music-research@HPLPM.HPL.HP.COM (06/22/91)
Music-Research Digest Fri, 21 Jun 91 Volume 6 : Issue 24
Today's Topics:
Academic version of Finale (was rec.music.synth)
Corrections to Moore (was Re: Csound and synthesis books)
Finale for PC Windows 3.0
MRD upload
music composition languages (2 msgs)
PC Notation S/W - Info Request
quarter tone notation (2 msgs)
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----------------------------------------------------------------------
Date: 10 Jun 91 18:17:17 GMT
From: William Alves <alves%calvin.usc.edu%usc%zaphod.mps.ohio-state.edu%cis.ohio-state.edu@edu.berkeley.ucbvax>
Subject: Academic version of Finale (was rec.music.synth)
To: music-research@prg
Message-ID: <33493@usc.edu>
In article <1991Jun8.022349.24827@wam.umd.edu> haitien@wam.umd.edu (Hai-Tien Lee) writes:
>About a month ago, someone stated that there is an 'Academic' version of
>Finale. I went to our local music shops and they have never heard about this.
>Since I did not keep that mail so I can't ask the person who sent the mail.
>I am wondering is there anyone also paid attention on this?
>(note: s/he said the price of this special verion is around $250 which
>is about half the regular price)
>
>Richard
There is indeed an academic version of Finale. I just bought it for $250.
The only difference I could see was that the manuals came shrink-wrapped
instead of in a box. I called Coda about it and they gave me the name of
an area dealer. My dealer, too, had heard nothing about it, but they called
Coda and had it confirmed. My dealer still wouldn't keep it in stock, though,
I had to have it ordered, which took about a week. You have to provide some
proof that you are either a teacher or a student.
I'm sorry but I don't have Coda's 800 number (you may be able to get it
from toll-free information). Here is their customer support number:
(612)854-1288
Coda Music Software
1401 East 79th St.
Bloomington, MN 55425-1126
Bill Alves
------------------------------
Date: 15 Jun 91 19:02:01 GMT
From: sandell%ils.nwu.edu%casbah.acns.nwu.edu%zaphod.mps.ohio-state.edu%cis.ohio-state.edu@edu.Berkeley.ucbvax (Greg Sandell)
Subject: Corrections to Moore (was Re: Csound and synthesis books)
To: music-research@prg
Message-ID: <2119@anaxagoras.ils.nwu.edu>
In article <BWEEKS.91Jun13215634@golay.UVic.CA>, bweeks@sirius.UVic.CA (Brent Weeks) writes:
> I would recommend:
>
> "Elements of Computer Music" by F. Richard Moore, Prentice Hall, 1990.
> Lots of stuff on software synthesis, and more, all centered around cmusic
I was told this book was riddled with errors, and wrote Dick Moore for
a list of corrections. Since the book has been mentioned on comp.music
alot lately, I'm including the corrections Prof. Moore sent me. I'm
sure he wouldn't mind me posting them here.
Greg Sandell
sandell@ils.nwu.edu
To: Greg Sandell <sandell@ferret.ils.nwu.edu>
Subject: Re: corrections to ELEMENTS OF COMPUTER MUSIC
Greg Sandell,
I sent you previous email on this subject which was returned, so just
in case here is another set of errata for ELEMENTS OF COMPUTER MUSIC.
___________
Errata for Elements of Computer Music by F. Richard Moore
(16 May 1990)
Outside back cover, second paragraph: ``...written in the cmusic
language...'' should read ``...written in the C language...'
p. ix, first paragraph, line 7: ``Since 1974...'' should read ``Since
1979...''
p. 3, second paragraph, line 15: ``...Galileo ias the founder...'' should
read ``...Galileo as the founder...''
p. 84, lines 20 through 23 that read
`` { register float *x=x, *xe=x+ND ;
while ( xi < xe )
*xi++ *= scale ;
}''
should be deleted
p. 113, item 3. should refer to eq. 2-74 instead of 2-64
p. 113, item4. should refer to eq. 2-75 instead of 2-65
p. 114, next to last line should refer to eq. 2-77 instead of 2-76
p. 115, line 1 should refer to eq. 2-77 instead of 2-67
p. 115, line 9 should refer to eq. 2-77 instead of 2-67
p. 115, line 10 should refer to eq. 2-77 instead of 2-67
p. 115, line 15 should refer to eq. 2-77 instead of 2-67
p. 115, third line from bottom (above table) should refer to eq. 2-78
instead of 2-68
p. 115, third line from bottom (above table) should refer to eq. 2-77
instead of 2-67
p. 115, last line (above table) should refer to eq. 2-78 instead of 2-68
p. 116, line 4 should refer to eq. 2-79 instead of 2-69
p. 117, line 5 should refer to eq. 2-88 instead of 2-78
p. 119, line 12, should read: ``Using the general property that''
p. 119, line 13, should read ``the z transform of x(n 1 k) = z 1k X(k)
(2-92)''
p. 119, line 14 should refer to eq. 2-77 instead of 2-67
p. 119, line 18 should refer to eq. 2-76 instead of 2-66
p. 119, line 19 should refer to eq. 2-77 instead of 2-67
p. 120, line 10 should refer to eq. 2-97 instead of 2-87
p. 120, line 13 should refer to eq. 2-97 instead of 2-87
p. 120, line 27 should refer to eq. 2-97 instead of 2-87
p. 121, last line should refer to eq. 2-97 instead of 2-87
p. 123, line 4 should refer to eq. 2-97 instead of 2-87
p. 126, line 10 should refer to eq. 2-103 instead of 2-93
p. 126, line 12 should refer to eq. 2-103 instead of 2-93
p. 130, line 3 (after the program example) should refer to eq. 2-97 instead
of 2-87
p. 130, line 4 (after the program example) should refer to eq. 2-97 instead
of 2-87
p. 132, third line from bottom should refer to eq. 2-114 instead of 2-104
p. 133, sixth line from bottom should refer to eq. 2-101 instead of 2-91
p. 136, eq. 2-117 should read ``y(n) = a0x(n) + a1x(n 1 1) + ... + aMx(n 1
M)''
p. 142, line 16 should refer to eq. 2-119 instead of 2-109
p. 142, line 24 should refer to eq. 2-121 instead of 2-111
p. 273, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 210, line 13, first right parenthesis in line is too small and below
baseline
p. 275, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 277, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 279, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 281, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 283, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 285, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 287, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 291, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 293, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 295, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 297, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 299, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 301, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 303, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 305, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 307, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 309, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 311, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 313, header: ``cmusic'' should read ``Subtractive Synthesis and Physical
Models''
p. 317, Figure 3-45: The waveform shown inside the oscillator symbol on the
upper right is the trapezoidal envelope functionPit should be a sine
function (like the one in the lower oscillator).
p. 329, Figure 3-50: The waveform shown inside the upper middle oscillator
symbol is the trapezoidal envelope functionPit should be a sine function
(like the one in the two lower oscillators).
p. 330, Figure 3-51: The waveform shown inside the upper two oscillator
symbols is the trapezoidal envelope functionPit should be a sine function
(like the one in the lower oscillator).
p. 331, Figure 3-52: The waveform shown inside the middle oscillator symbol
is the trapezoidal envelope functionPit should be a sine function (like the
one in the other two oscillators).
------------------------------
Date: 10 Jun 91 09:24:01 GMT
From: artsnet!mgresham@gatech.edu (Mark Gresham)
Subject: Finale for PC Windows 3.0
To: music-research@prg
Message-ID: <1296@artsnet.UUCP>
In article <1991Jun6.204723.23084@casbah.acns.nwu.edu> jimmyc@casbah.acns.nwu.edu (James Choi) writes:
>
>In a recent issue of PC magazine, there was a, what I call, rave review of
>Finale music printing software for PC Window 3.0.
>
>I would like to hear from those who actually used the product. With its
>MIDI interface, I was lead to believe that the Finale is an idea music
>writing, developing, prototyping tool. Is that true?
Although FINALE is a good product, I think the review was
extraordinarily biased, on the one hand (note the "circle 61 on
Reader Service Card" -- a.k.a. "this is an advertiser"), and
extraordinarily naive on the other. FINALE problems were left out
of the review, and some items in the diatribe against SCORE in the
shaded extra box are patently untrue.
Additionally, the typesetting sample from Wagner had features that
were typographically WRONG. (It would be nice if persons
reviewing such software had some experience in music typography
and editing.)
Nothing against CODA and their products, but *as a review* the
review in PC Mag left much to be desired.
Cheers,
--Mark
========================================
Mark Gresham ARTSNET Norcross, GA, USA
E-mail: ...gatech!artsnet!mgresham
or: artsnet!mgresham@gatech.edu
========================================
------------------------------
Date: 13 Jun 91 09:50:00 EDT
From: "NAME Dr Karl Signell"@uk.ac.nsfnet-relay,
Subject: MRD upload
To: spage <spage@prg>
Several MRD readers had questions about music notation programs,
especially Finale under Windows 3.0. The Spring 1991 issue of
JAMS (_Journal of the American Musicological Society_), now out,
has my review of Finale and other music notation programs for IBM
and Macintosh. It also lists other sources of information.
Karl Signell
------------------------------
Date: 13 Jun 91 16:04:27 GMT
From: abm88%sot-ecs%icdoc%ukc%mcsun@net.uu.uunet (Morley A.B.)
Subject: music composition languages
To: music-research@prg
Message-ID: <8153@ecs.soton.ac.uk>
In <2672@m1.cs.man.ac.uk> snowdond@r2.cs.man.ac.uk (D.N.Snowdon (MSc PJ)) writes:
> Has anyone got any information on the AMPLE music language. It was
>available for the Acorn BBC micro, but I've heard that it made it to
>other machines.
> thanks
> Dave (snowdond@cs.man.ac.uk)
Yes, I've got a copy of it. The hardware was a box that plugs into
a BBC's 1MHz port and included 16 tone generators each capable of
generating an arbitary waveform. How they made it so cheap (200
quit initially, I bought one for 30) I can't imagine. It was
developed for ACorn by a co. called Hybrid (NOT Hybrid Arts, also
in comp. music buisiness). When Acorn finished selling the prod.
Hybrid continued to develop it but a co. called Peartree(?) tried
(it was rumoured) to produce a board for a PC. (I think!).
The original language was called AMPLE BCE. Hybrid later
altered it a bit (incl. made it run from ROM) calling it AMPLE
Nucleus.
It's very like FORTH - It's a stack-based language. All numbers
are 16 bit integers.
2 3 4 + * nout
prints "14" (nout prints the number on the top of the stack).
Its got the control structures you'd expect.
Music? Well, the letters a-g are the musical notes. A change
to capitals indicates a change up an octave, to lowercase is
down (symbols < and > do this expiccitly). Eg
CDEFGABCDEFGABC^ Cbagfedcbagfedc
plays a rising 2 octave acale of C, one rest (^) and a
descending scale, finishing of the same note.
Oh, I nearly forgot - it's multi-tasking! On a 6502!
And it works!
This is from memory - I've got the manual at home, Email me
for more info. I believe someone wrote an adventure prog
in Ample Nucleus.
Andrew Morley - Flossie | abm88@uk.ac.soton.ecs ... abm88@ecs.soton.uk.ac
| University Of Southampton, UK.
------------------------------
Date: 17 Jun 91 18:29:22 GMT
From: alves%calvin.usc.edu%usc%elroy.jpl.nasa.gov@com.dec.decwrl (William Alves)
Subject: music composition languages
To: music-research@prg
Message-ID: <33676@usc.edu>
In article <25468@well.sf.ca.us> csz@well.sf.ca.us (Carter Scholz) writes:
>I've never heard of AMPLE, but the general question is inspiring.
>What music languages are there? I volunteer to act as an informal
>archive, if people wish to e-mail me brief descriptions of languages
>they have used. Try to include the author(s) and approximate date
>of origin. Once I've collated the data I'll post a summary.
>
>Carter Scholz csz@well.sf.ca.us
I once tried to compile a list of computer music languages, which I've
included below. I've posted it in the hopes that it will be useful and
that some readers out there can help fill in the missing information or
correct any mistakes. It brings up interesting questions about what,
exactly, is a computer music language. But I'll leave that to you to
decide. It's roughly in chronological order.
Bill Alves
----------------------------------------------------------------------
SUMMARY LISTING OF COMPUTER MUSIC LANGUAGES
Computer Author(s)
Language or OS Language Year (Institution)
MUSIC I IBM 704 Assembler 1957 Max Mathews (Bell Labs)
MUSIC II IBM 7094 Assembler 1958 Max Mathews (Bell Labs)
MUSIC III IBM 7094 Assembler 1960 Max Mathews (Bell Labs)
MUSIC IV IBM 7094 Macro 1963 Max Mathews (Bell Labs)
assembler
MUSIC 4B IBM 360? FORTRAN IV 1964 Godfrey Winham and
Hubert Howe (Princeton)
MUSIC 4F / ? FORTRAN IV 1967 Arthur Roberts (Ar-
ORPHEUS gonne National Lab-
oratory)
GROOVE Honeywell FORTRAN IV 1968 Mathews, Moore (Bell
DDP-224 & assembler Labs)
MUSIC V independent FORTRAN IV 1969 Max Mathews (Bell Labs)
& assembler
MUSIC 360 IBM/360 FORTRAN IV 1969 Barry Vercoe (MIT)
& 360 assembler
MUSIC 6 ? ? ? (Stanford)
MUSIC 4BF ? FORTRAN IV 1972 Godfrey Winham and
Hubert Howe (Prince-
ton)
OUTPERFORM PDP-11 FORTRAN IV 1972 D. Jaeger, D. Lester
(University of Toronto)
SYMPFONICS ? FORTRAN IV 1972 B. Vassaur (U. of
Tulsa)
MUSIC 7 IBM 370 FORTRAN IV ? Hubert Howe (Queens
Metasymbol College)
MUSIC7 PDP-8 FORTRAN IV ? L. Hiller (SUNY
Buffalo)
MUSIC 10 PDP-10 ? ? J. Chowning, A. Moorer
(Stanford)
MUSIC 11 DEC PDP-11 Macro-II 1973 Barry Vercoe (MIT)
POD6 HP-2116 FORTRAN IV 1973 Barry Truax (Institute
of Sonology, Utrecht)
MUS10 PDP-10 FORTRAN IV 1974 Leland Smith (Stanford)
& MACRO 10
MOM HP2100A HPassembler 1974 G. Winham, M. Zucker-
HP2116C man (Princeton)
ORGANUM 1 IBM 370 PL/I 1974 Tisato (? Italy)
ST IBM/360? FORTRAN IV ? Iannis Xenakis
(CEMAMu, Paris)
DCMP IBM 360 FORTRAN IV ? Grossi, Paoli, Sommi
(CNUCE, Pisa, Italy)
LPC IBM 370 FORTRAN IV 1975 Mian, Offelli (? Italy)
PROD ? ? M. Green
SSP PDP-15/20 MACRO-15 1975 G. M. Koeniq (Insti-
tute of Sonology,
Utrecht)
POD7 HP-2116 FORTRAN IV 1975 Barry Truax (Simon
Fraser University)
MUSCMP DEC PDP-11 SAIL ? (Stanford)
MUS8 MITS Altair BASIC 1976 R. Boudinot
PILE DEC PDP-15 Macro 1977 Paul Berg (Institute
of Sonology, Utrecht)
invokator UNIX C 1977 C. Abbott
SYNTA L-II PDP-10 FORTRAN IV 1977 W. Slawson (Univ. of
Pittsburgh)
UPIC Stand-alone? Assembler ? Xenakis (CEMAMu)
autoklang Burroughs Algol ? Curtis Roads
B6700
PLAY1 DEC PDP-11 PDP-11 1977 Joel Chadabe and Roger
assembler Myers (NYSU Albany)
PLAY2 DEC PDP-11? XPL 1978 Joel Chadabe and Roger
Myers (NYSU Albany)
PLACOMP PLATO/ ? ? 1978 D. Murray, J. Beau-
champ, and G. Loitz
(Univ. of Illinois)
TREE/COTREE ? ? 1978 Curtis Roads (MIT)
SSSP UNIX C 1978 Buxton, et. al.
(University of Toronto)
SYN4B DEC LSI-11 LSI-11 1978 N. Rolnick (IRCAM)
assembler
INV UNIX C 1978 Curtis Abbott (IRCAM)
CHANT DEC PDP-11 SAIL 1979 Xavier Rodet, Yves
Potard, and Conrad
Cummings (IRCAM)
MUSIC 1000 DEC PDP-11 ? 1979 Dean Walraff (DMX)
4CED DEC PDP-11 MACRO-11? 1979 Curtis Abbott (IRCAM)
Music Composi- Fairlight ? 1980 (Fairlight Instruments)
tion Language CMI
CMUSIC UNIX C ? (UCSD)
Algorithmic CP/M ? 1982 (Electronic Arts
Music Language Research)
Pla ? SAIL 1983 Bill Schottstaedt
(Stanford)
SCRIPT Synclavier XPL 1984? (New England Digital)
Flavors Band Lisp Machine LISP 1984 C. Fry
Arctic ? ? 1984 Roger B. Dannenberg,
Paul McAvinney, and
Dean Rubine (Carnegie
Mellon)
FORMES DEC VAX LISP 1984 Xavier Rodet and Pierre
11/780 Cointe (IRCAM)
HMSL Macintosh, FORTH 1985 Larry Polansky, David
Atari Amiga Rosenboom, and Phil
Burke (Mills College)
CSOUND UNIX C 1986 Barry Vercoe (MIT)
CMIX UNIX C ? (Princeton)
MASC ? ? ? Dan Kelley
FORMULA ? ? ? Ron Kuivila
----------------------------------------------------------------------------
------------------------------
Date: 12 Jun 91 16:05:59 GMT
From: Tony Laundrie <ttl%aura.cs.wisc.edu@edu.wisc.speedy>
Subject: PC Notation S/W - Info Request
To: music-research@prg
Message-ID: <1991Jun12.160559.4388@spool.cs.wisc.edu>
In article <676646992.7418@minster.york.ac.uk> yse@minster.york.ac.uk writes:
>
>My music teacher (a non-computer buff) is looking for PC notation S/W
>
>So a notation package which he can use as a score-database is what is
>needed. Time and key signatures are a must, additional free-text such as
>fingering numbers and other tuition notes are highly desirable.
>MIDI is not important.
>
>His H/W - a bottom of the range PC-Compatible, mono with 2 floppies and a
> dot-matrix printer.
>
"Laser Music Processor" is fine for this situation.
Available for $79 (+ shipping) from Leigh's Computers, 1-800-321-MIDI.
ttl@cs.wisc.edu
------------------------------
Date: 14 Jun 91 18:40:53 GMT
From: news%fcom.cc.utah.edu%hellgate.utah.edu%hamblin.math.byu.edu%sol.ctr.columbia.edu%spool.mu.edu%agate@edu.Berkeley.ucbvax (JAMES P. LOGUE)
Subject: quarter tone notation
To: music-research@prg
Message-ID: <1991Jun14.194450.18910@fcom.cc.utah.edu>
{trying this post again}
I'm working on a piece for sax and tape using some quarter tones and I need
to find out what the _current_ notation practice for 1/4 accidentals is.
The local notation texts are about ten years old. What's the standard here
in the states? Polish? Kegel? whut?
Gracias
Jim Logue - Univ. of Utah - jimlogue@cc.utah.edu
------------------------------
Date: 15 Jun 91 14:08:14 GMT
From: ted%dgbt%netfs.dnd.ca%uupsi%fernwood@net.uu.uunet (Ted Grusec)
Subject: quarter tone notation
To: music-research@prg
Message-ID: <1991Jun15.140814.3564@dgbt.doc.ca>
You might want to take a look at a book by Erhard Karkoschka, NOTATION
IN NEW MUSIC, Universal Edition Ltd., London, 1966/72. While "old", it
does address the variety of notation problems in 20th century music,
and surveys the various solutions to these problems.
--
==========================================================================
Ted Grusec Communications Research Centre (Govt. of Canada, DOC)
3701 Carling Ave., Ottawa, Ont.K2H 8S2, CANADA Internet: ted@dgbt.doc.ca
Compuserve: 73607,1576 (613) 998 2762 Fax (613) 993 8657
------------------------------
End of Music-Research Digest