealing with these savage onslaughts I hate being in the position of being the "suck-up" rather than the devils advocate, but I have been enough places on the net to know that there is something of an unusual balance struck on this list and when I get a chance for a cup of coffee in the morning it has largely been a pleasure to review the list (just after Calvin & Hobbs & before shooting myself in the foot) . . . oohhh that hurt . . . Bruce Edwards ========================================================================= Date: Sat, 28 Oct 1995 03:57:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: autocomposition Rob: In regard to the red green blue color to note data you'll need to imbed data compression code into your program. For every thousanth or so pixel on the tv screen, there could be one midi note on message for your instrument bank. Examples of data compression code can be downloaded on the internet. Fractint is available in coded form at http://spanky.triumf.ca/www/fractint The program has super documentation, and all of the contributing author's e-mail addresses are listed. Another soul to ask would be Robert Greenhouse at robert.greenhouse@spacebbs.com. He authored a remarkable piece of software called The Well Tempered Fractal. (Harmony Central.) I've also researched the American Mathematical Society and found an controversial signal processing branch called "wavelets." Sixteen different algorithms which offer access to the little waves within the big mama wave. :) Hey, Rob. You're a foreward, proactive thinker. And I L O V E U M A N! Can I have your Bud Lite? jollyroger@iquest.net "Fanget an! So rief der Lenz in den Wald" -Richard Wagner "Die Meistersinger von Nurnberg" ========================================================================= Date: Sat, 28 Oct 1995 09:07:00 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: roger king Subject: Re: SOLIPSISM >To: emusic-l@american.edu >From: jollyroger@iquest.net (roger king) >Subject: Re: SOLIPSISM > >Our resident OPCODE petitioner, THE Joel Stern vehemently states: > As for who were THE alienated artists and who weren't...maybe >> it's not such a good idea to depend on brittle formulas and think >> instead about the meaning of the term* (Please excuse the >> government intervention). > >*Alienation is the social condition of feeling powerless, >apathetic, and estranged from society. This is very different >from the nicknamed sample multidimension "formula," as a >two-buns-on-a-chair.emp.gov called it. :) >There is more than one connotation to the word "cubist." >You can keep typing though, > Two of the meanings of alienation >> cuold be applied to many of the artistic movements of the 20th >> century. One is that non-representationalism or distortion of >> reality, along with divergence form traditional and/or popular >> tastes simply shows alienation in the sense of withdrawal or >> estrangement. >Pablo Picasso was not by any means estranged. He hung out with >the top echelon of Riviera society during the 1920's. He was not >in withdrawal at all. In my humble opinion you are very wrong in >stating that simultaneous representation of different views of the >same object has something to do with alienation. :) > The view is, as you correctly pointed out, contrapuntal. >The difference being on the view's emphasis of the contrasting melodies >being variations of the theme. After all, ANY other melody counterpointed >with a theme is counterpoint. There is no adherence in counterpoint >to just variations of the given theme. You see the difference? > >Here is counterpoint: C D F A G ...two contrasting lines > E A A E B > >Here's multiviews: C D F A G ...played simultaneously > G A F D C > >And, since *CONTRAPUNTAL VARIATION is only one form of variation >(others being ornamental, figural, harmonic, canonic, nuvo melodic, >and characteristic) there are many other ways to sequence the >multivarious dimentions. Even one "withdrawn" from the private >sector can see that. :) > >Counterpoint has no formula yet has many rules. Multidimensional >formuli have no rules, leaving the editing to the subjective taste >of the composer. If one is not pleased with the "distorted" view of >the "alienated" artist then all one has to do is turn the >other way, and run comfortably back to the somnambulant solace >of traditional western harmony. ;) > > The career of art historian Bernard Berenson and his >> sponsor, Baron Joseph Duveen, is a perfect case in point. > >Perhaps your school of thought could be called *SOLIPSISM* >Your conscious is sticking with what has been said by those >you admire, in an effort to disprove one you do not. :) > >Nice typing, Joel. ;) > jollyroger@iquest.net "Fanget an! So rief der Lenz in den Wald" -Richard Wagner "Die Meistersinger von Nurnberg" ========================================================================= Date: Sat, 28 Oct 1995 16:27:34 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: A trumpet I can blow... Comments: cc: team-metlay@netcom.com Modesty fails me, although I did try... This month's SOUND ON SOUND (basically the UK equivalent to KEYBOARD) has a two-page article on CASSIEL, covering the contemporary dance angle and describing the music control systems. Be warned: there's also a promo. photograph. (I'm the one who isn't female, blond and supple.) Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Sun, 29 Oct 1995 10:09:30 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Connie Sunday Subject: Baroque Violin Fellow list members: I just joined: Dr. Howell suggested to me this summer, and I am just now catching up, that I ask for recommendations for the best places in the US to study Baroque violin. He said at that time that this subject was just about due to come up again. Thanks in advance for any comments w/r/t this subject, and I apologize if it is old hat to many of you, as I suspect it is. Connie cmsun@afm.org 806/747-7644 "In regard to mundane affairs, the capacity to assimilate what is unpleasant is a condition of success, and for this reason, if for no other, it is a mistake to wrap oneself around with comfortable fairytales." ==Bertrand Russell ========================================================================= Date: Sun, 29 Oct 1995 10:34:33 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Connie Sunday Subject: Bowstring Hello! I believe there is a discussion list entitled something like "bowstring" -- does anyone know the correct name and address of this list? Thanks in advance. Connie cmsun@afm.org 806/747-7644 "In regard to mundane affairs, the capacity to assimilate what is unpleasant is a condition of success, and for this reason, if for no other, it is a mistake to wrap oneself around with comfortable fairytales." ==Bertrand Russell ========================================================================= Date: Mon, 30 Oct 1995 08:29:08 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Connie Sunday Subject: Baroque Violin Good morning! I need to get some information about where are some good places to study Baroque violin. Where are some of the best places? Also, how is the program at University of California, Davis? The brochure for the Ph.D. program---looks good, and Robert Bloch is there. Thanks in advance. Connie cmsun@afm.org mandy804@clubhouse.email.net 806/747-7644 "In regard to mundane affairs, the capacity to assimilate what is unpleasant is a condition of success, and for this reason, if for no other, it is a mistake to wrap oneself around with comfortable fairytales." ==Bertrand Russell ========================================================================= Date: Mon, 30 Oct 1995 11:22:29 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: andy mcdonough Subject: Re: A trumpet I can blow... uh, nick... by "this month" do you mean this month or this month. over here is the u.s. it's the end of one and the beginning of the next. many (most) mags. ship ahead causing me to miss most interesting articles and force bookstores to unwrap the mag.s they are about to return. give me a month name man-of-modesty and i'll get the rag. (am i a total idiot for not just assuming dec?) ...andy >This month's SOUND ON SOUND (basically the UK equivalent to KEYBOARD) has a >two-page article on CASSIEL, covering the contemporary dance angle and >describing the music control systems. Be warned: there's also a promo. >photograph. (I'm the one who isn't female, blond and supple.) > Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com ------------------------------------------------------- andy mcdonough at&t bell labs (908)957-6674 abm@mtispan.att.com Date: 10/30/95 Time: 11:22:29 ------------------------------------------------------- This message was sent by me and not a Newt or Chameleon. ========================================================================= Date: Mon, 30 Oct 1995 18:02:26 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: cubist music, etc. on the idea of esthetic crosscurrents in the arts: much of modern art was heavily influenced by a few small groups of people with differing features but a shared multidisciplinary agenda. they tended to be visual artists, but were apparently interested in the reconstruction of experience as a whole. "cubism" is not necessarily the best example of this, having been a pretty focussed set of perceptual experiments on the part of picasso, braque, and a few camp followers, with little to indicate that it had other than a purely formal motivation. i don't have the exact quote at hand, but picasso did say someting to the effect that attempts in his own lifetime to relate cubism to other modes of expression and interpretation (in which he included music) were foolishness, and beside the point of cubism itself. on the other hand, the output of many others, most notably the futurists as a group (who included russolo), duchamp in particular (who played amplified chess with cage in his later years), and even the bauhaus (remember schlemmer's triadic ballets), did explicitly seek to include (in the sense both of drawing in and having an effect on) the attitudes of musical expression. sound was definitely part of the worldview meant to change. adopting the stance, for the moment, that it is perfectly valid for an artist to declare anything as an influence, and make of it what he or she will, one could look at cubism and say "ok... this is now a music" and then would be in a position to ask whether or not it is alienating, alienated, or whatever. i think the question cuts three ways. 1) what did picasso think when he came up with it? 2) what did picasso feel when he used it? 3) how do you respond to it? being the kind of person i am, i can't ignore any of these viewpoints, though i know that many artists will fall naturally into one of these positions (or another, i don't expect my interpretations to be exhaustive)... and these days, (3) seems to be the most popular, postmodernism not simply being an academic posture but an actual, widespread cultural condition. (1) appeals to my analytic side, prompting me to find sonic analogies between visual and sonic structure in the sense perhaps of aural illusions (has anyone here dug the shepard riff on king crimson's vroom?) or perhaps of just being angular in some way. (2) is the use to which a style was put in the service of expression... the works do communicate something... barthes aside, there is intent, decision, source-meaning. i think that as emusicians we often get caught up in the joy of the game, or the simple pleasure of the interesting product, and don't give enough thought to ourselves as authors, as makers of meaning. hence the easy categorization of so much of our output as either "academic" or "new age". i honestly believe that seriously attempting to come to grips with the thinking and feeling behind (and in front of... that is, in you while you stand looking at it) non-aural art is a powerful and worthwhile exercise for we who have as yet so little to offer in the way of artistic substance. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ========================================================================= Date: Mon, 30 Oct 1995 12:25:02 -0800 Reply-To: bc492@scn.org Sender: Electronic Music Discussion List From: SCN User Subject: SEQUENCER SOFTWARE Dear Fellow Subscribers, I am currently shopping around for a sequencer program for my Mac. The only programs in the running are Performer, Cubase, Vision and Logic (unless I've missed something). I've read specs on each, but I don't feel that by having done so gives me enough info with which to make an informed selection: I'd like to know what it's like to work in the environment, before buying. Have any of you suggestions as how to go about making a selection (short of a coin-toss, or, is that what it is?) How did *you* choose your first sequencer? (Think *way* back, now!) BTW, a composer-friend of mine, who beta-tests for MOTU, recommended Freestyle for me (he says that he told MOTU that they should've written Performer in the same general format), but my local vendor claims that it is lacking. Thanks for your help, -- --=[ E r i c I a n S l u y t e r ]=-- email: bc492@scn.org telephone: (206)728-7145 ========================================================================= Date: Mon, 30 Oct 1995 15:44:21 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Bostel Subject: Re: cubist music, etc. My hat off to Eric Harnden, rarely do I read something in this sort of vein that is so well considered and written. Sadly, I have nothing to add to the subject. MarkB ========================================================================= Date: Mon, 30 Oct 1995 15:21:04 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Ferguson Subject: Keyboard help... Hi All... I looking for my first keyboard and I was wondering if you could provide some pointers on brands/models to look at. Below is a list of things I'm looking for in this keyboard along with the priority. Many thanks in advance for any information you can pass my way! 1. Weighted-action (76 or 88 key) 2. 2 wheels (pitch bend, etc.) 3. After-touch 4. Sliders and other buttons Essentially, I looking for a dumb keyboard with lots of MIDI I/O control features that I'll use in conjunction with my module and computer to do sequencing, etc.. Thanks again for the help! Mark Ferguson meferg@digitalfoundry.com ========================================================================= Date: Mon, 30 Oct 1995 16:21:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: William Sequeira Subject: Re: A trumpet I can blow... Comments: To: Nick Rothwell Comments: cc: team-metlay@netcom.com In-Reply-To: ; from "Nick Rothwell" at Oct 28, 95 4:27 pm > > This month's SOUND ON SOUND (basically the UK equivalent to KEYBOARD) has a > two-page article on CASSIEL, covering the contemporary dance angle and > describing the music control systems. Be warned: there's also a promo. > photograph. (I'm the one who isn't female, blond and supple.) Congratulations! Well deserved.... William ========================================================================= Date: Tue, 31 Oct 1995 04:21:36 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Clay Greenberg Subject: Re: Keyboard help... In-Reply-To: <19951030222104442.AAA256@mic1.digitalfoundry.com> I would reccomend the Kurzweil PC-88. It has everything you are looking for and I really enjoy mine. ========================================================================= Date: Tue, 31 Oct 1995 02:16:59 GMT Reply-To: jetman@tunanet.com Sender: Electronic Music Discussion List From: jetman Organization: tunanet Subject: Re: SEQUENCER SOFTWARE Comments: To: homer!scn.org!bc492@AMERICAN.EDU Hey Eric, I'd get Performer if you're thinking of getting a MIDI Time Piece; makes sense to keep the hardware and software by the same company if and when possible - you'll appreciate whatever seamlessness there may be. If you mix and match you'll definitely discover the lack of seamlessness. jetman ========================================================================= Date: Tue, 31 Oct 1995 08:36:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Late-breaking events In-Reply-To: <01HX1N8P9EWI00004M@Post-Office.UH.EDU> from "Joseph O'Sullivan" at Oct 30, 95 08:49:07 am 1) I'm not happy with the way things have been going here lately. I log on and all of a sudden there's a firestorm of political posts, people sniping at each other's esthetics, and generally a lot of backbiting and nastiness. 2) There have been a number of people who have been exemplary in their restraint; however, the responses have been going to the list and NOT to the originator. Let's make this clear: I fully support the right of anyone on this list to have any political opinion they choose. I do NOT, however, want to see them on the list. At all. Participating in this forum is not a free-speech right. It is a PRIVILEGE open to anyone who is willing to not make me do a lot of extra typing. (Making me do a lot of extra typing makes my CTS kick up and then I get *testy*.) In words of one syllable. If your opinion does not address a musical topic IT SHOULD NOT BE ON HERE. I really don't want to have to start ejecting poeple. Really I don't. Use private email, or suffer in silence. --- Joe M. ========================================================================= Date: Tue, 31 Oct 1995 10:59:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: mark simon Subject: Back to emusic I've noticed that a lot of electronic music makes use of WHITE NOISE. I think this is grossly unfair. Something should be done about it. Actually there is pink noise, which addresses the gender issue, I guess. But this still doesn't explain the lack of Black noise in electronic music. Mark G. Simon mgs2@cornell.edu (who hopes that Stanford hires one of those left-side-black-right-side-white people from Star Trek) //////////////////////////////////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Mark G. Simon mgs2@cornell.edu \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ///////////////////////////////////////////////////////// ========================================================================= Date: Tue, 31 Oct 1995 09:31:32 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark Ferguson Subject: Fatar keyboard info needed Hi All.... Anyone have spec information on the Fatar Studio 900 and Studio 1100C keyboard controllers? Also, if you played one, what are your impressions of the feel and features? Many thanks in advance! Mark Ferguson The Digital Foundry, Inc. Boulder, CO 80301 meferg@digitalfoundry.com ========================================================================= Date: Tue, 31 Oct 1995 11:15:23 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Patrick Robinson Subject: Re: Back to emusic > Mark G. Simon > > (who hopes that Stanford hires one of those left-side-black-right-side-white > people from Star Trek) Hmmm... you reckon he's talking about that left-brain, right-brain business? (Sorry, just couldn't resist. Shoulda. Didn't.) --- Patrick Robinson Extension Information Systems, Virginia Tech pgr@ramandu.ext.vt.edu ========================================================================= Date: Tue, 31 Oct 1995 19:04:26 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: A trumpet I can blow... Sorry: I mean the November issue. It hit the streets here just over a week ago. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com "Success can be measured by only one thing: the hairs on the back of your neck." -- Twyla Tharp ========================================================================= Date: Tue, 31 Oct 1995 16:40:08 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Fabio Regazzi Subject: CIM XI Program Comments: To: algo-comp@heinous.music.uiowa.edu, audio-l@itesmvf1.bitnet, csound@noether.ex.ac.uk, daw-mac@netcom.com, icma@umich.edu, max@mcgill1.bitnet, mla-l@iubvm.ucs.indiana.edu, mto-list@husc.harvard.edu, music-research@comlab.oxford.ac.uk, musprf-l@cmsuvmb.bitnet, nextmusic@eecs.umich.edu, notmus-l@ubvm.cc.buffalo.edu, pcsound@maths.bath.ac.uk, semla-l@uga.cc.uga.edu, smallmusic@xcf.berkeley.edu, smt-list@husc.harvard.edu, sound@acm.org, synth-l@american.edu, ubmut-l@ubvm.cc.buffalo.edu, users@cnmat.cnmat.berkeley.edu, users@ccrma.stanford.edu Here is the program of the XI COLLOQUIUM ON MUSICAL INFORMATICS Bologna (ITALY) 8-11 november 1995. PROGRAM 8-nov 21:00 Conservatorio G.B.Martini piazza Rossini, 2 XI CIM Concert music by: C.Anguiar, P.Pachini, F.Giomi, A.Cipriani, =46.Dhomont, E.Pappalardo, M.Messieri. 9-nov Istituto di Filmologia via del Guasto 5 8:30 Iscrizione 9:00 Saluto delle autorit=E0 9:25 Scientific Session: Computer Assisted Composition 9:25 9:50 I. Popovic, R. Coifman,J. Berger Analysis and composition models of generative procedur= es 9:50 10:15 C.Goldman, D. Gang, S. Rosenschein NetNeg: A Hybrid Architecture for Polyphonic Music 10:15 10:40 J.L.Leach Algorithmic Composition as Gene Expression Based upon Fundamentals of Human Perception 10:40 COFFEE 11:00 Scientific Session: Digital Signal Processing I 11:00 11:25 Z. Settel, C. Lippe Musical Applications Using Real Time Frequency Domain Signal Processing 11:25 11:50 A. Di Scipio Real-time Poliphonic Time-shifting of Sound with Interactive Systems 11:50 12:15 I. Prignano Sintesi di Eventi Sonori Complessi per mezzo di Iterazioni Funzionali 12:15 12:40 F. Fontana, D. Rocchesso A New Formulation of the 2D-Waveguide Mesh for Percussion Instruments 9-nov Aula Absidale di Santa Lucia via de'Chiari 23/a 14:30 16:35 chairman Camilleri Special Session: Electroacoustic Music Analysis A.Di Scipio Riflessioni sull' analisi della musica elettroacustica e informatica. Esperienze e spunti teorici E.Pancaldi Analysis of Contiuo (1958) by B. Maderna A.Cipriani Problems of methodology: the analysys of Kontakte. Thinking in terms of stories F. Giomi, M. Ligabue Forme e strutture nella musica elettroacustica tra gli anni Cinquanta e Sessanta M.Brech An analysis system for electroacustic music. 16:30 COFFEE Reports from Laboratories 16:50 17:10 I. Itagaki, D. Nunn, D. Phillips, D. Batjakis, A. Purvis, P. Manning Activity Report from Durham Music Technology 17:10 17:30 I. Popovic, R. Coifman,J. Berger Towards a Unified Representation of Sound and Analytical Structure in Music 17:30 17:50 N. Bernardini, A. Vidolin The Centro TEMPO REALE: a presentation 18:00 Assemblea AIMI 9-nov 21:00 Conservatorio G.B.Martini piazza Rossini, 2 XI CIM Concert music by: G.Patella, R.Dapelo, J.Harrison, L.Ceccarelli, E.Pancaldi, A.Di Scipio, Z.Settel 10-nov Istituto di Filmologia via del Guasto 5 9:00 Scientific Session: Music Analysis by Computer 9:00 9:25 M. Annunziata, P. Caianiello, M. De Amicis Minimal Description-Length and Musical Analysis 9:25 9:50 E. Cambouropoulos A Computational Model for Discovery of Parallel Melodic Passages 9:50 10:15 D. Gang, D. Lehmann An Artificial Neural Net for Harmonizing Melodies 10:15 10:40 E. Rapoport FFT Analysis and Emotional Expression in Opera and Lied Singing 10:40 COFFEE 11:00 Scientific Session: Digital Signal Processing II 11:00 11:25 P. Vettori Fractional ARIMA Modeling of Microvariations in Additive Synthesis 11:25 11:50 Mariuz Bresin Analisi e sintesi della componente rumorosa 11:50 12:15 G. Evangelista, S. Cavaliere Karplus-Strong Parameter Estimation 12:15 12:40 G. Borin, G. De Poli A Hammer-String Interaction Model for Physical Model Synthesis 10-nov Aula Absidale di Santa Lucia via de'Chiari 23/a 14:30 17:25 chairman R. Doati Special Session: Music and Multimedia Performance N. Bernardini, A. Vidolin Noms des airs di Salvatore Sciarrino. Una musica algoritmica di trasformazione sonora A. Vidolin Il Live Electronics in Canti d'inquietudine di Andrea Molino S. Sargenti Software per la definizione di strumenti nella musica elettronica: analisi e realizzazione di Mikrophonie I e Solo di Karlheinz Stockhausen T. Belletti, G. Galizia, G. Haus MediaSynth. A System for the Synthesis of Multimedia Scores based on Petri Nets G. Cospito, R. Guida Le problematiche della creazione di opere multimediali= : composizione e performance nelle esperienze realizzate presso il L.I.M. dell'Universit=E0 degli studi di Milano A. Camurri, R. Chiarvetto, A. Massari, R. Rossi The HARP/Vscope Interactive Dance Music System E. Vaccarino Gli amori di Tersicore e Silicio 17:25 COFFEE 17:45 19:00 chairman M. Baroni Special Session: Radio and Electroacoustic Music F. Giomi Un percorso tra musica elettroacustica e radio italiana: 47 anni di Prix Italia N. Scaldaferri La radio e la nascita della musica elettroacustica L.Bianchini, S.Tamaro, M.Lupone, E.Palandri Il progetto CRM per una drammaturgia dell'ascolto radiofonico e del suo spazio virtuale 10-nov 21:00 Conservatorio G.B.Martini piazza Rossini, 2 XI CIM Concert music by: G.Cospito, L.Pavan, M.Serra, W.Prati, D.Smalley, M.De Amicis, B.Truax, M.Biscarini. 11-nov Aula Absidale di Santa Lucia via de'Chiari 23/a 9:00 Scientific Session: Acoustics and Psycoacoustics 9:00 9:25 P. Toiviainen Optimizing Self-Organizing Timbre Maps: The Effect of Auditory Images and Distance Metrics 9:25 9:50 N. Boatin, G. De Poli, P. Prandoni Timbre Characterization with Mel-Cepstrum: a Multivariate Analysis 9:50 10:15 D. Rocchesso, W. Putnam A Numerical Investigation of the Representation of Room Transfer Functions for Artificial 10:15 10:40 S.Dubnov - N.Tishby Non-concurrence in timbre and it's analysis and synthesis with bispectrum 10:40 COFFEE 11:00 Scientific Session: Computer Music Systems 11:00 11:25 P. Fossati, G. Haus, A. Minetti Newton MusicKit. Scrittura musicale con pen - computer 11:25 11:50 R. Bresin, N. Orio A Gesture Interface Controlled by the Vocal Tract 11:50 12:15 R. Bresin, G. De Poli, R. Ghetta A Fuzzy Approach to Performance Rules 12:15 12:40 K. Ng, D. Boyle, D. Cooper Automated Optical Music Score Recognition and its Enhancement using High-level Musical Knowledge 11-nov Aula Absidale di SantaLucia via de'Chiari 23/a 14:30 17:00 chairman R. Bresin Special Session: Feature Extraction M. Leman, F. Carreras Simulation of Listening to Bach's Wohltemperiertes Kla= vier G. Allasia, A. Camurri A Hybrid System for the Analysis of Musical Signals: HARP/TCAD D. Alghi Estrazione in Tempo Reale di Parametri di Controllo da Segnali Audio Complessi A. Ballista, G. Frazzini, G. Haus SYRINX. Conversione automatica di processi audio analogici in processi MIDI: visualizzazione e confronto A. Bertoni, R. Bresin Real-Time Musical Rhythm Tapping: a Neural Networks - Numerical Algorithms Hybrid System C. Cioffi Soul: un sistema per la classificazione di segnali musicali basato su reti neurali Demo and Poster 9-nov Aula Absidale di Santa Lucia via de' Chiari 23/a 14:30 G. Cospito, M. Pennese Ambiente integrato di composizione assistita dal calcolatore e di sintesi del suono: una libreria Patchwork per il controllo di strumenti CSound 15:20 P. Comerford, L. Comerford Driving a Musical Sound Synthesis System with a Digital Signal Processor: A Design Exercise 16:10 A. Katrami, T. Ingall, L. Comerford A Multimedia HyperText Environment in Computer Music 17:00 P. Gena, C. Strom Musical Synthesis of DNA Sequences 10-nov ore 14,30 - 19 Aula Absidale di Santa Lucia via de' Chiari 23/a 14:30 Zanghieri Converter pitch/MIDI 15:20 A. Pianu Un programma C-Sound per l'esecuzione 16:10 A. Inzoli, I. Pighi Promenade. Un Sistema Software per la Sincronizzazione di partiture e Processi MIDI 17:00 A. Chandra TrikTraks: Structural Waveform Trasformations with Composed Paths 17:50 F. Degrassi Un software per la gestione in concerto di dispositivi per il campionamento e l'elaborazione del suono 18:40 E.Miranda AI approach to sound design 11-nov ore 9 - 12,30 Aula Absidale di Santa Lucia via de' Chiari 23/a 9:00 D. Rossi Attenuazione numerica dei Disturbi nei Segnali Audio 9:50 P. Torrente, V. Colombo, V. Lombardo An Environment for Music Performance 10:40 R. De Tintis GRAINS: a Software for Real-Time granular synthesis and sampling running on the IRIS-MARS workstation 11:30 M. Giachi Progetto e realizzazione di un sistema di sintesi di un suono in tempo reale nel dominio della frequenza 11-nov ore 14,30 - 17 Aula Absidale di SantaLucia via de'Chiari 23/a 14:30 P. Sartor, A. Vidolin Fuzzy Control of Sound Synthesis Parameters 15:20 P. Principi Un' indagine sulle regole preferenziali di raggruppamento di Lerdahl e Jackendoff 16:10 D. J. E. Nunn, A. Purvis, P. D. Manning Graphical Display of Musical Information 17:00 M. Malt, J. Baboni Schilingi Profile; libreria per il controllo del profilo melodico XI CIM Concerts 8-nov ore 21 Conservatorio G.B.Martini piazza Rossini, 2 C.Aguiar Piece of mind per nastro P.Pachini Butterfly crusade per flauto dolce e nastro F.Giomi That's all folks! per nastro A.Cipriani In memory of a recorder per flauto dolce e nastro F.Dhomont Novars per nastro E.Pappalardo Oltre per flauto dolce e nastro M.Messieri Rapaci per flauto, fagotto, pianoforte e nastro 9-nov ore 21 Conservatorio G.B.Martini piazza Rossini, 2 G.Patella Linee agitate per nastro R.Dapelo Kindergarten per pianoforte e nas= tro J.Harrison ....et ainsi de suite... per nastro L.Ceccarelli Quanti per clarinetto e nas= tro E.Pancaldi Dialoghi per nastro A.Di Scipio Essai du Vide. Schweigen per nastro Z.Settel Taudrium per contrabasso e live electronics 10-nov ore 21 Conservatorio G.B.Martini piazza Rossini, 2 G.Cospito Ombre e riflessi per flauto, sintetizzatore e nastro L.Pavan Code per nastro M.Serra Tityrus per soprano, nastro, e live electronics W.Prati Grains #3 per contrabbasso e Mars workstation D.Smalley Valley flow per nastro M.De Amicis ndeterminato per flauto, nastro e live electronics B.Truax Sequence of later Heaven per nastro M. Biscarini Studio per 13 strumenti e nastro ----------------------------------------- =46abio Regazzi Comitato Organizzatore del XI CIM Universita' degli Studi di Bologna Dipartimento di Musica e Spettacolo via Galliera, 3 - 40126 Bologna (ITALIA) tel. 051-223943 fax. 051-231183 e-mail regazzi@cirfid.unibo.it e-mail cimxi@muspe1.cirfid.unibo.it ----------------------------------------- ========================================================================= Date: Tue, 31 Oct 1995 18:07:22 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Announcement: Position at Stanford's CCRMA -Reply In-Reply-To: from "john rossi" at Oct 31, 95 04:02:55 pm > I'll make this short. I agree with your suggestion, however, I have > tried to communicate with several of the 'minority' players by email. > The only email I got personally was a threat to be white(?)-listed in a > lot of minority newsgroups and to be dealt with. I hope this will be the last iteration. WRITE TO postmaster@wherever IF YOU RECEIVE THREATENING EMAIL. Seriously. --- Joe M. ========================================================================= Date: Tue, 31 Oct 1995 14:12:17 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Reminder on responding to offensive messages In-Reply-To: <30915132@msmailgwy> from "Aaron Taylor" at Oct 27, 95 02:33:00 pm A few final items, and then I think we can let this drop. The original response was WAY the hell out of line. As mentioned in the FAQ, if you don't like what somebody says, mail HIM or HER. Not 600 people around the world. If you really think that the mail is threatening or personally abusive, or whatever, forward a copy of it to postmaster at the originating site, along with a POLITE letter stating your position. (Polite works wonders. Really.) The responses to the responses varied from irritated but still civil to completely over the top. Again, send them to the single person you want to address if you want to exercise your bent for invective. The CIVIL responses were marginally acceptable, but really should have gone to the originator. The followup argument about "I'm more/less PC than you are" was stupid and had no place on this list. Once you begin arguing about opinions, whether on politics, religions, or the choice of synth (see why my response about the TS-10 was so low-key, Jared? :) ), nothing useful gets said. Especially when the argument goes straight to ad hominem attacks. If you really, really get your kicks from the fight-or-flight mechanism, spare the rest of us and savage other people privately. Remember, of course, that anyone you flame has the option of sending a copy of your mail to the postmaster at your site. Be prepared to justify name-calling. Good luck. This is NOT to say that people shouldn't express opinions here. They should. But they should be about subject matter which is pertinent to the list. That's simple enough, isn't it? --- Joe M.