========================================================================= Date: Sat, 22 Mar 1997 11:54:45 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Starting over: Where to go from here? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >So many people get this idea in their head that if they study music it will >squelch their natural creativity. This is nonsense. The only thing that can >limit your creativity is ignorance. And computers. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Sat, 22 Mar 1997 07:15:53 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "K. Salkin" Subject: Re: Apocalypse NOW Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The March, 1997 issue of _Scientific American_ magazine contains an article entitled "Trusted Systems," which addresses some of the copyright and technical issues brought up in this thread regarding putting music on the internet for users to download. I'm not going to paraphrase the article but will only state that it's of some interest in that it talks of "trusted systems," which will allow authorized downloads of copyrighted materials from a site. "Authorization" could be granted to subscribers, or purchasers of such materials as music albums, books, movies, etc. Such systems would be controlled by publishers who would have control of access to the materials on the systems. Such sites could also display requested text or play music for those who would have "usage rights"; it would be a simple matter to provide "rules" for the software to follow to provide the materials to those with such rights. If anyone wants to check out the article, here's the link: http://www.sciam.com/0397issue/0397stefik.html As an aside, to quote a REALLY old post (by Terry Leigh Britton): >The first is that, in many very real regards, I am very thankful for the >presence of A&R people, who perform the service of distancing musician's >inflated egos from my already bad-music-worn ears. Gads, I have heard SO >MUCH REALLY BAD MUSIC on the Internet, that it's not silly. The >midi-files (GM and BS..that is GS) that proliferate on the web are >99.989999% really bad. In "Trusted Systems," Mark Stefik says: "The experience of most people, however, is not that the Net contains great works and crucial research information, Instead, most of what is there is perceived to be of low value." p. 79 As Jack Benny would say, "Well!..." K. Salkin Pfafftown, NC --------------------------------------- ksalkin@nr.infi.net --------------------------------------- ========================================================================= Date: Sun, 23 Mar 1997 11:38:07 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeremy McDermaid Subject: Re: Starting over: Where to go from here? MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="---- =_NextPart_000_01BC377E.CF2BEA60" ------ =_NextPart_000_01BC377E.CF2BEA60 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit -----Original Message----- From: arne [SMTP:arne@TELALINK.NET] Sent: Friday, March 21, 1997 1:43 PM To: EMUSIC-L@AMERICAN.EDU Subject: Re: Starting over: Where to go from here? On 3/21/97 9:24 PM Jeremy McDermaid (jeremy@A1SLC.COM) said: > I think we both assumed the original poster was trying to create personal >compositions rather than commercial music, such as the theme at the end of >your local news. In one, production is a means and expression is the >desired end. In the other, expression is a component but actual production >is the end. Yes, my intention is learning more for personal composition. But my question about education was less aimed towards learning to read music, but to play my keyboard properly. I just figured that if i were to take piano lessons, i'd pretty much have to learn notation to get the most out of it. My compositional techniques, while they can always use more learning, are less of a concern than my ability to execute what i have in my head or even what i have composed. Well, i found a piano teacher and start next week. We'll see what fruits this will bear. Great! Keep us posted on whether or not you think it helps your compositional technique. Maybe I'll go back to school for awhile.. :> You might also look into piano-teaching software. 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AAMABYAIIAYAAAAAAMAAAAAAAABGAAAAAFKFAAC3DQAAAwAJgAggBgAAAAAAwAAAAAAAAEYAAAAA AYUAAAAAAAAeABKACCAGAAAAAADAAAAAAAAARgAAAABUhQAAAQAAAAQAAAA4LjAACwAWgAggBgAA AAAAwAAAAAAAAEYAAAAADoUAAAAAAAADABeACCAGAAAAAADAAAAAAAAARgAAAAARhQAAAAAAAAMA GYAIIAYAAAAAAMAAAAAAAABGAAAAABiFAAAAAAAAHgAogAggBgAAAAAAwAAAAAAAAEYAAAAANoUA AAEAAAABAAAAAAAAAB4AKYAIIAYAAAAAAMAAAAAAAABGAAAAADeFAAABAAAAAQAAAAAAAAAeACqA CCAGAAAAAADAAAAAAAAARgAAAAA4hQAAAQAAAAEAAAAAAAAAHgA9AAEAAAAFAAAAUkU6IAAAAAAD AA00/TcAALZh ------ =_NextPart_000_01BC377E.CF2BEA60-- ========================================================================= Date: Sun, 23 Mar 1997 10:46:16 +0200 Reply-To: gun@eexi.gr Sender: Electronic Music Discussion List From: gun Subject: unsubscribe MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-7 Content-Transfer-Encoding: 7bit gun wrote: > > Any hints about unsubscribing?It's the > FIRST list I can't unsubscribe. > Can anyone tell me the right code? > I already tried: > unsubscribe emusic-l gun@eexi.gr > unsubscribe emusic-l gun@aurora.eexi.gr > unsubscribe emusic-l gun > and all of them posted to listserv@american.edu > > What more to do? > > thanks -- ___| | | \ | | \ | | \ | \ \ | | | | \ | | _ \ | | |\/ | _ \ \ | | | | | |\ | \ | ___ \ ___ | | | ___ \ |\ | \____|\___/ _| \_|\___/ _/ _\_| _|_| _|_/ _\_| \_| ========================================================================= Date: Sun, 23 Mar 1997 16:41:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Terry Leigh Britton Subject: Open letter to Dr. Marden Pond MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii This has been eating at me for the last couple of days. If any others of you readers have mood swings similar to Dr. Pond's, please study carefully this open letter to Dr. Pond which I sent off this day. ...................... original: .................................................... unsubscribe ("Dr. Marden Pond" , Thu 11:41) Please remove my name and address from this list. Most of the messages are either very amateurish or irrelevant. Thank you. musprof@AOL.com .................................................. Dr. Pond, Do you really believe that your comment was required, being merely cutting criticism and not productive of any positive result whatsoever? This list is not television. Spectators like yourself might be well advised to keep their unsolicited opinions to themselves. If you wished relevance, you might have contributed relevance. Instead, your first and only contribution to the readership is this tripe. Thanks a bunch. -- -- Terry Leigh Britton http://www.rbdc.com/~brittont [Music Business, Korg Wavestation & S3, Yamaha TX81Z, Creative Labs Soundblaster AWE32, PC, Mac, music utilities, patches, information, Wavestation TIP OF THE DAY archives. Also, links to websites of all participants on the Wavestation mailing list who's URL's I am aware of.] ========================================================================= Date: Mon, 24 Mar 1997 08:25:41 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Open letter to Dr. Marden Pond In-Reply-To: <3335A37C.D7F@rbdc.com> from "Terry Leigh Britton" at Mar 23, 97 04:41:16 pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Terry Leigh Britton writes-- > >This has been eating at me for the last couple of days. If any others of >you readers have mood swings similar to Dr. Pond's, please study >carefully this open letter to Dr. Pond which I sent off this day. It disturbed me as well, but it seems typical of some (but not all, or perhaps even most) established academic emusicians. They dislike the average level of discourse here, and it's not quite enough for them to simply leave-- instead, they need to issue some sort of Parthian shot to let everyone know how they've just been beggared by the loss of another luminary. In those situations, I set aside my usual policy of mourning the loss of our educated segment and let them go with a smile. I was an academic once, and never saw the need or value in the superiority some academics tend to enrobe themselves with, especially since those who do it most are usually those who deserve it least. mike -- Yeah, life's a bitch sometimes. Maybe he should get one. (m. anderson) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Mon, 24 Mar 1997 08:31:30 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Starting over: Where to go from here? In-Reply-To: from "Nick Rothwell" at Mar 22, 97 11:54:45 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Nick Rothwell writes-- > >>So many people get this idea in their head that if they study music it will >>squelch their natural creativity. This is nonsense. The only thing that can >>limit your creativity is ignorance. > >And computers. And parenthood. mike -- Yeah, life's a bitch sometimes. Maybe he should get one. (m. anderson) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Mon, 24 Mar 1997 08:30:52 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Apocalypse NOW In-Reply-To: <2.2.32.19970322121553.0069bd40@nr.infi.net> from "K. Salkin" at Mar 22, 97 07:15:53 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit K. Salkin writes-- > > In "Trusted Systems," Mark Stefik says: > > "The experience of most people, however, is not that the Net > contains great works and crucial research information, Instead, > most of what is there is perceived to be of low value." p. 79 I'm gonna have a heart attack from what a surprise that is. mike -- Yeah, life's a bitch sometimes. Maybe he should get one. (m. anderson) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Mon, 24 Mar 1997 13:53:19 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeremy McDermaid Subject: Re: Apocalypse NOW Sturgeon's Law: 90% of everything is crud. -----Original Message----- From: Mike Metlay ++ Atomic City [SMTP:atomic@NETCOM.COM] Sent: Monday, March 24, 1997 9:31 AM To: EMUSIC-L@AMERICAN.EDU Subject: Re: Apocalypse NOW K. Salkin writes-- > > In "Trusted Systems," Mark Stefik says: > > "The experience of most people, however, is not that the Net > contains great works and crucial research information, Instead, > most of what is there is perceived to be of low value." p. 79 I'm gonna have a heart attack from what a surprise that is. mike -- Yeah, life's a bitch sometimes. Maybe he should get one. (m. anderson) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 begin 600 WINMAIL.DAT M>)\^(A04`0:0" `$```````!``$``0>0!@`(````Y 0```````#H``$(@ <` M& ```$E032Y-:6-R;W-O9G0@36%I;"Y.;W1E`#$(`0V ! `"`````@`"``$$ MD 8`V $```$````0`````P``, (````+``\.``````(!_P\!````5 `````` M``"!*Q^DOJ,0&9UN`-T!#U0"`````$5L96-T5 M.+P!'@!P``$````3````4D4Z($%P;V-A;'EP`!X,`0````4```!33510```` M`!X`'PP!````$0```&IE4!A,7-L8RYC;VT``````P`&$$*\+*L#``<0 MY@(``!X`"! !````90```%-455)'14].4TQ!5SHY,"5/1D5615)95$A)3D=) M4T-2540M+2TM+4]224=)3D%,34534T%'12TM+2TM1E)/33I-24M%34543$%9 M*RM!5$]-24-#25194TU44#I!5$]-24- 3D4``````@$)$ $```#2!P``S@<` M`%@1``!,6D9UME!=WP,`"@!R8W!G,3(UP4RAU8FH%D'17L$1A MZ'1E.C8D-D__40]2'_]3+U0Y,< ]HPXA2Z$ZM@Y0FU5O5GY2.8$7`2!(/9'[ M!) V)#=9;UI_6X]##W>'!Q40& ;E@P`& ) M\$V@[WT``@$UX%Y290#P?0`Q@))P'H!<=@B0=VL+@/YD:T" H@3P!T 080% M#@#O<2(]@H(%`A!O!4(7(1+R#5C ;0M16, @0SI #8'-O`8 @KD\!( W@?_!/?Y"/D9]L:T!&T&R//_N3_Y4%*8X,)4"2WY>_E/3X8B H`I&8WXK365"6 MC_^;3YQ?G6^+`&,0GK*+CZ ?_Z$OC@PH`)Z_I#^E3Z9?BP#_> "C/ZC/J=^J MY KY`S!X+R-Y/WK->U-T"'!G97,"( `0<76#0!. !"!,&&%W.@J&`9$@.3 4 M)2"&("!AXGET:(L]P@0`( 4`=60N"H7?"H6OI+!OL7\%0'NW;[AS_V=PK:*X MS[G?",$T\C6@$O*08FMM:ZRS(%]]@*,#$%BA87TMP.)/LD'_"X '0 70!Y!& M4+/@P..WV_^P!F+];R"\GW"_<<]G/VA/_VE?:F^S1+[F5W.U"$@$W SG!;8%--5% Z6+#.XD" 3D540T]-+M"!_EW" MC\.4;KO$S\7?QN]RO_^RS PAOO4&8 (PS70:(K\$JDT"(&3.8"Q]<7(6T$U% M8#3:H"_P.3>UL#KR,PZ004VWUMA95]'970!%355324,M3!) W !%4MZP04XN M^$5$5=POV.%8)=E=8=!Y5[!!<'T`!T" 4!-Q3OQ/5]$/L$*\7[UOUP^S4T^[ M;^3_Y@^ZHTLN!@%L68#A('<%$%C <\)G/I7L]B#M]4D#H")4MR W,7 )@ 8` M>>[A?Z L(OW:LFL&`%C ;M#P`$90[T#?M/;M;^Z@,="V('B 8 B!7FZ&H+7R M!& Q<"" 8&_U"U!EVJ!HZ;!AXMJ@MN'_$U %0+: 6+#U4>,Q%R#M?K\%H (P M"W$$( G!]8%W!;!=O] @`' U(+<18P[AYI L[7[SD[8!_G?U%,&<0X,& _3UP84WQ`5'Y805 6+ ,D-YC\ `1 MDOR4E5!S"' 7?Z!\H$QP,@@;#\U(+/@_%$U8.O@[?,H;:_K MX/AQ8@$0X"FU!3T,/W\-3PY?#V\/U+4%S=I74$&.5-"0WK"$@$E461(!"E#K MX$_KX$)O>"!4.#%C`#7:H%!-P'1G1?"SP0=!4$'M\$_0,JUC`"T8H!/@(-Z0 M0;4%OPP@[?#/Y35@"" (<"X740_M\,#@[?#G('1P.B^L+W"W0!%```!```` M`0`````````>`$. "" &``````# ````````1@`````XA0```0````$````` A````'@`]``$````%````4D4Z( `````#``TT_3<``'29 ` end ========================================================================= Date: Mon, 24 Mar 1997 22:09:52 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Chris Roth Organization: roth film+music Subject: Re: Starting over: Where to go from here? In-Reply-To: <199703241631.IAA12362@netcom23.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable On Mon, 24 Mar 1997 08:31:30 -0800, Mike Metlay ++ Atomic City wrote: >>>limit your creativity is ignorance. >> >>And computers. > >And parenthood. "creativity" - read the book? --- Chris Roth =20 roedaal@audiophile.com ========================================================================= Date: Mon, 24 Mar 1997 18:58:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Crandall Subject: heartbeat MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (Apologies to Max-ers who are seeing this twice) Can anyone recommend the best way to mic a heartbeat? This would go on a performer who should be assumed to be moving around a good bit. I tried a contact mic on the ol' carotid artery and though I could see the VU meters moving in time to the heartbeat, there was no audible signal. Do I need some sort of resonating device to translate the beats into an audio-frequency sound? I'm guessing that this is what a stethoscope actually does. ========================================================================= Date: Tue, 25 Mar 1997 15:20:07 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Palkovics Karoly Zsolt Organization: Kalmar Laszlo SZKI, Budapest Hello everyone! I'm a hungarian boy.I have a question: I very like the B.B.E ,but here (in Hungary) not appeared his cd. Appear it there? If yes, how many about his cd? And what do you think about D.J Quicksilver ? (I like it!) Do you know their Internet Address? I know that, its are out of reach of sy,but I hoping. (I don't speak english ,only very,very,very little.) Karesz (Charles). ========================================================================= Date: Tue, 25 Mar 1997 15:44:27 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Palkovics Karoly Zsolt Organization: Kalmar Laszlo SZKI, Budapest I write that in the previous letter : ... appear his cd? I think that,this line is not good. I would wrote : publication there his cd? If this line not good too,than write that me.Thank you. (I don't speak english ,only little) Excuse me. ========================================================================= Date: Tue, 25 Mar 1997 14:37:09 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter K Schoenhoff Subject: Re: heartbeat In-Reply-To: ; from "David Crandall" at Mar 24, 97 6:58 pm These are the graceful words of David Crandall: -> ->(Apologies to Max-ers who are seeing this twice) -> ->Can anyone recommend the best way to mic a heartbeat? This would go on a ->performer who should be assumed to be moving around a good bit. I tried a ->contact mic on the ol' carotid artery and though I could see the VU meters ->moving in time to the heartbeat, there was no audible signal. Do I need ->some sort of resonating device to translate the beats into an ->audio-frequency sound? I'm guessing that this is what a stethoscope ->actually does. -> Actually, a stethoscope is the acoustic equivalent of a mechanical lever. It allows you to use the "big end" to move the "small end." The contact disc on the stethoscope is similar to a small speaker cone, and as it is moved by the heartbeat, it pushes the air in the big cone into the small tube. What was a faint sound in a large area (the area of the cone) turns into an audible sound in a small area (the area of the earpiece opening.) Perhaps a similar means will work in your situation. You may have to try micing a stethoscope. They only run a few bucks. HTH! -- -Pete Schoenhoff _\|/_ pschoenh@pen.k12.va.us ========================================================================= Date: Wed, 26 Mar 1997 06:57:26 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: heartbeat MIME-version: 1.0 Content-type: TEXT/PLAIN; CHARSET=US-ASCII Content-transfer-encoding: 7BIT Hi David... > Apologies to Max-ers who are seeing this twice Haven't read it yet. :-) > contact mic on the ol' carotid artery and though I could see the VU meters > moving in time to the heartbeat, there was no audible signal. Hmm. The meter may be responding to what you can't hear. I don't know that they are normally bandwidth-limited. There is a device called the Waverider which can pick up ECGs (and EMGs and EEGs and GSR). I just hired one to try it out; it was very frustrating. But I didn't try the ECG mode and it seems to me that the biosignal would be such that you could apply a gate-like device then use the gated signal to trigger a sample of a heartbeat. Now all you need is a sample of a heartbeat! The downside is that you'd have to spend a _lot_ of money to get a WR and you'd have a box which, quite frankly, is a sandwidth short of lunch in the quality control and build departments, IMO. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 25 Mar 1997 12:49:56 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: For No Good Reason At All MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Periodically a record comes across my desk that I feel is an exemplary piece of music from one or more standpoints. When it does, I often share it with my fellow musicians. When I discover just such a record, then forget about it for six years, then rediscover it again and am still impressed, it deserves another mention. In terms of orchestration and organization (track to track and overall feel and flow), I have nothing but admiration for _Filigree & Shadow_ by This Mortal Coil (4AD Records cat. no. DAD 609 CD). Not every track is to my liking, certainly, but the overall feel and flow of the record is exceptional. F&S was created when CDs were still a relatively young medium, and things like 74-minute program time were being exploited ineffecitvely, if at all, but TMC did a lovely job, producing a smooth and carefully interleaved set of 25 songs that come together so smoothly, the whole 74 minutes is past in what feels more like 20. Sweet, and highly recommended. Check out the Talking Heads cover toward the end... mike -- "Buchla, Serge, whatever. I'll never have either. :-) " (a. schabtach) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Tue, 25 Mar 1997 16:21:06 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: YEOUN THE BAAAAD Subject: Internet Message what kind of music is that? ( i mean.. bbe ) ____ yEouN thE cOOol !!?! ========================================================================= Date: Wed, 26 Mar 1997 15:13:30 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mathias Verraes Subject: Re: BBE MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit You don't want to know them. It's just another commercial house-band (French I believe - don't shoot me if I'm wrong) that's in the charts over here. > > what kind of music is that? ( i mean.. bbe ) > > ____ > yEouN thE cOOol !!?! ========================================================================= Date: Wed, 26 Mar 1997 17:21:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert M. Sanders" Subject: Open letter to Dr. Marden Pond -Reply Mime-Version: 1.0 Content-Type: text/plain Time for a bleeding heart testimonial. On the amatuerish and irrelevant nature of myself. To many this will seem like an egostistical diatribe. Actually the exact opposite is true. In many ways I am ashamed of how little I have to show from a 37 year love affair with music. This shame makes me vulnerable to the type of snotty condescending dismissal that Dr. Pond's letter appeared to be. W_A_R_N_I_N_G_! too long. Please delete N_O_W if necessary. I'm approaching 40 years old. two wonderful kids and a wonderful wife. I do computer modeling and simulation during the day. I compose and play music when ever I can fit it in. I have a regular musical gig two nights a week that I'm very proud of. It pays a fraction of what my day job pays but I live for it. And I did it all on my own. I was in junior high school when I first encountered the conspiracy of the musical priesthood to perpetuate itself. It seems to lurk in virtually every established musical style, but most predominantly in classical music and more recently jazz. The self-appointed high priests treat the musical literature of their genre as if it were a gospel created by graced superhumans through divine inspiration. This gospel is perfect, self contained, complete and represents the highest accomplishments of our race. In short- everything you'll ever need is in it; everything you could ever conceive of is suggested by something in it or has already been done better in it, and anything not referencing it is questionable at best. The non-appointed are considered to be of a lesser, more creatively sterile breed incapable of having insights of their own and unworthy of having an audience when they do attempt to create something. It is blasphemous and foolish for the lesser ones to even try to compose. All I ever wanted to do was compose and play music. I wasn't considered talented enough to become a music major. I admit, to Dr. Pond et. al., that I have little talent for genuflection. [Cello & Viola tremelo swell over a slow timpani pulse] Let's revisit some of Rob's amatuerish and irrevalent musical moments, just to set the record straight. *Here's Rob playing on a Rhoades until his fingers bled. *Here's Rob spontaneously shedding tears of fear and awe at the delicate beauty of his own improvisations. *Here's Rob playing all night again, until he is so exhausted he almost collapses. *Here's Rob waking up in the middle of the night and walking two miles to get to a piano to play. *Here's Rob pulling a muscle in his back taking a keyboard to a gig. *Here's Rob dragging into a studio session a box of clinking junk, basket straw and cinder blocks from his mother's basement two days after she died of lung cancer to work through the feelings of anguish, fear and release by multitracking an improvisation with his cousin using mostly non-musical items. *Here's Rob sitting in a grocery cart with a hardhat and halloween mask on playing the piano in a music video. [You say you never bled, cried, collapsed or risked looking silly during your own music efforts Dr. Pond? Where was your focus? Wasn't it on the emotion?] *Here's Rob breaking into the music building with a butter knife to play on the 9 foot grands horded by the priesthood. *Here's Rob climbing in the window. *Here's Rob standing on the ledge outside of a closed second floor window while the building is being locked up. *Here's Rob hiding in a cello locker during lockup. *Here's Rob hiding in the girls bathroom with the lights out during lockup. *Here's Rob hiding in a closet during lockup. *Here's Rob ordering pizza delivery to a locked up building in the middle of the morning. *Here's Rob hitchhiking to another city to get a piano lesson. *Here's Rob befriending a cleaning lady with a big ring of keys. *Here's Rob hiding in the rungs of the curtains on stage while the police search the building for the intruder that was playing boogie-woogie on the pipe organ at 4:00 A.M. [What do you mean Dr. Pond? What do you mean when you say you were never so desperate to express yourself that you actually risk arrest, or bodily harm to get a chance to play? Where was your passion? How can you be the keeper of the flame when you have no fire within?] *Here's a girl moved to tears from Rob's playing. And another one. And another one... *Here's a girl, well ... and ... aroused by Rob's improvisations. And another. And another. *Here's a jazz pianist giving Rob a synthesizer. *Here's somebody disturbed by the dark brooding emotions in Rob's playing. And another. "Are you possessed?", she asks. *Here's a pianist saying Rob is the most creative pianist he's ever heard. *Here's a retired couple moved to tears. And An older lady and a nursing student. *Here's a woman that's flown her son down from New York in the private helicoptor just to hear Rob and his vocalist Jeanne (he made it for the last song!) *Here's a woman from Checkylslovakia saying, "God Bless Your Hands!". [Dr. Pond, I ask you ... when did your music last move someone?] *Here's a university composition professor asking for a copy of Rob's piece after a recital in high school. "Oh, he just made it up, it's not a written piece" *Here's a group asking if the pipe organ fantasy is by Bach. "He just made it up. It's called improvisation" *Here's a violinist. Here's a opera singer. Here's a composer. Here's a former jazz trumpeter turned poetry professor. Here's a pianist. and another. Here's a music teacher. [Dr. Pond, when did anyone mistake your improvisations for polished compositions of your revered idols? *Here's Rob going to talk to the music department about becoming a music major. Notice that Rob has been up all night working as a busboy. 24 hours straight. At 6:30 AM he arrives at the music building, exhausted and smelling like sweat, dirty dishes and mop water. Finally Dr. Watkins arrives. 9:30 AM. At the time Dr. Watkins was the primary piano professor at the university Rob went to. Rob had taken lessons from Dr. Watkin's wife for about 6 years, Dr. Watkins was very familiar with Rob's abilities. ROB: "Hello, Dr. Watkins. My name is Robert Sanders." DR. WATKINS: "I know who you are." ROB: "Last winter I talked to you about becoming a music major. At that time you said auditions were closed. I asked you when auditions would be open and you said to come back during the summer. It's now summer and I'd like to talk to you about setting up an audition. What I'd have to prepare, that sort of thing." DR. WATKINS: "Auditions are closed." ROB: "But you said to come back in the summer." DR. WATKINS: "Auditions are closed." ROB: "Well, when can I schedule an audition?" DR. WATKINS: " Auditions are closed. But if you're willing to audition right here and now I will let you audition. Now, you are interested in entering as a performance major?" ROB: "Actually, I want to be a composition major." DR. WATKINS: "Well, you can get in by being a music education major and switch later." The next twenty minutes proceed to be a humiliating parody of an audition during which Rob, without being given anytime time to prepare or even warmup is expected to perform stunts like sight reading Chopin. No record of the supposed audition is kept. No other judge is present other than Dr. Watkins. DR. WATKINS: "I'm sorry. You failed the audition. You did good enough to get in as a music education major, but I'm not going to let you in anyway." ROB: "But ... you said ..." Dr. WATKINS: "I'm sorry." ROB: "Thanks." ------------------------------------------------------------------------------------- Rob was devestated. He had been excommunicated from the body. Later that night, Rob's father said, "why don't you become a math major? We don't expect you to already know everything when you enter the math program- we have faith in our ability to teach you something." ------------------------------------------------------------------------------------- For anybody making it this far down into the diatribe- your probably thinking, "So What?", "Get a life!" Well, that's exactly what I've done. In spite of the fact that Dr. Pond and others would have me wear a big red letter "A" for Amatuer on my garb I've finally decided that the world is big enough for everybody and I've crawled out of my basement and am performing. And doing it on my own terms. My gig allows me virtual total freedom. I improvise without preconceived notion every performance for as long as I want to and get paid to do it. And I don't care one bit if someone gets up and walks out because they don't think I'm good enough to attempt to do what I'm going to do anyway. And the world really is big enough for all of us if we're willing to swim in the ocean. But you can't be in the big ocean if you stay in your little pond. -rob ========================================================================= Date: Wed, 26 Mar 1997 18:23:23 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: YEOUN THE BAAAAD Subject: Re: BBE u mean even the commercial musics r also on the pop chart in hungary? ____ yEouN thE cOOol !!?! ========================================================================= Date: Wed, 26 Mar 1997 20:14:42 -0700 Reply-To: krikawa@theriver.com Sender: Electronic Music Discussion List From: Krikawa Subject: Re: Open letter to Dr. Marden Pond -Reply MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit > W_A_R_N_I_N_G_! too long. Please delete N_O_W if necessary. My finger was on the delete key (almost always is), I'm glad I didn't hit it. That was pretty personal Rob; took some cajones grandes. > terms. My gig allows me virtual total freedom. I improvise without > preconceived notion every performance for as long as I want to and get > paid to do it. And I don't care one bit if someone gets up and walks out > because they don't think I'm good enough to attempt to do what I'm going > to do anyway. Cool, what is it exactly do you do? ========================================================================= Date: Tue, 25 Mar 1997 11:52:16 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: William_B_Fox Subject: Re: Starting over: Where to go from here? I forget who said this: >So many people get this idea in their head that if they study music it will >squelch their natural creativity. This is nonsense. The only thing that can >limit your creativity is ignorance. But Mike responded: >And parenthood. Gosh, say it isn't so. Say instead that parenthood limits the amount of time available for creative persuits, but not the creativitiy itself. I imagine that Julia is an inspiration. Bill BillFox@lucent.com Host of "Emusic" Thursdays at 11pm on WDIY 88.1 FM, Allentown & Bethlehem and 93.9 FM in Easton & Phillipsburg. ================================================================ "One woman I dated said, "Why don't you just have one keyboard?" To that I replied, "Why don't you just have one pair of shoes?" -- Neil Bradley ========================================================================= Date: Thu, 27 Mar 1997 11:04:53 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jon Bennett Subject: MIDI Patch Bay MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit I am looking for suggestions on a MIDI patch bay. I want about 4 ins and 8 outs. It must be 19" Rack Mount. I want it to be as in-expensive as it can be. I do NOT need auto-switching electronics, merging, all of that sort of stuff. Just a knob to select the routing and I will be happy. I am unhappy enough to loose another rack space to "administrative" components, ---- Jon Bennett, Netsurfer, Inc. jonb@netsurfer.com 250 14th St. NW. Voice: (404) 815-1050 Fourth Floor. Fax: (404) 815-0210 Atlanta, GA 30318 http://www.netsurfer.com ========================================================================= Date: Thu, 27 Mar 1997 09:02:38 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Parenthood and other forms of creativity In-Reply-To: <9703251652.AA06403@kryton> from "William_B_Fox" at Mar 25, 97 11:52:16 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit William_B_Fox writes-- > >I forget who said this: >>So many people get this idea in their head that if they study music it will >>squelch their natural creativity. This is nonsense. The only thing that can >>limit your creativity is ignorance. > >But Mike responded: >>And parenthood. > >Gosh, say it isn't so. Say instead that parenthood limits the amount >of time available for creative persuits, but not the creativitiy itself. >I imagine that Julia is an inspiration. Middle ground: It doesn't limit the creativity itself, but does force a redirection of creative energies, often to the detriment of everything else. Julia is indeed an inspiration, but not necessarily to my music. There are at least two guys on this list, the irascible Dr. Rossi and the driven-like-Jehu Dr. Rothwell, who during their recent visit to my home were frequently seen ignoring their synthesizers in favor of dandling Julia on their knees and reading her books like EARTHLETS EXPLAINED BY PROFESSOR XARGLE or PUT ME IN THE ZOO. I have actually considered making an album of children's music and have even gotten as far as a title, but have never had time to get down and do it. I'd rather play with my daughter than write songs about playing with her. In fact, I am beginning to think that my entire creative process, which has gone through several forms over the past 20 years (the latest being Team Metlay Uber Alles), is about to undergo a radical paradigm shift. My child is paramount. I am now doing work for a living that I enjoy, and do not have to flee through my music. But I cannot abandon my music entirely, or I will wither. Something has to break, sometime.... Perhaps I've fallen from the artistically pure of faith, but it's hard to compare the value of a night spent alone in a studio with a bunch of keyboards and a night spent out in a grassy field with my wife and daughter, pointing up at the sky and showing my little girl her second comet (her first was when she was still too young to know what stars were). So sue me. "Heyyo, commet! PRETTY!" -- "Buchla, Serge, whatever. I'll never have either. :-) " (a. schabtach) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Thu, 27 Mar 1997 10:17:45 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Open letter to Dr. Marden Pond -Reply In-Reply-To: from "Robert M. Sanders" at Mar 26, 97 05:21:30 pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit It would seem that Dr. Pond's farewell letter (he's been removed from the list, BTW, so your notes aren't reaching him) has struck a nerve with a lot of people. As is often the case when there's a dispute, there are two sides to the issue, if not more. The problems arise when one side or the other is put forth with arrogance and a presupposition of Right. Education exists and has its proponents; non-education exists and has its proponents. Anything beyond these two positions is placing an overlay upon the facts, an overlay based upon hearsay, emotion, and partial or faulty logic. Because of the nature of music, one cannot create an unweighted, empirical test to prove conclusively that more people with academic educations succeed at their music than those who do not have such an education, or vice versa. Therefore, any attempt to carry this argument anywhere conclusive must be doomed before it begins: in a world where facts are absolute and reality is inarguable, music is neither. Dr. Pond called the efforts of this group amateurish and irrelevant. And so they were...to him. Arguing will not change that. Robert has created a workable musical lifestyle for himself despite an attitude of prejudice against his ideas and technique. Arguing will not change that. Mark Simon has spoken eloquently and convincingly on the subject of how education can only broaden one's horizons. I could make a very strong argument against that, based on my limited knowledge of personality types and the learning process. I recognize that I may well be in the minority, and that my stance may not be popular or easily defensible. But it is my stance, and there is no objective and factual data that can refute it, any more than science can refute the claims made by the religious of the world. When someone makes a statement on this list about how the difference in slope between between 2-pole and 4-pole filters, or about the amount of second-order harmonic distortion created by substituting a triode or pentode tube for a functionally equivalent set of transistors, or about the mathematics of tone rows, they cannot be argued with, for they are stating facts. When someone makes a statement on this list about how 4-pole filters are smoother and less harsh than 2-pole filters, or about how tubes are more warm and musical than transistors, or how interesting 12-tone music is because of its inherent structure, then they are wide open for argument, because they have gone beyond facts and into opinions. The single most important thing any participant on this list, or any other list pertaining to the arts, can learn is when to insert the words "I think...", "I feel...." or "I believe..." into someone else's text. It reduces arguments to what they are: arguments, not facts. Some arguments may carry more weight than others, based upon the speaker's eloquence, background, citations of examples supporting his stance (I hesitate to use the word "proof"), or emotional appeal, and it is up to each person to weigh those things in considering the argument. But never mistake argument for fact, or you'll be opening yourself up to needless pain. Anyone can tell you you're wrong, and it can hurt deeply. But you must understand the difference between being proven factually wrong, and being browbeaten into accepting someone else's opinion as fact. A is A. mike -- "Buchla, Serge, whatever. I'll never have either. :-) " (a. schabtach) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Thu, 27 Mar 1997 19:00:53 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert M. Sanders" Subject: Regrets for my bombastic blather ... apology to Dr. Pond Comments: cc: musprof@AOL.com Mime-Version: 1.0 Content-Type: text/plain I regret and retract the following innuendos: * Dr. Pond is less passionate about his music than anyone else * Dr. Pond and other music educators condone how I was treated * Dr. Pond & other music educators are a blind closed minded sect * I had to work harder than Dr. Pond because I was denied access * I would have been farther along without music departments * I'm great at improvising (I'm pretty good but not great) In retrospect I'm amazed at how deeply I must have been hurt twenty years ago when I failed that silly audition to have had those long forgotten but unresolved feelings burst forth so violently against the totally innocent and unsuspecting target Dr. Pond. I apologize to you, Dr. Pond, and to everyone else. -rob ========================================================================= Date: Thu, 27 Mar 1997 21:35:44 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Courtney Nielsen Subject: Re: MIDI Patch Bay Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:04 AM 3/27/97 -0500, you wrote: >I am looking for suggestions on a MIDI patch bay. I want about >4 ins and 8 outs. It must be 19" Rack Mount. I want it to be as >in-expensive as it can be. I do NOT need auto-switching >electronics, merging, all of that sort of stuff. Just a knob >to select the routing and I will be happy. >I am unhappy enough to loose another rack space to "administrative" >components, > >- Akai makes some pretty inexpensive ones: check out your local used equipment store. I think all patchbays have a merge, though, but it's no big deal. you can just ignore it. PS: look at it this way-- your rack will look BOSS with more stuff in it, ya know? ;) ________________________________________ Courtney Nielsen Electronic Artists Collective (408) 275-9972 cnielsen@earthlink.net ________________________________________ ========================================================================= Date: Fri, 28 Mar 1997 01:50:17 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Terry Leigh Britton Subject: Re: Open letter to Dr. Marden Pond -Reply MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Robert M. Sanders wrote: Time for a bleeding heart testimonial. I really enjoyed reading your 'diatribe,' innuendos and all (which were perfectly forgivable). :-) The stuff of a good movie, in the 'truth is stranger than fiction' genre, especially the "piano-quest" sections! I think lots of people reading this list could relate. "I feel" leaves it open-season for the use of innuendo, and since it's obvious this was a 'feeling' piece, all innuendo are permissable. However, what got you going was Dr. P expressing feelings as facts, and with little regard for the feelings of others. Thanks for your own retrospective apologies to anyone who (you perceived) might take offense from anything in your wonderful, heartfelt piece there, Rob. Keep playing with the same sensitivity, and (after you're dead) maybe academics will someday cite your own work as exemplary of "perfection!" ;-) -- Terry Leigh Britton http://www.rbdc.com/~brittont [Music Business, Korg Wavestation & S3, Yamaha TX81Z, Creative Labs Soundblaster AWE32, PC, Mac, music utilities, patches, information, Wavestation TIP OF THE DAY archives. Also, links to websites of all participants on the Wavestation mailing list who's URL's I am aware of.] ========================================================================= Date: Fri, 28 Mar 1997 12:43:09 +0100 Reply-To: brainscan@usa.net Sender: Electronic Music Discussion List From: Bernhard Bockelbrink Subject: Re: MIDI Patch Bay Comments: cc: 100423.371@compuserve.com Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Courtney Nielsen wrote: > > At 11:04 AM 3/27/97 -0500, you wrote: > >I am looking for suggestions on a MIDI patch bay. I want about > >4 ins and 8 outs. It must be 19" Rack Mount. I want it to be as > >in-expensive as it can be. I do NOT need auto-switching > >electronics, merging, all of that sort of stuff. Just a knob > >to select the routing and I will be happy. > >I am unhappy enough to loose another rack space to "administrative" > >components, > > > >- > Korg sells just what you need, I've forgotten the name, but it's 4 in, 8 out and 8 switches to select the input for each output (no electronics inside, so it's cheap). and it's 19". But why don't you build one yourself. You need 4 stereo-switches with 5 positions each, 12 midi sockets, a box and wire. Wire like this: Midi socket (as seen from either side, it's symmetrical for that application): 3 2 4 1 5 For each output, wire pins 2 and 4 to the "input" of one switch. Wire the 4 outputs of each switch to pins 2 and 4 (don't mix them up!) to pins 2 and 4 respectively of each of your input sockets. Connect all the pins three of all inputs and outputs (common ground), or even better, use three-pole switches, and switch that, too. Simple, and it works. Bye, Bernhard ========================================================================= Date: Fri, 28 Mar 1997 12:20:49 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Open letter to Dr. Marden Pond -Reply Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" bravo. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Fri, 28 Mar 1997 08:15:12 +0000 Reply-To: ptemko@cecasun.utc.edu Sender: Electronic Music Discussion List From: Pete Temko Organization: Home Subject: Announcement Comments: cc: Jan Cochrane MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit To all: I hope you'll be tolerant of this announcement of interest. I'll try to keep it brief. *********************** On Saturday, April 19 at 8:00 P. M., The Cadek Department of Music and Allied Arts of Chattanooga present a newly staged/choreographed production of Schoenberg's "Pierrot Lunaire", Op. 21. The production is choreographed by Ann Law, of Chattanooga's "Barking Legs" Theater with lighting by Mark Stone of The University's Fine Arts Center. Vocalists are Rebecca St. Goar and Jan Cochrane of the University Music Faculty. Instrumentalists include members of the Chattanooga Symphony and University faculty, conducted by Jonathon McNair. The English language performance, produced by vocalist Cochrane, will feature a pre-concert lecture by McNair. It is designed to facilitate an understanding of the music and its interaction with the poetry by providing a multi-arts representation of the piece, serving a pedagogical and community outreach function in the process. The performance, in the Roland Hayes Concert Hall in the Fine Arts Center on the University of Tennessee at Chattanooga campus, is open to the public. There is an admission charge of $2.00 at the door. ************************** For further information, please e-mail me: ptemko@cecasun.utc.edu or call the Music Office at the University at 423-755-4601. Thank you for your patience. -- ********************* Pete Temko Prof. of Music UT Chattanooga ptemko@cecasun.utc.edu ********************* ========================================================================= Date: Fri, 28 Mar 1997 09:53:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jon Bennett Subject: Re: MIDI Patch Bay MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit I was thinking about building one, the switch stuff is no problem, but I don't know where to get a blank 1U rack mount enclosure, and the thought of punching all of those holes for the connectors makes me tired. Thanks for the Korg suggestion, I bet that is the one! ---------- > From: Bernhard Bockelbrink > To: EMUSIC-L@AMERICAN.EDU > Subject: Re: MIDI Patch Bay > Date: Friday, March 28, 1997 6:43 AM > > Courtney Nielsen wrote: > > > > At 11:04 AM 3/27/97 -0500, you wrote: > > >I am looking for suggestions on a MIDI patch bay. I want about > > >4 ins and 8 outs. It must be 19" Rack Mount. I want it to be as > > >in-expensive as it can be. I do NOT need auto-switching > > >electronics, merging, all of that sort of stuff. Just a knob > > >to select the routing and I will be happy. > > >I am unhappy enough to loose another rack space to "administrative" > > >components, > > > > > >- > > > Korg sells just what you need, I've forgotten the name, but it's 4 in, > 8 out and 8 switches to select the input for each output (no electronics > inside, so it's cheap). and it's 19". > > But why don't you build one yourself. You need 4 stereo-switches with 5 > positions each, 12 midi sockets, a box and wire. > > Wire like this: > > > Midi socket (as seen from either side, it's symmetrical for that > application): > > 3 > 2 4 > 1 5 > > For each output, wire pins 2 and 4 to the "input" of one switch. Wire > the 4 outputs of each switch to pins 2 and 4 (don't mix them up!) to > pins 2 and 4 respectively of each of your input sockets. > Connect all the pins three of all inputs and outputs (common ground), or > even better, use three-pole switches, and switch that, too. > > Simple, and it works. > > Bye, > > Bernhard ========================================================================= Date: Fri, 28 Mar 1997 10:46:17 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: Authenticated sender is From: Will Moore Subject: Re: Open letter to Dr. Marden Pond -Reply In-Reply-To: <199703271817.KAA01357@netcom23.netcom.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT ---- From: Mike Metlay ++ Atomic City > A is A. > > mike ---- A is A _and_ not A. :) Fuzzily Yours, Will --------------- Bleep. Bleep. ========================================================================= Date: Fri, 28 Mar 1997 09:08:10 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Mark D. Camp" Subject: Re: MIDI Patch Bay Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" >Akai makes some pretty inexpensive ones: check out your local used equipment >store. I think all patchbays have a merge, though, but it's no big deal. you >can just ignore it. > >PS: look at it this way-- your rack will look BOSS with more stuff in it, ya >know? ;) Hi Courtney. You're BOSS!! *______________*______________* !E.A.C! Astronout Electronic Artists Collective ____ ========================================================================= Date: Fri, 28 Mar 1997 11:06:37 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: Parenthood and other forms of creativity Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi All, Its the daily living, the non musical things we do that open us up to being more creative, more imaginative with everything we do, including music. Its never how many hours one spends on music, but what one does with the minutes one puts in. Most of the music man calls great was and is composed by composers who are married and have families, so a good case can be made that being in an enviroment where one can give and recieve love is the most important form of creativity that there is. One does not give up things to be a creative artist. One embraces more things as one expands ones imagination and ones ability to love. Happy Sounds Timothy Kelly MidiVox MidiVox. Worlds 1st Voice to Midi. Sing, Talk, Rap, Scat, Hum, Croon. Real Time. EM's Editors Choice. AES Best In Show. Can You Hum A Bass, Sing Like A Sax? BioSensor Neckband and Rack Mount Module Let You Play any Synth Vocally. ========================================================================= Date: Fri, 28 Mar 1997 12:23:05 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: mark simon Subject: Re: Open letter to Dr. Marden Pond -Reply Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" [Condensing Mike's comments] >Education exists and has its proponents; non-education exists and has >its proponents > > >Robert has created a workable musical lifestyle for himself despite >an attitude of prejudice against his ideas and technique. Arguing >will not change that. > >Mark Simon has spoken eloquently and convincingly on the subject of >how education can only broaden one's horizons. I could make a very >strong argument against that, based on my limited knowledge of >personality types and the learning process. Thank you Mike. I hope what I write now will also strike you as eloquent and convincing. I'm sure you have sufficient memories of previous tirades on my part to know where I stand on the academic music issue. I think it sucks. I went through the whole academic routine and emerged with a DMA in composition from an Ivy League University. What did I learn? I learned a lot. Part of what I learned is that the world of academic "New Music" has embraced an aesthetic position that it is, I feel, wrong-headed, narrow, and unhealthy both for itself and for music in general. I also found that, in spite of being told again and again that it was important to develop a personal, "original" style, that the closer I came to that goal, the more I was rebuked by the department. I could come up with a scenario similar to Robert's: ***Here's Mark writing a elegy on the death of John Lennon, incorporating motives from Beatles songs into the contrapuntal fabric, and doing it so that the rock origin of this material was emphasized, not obscured. ***Here's Mark conducting a performance of the above piece at a concert of grad student compositions. ***Here's Mark receiving shortly thereafter a note from the music department informing him that his assistantship funding was to be discontinued. ***Here's Mark kissing ass by writing the proper 12-tone music. ***Here's Mark receiving word that somehow the department had just managed to come up with some funding for next year. ***Here's Mark getting his degree and working in a Library, writing music in his spare time. ***Here's Mark writing his own musicals, getting them staged through his own efforts, and having them performed before capacity crowds of wildly applauding, cheering people (none of them from the music department). Pretty melodramatic, huh? Actually it's all true, including the bit about the cheering, capacity crowds at my recent musical "Jennie's Will" (Yes, I'm bragging, and if that be a sin, I confess my guilt). *************** OK, back to my main point, which is the necessity to separate the worthiness of education with the worthiness of going through the academic music routine. I have found much of the academic atmosphere wanting. I have found the practical training in musicianship I received there of inestimable value. I have devoted every moment of my life to thinking, making, and learning about music. I defy any one to say I lack the passion for my field of endeavor. But I also have a goodly supply of training and know-how that allows me to make use of that passion in creative ways. I have perfect pitch. I have an accurate ear for rhythm. Any music I hear I can write down quickly and accurately. You want to transcribe a guitar solo from off a record? You come to me. Similarly, any musical idea of my own that comes to me I can write down as easily as I'm writing this sentence. I have a very efficient brain-to-outside-world interface, of the type that the original correspondent on this topic wished to acquire. My response said simply: "this is how you acquire it. You train yourself. You learn." I admit my training is overwhelmingly geared towards composing for the traditional vocal and instrumental media. I admit that I have difficulty with electronic music because my attempts at programming sounds boils down to the twiddling of knobs to see if something "cool" comes up. I'm sure Mike doesn't do it this way. I'm sure he has a solid knowledge of what sounds he wants and how to go about making them. He has knowledge and training in that area that I don't. This just argues all the more for education. If I decide I want to do something about my ability to design electronic sounds I'll just have to learn how to do it. ///////////////////////////////////////////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Mark G. Simon Music cataloger Central Tech. Services Cornell University Libraries mgs2@cornell.edu ///////////////////////////////////////////////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Fri, 28 Mar 1997 14:24:01 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jon Bennett Subject: Re: MIDI Patch Bay MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit True... the rack would look mondo with more stuff, but I hate to loose space better spent on a synth on something a quiet as a patch bay. ---------- > From: Mark D. Camp > To: EMUSIC-L@AMERICAN.EDU > Subject: Re: MIDI Patch Bay > Date: Friday, March 28, 1997 12:08 PM > > >Akai makes some pretty inexpensive ones: check out your local used equipment > >store. I think all patchbays have a merge, though, but it's no big deal. you > >can just ignore it. > > > >PS: look at it this way-- your rack will look BOSS with more stuff in it, ya > >know? ;) > > Hi Courtney. You're BOSS!! > > *______________*______________* > !E.A.C! > Astronout > > Electronic Artists Collective > ____ ========================================================================= Date: Fri, 28 Mar 1997 14:46:12 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Scott Purman Subject: Re: Parenthood and other forms of creativity <> Yes, Mozart was happily married - but his wife wasn't.... ========================================================================= Date: Fri, 28 Mar 1997 17:47:03 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Parenthood and other forms of creativity Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >"Heyyo, commet! PRETTY!" That's just what I said when I saw it, at around 2am after a two and a half hour drive back from Glasgow to the Borders countryside after some rather good Belgian dance performance and chatting with the choreographer. (Is this what you mean by driven? If so, perhaps you'd better tell me who Jehu is, and which of the Star Wars movies he appears in.) My chances of getting either a wife or a daughter seem vanishingly small at the moment, but I have a feeling that to a large extent that was a subconscious commitment made years ago to not compromise the time and effort needed to get anywhere towards realising this bloody music in my head. And right now I'm trying to balance a decision to buy a flat somewhere in the artistic melting pot of West-End Glasgow versus a stonebuilt cottage in a small village somewhere. One would make the networking easier, but the other would give me mental and physical space to form ideas and strategies. I guess we'll see. Nick Rothwell, CASSIEL contemporary dance projects http://www.cassiel.com music synthesis and control years, passing by, VCO, VCF, and again, and again ========================================================================= Date: Fri, 28 Mar 1997 14:59:57 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: William_B_Fox Subject: EMUSIC Playlist Playlist for "EMUSIC" on WDIY-FM, Allentown 88.1 FM in Allentown/Bethleham and 93.9 FM in Easton/Phillipsburg Show #10 March 27, 1997. Host: Bill Fox This show concluded a month-long focus on Steve Roach. Each week, one of his CDs was featured at midnight. In addition, a preview of the upcoming Star's End Gathering in Philadelphia was presented by playing the music of Bionaut. ARTIST TRACK ALBUM (label) ======================= ======================= =============================== 11:00 pm Bionaut Big Causeway to Gone Unreleased Tape Bionaut Asleep at the Knob Au Naturel (Tiny Bubbles) Bionaut ThirdSecretaryFromTheSunUnreleased Tape Bionaut BarnModulatedTranceDanceAu Naturel (Tiny Bubbles) Bionaut Long Buss Unreleased Tape Bionaut Narcolepsy Au Naturel (Tiny Bubbles) Bionaut Bowling Alley Sheik... Unreleased Tape 12:00 am Steve Roach Towards the Dream Dreamtime Return (Fortuna) Steve Roach The Continent Dreamtime Return (Fortuna) Steve Roach Songline Dreamtime Return (Fortuna) Steve Roach AirtribeMeetsDreamGhost Dreamtime Return (Fortuna) Steve Roach A Circular Ceremony Dreamtime Return (Fortuna) Steve Roach The Other Side Dreamtime Return (Fortuna) Steve Roach Magnificent Gallery Dreamtime Return (Fortuna) Steve Roach Truth in Passing Dreamtime Return (Fortuna) 1:00 am Sign off The next EMUSIC will be on April 24th due to conflicting activities. When EMUSIC returns, I'll get an early start on May's focus on Robert Rich. The feature CD at midnight will be his Hearts of Space release, "Propogation." ========================================================================= Date: Fri, 28 Mar 1997 12:18:33 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mike Metlay ++ Atomic City Subject: Re: Parenthood and other forms of creativity In-Reply-To: <2.2e.16.19970328231146.2f3f0a50@popd.netcruiser> from "Timothy Kelly" at Mar 28, 97 11:06:37 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Timothy Kelly writes-- > > Its the daily living, the non musical things we do that open us up to >being more creative, more imaginative with everything we do, including music. > Most of the music man calls great was and is composed by composers who >are married and have families, so a good case can be made that being in an >enviroment where one can give and recieve love is the most important form of >creativity that there is. > One does not give up things to be a creative artist. One embraces more >things as one expands ones imagination and ones ability to love. This is a nice sentiment, but I'm not sure from my personal experiences how accurate it is in terms of producing creative output. One's overall creativity may increase, but one's creativity-leading-to-music may not. On the other hand, > Its never how many hours one spends on music, but what one does with the >minutes one puts in. ...THIS I agree with wholeheartedly. Quality of time is vital to the end product; one can't just sit down and expect stuff to happen because one has blocked out time for it. (This leads into a whole other topic on time management for purposes of creativity, but asking me to speak authoritatively on that subject would be like asking Charles Manson to speak at a dinner honoring Mother Theresa. ;) >MidiVox. Worlds 1st Voice to Midi. Sing, Talk, Rap, Scat, Hum, Croon. Real Time. >EM's Editors Choice. AES Best In Show. Can You Hum A Bass, Sing Like A Sax? >BioSensor Neckband and Rack Mount Module Let You Play any Synth Vocally. BTW, Tim, thanks for tightening up your sig file. It's got just as much data and is much less spammy. mike -- "Buchla, Serge, whatever. I'll never have either. :-) " (a. schabtach) ========================================================================== Mike Metlay - ATOMIC CITY - P. O. Box 81175, Pittsburgh, PA 15217-0675 USA = atomic@netcom.com -- http://pd.net/atomic-city -- 800.924.ATOM = CD orders via LOFTY PURSUITS: 800.548.6724 & 904.385.6463, FAX 904.668.5825 ========================================================================= Date: Fri, 28 Mar 1997 15:53:52 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: William_B_Fox Subject: EMUSIC Playlist STAR'S END GATHERING X TO FEATURE BIONAUT You shouldn't miss the following event if you're into electronic, ambient, or space music and live near or can drive to Philadelphia. - SEG#10: Saturday, March 29th, 1997 8:00pm Star's End Gathering Concert with Bionaut (I have been playing their CD on my show. Last night, I featured Bionaut for half my show! They're that good!) Gatherings are held in Houston Hall Auditorium, 3417 Spruce Street, Philadelphia, Pennsylvania. Tickets at the door are $10; WXPN members and students free. For concert information, call 1-800-565-WXPN or (215) 573-3340. Chris Green and Paul Eggleston are Bionaut and have been quite prolific in their five years of live performances around their home-base of Hyannis, Massachusetts. Festivals, bookstores, private parties, art galleries, radio shows, clubs, coffehouses and rave chillout rooms are all among their credits. Their appearance at Star's End Gathering X will be their first formal concert. For Bionaut, live performance is the path to creativity. They realize entire compositions through spontaneous interaction with each other in the live setting. Their new CD "Au Naturel" consists entirely of excerpts from live gigs. According to Eggleston "Most groups need to be dragged out of the studio to play live. We're the opposite. We need to be dragged in to the studio." Star's End Gatherings are live concerts featuring musicians from the ambient, electronic, and space music worlds. Directions to Houston Hall Auditorium: I-95 N or S 76 W (exit 11) South Street (exit 40) left at traffic signal pass three traffic signals (34th Street) Houston Hall is 2nd building on right upstairs to 2nd floor Best parking: Chestnut and Walnut Streets between 33rd and 36th Streets "Star's End" can be heard every Saturday night/Sunday morning from 1am-6am on: 88.5fm WXPN Philadelphia, PA 88.1fm WXPH Harrisburg, PA 90.5fm Worton/Baltimore, MD 104.9fm Allentown, PA Host: Chuck van Zyl http://www.starsend.org chuckv@starsend.org I'll be there wearing a name tag so stop me, say hello, and tell me where you saw this message! Bill BillFox@lucent.com Host of "Emusic" Thursdays at 11pm on WDIY 88.1 FM, Allentown & Bethlehem and 93.9 FM in Easton & Phillipsburg. http://wdiyfm.org ========================================================================= Date: Fri, 28 Mar 1997 17:10:14 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Robert M. Sanders" Subject: Re: Parenthood and other forms of creativity -Reply Mime-Version: 1.0 Content-Type: text/plain Effects of marriage & kids output reducers: - loss of focus on music - reduced time, energy and $$$ for music endeavors output modifiers: - aesthetic field effect By 'aesthetic field effect' I mean that the combined aesthetic tastes or your loved ones can act like a gravitational field that exerts a subtle, ever-present pull on the artistic directions you pursue. This stems from the desire to create something they can comprehend and that they will value. Think of it like you are an electron immersed in an electric field. Your initial velocity is the direction you were pursuing before being immersed in the field. It may be very low grade, but it's probably there. Over time, (in my case 15 years) the cummulative effect of the can be detectable looking backwards. For instance, my wife Chris has helped to 'civilize' my stuff. She plays a little flute now and then, but generally is not awestruck with music. She likes just about all styles of music except real loud rock and roll. She prefers simple stuff. Over the years I seem to have learned to do more with less under the effect of her aesthetic field. Chris helped identify a fatal flaw in my creative process that I have since tried to eradicate. That flaw was that I didn't know when to stop and say the piece is done. For example, I remember making her a piece when she was pregnant with our first child. I called it 'Peristroika' since this child-thing was going to be a major, irreversible restructuring of our lives. In my excitement I played an interim version for her which she liked very much. Then I went back and added more layers to it. She seemed to like it less, but couldn't really say specifically why, since she's not into composing. So I went back and tried to figure out what I did to obliterate the beauty of the interim version. This process got repeated many times over the 15 years. And not just in music. In cooking. In painting. Everything. Once I decided to paint two matching pictures for our walls. It was a light biblical-based project with swirling orange tornado carrots representing the gaurdians of the tree of knowledge in the Garden of Eden. Well, actually it didn't start out with the orange tornados. It started out some abstract pastel thing. Mostly an empty canvass. Chris was excited. It looked good. She went to Kmart. I was enjoying the physical act of pushing goo on the canvass, so I kept going. Somehow I got this dumb idea that most of the time people would be visiting we might have the lights dimmed and a couple of candles lit, listening to music. So, I turned out most of the lights to see how the paintings would look in that lighting. The pastel colors disappeared in candle light alone. I started adding to the paintings in the candle light. Orange seemed to look good, so I ... well ... painted orange tornadoes. By the time she returned, the pictures were, frankly ruined. I was still in the dimmed light, still pushing the goo around, by this time using my fingers. She turned on the lights, so to speak. -rob ========================================================================= Date: Fri, 28 Mar 1997 18:52:44 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Timothy Kelly Subject: Re: MIDI Patch Bay Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi All, A lot of the older ones are fairly cheap. I've had a Yamaha MJC8 for years. Has 8 Ins, 8 Outs, 50 setups you can save. No patch changes or anything, simply just ins and outs. Dont have any idea if its still made or if Yamaha has anything similar. MidiMix makes those cool little $10-12 dollar midi round pocket size patch connectors. The ones I use most often are the 1 In, 5 Outs and the 2 In, 3 Outs. Real handy when you need to turn a couple of 20 ft midi cables into a 40 foot one too. None of the above have addressable outs, these are just simple midi cord patch bays. Happy Sounds Timothy Kelly MidiVox > > MidiVox. Worlds 1st Voice to Midi. Sing, Talk, Rap, Scat, Hum, Croon. Real Time. EM's Editors Choice. AES Best In Show. Can You Hum A Bass, Sing Like A Sax? BioSensor Neckband and Rack Mount Module Let You Play any Synth Vocally. ========================================================================= Date: Fri, 28 Mar 1997 22:22:49 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Terry Leigh Britton Subject: Re: Open letter to Dr. Marden Pond -Reply MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii mark simon wrote: [Condensing Mike's comments] >Education exists and has its proponents; non-education exists and has >its proponents. Then there's bad education... >Mark Simon has spoken eloquently and convincingly on the subject of >how education can only broaden one's horizons. I could make a very >strong argument against that, based on my limited knowledge of >personality types and the learning process. Thank you Mike. I hope what I write now will also strike you as eloquent and convincing. I'm sure you have sufficient memories of previous tirades on my part to know where I stand on the academic music issue. I think it sucks. I went through the whole academic routine and emerged with a DMA in composition from an Ivy League University. What did I learn? I learned a lot. Part of what I learned is that the world of academic "New Music" has embraced an aesthetic position that it is, I feel, wrong-headed, narrow, and unhealthy both for itself and for music in general. It's incredible how universally true that statement seems to be. What can be done to re-enlighten the academic corridors and its keepers of the flame? To me, this has been a tragic occurrence (I blame Columbia U. for being a major force in promulgating this grating-music aesthetic since the 60's ... sorry, Columbia U alumni). The "advances" made by academia in music have done little for creating music which any but other academics can appreciate or understand. A friend of mine coined the term, "nightmare music" to describe his general impressions after years of trying desperately to fathom the "new music" in an aesthetic sense. As a fellow failure in learning comprehension of these learned noises (though by no means a stranger to the use and appreciation of dissonance, atonality, and "errant tunings" in contextual frames), I just wish that the suffering of future students could be put to an end here and now, with a minimum of bloodshed and a maximum of new hires at all colleges, universities, and music schools where professors continue to profess that bad is good and good is 'too old.' -- Terry Leigh Britton http://www.rbdc.com/~brittont [Music Business, Korg Wavestation & S3, Yamaha TX81Z, Creative Labs Soundblaster AWE32, PC, Mac, music utilities, patches, information, Wavestation TIP OF THE DAY archives. Also, links to websites of all participants on the Wavestation mailing list who's URL's I am aware of.]