From MAILER-DAEMON  Fri Jan  3 13:30:04 1997
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Date:         Fri, 3 Jan 1997 12:50:00 -0500
From: "L-Soft list server at AMERICAN.EDU (1.8b)"
              <LISTSERV@AMERICAN.EDU>
Subject:      File: "EMUSIC-L LOG9611B"
To: Joe McMahon <mcmahon@CLARK.NET>
Status: O

=========================================================================
Date:         Thu, 7 Nov 1996 08:41:38 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Barry Kirsch <bkirsch@VOICENET.COM>
Subject:      Re: midi player/sequencer for Macintosh System 6

>Is there any free or shareware software that will allow you to play standard
>midi (.mid) files on an external device using a Macintosh SE with System 6 on
>it?

I started writing one a couple of years ago.  I call it Ready-Set Play.  It
allows you to create set sheets.  There is a demo off of my web site:

http://www.voicenet.com/~bkirsch/programs.html

Email me if you want the full version.  I originally intended the program
to be run on a PowerBook 100 running System 6.0.8L, to be used for live
gigs but the MIDI drivers I used were not compatible with all PBs.  I put
that project on the back burner for now.  It should be compatible with
System 6 as I didn't use OMS.
I may resurect that project if there is interest.

BTW, this SMF player also supports plug-ins for synchronized animated
graphics, which could be extended to display chord changes that are derived
from the MIDI stream or karaoke.  The plug-in API is available to anyone
interested.

Barry Kirsch
bkirsch@voicenet.com
http://www.voicenet.com/~bkirsch/
=========================================================================
Date:         Thu, 7 Nov 1996 08:58:46 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "william.b.fox" <wbf@ALOFT.MICRO.LUCENT.COM>
Subject:      JMJarre List
Comments: To: 2bernal@RIGEL.DEUSTO.ES

> Date:    Tue, 5 Nov 1996 13:46:00 +0100
> From:    Rume <2bernal@RIGEL.DEUSTO.ES>
> Subject: <No subject given>
>
> I am a new user and I would like to get in touch preferently with Mike =
> Oldfield  (though Mike is not pure electronic music) or Vangelis or Jean =
> Michel Jarre fans.=20
>
> AMAROK FOREVER!!!!!!!!

Send this message
subscribe jarre-digest 2bernal@RIGEL.DEUSTO.ES
to majordomo@cs.uwp.edu to join the J. M. Jarre list.  Maybe you could
do a web search for Oldfield and Vangelis lists.

Bill    BillFox@lucent.com
=========================================================================
Date:         Wed, 6 Nov 1996 21:55:38 +0000
Reply-To:     Andysmoke@dial.pipex.com
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Someone who wants to get off this list! <tah70@DIAL.PIPEX.COM>
Subject:      Re: Electronic Music

Joe McMahon wrote:
>
> > IS THIS REALLY THE PLACE FOR THIS?  OR DO I HAVE HAVE THE WRONG LIST??
> >
> > DAVID!
> >
> Hi,David. It's probabably a good place to find people with similar interests,
> but fan-type stuff is not exactly frowned on but sort of  declasse'. Concert
> reviews (if balanced, noy just adulatory) are always interesting. And
> discussion of the applications of things learned from an artist's music
> (as in, musical stuff, not so much "life lessons") are always good.
>
>  ---Joe M.
>
> ps - it's easier to read what you're sending us if you turn off the
>      "caps lock" key - all caps reads like  you are SHOUTING REALLY LOAD.

Someone PLEASE help me to get off this list!
I can't stand it anymore.  Emails from the same people *every*-day!

Andy :)
--
Andysmoke@dial.pipex.com
http://ds.dial.pipex.com/town/parade/tah70
http://www.geocities.com/SoHo/5024

"Computers aren't intelligent - they just think they are!"
=========================================================================
Date:         Thu, 7 Nov 1996 17:05:13 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Marc Lanthier <Makmak987@AOL.COM>
Subject:      .

How do I quit your distribution list ??
=========================================================================
Date:         Thu, 7 Nov 1996 20:02:01 -0600
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         marty altenberger <martywa@APCI.NET>
Subject:      please unsubscribe me

please take me off the list

unsubscribe martywa@apci.net
=========================================================================
Date:         Fri, 8 Nov 1996 03:30:51 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Paulo Mouat <mouat@MAIL.TELEPAC.PT>
Subject:      UE addresses
Comments: cc: silence@bga.com

Can anyone confirm these addresses?

Universal Edition
(UK) 2/3 Fareham Street, Dean Street London W.1.
(Austria) Karlsplatz 5, Vienna I

The source is a rather old Die Reihe issue, and so these may have
changed.  I'd be grateful if anyone can confirm or give updated
addresses.

Thanks to all.
--
  __|__
___\_/___
   ___      Paulo Mouat,
  |___|  mouat@mail.telepac.pt
  |___|
=========================================================================
Date:         Fri, 8 Nov 1996 10:42:15 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Timothy Kelly <midivox@IX.NETCOM.COM>
Subject:      Re: Did the Novation BassStation flop?

Hi All,
   It was the worlds best selling synth one year, outselling anything
at any price. Hardly a flop.
   Happy Emusic
   Timothy Kelly
   MidiVox
--
MidiVox - Worlds 1st Voice to Midi. Real Time Hardware.
BioSensor Neckband. Rack Mount Brain.

Sing, Hum, Scat, Croon, Rap, Talk, Scream . AES Best in Show.
EM's Editors Choice.

Become a Human Sequencer & Human Vocoder. Can You Hum a Bass,
Sing Like a Sax?
=========================================================================
Date:         Sat, 9 Nov 1996 11:17:17 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Karl A. Petersen" <kap@FIREDRAGON.COM>
Subject:      WAV->MIDI Conversions for Piano

This is a discussion from a related group on the Holy Grail of musical data
conversion. Please reply to me if you would like to participate,
contribute or just have a continuing interest in this, and I'll point you
to the core group.

Karl
kap@firedragon.com

--------------------
From: dick@via.at (Claus Kucher)
To: rolls@foxtail.com (Mechanical Music Digest),
Date: Wed, 23 Oct 1996 13:48:04 +0200 (MET DST)

Subject: WAV -> MIDI

The discussion about "Analog --> MIDI conversion" in this group, as it shows
to me, has the following state (I hope I did not miss anything):

Robbie Rhodes wrote in MMD 95.11.01 (which was "Automatic Music Digest"):

> Subject: Re: Genetics & Analog-to-MIDI

> I received a note from Artis Wodehouse inquiring how to analyze
> a live-recorded phonograph performance for the statistics of the
> note- and chord-attack timing.  She would like to properly "randomize"
> the timing of a heavily-edited piano roll performance in order to
> make it sound more like a live performance.
>
> Artis referred me to two recent articles which I'm now reviewing:
>
> [1]   J. Berger, R. Coifman and M. Goldberg, "Removing Noise from Music
>       Using Local Trigonometric Bases and Wavelet Packets," J. Audio
>       Eng. Soc., Vol 42, No. 10, pp. 808-818 (October 1994)
>
> [2]   J. Berger and C. Nichols, "Bhrams at the Piano: an Analysis of
>       Data from the Brahms Cylinder," Leonardo Music Journal, Vol. 4,
>       pp. 23-30 (1994)
>
> Author Jonathan Berger is a composer and music professor and also
> directs the Center for Studies in Music Technology at Yale University.
> The JAES paper [1] uses a "cost function" to evaluate the progress
> of a noise-removing algorithm, and steer its progress in the proper
> direction.
>
> The second article [2] describes how this method, and others, were
> applied to an audio recording of Johannes Brahms, himself, playing
> a segment of his "Hungarian Dance No. 1" at the piano.
>
> The authors created a synthesized sound file from their analyzed data
> (I'm not sure if it was .wav. or MIDI) and "overlaid" it with the
> original Brahms sound record to test their analysis results.
>
> Artis's desire is rather thought-provoking.  She is currently editing
> the set of 12 piano rolls recorded in 1923 by Jelly Roll Morton, and adding
> realistic velocities/expression in preparation for playback on a MIDI
> solenoid reproducing piano.  I presume that, at the current stage of editing,
> the timing is very metronomic, and even with expression and accents, it
> still sounds a little too good, i.e., "unreal".  Simply introducing a
> little random noise into the MIDI file timing just make the song sound
> "live-played" sounds like an umpteenth-generation piano roll copy, because
> the random timing is truly random.
>
> Howzat again?  Yes: true random noise on the time base doesn't sound right,
> either.  Therefore, the original performer was NOT random in his timing,
> and there must be some sort of correlation with the musical figure he's
> performing.
>
> Artis would welcome constructive advice on this task.  Any ideas out there?

In MMD 95.11.12  Zoltan Janosy replied to Robbie Rhodes discussing "WAV to
MIDI conversion"

and John D. Rhodes contributed the following:

> a.  I assume the objective is to create sheet music of the original
> performance, not simply produce a combination of MIDI-notes/voices
> which "sounds like" the original.  So let's get the "sounds-like" out
> of way with sampled notes, and concentrate on combining the notes to
> produce the target timing and harmony. [ No: the major objective is
> something like MIDI control of a dynamic waveform synthesizer. --Rob]
>
> b.  I think you should be able to extract samples of *individual*
> notes from a disk recording.  Take advantage of the slight attack
> descrepencies on simultaneous notes.  Once you have the attack/decay
> signature isolated for a given note, you should be able to remove it
> from a chord (within reason) to assist isolating the signature of
> other notes.
>
> Further thoughts:
> Computer scientists (like some manufacturing automation engineers I
> work with) sometimes produce overly-complex solutions by attempting
> to program/automate everything.  Some problems (e.g. pattern
> recognition) are extremely tough to find programmatic solutions for;
> but humans (in fact, most animals) are *extremely* good at pattern
> recognition -- in more than the visual domain, I should add. So, swallow
> some inventor's pride, save lots of time, and put a human in the loop.
>
> For example, Rob, you and brother Doug can listen to a piano
> recording and play it by ear and write out the notation.  You are
> bringing far more to bear on the problem than simple aural analysis.
> You are including:  how many notes can one hand play, what is the
> intended harmony, how would one voice this, etc.  Use your knowledge
> to supplement (and teach) the program.

In MMD 95.11.15 Robbie Rhodes wrote the following:

> My nephew, Brad, is studying for a Doctorate at MIT in the artificial
> intelligence arena, and is a research assistant in the MIT Media Lab.
> This letter addressess Artis Wodehouse's problem of recovering the
> note timing in a recorded piano performance, and suggests analysis
> with matched filters (nowadays a fairly mature process).

> Personally, I wouldn't use GA's for this problem, at least with the
> genotype being a MIDI string (the phenotype being the .wav file).  GA's
> are usually used when there are a bunch of different parameters interacting
> with each other in intractable ways.  That's not the case here, since a note
> or chord doesn't affect the rest of the music after it stops resonating.
> (If you're interested in more about genetic algorithms or genetic
> programming ask me -- I just deleted a huge discourse on how you might use
> them on this problem before deciding it wasn't the right approach.)
>
> Since it's been a long time since I've done any signals stuff, I bounced
> the problem off of a few people around the lab and the best approach seems
> to be to use a bank of filters, each finding where a different note appears
> in the music.  Here's the jist, and I'm sure my Dad can fill in any details
> or correct mistakes.
>
> For each voice and note take a few samples from whatever output program
> you'll be using.  These samples should be of different velocities and
> durations, and you'll want to get some samples with just the onset, while
> others have the full note.  You'll also want to capture the reverb
> afterwards.  Then create a matched filter consisting of the onset of just
> that note starting at 0 time.  (My office mate & I have been looking over
> our old signals textbook, and it looks like this is done by reversing the
> sample in time, creating a filter with that impulse response, and then
> convolving that with the music.)  This should create a signal with peaks
> where the center of the sample matches; use that and the length of the
> sample to find where the sample should start.
>
> Once you've got the start of the note and where it was, you can play with
> different durations and velocities to get the closest match.  The inner
> product of the sample with the music over the same period of time should
> give a number indicating how good a fit the choice is.  After that you'll
> need to go through by hand and clean it up, but that should do most of it.
> It'll probably work less well with non-percussion instruments since there's
> a lot more information than just note, velocity, and duration, but it
> should still give a good approximation.
>
> This is almost certainly already being done, at least in the laboratory if
> not in commercial products yet.  Steve Mann recommended several references in
> wavelet theory to look at.  If these aren't a good match, chances are
> something they reference will be.
>
> R. Wilson, A D Calway, and E R S Pearson.  A generalized wavelet transform
> for Fourier analysis: the multiresolution Fourier transform and its
> application to image and audio signal analysis.  IEEE Trans. on Information
> Theory, 38(2):674-690, March 1992
>
> C.E. Heil and D.F. Walnut.  Continuous and discrete wavelet transforms.
> SIAM Review, 31(4):628-666, 1989.
>
> S.G. Mallat.  A theory for multiresolution signal decomposition: The
> wavelet representation.  IEEE Trans. on Patt. Anal. and Mach. Intell.,
> 11(7):674-693, 1989
>
> I. Daubechies.  The wavelet transform, time-frequency localization and
> signal analysis.  IEEE Trans on Inf. Theory, 36(5):961-1005, 1990
>
> G. Strang.  Wavelets and dilation equations: A brief introduction.  SIAM
> Review, 31(4):614-627, 1989
>
> B.C.J. Moore.  An introduction to the psychology of hearing.  Academic
> Press, second edition, 1982
>
> I'd also recommend checking out the sound and media group at the MIT Media
> Lab: <http://sound.media.mit.edu/>.  They seem to have projects along these
> lines.

The discussion went on half a year later (MMD 96.07.22) when John Tuttle was
asking the group for a  "program that converts .wav files to MIDI files??"
and Jody Kravitz placed the following  editor's note:

 > Converting single pitches to MIDI can be done pretty easily,
 > but in the context of this group I'm sure you're interested
 > in taking a .wav file of a recorded piano (or band) piece and
 > converting it to a MIDI form of the performance.
 >
 > I consider this the "Holy Grail" of Artificial Intellegence
 > Research as applied to music.  This is _NOT_ a solved
 > problem.  The more complex the musical input (more instruments)
 > the harder it gets.  I have several recordings that were taken
 > from 78's by the Smithsonian that I'd like to have MIDI scores
 > of.  I figure that some day I'll bring the .wav files to
 > someone who knows how to transcribe music by hand and pay them
 > to do it.  I have some ideas about how to write software
 > to simplify the task, but the essential "computer" is still the
 > human.

and S.K. Goodman replied:

 > I have been transcribing material from 78's and cylinders to paper for
 > years.  By the time one edits MIDI files from wav files, it would just
 > be simpler to do a straight "by ear" transcription direct to MIDI.
 > This is exactly what I am doing right now making a full 88- note piano
 > roll arrangement from the U.S. Marine Band playing several movements
 > of Sousa's syncopated compositions from his suites.
 >
 > An example of how clunky converting input to MIDI can be other than by
 > keystroke or mouse is the amount of editing that a scanned score
 > requires (such as generated by Midiscan software) to make it a viable
 > MIDI file.  I hope the situation improves.

This is the point till now in October 1996 - so maybe the discussion will
continue forced with the attached article from Matt (The Lost Soul).

I think it could be from interest not only for the sleeping
programmers-technicians-musicians-players and other related folks to enter
the hall of fame bringing the most wanted software of converting
Analog-to-MIDI data to the rest of the world ;-)

Claus Kucher

--------------------

 [ Editor's note: The following article was forwarded to us by Claus,
 [ but is indexed seperately in Digest header.

From: matt@Physics.usyd.edu.au (The Lost Soul)
To: Newsgroups: alt.binaries.sounds.midi,alt.music.midi,comp.music.midi
Date: 21 Oct 1996 05:49:46 GMT

Subject: WAV -> MIDI? ... The Physics

Organization: School of Physics, University of Sydney, Australia

In article <3269AE02.2455@webworldinc.com>,
Christopher Weare  <cweare@webworldinc.com> wrote:

> > AND THAT'S THE KEY!... "A SINGLE INSTRUMENT"
> >
> > AFTER ALL THIS DISCUSSION, I STILL CAN NOT FATHOM HOW A DEVICE (BEING
> > HARDWARE/SOFTWARE) CAN ACCURATELY TRACK MULTIPLE INSTRUMENTS, CONVERT
> > THEM TO A MIDI NOTE (OK... I CAN SEE DOING THAT VIA FFT) .... Geeeee...
> > MAYBE ONLY ONE INSTRUMENT AT A TIME IS POSSIBLE BUT .. A
> > MULTI-INSTRUMENT CONVERSION... I THINK NOT !!!!!
>
> Consider this:  A human can do it.  In time, machines will be able to do
> it reliably.  There are already several attempts that have varying
> degrees of success and extracting the note info from multi instrument
> recordings.  None are yet robust enough to survive as a commercial
> product, but it is only a matter of time.  There is no fundamental
> reason why a "machine" implementation would never be able to solve this
> problem.

I've done quite a bit of signal analysis and processing as part of my
physics degree, so lets think about this one....

To track a single instrument you need to pick out the fundamental
frequency. Not a problem.. fourier transform it and pick out the lowest
peak. Call this a note. If you want you can probably sort out some sort
of correlation to the amplitude of the original wave and MIDI velocity
or volume information. Note that you are throwing out all the things
that make the instrument unique.. ie  which of the higher harmonics are
present, and their relative strengths.

Now add a second instrument. Say we have a violin and a flute. Both
instruments will have a fundamental frequency and a pile of overtones.
If the music is in anyway tuneful, a lot of them will probably overlap.
Now the human ear can detect these instruments individually, but only
because they are sounds we recognise. (What if somebody created an
instrument that sounded just like a flute and a violin playing in
unison? You'd pick it as two instruments).

Okay.. so we need to tell our computer what a violin sounds like, and
what a flute sounds like, by giving it a signature to work with. We
know that certain harmonics will be present in each instrument, and
depending on how its played they will appear in certain ratios. We
could even get the computer to analyse a section of music, looking for
simularities in wave patterns to define a verse, or a chorus, or a
middle eight or whatever, and then analyse the fourier transforms of a
number of tiny sections within the music to determine what instruments
are present, then apply this knowledge to the music to extract the
actual notes.

It is definitely not a simple "run it through" program, but an
iterative series of fits to the data. Basically what you do is apply a
model (I have these model instruments playing these model notes) and
changing it over time to better fit the output you have (This is a
common practise in all sciences that fit models to data).

Basically, it's not a trivial problem, and given that your average
piece of music contains several instruments playing several thousand
notes, quite a lot of number crunching needs to be done to fit the
music to the sound.

The human brain does all this in real time .. incredible.

Note the method descibed is essentially a brute force method.  The
algorithm could probably be refined, but somebody is gonna have to
implement the brute force method first.

Matt

--
Plan:
To retain the childlike enjoyment for the simple things in life,
while aquiring the maturity to fully appreciate them.

--------------------

From: rrhodes@foxtail.com (Robbie Rhodes, Etiwanda, Calif.)
To: rolls@foxtail.com (Mechanical Music Digest)
Cc: dick@via.at (Claus Kucher), livep@aol.com (Wayne Stahnke)
Date: Wed, 23 Oct 1996 17:53:52 -0700

Subject: Re: WAV-to-MIDI Conversion

Yep, it's still true: put the human brain into the process.  Then provide
pencil and paper, and remove the computer!  Artis Wodehouse couldn't wait
for the computer method to be realized, so she finished her Audio-to-MIDI
transcriptions manually, "by ear."

Robbie Rhodes

 [ Editor's note:
 [
 [ As I stated months ago, I don't transcribe music from audio.
 [ However, a tool that I've thought would be useful is an editing tool
 [ which combined a .WAV editor and a .MID editor into a single program.
 [ The program would have a split-view window with a "Piano Roll View" in
 [ the top half and a "Waveform Envelope View" in the bottom half.  Both
 [ halves would be displayed simultaneously and would be scrolled with a
 [ single scrollbar.  Time values would be the same in both halves of the
 [ window.  You could select a region of .WAV _OR_ a region of .MID to
 [ play, or you could select BOTH.  The latter would allow you to A-B
 [ compare via stereo playback.  A toolbar might provide analysis tools
 [ to be applied to the waveform portion, such as Forier analysis, etc.
 [ A skilled musician might be able to use a tool such as this (with both
 [ a computer keyboard and a MIDI keyboard at the workstation) to quickly
 [ edit (and accurately time synchronize) audio with MIDI.
 [
 [ An inverse variation of this might make it possible for someone with
 [ a MIDI score to arrange or embellish a "layered analog performance".
 [ Movie sound tracks are put together with tools like this (originally
 [ with sprocketed film and sprocketed audio clips at a machine called
 [ a Movieola.  Fast processors and large disk drives make this kind
 [ of editing technology within the reach of the hobbiest.
 [
 [ Jody
=========================================================================
Date:         Sat, 9 Nov 1996 21:50:37 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Karl A. Petersen" <kap@FIREDRAGON.COM>
Subject:      Old Post on ARTIS-T?
Comments: To: synth-l@american.edu

I sent a post to the old emusic-l about a file translator for piano audio
files sometime in late '95 or early '96. It is no longer in the
retrievable archives, and I wonder if anyone out there might have saved
it. If so, I would be very grateful to have a copy of the post returned
to me. I probably had the address kap@dragon.micron.net then.

Thanks!

Karl
kap@firedragon.com
=========================================================================
Date:         Sun, 10 Nov 1996 08:29:40 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Peter K Schoenhoff <pschoenh@PEN.K12.VA.US>
Subject:      Re: WAV->MIDI Conversions for Piano
In-Reply-To:  <Pine.LNX.3.91.961109111255.9493A-100000@firedragon.com>; from
              "Karl A. Petersen" at Nov 9, 96 11:17 am

These are the graceful words of Karl A. Petersen:

->Robbie Rhodes wrote in MMD 95.11.01 (which was "Automatic Music Digest"):
->>
->> Artis's desire is rather thought-provoking.  She is currently editing
->> the set of 12 piano rolls recorded in 1923 by Jelly Roll Morton, and adding
->> realistic velocities/expression in preparation for playback on a MIDI
->> solenoid reproducing piano.  I presume that, at the current stage of editing,

        Interesting... just as a footnote, this process was also used with
several of Gershwin's piano rolls.  He even made a couple of rolls using
a new system (then) which allowed him to record dynamics.  Unfortunately,
this new system was expensive (from what I understand) and really never
caught on well.
        The results of Gershwin's piano roll restorations are available on
CD- "Gershwin Plays Gershwin: The Piano Rolls." from Elektra Nonesuch.

--
  -Pete Schoenhoff   _\|/_   pschoenh@pen.k12.va.us
=========================================================================
Date:         Sun, 10 Nov 1996 11:17:16 -0700
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         "Karl A. Petersen" <kap@FIREDRAGON.COM>
Subject:      Re: WAV->MIDI Conversions for Piano
Comments: To: Peter K Schoenhoff <pschoenh@PEN.K12.VA.US>
In-Reply-To:  <199611101329.IAA116729@pen2.pen.k12.va.us>

I'm glad you got the post. Somehow it never came back to me, or have any
other emusic-l posts in the last few days. I thought the band was dead,
but perhaps I'm just off the list now.

This 100% hand editing is tedious, inaccurate, subjective and a real
labor of love, so my interest in the topic has been to develop methods to
automate as much of the tedium as possible. Even today pulling the note
record out of an audio recording still requires a musician to transcribe
it or play it again by ear.

Gershwin never did use the AMPICO equipment developed by Dr. Hickman to
record. Unfortunately he recorded for Aeolian on the Duo-Art equipment.
That's why the second roll of Rhapsody in Blue (Emaj theme, etc) was
released long before the first half--the dynamics were simpler for the
legato sections and were approved quickly, but the first part took so
long to make sound decent that they finally let it go anyway. Even
accounting for George's variations in style, the roll and the audio
recordings didn't match. That's one of the reasons Artis Woodhouse has
had such a job in fudging her MIDI records to sound like the audio
recordings.

So, any ideas on how to streamline the WAV->MIDI question?

Karl Petersen
kap@firedragon.com
=========================================================================
Date:         Thu, 11 Jul 1996 21:44:40 +0200
Reply-To:     nature@worldaccess.nl
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         gert braakman <nature@WORLDACCESS.NL>
Subject:      Re: EMUSIC-L Digest - 9 Nov 1996 to 10 Nov 1996

Automatic digest processor wrote:
>
> There are 2 messages totalling 373 lines in this issue.
>
> Topics of the day:
>
>   1. WAV->MIDI Conversions for Piano
>   2. Old Post on ARTIS-T?
>
> ----------------------------------------------------------------------
>
> Date:    Sat, 9 Nov 1996 11:17:17 -0700
> From:    "Karl A. Petersen" <kap@FIREDRAGON.COM>
> Subject: WAV->MIDI Conversions for Piano
>
> This is a discussion from a related group on the Holy Grail of musical data
> conversion. Please reply to me if you would like to participate,
> contribute or just have a continuing interest in this, and I'll point you
> to the core group.

To add to this discussion, I recently found a shareware program that
analyses wave files and transcribes the content to guitar chords!! It
works very well for not to complex guitar wave files if you want to
check it out, the info is below.

Best,

Gert

> Product:             dsChordFinder32 Guitar chord recognition for Windows 95
>    Version:             2.1
>    Version Date:        28-Nov-1995
>    Product Type:        Software
>    Basic Distribution Policy (see License, below, for details):
>       Shareware, subject to distribution restrictions
>
>    Product Description: dsChordFinder32 v2.1<ASP> Guitar chord
>                         recognition from recorded music for Win95.
>                         Record a song with your sound card, load it
>                         in dsChordFinder and see which chords are
>                         being played. "ChordFinder is very fit to aid
>                         in finding out guitar chords in songs, as
>                         long as they are not too complicated",
>                         Computer!Totaal 12/94 on ChordFinder v1.0.
>                         Shareware from Dubbeldam Software, $39.00
>    Reason for version:  First version available as shareware
>
>    Category:            Home & hobby; Music
>    Keywords:            guitar chords music windows recognition sound
>    Required Packages:   DS32CH21
>    This Package:        DS32CH21
>    Registration Fee:    39.00-59.00 (US $)
>
>    Required Configuration
>       Processor Family: Intel 80x86 (minimum 80386)
>       Minimum OS:       Windows 95
>       Hard Drive Space: 461K
>       Required:
>          Sound card (specific types may be shown below)
>
>    Orders:
>       Address:          Dubbeldam Software
>                         Julianalaan 36
>                         2628 BH  Delft
>                         The Netherlands
>       CompuServe:       100554,1102
>       Internet:         100554.1102@compuserve.com
>       Other E-mail:     homepage:
>                         http://ourworld.compuserve.com/homepages/dubb
>                         eldam/
>
>    Support:
>       Address:          Dubbeldam Software
>                         Julianalaan 36
>                         2628 BH  Delft
>                         The Netherlands
>       CompuServe:       100554,1102
>       Internet:         100554.1102@compuserve.com
>       Other E-mail:     homepage:
>                         http://ourworld.compuserve.com/homepages/dubb
>                         eldam/
>
>
> ===== Packing List =====================================
=========================================================================
Date:         Mon, 11 Nov 1996 10:36:26 -0800
Reply-To:     jefff@dgii.com
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Jeff Fried <Jeff_Fried@DGII.COM>
Organization: digi international
Subject:      Re: WAV->MIDI Conversions for Piano

Karl,

I'd do have an interest, please point me to the group or list discussing
wav->midi.

Thanks,

Jeff.


Karl A. Petersen wrote:
>
> This is a discussion from a related group on the Holy Grail of musical data
> conversion. Please reply to me if you would like to participate,
> contribute or just have a continuing interest in this, and I'll point you
> to the core group.
>
> Karl
> kap@firedragon.com
>
> --------------------
> From: dick@via.at (Claus Kucher)
> To: rolls@foxtail.com (Mechanical Music Digest),
> Date: Wed, 23 Oct 1996 13:48:04 +0200 (MET DST)
>
> Subject: WAV -> MIDI
>
> The discussion about "Analog --> MIDI conversion" in this group, as it shows
> to me, has the following state (I hope I did not miss anything):
>
> Robbie Rhodes wrote in MMD 95.11.01 (which was "Automatic Music Digest"):
>
> > Subject: Re: Genetics & Analog-to-MIDI
>
> > I received a note from Artis Wodehouse inquiring how to analyze
> > a live-recorded phonograph performance for the statistics of the
> > note- and chord-attack timing.  She would like to properly "randomize"
> > the timing of a heavily-edited piano roll performance in order to
> > make it sound more like a live performance.
> >
> > Artis referred me to two recent articles which I'm now reviewing:
> >
> > [1]   J. Berger, R. Coifman and M. Goldberg, "Removing Noise from Music
> >       Using Local Trigonometric Bases and Wavelet Packets," J. Audio
> >       Eng. Soc., Vol 42, No. 10, pp. 808-818 (October 1994)
> >
> > [2]   J. Berger and C. Nichols, "Bhrams at the Piano: an Analysis of
> >       Data from the Brahms Cylinder," Leonardo Music Journal, Vol. 4,
> >       pp. 23-30 (1994)
> >
> > Author Jonathan Berger is a composer and music professor and also
> > directs the Center for Studies in Music Technology at Yale University.
> > The JAES paper [1] uses a "cost function" to evaluate the progress
> > of a noise-removing algorithm, and steer its progress in the proper
> > direction.
> >
> > The second article [2] describes how this method, and others, were
> > applied to an audio recording of Johannes Brahms, himself, playing
> > a segment of his "Hungarian Dance No. 1" at the piano.
> >
> > The authors created a synthesized sound file from their analyzed data
> > (I'm not sure if it was .wav. or MIDI) and "overlaid" it with the
> > original Brahms sound record to test their analysis results.
> >
> > Artis's desire is rather thought-provoking.  She is currently editing
> > the set of 12 piano rolls recorded in 1923 by Jelly Roll Morton, and adding
> > realistic velocities/expression in preparation for playback on a MIDI
> > solenoid reproducing piano.  I presume that, at the current stage of editing,
> > the timing is very metronomic, and even with expression and accents, it
> > still sounds a little too good, i.e., "unreal".  Simply introducing a
> > little random noise into the MIDI file timing just make the song sound
> > "live-played" sounds like an umpteenth-generation piano roll copy, because
> > the random timing is truly random.
> >
> > Howzat again?  Yes: true random noise on the time base doesn't sound right,
> > either.  Therefore, the original performer was NOT random in his timing,
> > and there must be some sort of correlation with the musical figure he's
> > performing.
> >
> > Artis would welcome constructive advice on this task.  Any ideas out there?
>
> In MMD 95.11.12  Zoltan Janosy replied to Robbie Rhodes discussing "WAV to
> MIDI conversion"
>
> and John D. Rhodes contributed the following:
>
> > a.  I assume the objective is to create sheet music of the original
> > performance, not simply produce a combination of MIDI-notes/voices
> > which "sounds like" the original.  So let's get the "sounds-like" out
> > of way with sampled notes, and concentrate on combining the notes to
> > produce the target timing and harmony. [ No: the major objective is
> > something like MIDI control of a dynamic waveform synthesizer. --Rob]
> >
> > b.  I think you should be able to extract samples of *individual*
> > notes from a disk recording.  Take advantage of the slight attack
> > descrepencies on simultaneous notes.  Once you have the attack/decay
> > signature isolated for a given note, you should be able to remove it
> > from a chord (within reason) to assist isolating the signature of
> > other notes.
> >
> > Further thoughts:
> > Computer scientists (like some manufacturing automation engineers I
> > work with) sometimes produce overly-complex solutions by attempting
> > to program/automate everything.  Some problems (e.g. pattern
> > recognition) are extremely tough to find programmatic solutions for;
> > but humans (in fact, most animals) are *extremely* good at pattern
> > recognition -- in more than the visual domain, I should add. So, swallow
> > some inventor's pride, save lots of time, and put a human in the loop.
> >
> > For example, Rob, you and brother Doug can listen to a piano
> > recording and play it by ear and write out the notation.  You are
> > bringing far more to bear on the problem than simple aural analysis.
> > You are including:  how many notes can one hand play, what is the
> > intended harmony, how would one voice this, etc.  Use your knowledge
> > to supplement (and teach) the program.
>
> In MMD 95.11.15 Robbie Rhodes wrote the following:
>
> > My nephew, Brad, is studying for a Doctorate at MIT in the artificial
> > intelligence arena, and is a research assistant in the MIT Media Lab.
> > This letter addressess Artis Wodehouse's problem of recovering the
> > note timing in a recorded piano performance, and suggests analysis
> > with matched filters (nowadays a fairly mature process).
>
> > Personally, I wouldn't use GA's for this problem, at least with the
> > genotype being a MIDI string (the phenotype being the .wav file).  GA's
> > are usually used when there are a bunch of different parameters interacting
> > with each other in intractable ways.  That's not the case here, since a note
> > or chord doesn't affect the rest of the music after it stops resonating.
> > (If you're interested in more about genetic algorithms or genetic
> > programming ask me -- I just deleted a huge discourse on how you might use
> > them on this problem before deciding it wasn't the right approach.)
> >
> > Since it's been a long time since I've done any signals stuff, I bounced
> > the problem off of a few people around the lab and the best approach seems
> > to be to use a bank of filters, each finding where a different note appears
> > in the music.  Here's the jist, and I'm sure my Dad can fill in any details
> > or correct mistakes.
> >
> > For each voice and note take a few samples from whatever output program
> > you'll be using.  These samples should be of different velocities and
> > durations, and you'll want to get some samples with just the onset, while
> > others have the full note.  You'll also want to capture the reverb
> > afterwards.  Then create a matched filter consisting of the onset of just
> > that note starting at 0 time.  (My office mate & I have been looking over
> > our old signals textbook, and it looks like this is done by reversing the
> > sample in time, creating a filter with that impulse response, and then
> > convolving that with the music.)  This should create a signal with peaks
> > where the center of the sample matches; use that and the length of the
> > sample to find where the sample should start.
> >
> > Once you've got the start of the note and where it was, you can play with
> > different durations and velocities to get the closest match.  The inner
> > product of the sample with the music over the same period of time should
> > give a number indicating how good a fit the choice is.  After that you'll
> > need to go through by hand and clean it up, but that should do most of it.
> > It'll probably work less well with non-percussion instruments since there's
> > a lot more information than just note, velocity, and duration, but it
> > should still give a good approximation.
> >
> > This is almost certainly already being done, at least in the laboratory if
> > not in commercial products yet.  Steve Mann recommended several references in
> > wavelet theory to look at.  If these aren't a good match, chances are
> > something they reference will be.
> >
> > R. Wilson, A D Calway, and E R S Pearson.  A generalized wavelet transform
> > for Fourier analysis: the multiresolution Fourier transform and its
> > application to image and audio signal analysis.  IEEE Trans. on Information
> > Theory, 38(2):674-690, March 1992
> >
> > C.E. Heil and D.F. Walnut.  Continuous and discrete wavelet transforms.
> > SIAM Review, 31(4):628-666, 1989.
> >
> > S.G. Mallat.  A theory for multiresolution signal decomposition: The
> > wavelet representation.  IEEE Trans. on Patt. Anal. and Mach. Intell.,
> > 11(7):674-693, 1989
> >
> > I. Daubechies.  The wavelet transform, time-frequency localization and
> > signal analysis.  IEEE Trans on Inf. Theory, 36(5):961-1005, 1990
> >
> > G. Strang.  Wavelets and dilation equations: A brief introduction.  SIAM
> > Review, 31(4):614-627, 1989
> >
> > B.C.J. Moore.  An introduction to the psychology of hearing.  Academic
> > Press, second edition, 1982
> >
> > I'd also recommend checking out the sound and media group at the MIT Media
> > Lab: <http://sound.media.mit.edu/>.  They seem to have projects along these
> > lines.
>
> The discussion went on half a year later (MMD 96.07.22) when John Tuttle was
> asking the group for a  "program that converts .wav files to MIDI files??"
> and Jody Kravitz placed the following  editor's note:
>
>  > Converting single pitches to MIDI can be done pretty easily,
>  > but in the context of this group I'm sure you're interested
>  > in taking a .wav file of a recorded piano (or band) piece and
>  > converting it to a MIDI form of the performance.
>  >
>  > I consider this the "Holy Grail" of Artificial Intellegence
>  > Research as applied to music.  This is _NOT_ a solved
>  > problem.  The more complex the musical input (more instruments)
>  > the harder it gets.  I have several recordings that were taken
>  > from 78's by the Smithsonian that I'd like to have MIDI scores
>  > of.  I figure that some day I'll bring the .wav files to
>  > someone who knows how to transcribe music by hand and pay them
>  > to do it.  I have some ideas about how to write software
>  > to simplify the task, but the essential "computer" is still the
>  > human.
>
> and S.K. Goodman replied:
>
>  > I have been transcribing material from 78's and cylinders to paper for
>  > years.  By the time one edits MIDI files from wav files, it would just
>  > be simpler to do a straight "by ear" transcription direct to MIDI.
>  > This is exactly what I am doing right now making a full 88- note piano
>  > roll arrangement from the U.S. Marine Band playing several movements
>  > of Sousa's syncopated compositions from his suites.
>  >
>  > An example of how clunky converting input to MIDI can be other than by
>  > keystroke or mouse is the amount of editing that a scanned score
>  > requires (such as generated by Midiscan software) to make it a viable
>  > MIDI file.  I hope the situation improves.
>
> This is the point till now in October 1996 - so maybe the discussion will
> continue forced with the attached article from Matt (The Lost Soul).
>
> I think it could be from interest not only for the sleeping
> programmers-technicians-musicians-players and other related folks to enter
> the hall of fame bringing the most wanted software of converting
> Analog-to-MIDI data to the rest of the world ;-)
>
> Claus Kucher
>
> --------------------
>
>  [ Editor's note: The following article was forwarded to us by Claus,
>  [ but is indexed seperately in Digest header.
>
> From: matt@Physics.usyd.edu.au (The Lost Soul)
> To: Newsgroups: alt.binaries.sounds.midi,alt.music.midi,comp.music.midi
> Date: 21 Oct 1996 05:49:46 GMT
>
> Subject: WAV -> MIDI? ... The Physics
>
> Organization: School of Physics, University of Sydney, Australia
>
> In article <3269AE02.2455@webworldinc.com>,
> Christopher Weare  <cweare@webworldinc.com> wrote:
>
> > > AND THAT'S THE KEY!... "A SINGLE INSTRUMENT"
> > >
> > > AFTER ALL THIS DISCUSSION, I STILL CAN NOT FATHOM HOW A DEVICE (BEING
> > > HARDWARE/SOFTWARE) CAN ACCURATELY TRACK MULTIPLE INSTRUMENTS, CONVERT
> > > THEM TO A MIDI NOTE (OK... I CAN SEE DOING THAT VIA FFT) .... Geeeee...
> > > MAYBE ONLY ONE INSTRUMENT AT A TIME IS POSSIBLE BUT .. A
> > > MULTI-INSTRUMENT CONVERSION... I THINK NOT !!!!!
> >
> > Consider this:  A human can do it.  In time, machines will be able to do
> > it reliably.  There are already several attempts that have varying
> > degrees of success and extracting the note info from multi instrument
> > recordings.  None are yet robust enough to survive as a commercial
> > product, but it is only a matter of time.  There is no fundamental
> > reason why a "machine" implementation would never be able to solve this
> > problem.
>
> I've done quite a bit of signal analysis and processing as part of my
> physics degree, so lets think about this one....
>
> To track a single instrument you need to pick out the fundamental
> frequency. Not a problem.. fourier transform it and pick out the lowest
> peak. Call this a note. If you want you can probably sort out some sort
> of correlation to the amplitude of the original wave and MIDI velocity
> or volume information. Note that you are throwing out all the things
> that make the instrument unique.. ie  which of the higher harmonics are
> present, and their relative strengths.
>
> Now add a second instrument. Say we have a violin and a flute. Both
> instruments will have a fundamental frequency and a pile of overtones.
> If the music is in anyway tuneful, a lot of them will probably overlap.
> Now the human ear can detect these instruments individually, but only
> because they are sounds we recognise. (What if somebody created an
> instrument that sounded just like a flute and a violin playing in
> unison? You'd pick it as two instruments).
>
> Okay.. so we need to tell our computer what a violin sounds like, and
> what a flute sounds like, by giving it a signature to work with. We
> know that certain harmonics will be present in each instrument, and
> depending on how its played they will appear in certain ratios. We
> could even get the computer to analyse a section of music, looking for
> simularities in wave patterns to define a verse, or a chorus, or a
> middle eight or whatever, and then analyse the fourier transforms of a
> number of tiny sections within the music to determine what instruments
> are present, then apply this knowledge to the music to extract the
> actual notes.
>
> It is definitely not a simple "run it through" program, but an
> iterative series of fits to the data. Basically what you do is apply a
> model (I have these model instruments playing these model notes) and
> changing it over time to better fit the output you have (This is a
> common practise in all sciences that fit models to data).
>
> Basically, it's not a trivial problem, and given that your average
> piece of music contains several instruments playing several thousand
> notes, quite a lot of number crunching needs to be done to fit the
> music to the sound.
>
> The human brain does all this in real time .. incredible.
>
> Note the method descibed is essentially a brute force method.  The
> algorithm could probably be refined, but somebody is gonna have to
> implement the brute force method first.
>
> Matt
>
> --
> Plan:
> To retain the childlike enjoyment for the simple things in life,
> while aquiring the maturity to fully appreciate them.
>
> --------------------
>
> From: rrhodes@foxtail.com (Robbie Rhodes, Etiwanda, Calif.)
> To: rolls@foxtail.com (Mechanical Music Digest)
> Cc: dick@via.at (Claus Kucher), livep@aol.com (Wayne Stahnke)
> Date: Wed, 23 Oct 1996 17:53:52 -0700
>
> Subject: Re: WAV-to-MIDI Conversion
>
> Yep, it's still true: put the human brain into the process.  Then provide
> pencil and paper, and remove the computer!  Artis Wodehouse couldn't wait
> for the computer method to be realized, so she finished her Audio-to-MIDI
> transcriptions manually, "by ear."
>
> Robbie Rhodes
>
>  [ Editor's note:
>  [
>  [ As I stated months ago, I don't transcribe music from audio.
>  [ However, a tool that I've thought would be useful is an editing tool
>  [ which combined a .WAV editor and a .MID editor into a single program.
>  [ The program would have a split-view window with a "Piano Roll View" in
>  [ the top half and a "Waveform Envelope View" in the bottom half.  Both
>  [ halves would be displayed simultaneously and would be scrolled with a
>  [ single scrollbar.  Time values would be the same in both halves of the
>  [ window.  You could select a region of .WAV _OR_ a region of .MID to
>  [ play, or you could select BOTH.  The latter would allow you to A-B
>  [ compare via stereo playback.  A toolbar might provide analysis tools
>  [ to be applied to the waveform portion, such as Forier analysis, etc.
>  [ A skilled musician might be able to use a tool such as this (with both
>  [ a computer keyboard and a MIDI keyboard at the workstation) to quickly
>  [ edit (and accurately time synchronize) audio with MIDI.
>  [
>  [ An inverse variation of this might make it possible for someone with
>  [ a MIDI score to arrange or embellish a "layered analog performance".
>  [ Movie sound tracks are put together with tools like this (originally
>  [ with sprocketed film and sprocketed audio clips at a machine called
>  [ a Movieola.  Fast processors and large disk drives make this kind
>  [ of editing technology within the reach of the hobbiest.
>  [
>  [ Jody
=========================================================================
Date:         Mon, 11 Nov 1996 18:03:01 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Kenneth Petersen <kenneth_petersen@DK-ONLINE.DK>
Subject:      Re: What? Bass?
Comments: To: Frank Rothkamm <flux@thing.net>
Comments: cc: SYNTH-L@AMERICAN.EDU, electronica@maths.ex.ac.uk

Frank Rothkamm wrote:
>
> At 12:42 PM 11/7/96, Gil Yaker is rumored to have typed:
>
> > not to start any flames, but I just want to defend the Bassstation.  I
> > think it's a great machine.  However, from my experience, you can't use it
> > for bass sounds.
>
> What is the best machine for bass sounds ?
>
>             Frank Rothkamm
>              fLUX Box 2141
>          New York NY 10163
>
> http://www.thing.net/~flux

There's just no doubt at all : if you're into dance, house, rave, (call it what you want) you just cannot
get around the Yamaha TX81Z - and it's preset sound (called "C15 Latelybass"), so you don't even have to
program it to get a thundering bass patch!!!

--
Best regards from

:] DEVOTION

____________________________________________________________________________________________
_             Press here to mail me "mailto:Kenneth_Petersen@dk-online.dk"                 _
_ or visit my homepage at "http://www2.dk-online.dk/users/Kenneth_Lund_Petersen/index.htm" _
_    and you will find a lot of synth-patches, info about my band and my studio equip.     _
____________________________________________________________________________________________
=========================================================================
Date:         Tue, 12 Nov 1996 22:04:52 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Kenneth Petersen <kenneth_petersen@DK-ONLINE.DK>
Subject:      Re: What? Bass?
Comments: To: Frank Rothkamm <flux@thing.net>
Comments: cc: SYNTH-L@AMERICAN.EDU, electronica@maths.ex.ac.uk

Frank Rothkamm wrote:
>
> At 12:42 PM 11/7/96, Gil Yaker is rumored to have typed:
>
> > not to start any flames, but I just want to defend the Bassstation.  I
> > think it's a great machine.  However, from my experience, you can't use it
> > for bass sounds.
>
> What is the best machine for bass sounds ?
>
>             Frank Rothkamm
>              fLUX Box 2141
>          New York NY 10163
>
> http://www.thing.net/~flux

I just heard the Korg Trinity with a built in Prophecy and it's bass' just rocked the speakers of the
shelves!


--
Best regards from

:] DEVOTION

____________________________________________________________________________________________
_             Press here to mail me "mailto:Kenneth_Petersen@dk-online.dk"                 _
_ or visit my homepage at "http://www2.dk-online.dk/users/Kenneth_Lund_Petersen/index.htm" _
_    and you will find a lot of synth-patches, info about my band and my studio equip.     _
____________________________________________________________________________________________
=========================================================================
Date:         Wed, 13 Nov 1996 17:06:31 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Joe McMahon <mcmahon@CLARK.NET>
Subject:      Call for Papers - Trance in the Arts

Here's a call for papers in what looks to be an interesting area of study.

 --- Joe M.

Forwarded message:
> Date: Sun, 10 Nov 1996 11:22:58 +0100
> From: drwier@pax.eunet.ch (Dennis Wier)
                                CALL FOR PAPERS
                               Trance in the Arts

The Trance Institute in conjunction with Trans Media, Inc. of Ann Arbor,
Michigan, is sponsoring the publication of a series of research papers on
trance theory as applied to various fields of interest.

The first publication in the series will be entitled Trance in the Arts, and
is scheduled for publication June 1998.

Papers for the first series are due before the end of December, 1997.  Papers
received after that date will be scheduled for a later edition to be
announced.  All papers in Trance in the Arts will be available both in
electronic as well as printed formats. The electronic edition will be on the
web and consist of links to author maintained documents whenever possible.

Trance theory proposes to explain a variety of trance states and altered
states of consciousness through the systematic identification of trance
generating loops, the description of the resulting dissociated trance plane
and the identification and measurement of the trance force as well as a
description of its effects.  Music, theater, dance and the visual arts
represent areas of interest in which the dissociated trance state can readily
be found. Authors of research papers will chose a specific area within their
field of interest and expertise and apply trance theory in order to identify
important elements of trance.

For example, the music of the Baka pygmies of southeast Cameroon is created
with a series of repeated rhythms in which there are slight but distinct
variations.  A research paper would specifically describe those repeated
rhythms as well as each of the distinct variations.  A suggested methodology
may be the writing of a computer program with appropriate instrumentation to
isolate and identify these trance generating loops.  In addition the
measurement of physiological effects as a result of listening to the music
would be appropriate.

Trance theory purportedly can also be applied analytically to non-organic
schizophrenic states, performance addictions, shamanistic altered states,
hypnotic states, meditation states, non-medical healing, advertising and
social control.  These subjects will be addressed in other series and a CFP
for these subjects will be announced separately.

The research papers should present conclusions regarding the application and
practicality of trance theory and its approach to meditative, hypnotic,
addictive and centric trances.  For more information see the web page at
http://www.trance.ch/trance/

Assistance in interpreting and applying trance theory is available by email.

An editorial committee for Trance in the Arts is being formed. Interested
persons should communicate their interest by email.

Authors selected for publication will be offered a standard contract from the
publisher.

Completed papers  (or links) should be sent electronically or via air mail to:

 Trance in the Arts             -or-            Trance in the Arts
 The Trance Institute, Inc.                     Trans Media, Inc.
 Sunnehaldenstrasse 7                           317 South Division
 CH-8311 Bruetten, Switzerland                  Ann Arbor MI 48104

 Tel: 011-41 52 347 10 02
 Fax: 011-41 52 347 10 12
 E-Mail:  drwier@trance.ch
 URL: http://www.trance.ch/trance

 Last Update: November 8, 1996
=========================================================================
Date:         Wed, 13 Nov 1996 17:07:28 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Joe McMahon <mcmahon@CLARK.NET>
Subject:      Call for Papers - New journal

> From: "S. SWEENEY-TURNER" <mussst@ARTS-01.NOVELL.LEEDS.AC.UK>
> Date: Mon, 11 Nov 1996 18:31:41 GMT
>
> SONUS
>  The Internet Journal
> of Critical Musicology
>
>  CALL FOR PAPERS
>
> Sonus is a new refereed "journal" on the internet which will act as an
> ever expanding library of critical musicology papers and books.
>
> The first "issue" of Sonus will be published shortly, and will be sub
> divided into themed areas such as the following: gender; sexuality;
> cultural politics; national and ethnic identity; popular music;
> historiography; critical analysis; postmodernity; technologies of
> music; philosophy and music; literature and music.
>
> Papers are invited which could fit into any of these (or other) areas
> of critical musicology.  Submissions and enquiries should be made in
> the first instance to Steve Sweeney Turner at s.sweeney
> turner@leeds.ac.uk or at The Department of Music, The University of
> Leeds, Leeds LS2 9JT.  Any format of submission is welcome.
>
> Editor: Steve Sweeney Turner
>
> Editorial Board:
>
> David Cooper
> Barbara Engh
> Peter Franklin
> Liz Garnett
> Stan Hawkins
> David Johnson
> Charlotte Purkis
> Derek Scott
>
> Air do slainte,
> Steve.
> Tel.: +44 (0)113-233-2582
> Mob.: +44 (0)374-868415
> Fax.: +44 (0)113-233-2586
>
=========================================================================
Date:         Wed, 13 Nov 1996 17:11:55 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Joe McMahon <mcmahon@CLARK.NET>
Subject:      Britpop Conference (fwd)

Forwarded message:
> From: "S. SWEENEY-TURNER" <mussst@ARTS-01.NOVELL.LEEDS.AC.UK>
> Date: Wed, 13 Nov 1996 16:35:47 GMT
> Subject: Britpop Conference
> _________________________________________________
>
> Britpop:
> Towards a Musicological
> Perspective
>
> a one-day symposium
>
> definitions, traditions, regions
> style, genre, intertextuality
> gender, sexuality, class
>
> Department of Music
> University of Leeds
> in association with
> Sonus:
> the Internet Journal of Critical Musicology
>
> 9th April 1997
>
> Call for Papers
>
> Proposals for 20-min. papers to:
> Steve Sweeney-Turner
> Department of Music, University of Leeds, Leeds LS2 9JT, England;
> e-mail: s.sweeney-turner@leeds.ac.uk; tel.: 0113-233-2582.
>
> Deadline for Proposals: 7th February 1997
> ___________________________________________________
>
=========================================================================
Date:         Wed, 13 Nov 1996 17:12:26 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Joe McMahon <mcmahon@CLARK.NET>
Subject:      Ethno Conference (fwd)

Forwarded message:
> From: "S. SWEENEY-TURNER" <mussst@ARTS-01.NOVELL.LEEDS.AC.UK>
> Date: Wed, 13 Nov 1996 16:47:22 GMT
> Subject: Ethno Conference
> __________________________________________________
>
> The Ethnic in Music
> a conference
>
> race, culture, nationalism,
> gender, class,
> empire, post-coloniality
>
> Department of Music
> University of Leeds
> in association with
> Sonus:
> the Internet Journal of Critical Musicology
>
> 11th-12th July 1997
>
> A Call for Papers
>
> Proposals for 20-min. papers to:
> Steve Sweeney-Turner
> David Cooper
> Department of Music, University of Leeds, Leeds LS2 9JT, England;
> e-mail: s.sweeney-turner@leeds.ac.uk; tel.: +44 (0)113-233-2582;
>             d.g.cooper@leeds.ac.uk; tel.: +44 (0)113-233-2578.
>
> Deadline for Proposals: 25th April 1997
> ______________________________________________________
>

