=========================================================================
Date:         Mon, 2 Feb 1998 12:39:14 +0000
Reply-To:     fhermoza@congreso.gob.pe
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Fernando Hermoza Guerra <fhermoza@CONGRESO.GOB.PE>
Organization: CONGRESO DE LA REPUBLICA
Subject:      Re: Theory ==> Conclusion
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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It seems to me that western music is a way of musical and theorical practice.

The people that play today: composers, corals and not-standard-notation folk
musicians, if they make music with microtones, non-diatonic-scores, then
they are not in the western wave.

Moreover, if we try to equate or separate the western and the non-western
music, we could get a trouble and boring job. Rigth now we are going into
a new age, we need to integrate in order to become higher.

Our age is rich in electronic instruments, electronic mixers, electronic
processors
this is our time and I am sure this is not just western. We are here and we
came
from many sites of the world.

The electronic composer has the tools for understanding the western and
non western music, he has the freedom of choice. It seems to me that not
just the non-western or the western music are one better than the another, it

is so because the freedom of choice is easier because of the state of art
that
our age provides all of us. The first step is the understanding that the
western
music is not universal, the next steps is a matter of personal research.

Greetings

Fernando G. Hermoza
mailto:f.hermoza@ieee.org

> > > From: Peter Skinner <ps1157@MESSIAH.EDU>
> > >
> > > Theory:
> > >         More pitches used
> > >      in a scale (overtone or not)
> > >               ||
> > >               \/
> > >         higher music potential
> > >
> > > Conclusion:
> > >         Some non-western cultures have the potential to create better
> > > music than the best western-style music.
> >
> > 1. There are more "western" musics that just the standard-music-
> >  notation school - listen to the folk musics of Spain, Scotland,
> >  Greece and the Balkans, Sweden, et al.
> > 2. "Western" composers have worked with microtones for centuries
> >  even if the academies and conservatories didn't like it.
> > 3. "Western" choral music ALWAYS employs microtonal shifts, as
> >  just-tempered voices, and instruments playing the harmonic
> >  sequence, interact with even-tempered instruments.
> > 4. "Better" music is ALWAYS a matter of taste, not absolutes.
> >
> > You've tried to erect a straw-man to knock down.  You've failed.
> >
> > ric@sonic.net * http://www.sonic.net/~ric * yow!
=========================================================================
Date:         Mon, 2 Feb 1998 19:41:30 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Philippe Caya <pfil@STEP.POLYMTL.CA>
Subject:      Common Music under Win95
MIME-Version: 1.0
Content-Type: multipart/alternative;
              boundary="----=_NextPart_000_0042_01BD3012.8F5CA540"

This is a multi-part message in MIME format.

------=_NextPart_000_0042_01BD3012.8F5CA540
Content-Type: text/plain;
        charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Hello Everyone.

Is anyone using Common Music under LISP under Windows95. I need help =
setting it up especially in finding a good LISP interpreter under Win95.

Thanks

Philippe

------=_NextPart_000_0042_01BD3012.8F5CA540
Content-Type: text/html;
        charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.2106.6"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Hello Everyone.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Is anyone using Common Music under =
LISP under=20
Windows95. I need help setting it up especially in finding a good LISP=20
interpreter under Win95.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Thanks</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Philippe</FONT></DIV></BODY></HTML>

------=_NextPart_000_0042_01BD3012.8F5CA540--
=========================================================================
Date:         Mon, 2 Feb 1998 21:43:31 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Ric Carter <ric@SONIC.NET>
Subject:      Re: Theory ==> Conclusion
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

----------
> From: Fernando Hermoza Guerra <fhermoza@congreso.gob.pe>
>
> It seems to me that western music is a way of musical and theorical
> practice.

OK, what we have here is a dispute over definitions.  One can
*define* 'western music' as that which meets certain standards
of "musical and theoretical practice" - in which case, music
played in Western nations that does NOT meet those standards
is NOT 'western' music, eh?

So toss out Highland bagpipes, blues and slide guitars, kazoos,
pennywhistles, prepared pianos and tapes, hurdy-gurdies, nose-
flutes, Appalachian dulcimers.  Then toss out the work of any
20th-century composer or performer who's ever heard the musics
of Asia, Africa, Native America, European traditions.  And toss
out early European music too - damn, those friggin' troubadours
were influenced by MOSLEMS!  Another reason to dump guitars...

What's left is a *snapshot* of Western music, some styles of
music that dominated *certain* musical circles in centuries
XIV-XIX.  If you want to call that, and ONLY that, 'western'
music, then so be it - but I think that it's too constricted
and constipated a description.  Western musics are much richer
and more varied than that.

Anyway, the only *real* 'western' music was played by Bob
Wills and his Texas Playboys.  Ya-HOO!!  #8-)

ric@sonic.net * http://www.sonic.net/~ric * yow!
=========================================================================
Date:         Tue, 3 Feb 1998 10:42:33 -0000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Nick Rothwell <nick@CASSIEL.COM>
Subject:      Re: Theory ==> Conclusion
In-Reply-To:  <34D5BE71.FAE0436E@congreso.gob.pe> (message from Fernando
              Hermoza Guerra on Mon, 2 Feb 1998 12:39:14 +0000)

> The electronic composer has the tools for understanding the western and
> non western music, he has the freedom of choice.

I'm not sure that the tools we have at our disposal at present allow
electronic composers to "understand" anything more about music than
they might have done already. Having a microtuning facility on one's
keyboard does not impart immediate wisdom in the sphere of non-western
music.

--
         Nick Rothwell, CASSIEL        contemporary dance projects
         http://www.cassiel.com        music synthesis and control

             years, passing by, VCO, VCF, and again, and again
=========================================================================
Date:         Tue, 3 Feb 1998 12:47:59 GMT+0100
Reply-To:     p.a.m.swennenhuis@rc.rug.nl
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Paul Swennenhuis <P.A.M.Swennenhuis@RC.RUG.NL>
Organization: Rekencentrum RUG
Subject:      Looking for beta testers

Hello ...,

Are you interested in MIDI applications?
Do you want to take part in the creation of one of the most
innovative and versatile products available today?

Then I welcome you to read on and, if I succeed to arouse your
interest, apply to be beta-tester of my program.

About the program
-----------------
The name of the program is 'Building Blocks'. Like the popular Lego
system for children, that uses basic shapes to create complex material
structures, Building Blocks is a modular MIDI architecture that uses
modules to create almost any MIDI application that can be imagined.
Building Blocks lets you drop modules on its workspace and connect
them together with 'wires'. After defining the properties of the
modules you can then have the structure's output be sent to MIDI. This
way you can create all kinds of useful and musical interesting
applications, like:

   arpeggiators
   LFO's
   melody and drum patterns
   controller remapping
   echoes
   autochords
   (MIDI) effects

In fact, almost anything that can be done, MIDI-wise, can be
built with Building Blocks.

And...everything is done in realtime: the creation of modules, the
(re)wiring of modules, the modification of their properties...
whatever you do, you will immediately hear the result of your actions.

The MIDI output of Building Blocks can be recorded and saved as a MIDI
file.


The program has an extended help system, written in HTML, that you can
browse with your favourite Internet browser. Help is
context-sensitive; for example, pressing F1 right after placing a
module on the workspace pops up the help page describing this module,
its usage and properties.

There are seven module categories:

The *Input devices* modules take input from the mouse or joystick for
further processing.

*Math* This category consists of modules that apply some arithmetic
function to values.

The *MIDI In* modules intercept and forward incoming MIDI messages.

The *MIDI Out* modules produce the MIDI output of Building Blocks.

The *Sequence* modules produce note or value sequences that can be
processed in other modules or immediately sent to MIDI.

*Timed* consists of modules that are controlled by Building Blocks'
built-in timer. They provide various functionalities.

*Other*, finally, completes the modules categories. These are modules
that do not fit in one of the other categories.

I think this program overview should be enough to give you an idea of
what Building Blocks is. Of course you can ask me to give you some
more details. If your curiosity is aroused, then please proceed and
read about the beta testing program.


The beta testing program
------------------------
If you want to apply as beta tester for Building Blocks, you should
meet the conditions below.

*MIDI knowledge*
You should have somewhat more than basic MIDI knowledge. It is not
enough if you only know how to play and record MIDI files. You should
also know about the various MIDI event types and what values they can
take. You should also understand the MIDI time format (ticks, beats
and measures).

*System requirements*
Your computer must be able to run Building Blocks.
Building Blocks runs on computers using the Windows 95 operating
system (and probably on Windows NT machines too, but I have not yet
tested that). The processor should be at least a Pentium 100 MHz.
Building Blocks will run on slower systems but the performance will be
too low. A 166 MHz or better is highly recommended for optimum
performance.

Memory: Building Blocks does not need very much RAM. 4 MB is
sufficient. However, since it calls your Internet browser for
displaying the help files, the memory required for this browser is a
better measure for the memory needed. If you can run your Internet
browser, you probably can run Building Blocks.

Screen: Though tested on various display settings, it is highly
recommended that you run Building Blocks in a 800x600 screen
resolution with 16 bit colors, or better. The workspace in a 640x480
resolution is rather limited and a 8 bit color display will not
properly display the gradient backgrounds used in Building Blocks.

Hard disk: The installation of Building Blocks takes about 6 Mb of
your hard disk.

*Browser*
You will need an Internet browser to be able to use the Building
Blocks help system. The browser should support DDE calls. Netscape
version 3.0 or higher and Microsoft Internet Explorer 3.0 or higher
are OK, as well as Opera 3.0. For other browsers I don't know.

*Time investment*
I ask an investment of about 30 hours of your time, to be spent within
one month. Of course the 30 hours is an estimate and you might need
less, but you should be aware that Building Blocks is an extensive
system and you will need time to read through the help files, as well
as time to grasp the architecture.

*Feedback*
Of course I will need your feedback as beta tester. And the feedback
should be substantially more then 'yes I like Building Blocks' or
'what a lousy program this is'. I need a critical view and a creative
mind. I would like to see your bug reports, hints for improvement and
maybe even ideas how to make Building Blocks a better program.

*Mail*
You should be able to reply to mail messages within 24 hours (with
exception of weekends and holidays of course).

What's in it for you?
---------------------
I know, I ask a lot of you as beta tester. But I think the rewards are
worth it: First, you will join the making of a rather unique program.
As beta tester, you are 'close to the source' and able to actively
participate in Building Blocks. This may be a unique chance of
realizing your wishes for a MIDI program. Second, if I am satisfied
with you as beta tester, you will get a free lifelong subscription to
ALL future versions of Building Blocks. When you have browsed through
the help files you will understand that Building Blocks will develop
into a huge and versatile compositional program with lots of features.

Are you interested?
-------------------
Are you interested to step into the Building Blocks world?
Then please send a message to the address below, stating:

- who you are and why you want to become a beta tester for Building
  Blocks
- what your musical activities are
- what computer equipment you have, as well as what studio equipment

Applications should be made before February 16th 1998.
The beta testing program will start the day after and last about a
month. You will be informed about your selection within two days after
the application period has expired.

Thank you for your interest.

Paul Swennenhuis
email p.a.m.swennenhuis@rc.rug.nl
*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
|   Paul Swennenhuis                          |
*   Helpdesk RC RUG Groningen                 *
|   e-mail  : P.A.M.Swennenhuis@RC.RUG.NL     |
*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
=========================================================================
Date:         Tue, 3 Feb 1998 14:28:51 +0000
Reply-To:     fhermoza@congreso.gob.pe
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Fernando Hermoza Guerra <fhermoza@CONGRESO.GOB.PE>
Organization: CONGRESO DE LA REPUBLICA
Subject:      Re: Theory ==> Conclusion
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Ric Carter wrote:

> > It seems to me that western music is a way of musical and theorical
> > practice.
>
> OK, what we have here is a dispute over definitions.  One can
> *define* 'western music' as that which meets certain standards
> of "musical and theoretical practice" - in which case, music
> played in Western nations that does NOT meet those standards
> is NOT 'western' music, eh?

Yes, that's the key question. There are folk music that it is
practicallyimposible for notating with the diatonical-scores.

For instance, in Peru Daniel Alomia Robles was the greatest collector
of peruvian folk tunes, he needed to use the plus and minus symbols
over notes that could not be written with none of the twelve semitone
notes we have in the diatonic repertory. But how much plus or minus,
or how many what? decitones? half of semitones? that's not clear.
Lets try the same with a Chinese, Japanese or Hindu folk theme and the
problem shall be the same.

> So toss out Highland bagpipes, blues and slide guitars, kazoos,
> pennywhistles, prepared pianos and tapes, hurdy-gurdies, nose-
> flutes, Appalachian dulcimers.  Then toss out the work of any
> 20th-century composer or performer who's ever heard the musics
> of Asia, Africa, Native America, European traditions.  And toss
> out early European music too - damn, those friggin' troubadours
> were influenced by MOSLEMS!  Another reason to dump guitars...

Rich, many rich our culture is. We are permeated by the westernculture
indeed, like the Greek-Roman before.

In Peru we have charangos and ronrocos. Tradicional folk
string instruments that were created for the indians when they
knew the guitar.

> What's left is a *snapshot* of Western music, some styles of
> music that dominated *certain* musical circles in centuries
> XIV-XIX.  If you want to call that, and ONLY that, 'western'
> music, then so be it - but I think that it's too constricted
> and constipated a description.  Western musics are much richer
> and more varied than that.

Music that can be writen with the twelve-note is on thewestern way of
formal music. Could you agree with this?

> Anyway, the only *real* 'western' music was played by Bob
> Wills and his Texas Playboys.  Ya-HOO!!  #8-)
>
> ric@sonic.net * http://www.sonic.net/~ric * yow!

Sorry I don't know them, but I'll tell you that I like the Cajun country.

Greetings!

Fernando G. Hermoza
mailto:f.hermoza@ieee.org
=========================================================================
Date:         Tue, 3 Feb 1998 15:02:10 +0000
Reply-To:     fhermoza@congreso.gob.pe
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Fernando Hermoza Guerra <fhermoza@CONGRESO.GOB.PE>
Organization: CONGRESO DE LA REPUBLICA
Subject:      7th.ANNUAL FLORIDA ELECTROACOUSTIC MUSIC FESTIVAL
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Let me share this posting.
This festival will be held in April this year, in Gainisville FLO.

-------------------------------------------
Latinamerican electroacoustic and computer music as part of the
"7th.ANNUAL FLORIDA ELECTROACOUSTIC MUSIC FESTIVAL"

curated by Martin Alejandro Fumarola (Argentina)

The Latinamerican electroacoustic music to be programmed ranges from
compositions by pioneers in the field in their countries until young
composers as well as women composers. For instance, Alberto Villalpando
is the pioneer of electroacoustic music practice in Bolivia and Juan
Blanco is the pioneer of electroacoustic music in Cuba (an interview to
him appeared in Computer Music Journal 21:2), Elsa Justel is an
Argentine woman composer now living in Paris pursueing her PhD under the

guidance of Horacio Vaggione in the University of Paris VIII, Manuel
Rocha-Iturbide is a Mexican composer and researcher who is also to
obtain his PhD under the direction of Horacio Vaggione at the same
University. The pieces by Ricardo Dal Farra and Alejandro Iglesias-Rossi

(both from Argentina) are the winners of the "ICMA Commission Awards
1996" and of the "1996
International Rostrum of Electroacoustic Music Competition of the
UNESCO".

The detail of the electroacoustic music to be listened to is as
follows:

FIRST CONCERT:


- Juan Amenabar (Chile) "Los Peces"

- Jose Vicente Asuar (Chile) "Variaciones Espectrales"

- Cesar Bolanos (Peru) "Intensidad y Altura"

- Alberto Villalpando (Bolivia): "De los elementos" (1.Fuego - 2.Aire
                                  - 3.Agua - 4.Tierra)
- Juan Blanco (Cuba): "Texturas Americanas"

- Coriun Aharonian (Uruguay) "Homenaje a la flecha clavada en el pecho
                               de Don Juan Diaz de Solis"


SECOND CONCERT:


- Oscar Bazan (Argentina) "Parca"

- Eduardo Bertola (Argentina) "Tramos"

- Gustavo Matamoros (Venezuela):  "Truly Yours"

- Elsa Justel (Argentina): "Haricots et petits botons"

- Adina Izarra (Venezuela) "Voijm"

- Andres Posada (Colombia): "Catenaria"

- Arthur Kampela (Brazil): "Textorias"

- Alfredo del Monaco (Venezuela) "Tropicos"



THIRD CONCERT:


- Manuel Rocha Iturbide (Mexico): "Transiciones de fase"

- Ricardo Dal Farra (Argentina) "Tierra y Sol"

- Daniel Schachter (Argentina) "Halito" mixte work for flute and tape

- Alejandro Iglesias-Rossi (Argentina) "Angelus"

- Martin Fumarola (Argentina) "Callejuelas"

- Juan Reyes (Columbia) "Choi-Hung"

- Roberto Morales (Mexico) "Nahual II" for Chamula harp and
  electronics

- Pablo Sotuyo (Uruguay)   work to be confirmed

- Rodrigo Segnini-Sequera (Venezuela) "MPCSSCVEV(Imp-loro)"
=========================================================================
Date:         Tue, 3 Feb 1998 14:47:41 +0000
Reply-To:     fhermoza@congreso.gob.pe
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Fernando Hermoza Guerra <fhermoza@CONGRESO.GOB.PE>
Organization: CONGRESO DE LA REPUBLICA
Subject:      Re: Theory ==> Conclusion
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Nick Rothwell wrote:

> > The electronic composer has the tools for understanding the western and
> > non western music, he has the freedom of choice.
>
> I'm not sure that the tools we have at our disposal at present allow
> electronic composers to "understand" anything more about music than
> they might have done already. Having a microtuning facility on one's
> keyboard does not impart immediate wisdom in the sphere of non-western
> music.

I agree with you Nick.

the music without the human is the sound of the nature,
but the instrument without the human is the sound of silence   :-)

let me explain from this way:

If we have instruments that permits us to go beyond the formal rules
of the twelve notes then we have the potencial to research about
new repertories of notes, thats what we gain with many electronic
instruments.

Thanks for point were the rectification and explanation was needed!

Fernando G. Hermoza
mailto:f.hermoza@ieee.org
=========================================================================
Date:         Tue, 4 Feb 1997 00:57:12 -0800
Reply-To:     cerf-volant@acica.com
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Frank Roberts <cerf-volant@ACICA.COM>
Organization: hibou
Subject:      Festival
Mime-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

From:
              Fernando Hermoza Guerra <fhermoza@CONGRESO.GOB.PE>

        Let me share this posting.
This festival will be held in April this year, in Gainisville FLO.

        May you fry in hell, fernando.:-)) If only it was possible. WOW, I
would sell my grandmother, my dad and my two brothers to see that show.

        What can I say, just the price of a plane ticket, I can live here for a
whole year.

        I'm usually a lurker, but I couldn't resist, please give me an
overview. I am not only a fan of south american music, I live by it.

Cerf-volant
=========================================================================
Date:         Tue, 3 Feb 1998 13:19:15 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Peter Skinner <ps1157@MESSIAH.EDU>
Subject:      Re: Theory ==> Conclusion
In-Reply-To:  <19980203104233.11370.qmail@wyvis.an-teallach.com>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Tue, 3 Feb 1998, Nick Rothwell wrote:

" The electronic composer has the tools for understanding the western and
  non western music, he has the freedom of choice."

  "I'm not sure that the tools we have at our disposal at present allow
  electronic composers to "understand" anything more about music than
  they might have done already. Having a microtuning facility on one's
  keyboard does not impart immediate wisdom in the sphere of non-western
  music.
>
> --
>          Nick Rothwell, CASSIEL        contemporary dance projects
>          http://www.cassiel.com        music synthesis and control
>
>              years, passing by, VCO, VCF, and again, and again"

It sure has helped me.

PETER
>
=========================================================================
Date:         Wed, 4 Feb 1998 00:20:33 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Ric Carter <ric@SONIC.NET>
Subject:      Re: Theory ==> Conclusion
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

----------
> From: Peter Skinner <ps1157@MESSIAH.EDU>
>
>>> The electronic composer has the tools for understanding the
>>> western and non western music, he has the freedom of choice.
>>
>> I'm not sure that the tools we have at our disposal at present
>> allow electronic composers to "understand" anything more about
>> music than they might have done already. Having a microtuning
>> facility on one's keyboard does not impart immediate wisdom in
>> the sphere of non-western music.
>
> It sure has helped me.

As any indigenous music is an aspect of cultural expression,
understanding the *culture* seems to me to be the best way
to gain understanding of the music.  What our nifty tools
let us do is *simulate* that music with some facility, if
not necessarily with accuracy.  Similarly, just as having a
'guitar' patch on the synth does not make the keyboardist a
guitarist, neither does a 'koto' patch render one expert in
the nuances of koto playing - and I can simulate a koto on
a banjo or dobro, too.  Well, a little bit, anyway.  #8-)

When, say, [east] Indian musicians play on fiddles, guitars
and harmoniums, I hear *Indian* music coming out, regardless
that 'western' instruments are being used.  When I tune my
pitch-shifter program to sets of raga scales, and play, I
am NOT making 'Indian' music, because I haven't spent the
requisite years imbuing myself with the sounds, scents,
traditions, the gestalt of such music.  [BTW does anybody
here remember "sitar-guitars"?  Shudder...]

Still, IF we can take the raw sounds of such opaquely-tuned
instruments as gamelans and steel-drum bands and charrangos,
where each 'note' is a cluster of pitches covering a range
of frequencies; AND the microtonal and non-diatonic Indian,
Arabic, and Chinese scales; AND the rhythmic complexity of
many Indian and African musics; AND we can apply these with
some facility to our own music, acknowledging that it is
*just* a simulation but *also* a vibrant expression of our
own creativities and environments; THEN we just might come
up with something interesting, and hopefully listenable.

Or maybe not.  Sometimes it's best just to pound on garbage
cans and howl at the moon.  Simplicity has its place.

ric@sonic.net * http://www.sonic.net/~ric * yow!
=========================================================================
Date:         Wed, 4 Feb 1998 09:50:05 EST5
Reply-To:     Michael Rees <mrees@pppmail.appliedtheory.com>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Michael Rees <mrees@PPPMAIL.APPLIEDTHEORY.COM>
Organization: Department of Redundancy Department
Subject:      Re: Theory ==> Conclusion
In-Reply-To:  <34D729A3.5784EF6C@congreso.gob.pe>
MIME-Version: 1.0
Content-Type: text/plain

On Tuesday, Fernando Hermoza Guerra expressed with much marked refinement of
phraseology:

FHG> Yes, that's the key question. There are folk music that it is
FHG> practicallyimposible for notating with the diatonical-scores.

FHG> For instance, in Peru Daniel Alomia Robles was the greatest collector
FHG> of peruvian folk tunes, he needed to use the plus and minus symbols
FHG> over notes that could not be written with none of the twelve semitone
FHG> notes we have in the diatonic repertory. But how much plus or minus,
FHG> or how many what? decitones? half of semitones? that's not clear.
FHG> Lets try the same with a Chinese, Japanese or Hindu folk theme and the
FHG> problem shall be the same.

the notation does not equal the music. notation was developed as a tool to
help performers remember music they might not be able to remember otherwise.
one of the problems with notating non-diatonic musics is common music notation
doesn't support it. that only means that the notational system is
underdeveloped; it doesn't invalidate or validate the music. and folk music is
essentially an aural tradition, so (generally) only musicologists are
interested in notating it anyway.

m.
--
Michael Rees  <mrees@pppmail.appliedtheory.com>
Composer &c.
                                       Place something next to what you hear.
=========================================================================
Date:         Wed, 4 Feb 1998 16:02:00 GMT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Pedro Batista <PBATISTA@COLEP.MAILPAC.PT>
Subject:      Re: Theory ==> Conclusion
Mime-Version: 1.0

Nick Rothwell said:
>I'm not sure that the tools we have at our disposal at present allow
>electronic composers to "understand" anything more about music than
>they might have done already. Having a microtuning facility on one's
>keyboard does not impart immediate wisdom in the sphere of non-western
>music.

Even a one note scale can provide infinite inovation. Its surely better to
inovate with a 12 tone (as if theres few of them) scale, than loose your
life in the vain pursuit of a metaphisical microtonal scale. Better search
for the holly grail instead
What I admire in the equal temperament scale is the complexity and
mathematical beauty of its seemingly simple structure. My pragmatic nature,
prefers to use a simple case study and make the most of it, than to loose a
lifetime searching for absolute dogmas in the midle of the infinite tonal
diversity. What may seem like a simplification, is most certainly a method
to reach higher sonic wisdom.
To my knowledge, there's no concept of tonality in scales other than equal
temperment, and most "ethnic" players, play just a few songs over and over
again. Its impossible for them to transpose it to another "key". Their ear
is much more oriented to those few static tones, hardly allowing them to
explore diferent harmonic situations
That has nothing to do with the lusty appeal that those in-between tones
(that we virtually gave up, with the advent of equal temperament) still have
to the most of us. Their unstable nature makes them so expressive and I'd
say _erotic_ to a western  listner. But those so called "blue notes" are not
lost, as some detractors of the eq-temp scale state. Just go listen to a
jazz/blues album. And for us e-musicians, it aint lost at all. I might not
use some weird arabian scale, but I seldom use my instruments properly
tuned. The equal temp scale is not a prison in which I strugle, but merely a
sugestion that eases my listners job.

pedro
=========================================================================
Date:         Wed, 4 Feb 1998 09:01:51 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Stefan Petersilge <SPetersilg@AOL.COM>
Subject:      Re: Theory ==> Conclusion
Mime-Version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit

Fernando Hermoza wrote:

<< the music without the human is the sound of the nature,
 but the instrument without the human is the sound of silence   :-)
  >>

What about wind chimes ? :-)
=========================================================================
Date:         Wed, 4 Feb 1998 15:33:59 -0400
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         GARY LEE NELSON <Gary.Nelson@OBERLIN.EDU>
Subject:      June Workshops in Computer Music at Oberlin College
Comments: To: DANCEMUSICIAN@LISTSERV.ARIZONA.EDU, MUSIC-L@YORKU.CA,
          BOSTON-M@NETSPACE.ORG, SOUND@ACM.ORG, SYNTH-L@AMERICAN.EDU,
          ALLMUSIC@AMERICAN.EDU, FMUSIC@MAELSTROM.STJOHNS.EDU,
          ROCKLIST@LISTSERV.KENT.EDU, MAX@VM1.MCGILL.CA
MIME-version: 1.0
Content-type: TEXT/PLAIN; CHARSET=US-ASCII

If you are a MIDI enthusiast or you use computers to make your
music, you may want to have a look at


        http://www.oberlin.edu/~consrv/Summer98/WECM.html

to see what Oberlin's Technology in Music and Related Arts
(TIMARA) Department is offering in its summer workshop.

We have been doing these workshops for over a decade and we
specialize in teaching hoppyists and musicians who are not traditional
trained.  Many of our students are visual artists or dancers as well
and musicians.  They range in age from 15 to 75!

Our web page has email addresses for more information but you can
email me at the address below if you have questions.

Gary Lee Nelson
TIMARA Department
Conservatory of Music
Oberlin, OH 44074
phone: 440-775-8223
fax: 440-775-8942
email: Gary.Nelson@oberlin.edu

PLEASE REPOST TO ANY OTHER INTERESTED LISTS
=========================================================================
Date:         Wed, 4 Feb 1998 13:21:17 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         DONANDES@AOL.COM
Subject:      Re: EPS: Need Computer Sequencing Program for ASR
Mime-Version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit

i have cakewalk 5.0 home version that i use with my asr and i think it works
great. it was relativly easy to use and i had no set up problem upon
installing. i heard that cubase vst which is getting rave reviews for it
feature is a real bear to set up. the reason i got the home version however is
because of it's price (which is about $80 or so). of course it lacks some
feeature such as smpte code, ect. i still feel it is a very good sequencing
progran that is easy to set up as well as easy to use and understand. but my
advice is to find out what you NEED in a sequencing program and see which one
provides that with a easy interface. it great to have a program or piece of
equipment for that matter that can rule the world but if you spend most of
your time getting it to work, they it really isn't worth the hassle to me.

donald hugh andes
=========================================================================
Date:         Thu, 5 Feb 1998 11:54:53 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Stefan Petersilge <SPetersilg@AOL.COM>
Subject:      Re: Theory ==> Conclusion
Mime-Version: 1.0
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: quoted-printable

Pedro Batista wrote:=0A=0A>What I admire in the equal temperament scale i=
s the complexity and=0A>mathematical beauty of its seemingly simple struc=
ture.=0A=0AI respect your self-restriction, but I find this=0Asubject so =
interesting, that I want to respond to your post in detail.=0A=0A>My prag=
matic nature,=0A>prefers to use a simple case study and make the most of =
it, than to loose a=0A>lifetime searching for absolute dogmas in the midl=
e of the infinite tonal=0A>diversity. What may seem like a simplification=
, is most certainly a method=0A>to reach higher sonic wisdom.=0A=0AI thin=
k, your decision is wise, as long as you are only interested in the so=0A=
called=0Awestern music, based on the equal tempered scale-system and if y=
ou just play=0Akeyboards or keyboard-based electronic instruments. =0ABut=
 I think, the nature of musical wisdom is just a little bit more complex=
=0Athan=0Ajust to divide it all through 12.=0AIf the basics of tonal musi=
c is the human ear responding to vibration,=0Awe find, that everything we=
 hear is related to the overtone-system.=0AEven if we listen to music, th=
at does not fit with the overtone-system =0A(as Equal Tempered Scale), ou=
r brain tries to correct the dis-tuned=0Ainformation=0Athat it gets from =
the ear in order to be able to still *enjoy* the music.=0AThe equal tempe=
red scale has been developed by wise people, who wanted to=0Afind a compr=
omise between well-tuned pure pitch and =0Athe composers freedom in devel=
oping more and more complex harmonic=0Astructures. =0ABut we still listen=
 and play in context with the overtone-system (because we=0Aare part of n=
ature).=0A=0A>To my knowledge, there's no concept of tonality in scales o=
ther than equal=0A>temperment, and most "ethnic" players, play just a few=
 songs over and over=0A>again. Its impossible for them to transpose it to=
 another "key". Their ear=0A>is much more oriented to those few static to=
nes, hardly allowing them to=0A>explore diferent harmonic situations=0A=
=0ANow I strictly disagree. There are hundreds of concepts. First of all =
in the =0AWestern (European) tradition. There are the ancient Greec theor=
ies about pure=0Ascales, based on the overtone-System. Later there have b=
een numerous =0Asystems like "Werckmeister" (just to name one example), t=
rying to find a=0Atuning system that compromises between well-tuned pure =
pitch and =0Athe composers freedom in developing more and more complex ha=
rmonic=0Astructures. And if we look at India, Persia, China. Japan, Peru =
and, and...=0AIn these cultures exist high developed musical systems =0Am=
ore ancient and more refined than our young "western" system.=0AIn India =
there is a system based on 22 notes per octave.=0AAnd for indian musician=
s it is surely a hard=0Aroad to learn to master this system, but its wort=
h it ! (If you listen=0Ato the beauty of classical Indian music, you will=
 hear what I mean).=0ADo you maybe think, every musician outside the west=
ern world is just=0Aone of these "ethnic players"? What might they think =
about us ?=0A=0A>That has nothing to do with the lusty appeal that those =
in-between tones=0A>(that we virtually gave up, with the advent of equal =
temperament) still have=0A>to the most of us. Their unstable nature makes=
 them so expressive and I'd=0A>say _erotic_ to a western  listner. But th=
ose so called "blue notes" are not=0A>lost, as some detractors of the eq-=
temp scale state. =0A=0AI agree, they are not lost (thanks god !). =0ABut=
 I think there is a little confusion now.=0ADifferent tuning-systems, inc=
luding micro-tuning, have nothing to do with=0A"in between notes". These =
notes are more or less common in all musical =0Acultures, no matter which=
 tuning-system they use. =0A=0A>Just go listen to a jazz/blues album. =0A=
=0AI got the impression that you think, Jazz/Blues is played in a well te=
mpered=0Ascale. Please believe me:=0AIt=B4s not ! (unless played only wit=
h keyboards).=0AThere is no way to tune a gitar well tempered.=0ANo music=
ian who has good ears and an instrument with=0Ainstant access to pitch wi=
ll play well tempered. He will always respond=0Aspontaniously to the harm=
onical surrounding in which he is playing and=0Atry to match the natural =
overtone system.=0AThe (almost) only well-tempered instruments that exist=
 are keyboards.=0A=0A>And for us e-musicians, it aint lost at all. I migh=
t not=0A>use some weird arabian scale, but I seldom use my instruments pr=
operly=0A>tuned. =0A=0ACongratulations that you don=B4t tune your instrum=
ents properly. Because they=0Aare not well tuned in itself anyway (due to=
 equal temper), you might smooth=0Ait out a little this way.=0ABut BTW: t=
here are syhths (f.e. the *Microvave*) that have a system that=0Acontinou=
sly pitches the notes in order to match a pure overtone-based=0Atuning. T=
here are also computer-programs that can do this job.=0A=0A>The equal tem=
p scale is not a prison in which I strugle, but merely a=0A>sugestion tha=
t eases my listners job.=0A=0AI think as a listener you are naturally bas=
ed on the overtone-system, because=0Ayou are part of nature. But as far a=
s intellectual understanding is concerned,=0AI can see your point.=0ABut =
in this case the tuning does not matter, what matters is the fact, that=
=0Awe bring it down to 12 notes to have a common base on which we can=0Ad=
evelop musical systems. =0A(But I still feel challanged by these 22 India=
n notes !)=0A=0AStefan=0A
=========================================================================
Date:         Thu, 5 Feb 1998 15:03:41 +0000
Reply-To:     fhermoza@congreso.gob.pe
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Fernando Hermoza Guerra <fhermoza@CONGRESO.GOB.PE>
Organization: CONGRESO DE LA REPUBLICA
Subject:      Re: Festival
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

For several of you who asked me for more information about the VII
Festival of
EAM in FLO:

The post appeared in the List of the Asociacion Latinoamericana de
Informatica
Musical  ALIM-L@listserv.indiana.edu

Martin Fumarola sent that draft, his e-mail adress is:
maralefo@hotmail.com
maralefu@mailexcite.com
maralefu@goedel.filosofia.uncor.edu

Glad to share with you that face of America     :-)

Fernando G. Hermoza
mailto:f.hermoza@ieee.org
=========================================================================
Date:         Thu, 5 Feb 1998 15:26:53 -0500
Reply-To:     e-hartley@worldnet.att.net
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Ed Hartley <e-hartley@WORLDNET.ATT.NET>
Subject:      Re: Theory ==> Conclusion
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854";
              x-mac-creator="4D4F5353"
Content-Transfer-Encoding: 8bit

Just a small technical point:

> I got the impression that you think, Jazz/Blues is played in a well tempered
> scale. Please believe me:
> It´s not ! (unless played only with keyboards).
> There is no way to tune a gitar well tempered.
> No musician who has good ears and an instrument with
> instant access to pitch will play well tempered. He will always respond
> spontaniously to the harmonical surrounding in which he is playing and
> try to match the natural overtone system.
> The (almost) only well-tempered instruments that exist are keyboards.

"Equal" temperament is not the same as "well" temperament. Bach wrote the "Well
Tempered Clavier," not the "Equal tempered Clavier." Well tempered scales were
intermediate steps in the evolution from Just to Equal. By slightly fudging some
of the notes, they were able to get more "good" keys while still keeping some
near-perfect intervals. But all the keys were not the same, as they are in equal.
They get worse as you go around the circle of fifths.  I wonder if this is what
Nigel from Spinal Tap was thinking of when he said "D-minor is the saddest of all
keys. I call this song "Lick My Love-Pump."

Ed Hartley
=========================================================================
Date:         Thu, 5 Feb 1998 10:17:12 EST5
Reply-To:     mrees@pppmail.appliedtheory.com
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Michael Rees <mrees@PPPMAIL.APPLIEDTHEORY.COM>
Organization: Department of Redundancy Department
Subject:      Re: Theory ==> Conclusion
In-Reply-To:  <0886608142/0495374770/1*@mailpac.pt>
MIME-Version: 1.0
Content-Type: text/plain

On Wednesday, Pedro Batista expressed with much marked refinement of
phraseology:

PB> To my knowledge, there's no concept of tonality in scales other than equal
PB> temperment

find some Harry Partch music.

m.
--
Michael Rees  <mrees@pppmail.appliedtheory.com>
Composer &c.
                          Transform an event until it becomes unrecognizable.
=========================================================================
Date:         Thu, 5 Feb 1998 10:32:08 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:      Re: Theory ==> Conclusion

Michael Rees said:
> the notation does not equal the music. notation was developed as a tool to
> help performers remember music they might not be able to remember otherwise.
> one of the problems with notating non-diatonic musics is common music notation
> doesn't support it. that only means that the notational system is
> underdeveloped;

For those of us who play in concert bands or orchestras, we can attest
to the fact that traditional western music notation is underdeveloped to
completely specify the music it is intended to notate... and we're glad
of it.  This leaves room for the conductor and musicians to insert their
own interpretation and creativity.

Bill    BillFox@lucent.com      http://wdiyfm.org
 =============================================================================
Host of Emusic, an electronic, ambient, and space music show.  Thursdays at
11pm on WDIY 88.1 FM, Allentown and Bethlehem and 93.9 FM in Easton and
Phillipsburg.  Email me if you wish to submit music for airplay consideration.
=========================================================================
Date:         Thu, 5 Feb 1998 13:37:21 PST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Harry Haecker <enoone@WORLDNET.ATT.NET>
Subject:      Re: Theory ==> Conclusion
Comments: To: mrees@pppmail.appliedtheory.com
In-Reply-To:  <yam7340.641.17823744@pppmail.appliedtheory.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="ISO-8859-1"; X-MAPIextension=".TXT"
Content-Transfer-Encoding: quoted-printable

>> PB> To my knowledge, there's no concept of tonality in scales other =
than equal
>> PB> temperment

>MR> find some Harry Partch music.

AND WALLOW IN IT!!!

/harry
=========================================================================
Date:         Fri, 6 Feb 1998 04:48:59 -0600
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         =cw4t7abs <antiorp@TEZCAT.COM>
Subject:      bu5!n3sz.prOcEsz.m0dElx2!nG _+ re3ng!nEer!nG
              =?iso-8859-1?Q?=7C=D8f=D8=D8=D83=7C?= m2sch1n3nkunZt
Mime-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

+++___________------------ p h ---

0 f 0 0 0 3 | | p r O p 4 g 2 n D a | | r O u t ! n

daTa h!Tz 1-human nodE kauz!ng !nstant deztrukt!on
2-all !nvolv.d + azortt.d meltdownz + konvolut.d
l-g!k d!skr3panc!ez amon6zt 1-general nr. ov humano!dz

v1rtuaL manufaktur1nG |+| rap1d proTotyp!nG.
ag1le manufaktur!nG |+| phl3kz!bL aUt0m2t!on.
konkurr3nT.3ng!n3er!nG.
m9ndkonta!nr.d-z!nt3grat!on.
\+ !ndustr!2L.appl!kat1on &&_human_d-v2lu2t!on.

____________------+++++ 3 2 x | z u k c x



_ma!l.robotten.0.0.0  art!kl no. 024

art!kl no. 0-24 =3D available in multiple formatz.
rekuezts shouLd b addressed 2  ma!lrobotten <a9ff@hell.com>


=3Dcw4t7abs          .  request document 0-24 =3Dcw4t7abs
swedish            .  request document 0-24 swedish
hex                .  request document 0-24 hex
morse              .  request document 0-24 morse
midi macintosh     .  request document 0-24 midi m
midi pc            .  request document 0-24 midi pc
english            .  request document 0-24 english




\\ ma!l.robotten.0.0.0 art!kl no. 024 | =3Dcw4t7abs 4mat opt!on

h!gh frekuenss+e !llicitat!ng sol!c!tronz osculo-osc!lloskopez \+ sedukt!on
c!rkuitz akt!vatd.
|| engage log!kl orb1t || b3g!n prop.aganda.rout!n.
_- pro.seed.w!th.kaut!on.d!sz =3D artv2nk terramatter.
kaut!on d!s.regardd.d!sz =3D k3m1kl > artv2nk...

#!nklude <0f0003.nSk>

ma!n()
{


/* d!sz outputz 1 v.long l!ne. =3Dcw4t7abs f!lter !=3D prov!de 4 \n
   fakt dzat =3Dcw4t7abs f!lter !=3D prov!de 4 \n should
   guarantee suksesful transm!55!on +\-1% else !f !=3D nec */

humanannoyansz =3D 0;
human!nterezt  =3D 0;

if (humanannoyansz =3D=3D 0 && human!nterest < 9) {
     pr!ntf("

__________________
0f0003 | d!v!z!on ov kr!t!kl phenomena | !nternat!onal3n !nst!tut 4 ordnung
+ d!sz!pl!n
stockholm.se.1998o.ad. hTTp://www.god-emil.dk/=3Dcw4t7abs
__________________


|kodE|   3kxpoL     - appl!kation primaril+e 4 clavia.nordlead1+2 [+ addtl
maschinez + appz]
                      random!ze.!nvert.b!nar+e kontrol + aud!o cd
kaoz.modulez +
                      1konglomerate ov =3Dcw4t7abs art-- \ pLazt!kc++ funct1=
onz.
         rebEat     - appl!kation 4 propellerheads.reb!rth. drum sampl
exchanger + recykler
                      + auditioning module.
         tekknosukx - appl!kation 4 propellerheads.reb!rth.1.5.[+ addtl
masch!nez + appz]
                      random!ze.!nvert.b!nar+e kontrol.modulez
                      + 1konglomerate ov =3Dcw4t7abs art-- \ pLazt!kc++ func=
t1onz.
         mSp        - appl!kation 4 k2ooo+k25oo =3D sampl management +
organ!zat!on
         mpc3000k   - akai 2 sd2 + aiff 4mat konverter | sd2 + aiff 2 akai
4mat konverter
         0f0003pRpG - appl!kation primaril+e 4 humanz||humanz
                      0f0003 prop.aganDa + random gFx + no!sz rout!nz +
d!z.!nformat!onal modulez
                      + 1konglomerate ov =3Dcw4t7abs art-- \ pLazt!kc++ func=
t1onz.
         =3D_?        - patchez 0f0003pRpG enabl!ng aksez 2 addtl. no!sz +
mousz takeovr rout!nz


|no!sz|  n0rd[0000]      - random+algor!thm!k sample kollekt!on
         n0rd[0001]      - d!tto
         n0rd[0002]      - random+algor!thm!k clavia nordlead 1+2 program
kollekt!on
         !n.s!mb!osis    - ambivalent.ultra rap!d.tekkno.falss kountr
halluc!nator+e agentz.
         8'|sin.x(2^n)   - no!sz.masch!ne !nterpolat!on.anti-akadem!kc.
         krop3rom||a9ff  - no!sz.future stagez + lamentabl phenomena !n dze
evolut!on
                           ov languaGe + c.b.lo.

masch!n3nkunSt[]  - d3s!Gn + w3b dev + prev!ew 4 th0nk_0+2 !nterfasz


|0f0003| =3D kounterfe!t_kountermeazure.slav!sch_!m!tat!on.1_c!v!l!zd eRR.oR=
.
           \\ humanzsukc || humanzsukc


______________
s.p.C.a.  soc!et+e 4 dze prev3nt!on ov kruelt+e 2 automata
stockholm.se.1998o.ad. hTTp://www.god-emil.dk/spCa
______________

     []  1zt !nternat!onal b!nar+e pro.tezt 4 dec!bel rekordz' handl!ng
         ov dze krop3rom||a9ff s!tuat!on



     kontent.!d =3D port ov 0f0003pRpG 2 !nternet env!ronment.
                  1 konglomerate ov javaskr!pt rout!nz 4 random
tekxt|gFx|aud!o +
                  d.l.abl.no!sz + b!nar+e matter
                  kontr!but!onz 4rom selekt humanz +\or odr masch!nez
                  a9ff kasz deta!lz

 kompatab!l!t+e =3D netskape 4.xx [teztd undr macos + nn 4.01 + 4.03]
                  certa!n os.z w!ll e!ther krasch [win?] and\or malfunkt!on
[doze!]

 aksez+lokat!on =3D random tekxt|gFx|aud!o lokat!on   =3D
hTTp://www.god-emil.dk/spCa
                  d!rekt l!nk 4 all osz + browserz  =3D
hTTp://www.god-emil.dk/spca-.html



                ");
      }
      else if (humanannoyansz !=3D 0) {
               pr!ntf("oopz");          /* d!sz bit ov defens!v programm!ng
w!ll save 1 */
      }
      else if (human!nterezt > 9) {
               printf("eRR.oR.");       /* d!sz bit ov defens!v programm!ng
w!ll save 1 2 */
      }

}



s3dukt!on c!rku!tz d.akt!vatd.m9ndjak!ng rout!n kpmLt
bounsz.2.sekuent!aL.modE.ov.op3rat!on.konf!rmd.
 \\ ma!l.robotten.0.0.0   art!kkl.aUtOmat!k.gener3rt
s v3 r ! g3. 1 9 9 8 o || a m 3 r ! k c a 5 u g 3 r



















































































       |
______| |---- | b 2 n D w ! d T h . a 6 ! t . @ 1 n . 5 e k z ! o n 3 n |
       |










         |

segmentat]on v!ol.ation -- kore dump.d

                                                     |
                                     p r 0 d U k t  | |-----| =D8 f =D8 =D8=
 =D8 3
                                                     |


                   __p u n k t p r o t o k o L _
               | e ! n m 3 n s c h  | =3D c w 4 t 7 a b s |



 - !t !z                                           !n  0   3
!                       e
                r3kkomen       n
                             dd 1 e t  rz d e 1 korr kt pasz    6t mez kons
ut vEl
                                         e
                                            z       i   o    |
e      -

|         +e


k

w
or
0f0003          _| |-   masch!n3nkunSt
d
stockhoLm.sweden.europa.1998o  |a m 3 r ! k k a 5 u g 3 r|
                     _+ w | r t s C h a =86 t =3D=3D t =F8 t     | |    z w=
 e ! t 3
[z] y s t e m

















[c]  v ! R u s |+| p u N K t  . p R 0p 2 g4 n d2 z !5 t 3m m.-e
=========================================================================
Date:         Fri, 6 Feb 1998 11:53:38 GMT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Paul Nagle <paul@SOFTROOM.DEMON.CO.UK>
Organization: The Soft Room
Subject:      =?ISO-8859-1?Q?Re:_bu5!n3sz.prOcEsz.m0dElx2!nG_=5F+_re3ng!nEer!nG_|=D8f?=
              =?ISO-8859-1?Q?=D8=D8=D83|_m2sch1n3nkunZt?=
In-Reply-To:  <199802061044.EAA04642@huitzilo.tezcat.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

** =cw4t7abs gibbered a lot to EMUSIC-L@AMERICAN.EDU :

>+++___________------------ p h ---
>
>0 f 0 0 0 3 | | p r O p 4 g 2 n D a | | r O u t ! n

I'll have a snort of that too please....

8-)

Paul
---------------------------------------------------------------------------------------
             Paul Nagle - paul@softroom.demon.co.uk
        http://www.softroom.demon.co.uk (Upd. 22/01/98)
---------------------------------------------------------------------------------------
=========================================================================
Date:         Fri, 6 Feb 1998 06:44:07 -0600
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         =cw4t7abs <antiorp@TEZCAT.COM>
Subject:      Re: bu5!n3sz.prOcEsz.m0dElx2!nG _+ re3ng!nEer!nG
              =?iso-8859-1?Q?=7C=D8f?= =?iso-8859-1?Q?=D8=D8=D83=7C?=
              m2sch1n3nkunZt
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

>** =cw4t7abs gibbered a lot to EMUSIC-L@AMERICAN.EDU :
>
>>+++___________------------ p h ---
>>
>>0 f 0 0 0 3 | | p r O p 4 g 2 n D a | | r O u t ! n
>
>I'll have a snort of that too please....
>
>8-)


read pozt karefull+e . !t appearz u = alread+e znort.znort.

>8-)
=========================================================================
Date:         Thu, 5 Feb 1998 15:03:41 +0000
Reply-To:     fhermoza@congreso.gob.pe
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Fernando Hermoza Guerra <fhermoza@CONGRESO.GOB.PE>
Organization: CONGRESO DE LA REPUBLICA
Subject:      Re: Festival
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

For several of you who asked me for more information about the VII
Festival of
EAM in FLO:

The post appeared in the List of the Asociacion Latinoamericana de
Informatica
Musical  ALIM-L@listserv.indiana.edu

Martin Fumarola sent that draft, his e-mail adress is:
maralefo@hotmail.com
maralefu@mailexcite.com
maralefu@goedel.filosofia.uncor.edu

Glad to share with you that face of America     :-)

Fernando G. Hermoza
mailto:f.hermoza@ieee.org
=========================================================================
Date:         Fri, 6 Feb 1998 13:34:22 GMT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Paul Nagle <paul@SOFTROOM.DEMON.CO.UK>
Organization: The Soft Room
Subject:      =?ISO-8859-1?Q?Re:_bu5!n3sz.prOcEsz.m0dElx2!nG_=5F+_re3ng!nEer!nG_|=D8f?=
              =?ISO-8859-1?Q?=D8=D8=D83|_m2stitteryenotmissusch1n3nkunZt?=
In-Reply-To:  <199802061240.GAA11962@huitzilo.tezcat.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hey mum I'm talking to it - in EMUSIC-L@AMERICAN.EDU :

>read pozt karefull+e . !t appearz u = alread+e znort.znort.

Overcast with a high chance of precipitation.
---------------------------------------------------------------------------------------
             Paul Nagle - paul@softroom.demon.co.uk
        http://www.softroom.demon.co.uk (Upd. 22/01/98)
---------------------------------------------------------------------------------------
=========================================================================
Date:         Fri, 6 Feb 1998 07:47:57 -0600
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         =cw4t7abs <antiorp@TEZCAT.COM>
Subject:      Re: Festival
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

>For several of you who asked me for more information about the VII
>Festival of
>EAM in FLO:
>
>The post appeared in the List of the Asociacion Latinoamericana de
>Informatica
>Musical  ALIM-L@listserv.indiana.edu
>Martin Fumarola sent that draft, his e-mail adress is:
>maralefo@hotmail.com
>maralefu@mailexcite.com
>maralefu@goedel.filosofia.uncor.edu
>
>Glad to share with you that face of America     :-)


= pr!nc!pl ov raz!sm.
plazt!kk++ 4 dze ganze veLt.
=========================================================================
Date:         Fri, 6 Feb 1998 18:45:13 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         David Rodger <auricle@ALPHALINK.COM.AU>
Subject:      Whoops! Missing subject
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

Sorry for the missing subject on my last post.  For some reason, Pedro's
messages don't use header fields in the same way, so while his name and
subject appears in the headers, my copy of Eudora can't extract them!

Regards, David
=========================================================================
Date:         Fri, 6 Feb 1998 18:43:02 +0100
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         David Rodger <auricle@ALPHALINK.COM.AU>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

>From: Pedro Batista <PBATISTA@COLEP.MAILPAC.PT>
[...]
>What I admire in the equal temperament scale is the complexity and
>mathematical beauty of its seemingly simple structure. My pragmatic nature,
>prefers to use a simple case study and make the most of it, than to loose a
>lifetime searching for absolute dogmas in the midle of the infinite tonal
>diversity. What may seem like a simplification, is most certainly a method
>to reach higher sonic wisdom.
>To my knowledge, there's no concept of tonality in scales other than equal
>temperment, and most "ethnic" players, play just a few songs over and over
>again. Its impossible for them to transpose it to another "key". Their ear
>is much more oriented to those few static tones, hardly allowing them to
>explore diferent harmonic situations

I suppose it was that way to a greater or lesser extent in Western music
before the advent of the equal temperament.  Of course, the resultant
out-of-tuneness could be used to effect.  Pedro might suggest that the
latter wouldn't be used by ethnic musicians, but such usage by European
composers occurred after the adoption of music notation.

This is important because it allows the reconstruction of a piece with more
or less accuracy.  (OK, pehaps less, considering Michael Rees last post!)
Notation stores enough information to make this possible.  The musician
doesn;t have to commit the music to memory.  Oral (non-literate) cultures
don't have this luxury, so repetition or stylistic conformity ensure that
music can be remembered more easily.  Such music relies on the use of
familiar patterns.  A similar condition obtains for oral history.
(Consider the confluence of music and history in the work of West African
griots.)

Pedro considers 12-tone ET an exemplar of simplicity.  I would suggest that
its transposability makes it more complex than it might seem.

Regards, David

David Rodger ----------- Audio Engineer, Pool Lifeguard, RLSS Trainer
E-mail:   auricle@alphalink.com.au
Personal: http://www.alphalink.com.au/~auricle/    (not yet exciting)
Research: http://farben.latrobe.edu.au/motion/  (a bit more exciting)
=====================================================================
  Save La Trobe Music Department from destruction by slags in suits:
      http://farben.latrobe.edu.au/Music_Docs/pressrelease.html
---------------------------------------------------------------------
=========================================================================
Date:         Fri, 6 Feb 1998 16:30:00 GMT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Pedro Batista <PBATISTA@COLEP.MAILPAC.PT>
Subject:      Re: Theory ==> Conclusion
Mime-Version: 1.0

From Stefan Petersilg:

>I think, your decision is wise, as long as you are only interested in the
so
>called western music, based on the equal tempered scale-system and if you
>just play keyboards or keyboard-based electronic instruments.

No, I am not solely concerned with western music. Thats why I say that from
where I stand, the 12-tone eq-temp scale is somewhat irrelevant. I can use
it as a basic frame, but I can step out of it, whenever there's some
musical/emotional material to be gained

>If the basics of tonal music is the human ear responding to vibration,
>we find, that everything we hear is related to the overtone-system.
>Even if we listen to music, that does not fit with the overtone-system
>(as Equal Tempered Scale), our brain tries to correct the dis-tuned
>information

Ok, I know that. It seems to me that the just intonation scale is the most
refined achievment in respect to acustic understandment. And I find it
fascinating, the way it was discovered (not invented) by actually hearing
the overtone series.
The eqaul-temp scale is a good compromise solution (and our deceived brain
is there to proove it), and I stand for it, but if one listens to a just
intonation tuned instrument, its amazing the enormous aditional vibe that
for instance major or minor 7th chords destill. Thats the real sound of the
intervals, and I dont think anyone can say they arent much more interesting
and disturbing
I also tend to prefer some tonalities where my fave progressions sound
stronger. I've always interpreted this as some tonalities (keys) being more
or less wrong with respect to the (right ) harmonic series
I think that comments like "D minor is the most sad key" can only be made
because the equal temp scale is wrong, and no two keys endup being equal to
each other, or to the just intonation scale. So in a way, the equal-temp
scale, also gives aditional expressivness

>>To my knowledge, there's no concept of tonality in scales other than equal
>>temperment, and most "ethnic" players, play just a few songs over and over
>>again. Its impossible for them to transpose it to another "key". Their ear
>>is much more oriented to those few static tones, hardly allowing them to
>>explore diferent harmonic situations
>
> And if we look at India, Persia, China. Japan, Peru and, and...
>In these cultures exist high developed musical systems
>more ancient and more refined than our young "western" system.
>In India there is a system based on 22 notes per octave.
>And for indian musicians it is surely a hard
>road to learn to master this system, but its worth it ! (If you listen
>to the beauty of classical Indian music, you will hear what I mean).

You get no oposition from me here. I was merely stating that these scales,
regardless of the musical or mathematical content they have, are suposed to
be fixed tonality scales. These musicians may have the concept of scale, and
their ear might be more acurate than ours to those small intervals, but they
cannot perform, say, a modulation. Its like they played a piano with only
white keys. With a lot more keys per octave, thats for sure, but still, in a
way more limited.
I believe in gettin the best of both worlds and have my synth play an
eq-temp scale, but that I can bend at will to suit my own devious ways

>Do you maybe think, every musician outside the western world is just
>one of these "ethnic players"? What might they think about us ?

You make me sound like a racist there. Its not my intention to diminishe
eastern culture (which I love and respect, and in a sense live by) and state
the supremacy of western music (in which I dont believe, btw). I just
consider the eq-temp system to give more ground for musical _reasoning_. Not
necessarily a better thing

>>say _erotic_ to a western  listner. But those so called "blue notes" are
not
>>lost, as some detractors of the eq-temp scale state.
>
>I agree, they are not lost (thanks god !).
>But I think there is a little confusion now.
>Different tuning-systems, including micro-tuning, have nothing to do with
>"in between notes". These notes are more or less common in all musical
>cultures, no matter which tuning-system they use.

yes, but when a jazz pianist plays two adjacent notes (very common) he is
creating a dissonance, but somewhere from the middle of that clash rises a
new tone, that is what I'm referring to

>>Just go listen to a jazz/blues album.
>
>I got the impression that you think, Jazz/Blues is played in a well
tempered
>scale. Please believe me: Itïs not ! (unless played only with keyboards).

Now thats a bit confusing to me. You referr to the fisical limitations of
the instruments, to maintain a precise tuning to the eq-temp scale? One can
argue that no acustic instrument can have that precision. It's enough that
we hear it as if it had

>instant access to pitch will play well tempered. He will always respond
>spontaniously to the harmonical surrounding in which he is playing and
>try to match the natural overtone system.
>The (almost) only well-tempered instruments that exist are keyboards.

Are you saying that a sax player can bend the notes slightly so that he
mingles with the sonic surroundings best?

>And for us e-musicians, it aint lost at all. I might not
>use some weird arabian scale, but I seldom use my instruments properly
>tuned.

>Congratulations that you donït tune your instruments properly. Because they
>are not well tuned in itself anyway (due to equal temper), you might smooth
>it out a little this way.

Thats not my intention. Its an intuitive process. Not a rational one

>But BTW: there are syhths (f.e. the *Microvave*) that have a system that
>continously pitches the notes in order to match a pure overtone-based
>tuning. There are also computer-programs that can do this job.

does it work in "real time"? the program must guess what key you're playing,
which is by no means a peaceful argument (supose you're playing rootless
voicings)

>>The equal temp scale is not a prison in which I strugle, but merely a
>>sugestion that eases my listners job.
>
>I think as a listener you are naturally based on the overtone-system,
because
>you are part of nature.

I think it all sums up to the fact I grew up listening to this scale. It may
be more of a prision than the incredible variety of "eastern scales"

>But in this case the tuning does not matter, what matters is the fact, that
>we bring it down to 12 notes to have a common base on which we can
>develop musical systems.
>(But I still feel challanged by these 22 Indian notes !)

What challenges me is creating musical lines that convey some kind of
emotion . I couldnt care less about the frequency of those notes :)

pedro
=========================================================================
Date:         Fri, 6 Feb 1998 14:21:04 -0500
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         kevin ambler <donnasummerfan@WORLDNET.ATT.NET>
Subject:      Re: Theory ==> Conclusion
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

unsubscribe e-music kevin ambler


William_B_Fox wrote:
>
> Michael Rees said:
> > the notation does not equal the music. notation was developed as a tool to
> > help performers remember music they might not be able to remember otherwise.
> > one of the problems with notating non-diatonic musics is common music notation
> > doesn't support it. that only means that the notational system is
> > underdeveloped;
>
> For those of us who play in concert bands or orchestras, we can attest
> to the fact that traditional western music notation is underdeveloped to
> completely specify the music it is intended to notate... and we're glad
> of it.  This leaves room for the conductor and musicians to insert their
> own interpretation and creativity.
>
> Bill    BillFox@lucent.com      http://wdiyfm.org
> ==============================================================================
> Host of Emusic, an electronic, ambient, and space music show.  Thursdays at
> 11pm on WDIY 88.1 FM, Allentown and Bethlehem and 93.9 FM in Easton and
> Phillipsburg.  Email me if you wish to submit music for airplay consideration.
=========================================================================
Date:         Fri, 6 Feb 1998 15:12:02 EST
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Applemn97@AOL.COM
Subject:      Re: Theory ==> Conclusion
Mime-Version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit

   I really hate mustard, i especially hate mustard when it's on hot dogs.
Does anyone else out there agree with me?  I want to know your feelings on
this subject...
=========================================================================
Date:         Fri, 6 Feb 1998 10:56:36 -0800
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Ric Carter <ric@SONIC.NET>
Subject:      =?ISO-8859-1?Q?Re:_bu5!n3sz.prOcEsz.m0dElx2!nG_=5F+_re3ng!nEer!nG_|=D8?=
              =?ISO-8859-1?Q?f=D8=D8=D83|_m2sch1n3nkunZt?=
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 8bit

----------
> From: Paul Nagle <paul@SOFTROOM.DEMON.CO.UK>
> To: EMUSIC-L@AMERICAN.EDU
> Subject: Re: bu5!n3sz.prOcEsz.m0dElx2!nG _+ re3ng!nEer!nG |ØfØØØ3|
m2sch1n3nkunZt
> Date: Friday, February 06, 1998 3:53 AM
>
> ** =cw4t7abs gibbered a lot to EMUSIC-L@AMERICAN.EDU :
>
> >+++___________------------ p h ---
> >
> >0 f 0 0 0 3 | | p r O p 4 g 2 n D a | | r O u t ! n
>
> I'll have a snort of that too please....

Be sure to share it around...

ric@sonic.net * http://www.sonic.net/~ric * yow!
=========================================================================
Date:         Fri, 6 Feb 1998 15:26:42 -0600
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         |idiot| <idiot@WWA.COM>
Subject:      Re: Theory ==> Conclusion
In-Reply-To:  <f86472c3.34db6e94@aol.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

mustard sukx on hotd0gx..
yello mustard sukx on anything__
yello mustard/wonderbread/mayo/govenment_cheese/minute.rice/corn^syrup/yello#5
____

>   I really hate mustard, i especially hate mustard when it's on hot dogs.
>Does anyone else out there agree with me?  I want to know your feelings on
>this subject...


_____
idiot
_____















_____________________________________________________
delete the header to let the content l!ve !ndependent
http://wwa.com/~diagram
_____________________________________________________
=========================================================================
Date:         Fri, 6 Feb 1998 16:26:18 EST5
Reply-To:     mrees@pppmail.appliedtheory.com
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Michael Rees <mrees@PPPMAIL.APPLIEDTHEORY.COM>
Organization: Department of Redundancy Department
Subject:      Re: Theory ==> Conclusion
In-Reply-To:  <f86472c3.34db6e94@aol.com>
MIME-Version: 1.0
Content-Type: text/plain

On Friday, Applemn97@AOL.COM expressed with much marked refinement of
phraseology:

A>    I really hate mustard, i especially hate mustard when it's on hot dogs.
A> Does anyone else out there agree with me?  I want to know your feelings on
A> this subject...

do you mean that awful yellow stuff with too much tumeric & vinegar, or do you
mean *real* mustard?

m.
--
Michael Rees  <mrees@pppmail.appliedtheory.com>
Composer &c.
                                                       Support what you hear.
=========================================================================
Date:         Thu, 5 Feb 1998 08:33:00 GMT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Pedro Batista <PBATISTA@COLEP.MAILPAC.PT>
Subject:      Re: Theory ==> Conclusion
Mime-Version: 1.0

>FHG> of peruvian folk tunes, he needed to use the plus and minus symbols
>FHG> over notes that could not be written with none of the twelve semitone

>one of the problems with notating non-diatonic musics is common
>music notation doesn't support it.

besides, the whole note/freq translation is not consensual, so who could say
what really is A? the 440Hz convention is not static, who knows what we'll
be using in a hundred years [ so conventional notation, doesnt even
precisely notate the diatonic scale ]

Neither should the quoted peruvian player care. Its symbols might be
intended to help him remember how to reach those notes in his instrument.

I defend a much more intimist approach. I play with the fine tuning feature
(or the bender), till I have some kind of emotional response from what I
hear. That would be a whole new subject, because its my firm belief, that
there is a direct relationship between harmony (not only classical harmony,
but harmony as timbre) and human emotion - even if the precise relationship
isnt clear to anyone [we all know we reason - no one knows how]
Composers tools to take advantage of this, are intuition and perseverance

pedro
=========================================================================
Date:         Fri, 6 Feb 1998 15:03:02 -0000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Nick Rothwell <nick@CASSIEL.COM>
Subject:      Re: Theory ==> Conclusion
In-Reply-To:  <34DA2088.E524B858@worldnet.att.net> (message from Ed Hartley on
              Thu, 5 Feb 1998 15:26:53 -0500)

> "Equal" temperament is not the same as "well" temperament. Bach
>  wrote the "Well Tempered Clavier," not the "Equal tempered
>  Clavier."

...and Humphrey Littleton and the team of I'm Sorry, I Haven't a Clue
wrote The Bad Tempered Clavier.

I'm sure you wanted to know that.

--
        Nick Rothwell, CASSIEL            contemporary dance projects
        http://www.cassiel.com            music synthesis and control

        NOTICE - this vessel has triple screws - keep clear of blades
=========================================================================
Date:         Fri, 6 Feb 1998 11:28:14 -0600
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         =cw4t7abs <antiorp@TEZCAT.COM>
Subject:      Two Programmes of in the
Mime-Version: 1.0
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

___________________+--------
ava!lbl !n 3ngl!sch onl+e due |2| akadem!a5ug3r
___________________ - 0f0003.masch!n3nkunZt



Two Programmes of Electroacoustic Music
in
THE MUSIC FESTIVAL

Thursday February 26, Adam Concert Room, Victoria University of
Wellington,
7.30pm
All new works, from New Zealand's original experimental music studio!!!
The hottest new pieces by Wellington composers-three-dimensional sound
images forming and transforming in a network of loudspeakers.  The
concert
features a newly commissioned work for organ and tape by Bronwen
Thomson,
USA Fulbright scholar Paul Rudy's Alpha Omega for trumpet, tape and
piano
interior, Miriama Young's highly imaginative Like Two Balls of Liquid
Silver Pedalling the Sky  and new tape works by John Young, Ondine
Godtschalk, Rebekah Wilson and Simon Rae.

PROGRAMME
Bronwen Thomson Travelling Through Time in My Giant Organic Spaceship
for organ and tape (1998)*
John Young Time, Motion and Memory  (1997) for tape
Miriama Young Like Two Balls of Liquid Silver Pedalling the Sky  (1997)
for baritone saxophone and tape
Simon Rae Three Fragments (1998) for tape
Paul Rudy Alpha Omega  (1998) for trumpet and tape
Ondine Godtschalk Silhouette  (1997) for tape
Rebekah Wilson a9ff  (1997) for tape


a9ff [8'] expounds the delusion of maschine|human interface
the dialectic destroyed in eight minutes of deluzian
structure _ the assemblage the inchoate web _ completing an
inorganic transformation through tight gestural movement
_ a barrage of processed machinations and generated tones











          |

segmentat]on v!ol.ation -- kore dump.d

                                                     |
                                     p r 0 d U k t  | |-----| =D8 f =D8 =D8=
 =D8 3
                                                     |


                   __p u n k t p r o t o k o L _
              | e ! n m 3 n s c h  | =3D c w 4 t 7 a b s | =3D_? |



 - !t !z                                           !n  0   3
!                       e
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=========================================================================
Date:         Fri, 6 Feb 1998 16:30:00 GMT
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Pedro Batista <PBATISTA@COLEP.MAILPAC.PT>
Subject:      Re: Theory -> Conclusion
Mime-Version: 1.0

>On Wednesday, Pedro Batista expressed with much marked refinement of
>phraseology:
>
>PB> To my knowledge, there's no concept of tonality in scales other than
equal
>PB> temperment
>
>find some Harry Partch music.

Sorry, never heard of the chap. Could you at least elaborate as to why
should I do that?

pedro
=========================================================================
Date:         Fri, 6 Feb 1998 15:13:07 -0000
Reply-To:     Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
Sender:       Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>
From:         Nick Rothwell <nick@CASSIEL.COM>
Subject:      Re:
              =?ISO-8859-1?Q?Re:_bu5!n3sz.prOcEsz.m0dElx2!nG_=5F+_re3ng!nEer!nG_|=D8f?=
In-Reply-To:  <34e4f89e.8257961@post.demon.co.uk> (message from Paul Nagle on
              Fri, 6 Feb 1998 11:53:38 GMT)

> >0 f 0 0 0 3 | | p r O p 4 g 2 n D a | | r O u t ! n
>
> I'll have a snort of that too please....

Next Christmas, I'm going to give antiorp a mechanical typewriter, the
slowest and heaviest I can find.

--
        Nick Rothwell, CASSIEL            contemporary dance projects
        http://www.cassiel.com            music synthesis and control

        NOTICE - this vessel has triple screws - keep clear of blades
