music-research@HPLPM.HPL.HP.COM (04/23/91)
Music-Research Digest Mon, 22 Apr 91 Volume 6 : Issue 18
Today's Topics:
A.R. Editions? (2 msgs)
INFO34 (of the ICTM)
Music and Power
Music notation software review
Request for Comments--Dilemmas--CMJ Editorial
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Date: 12 Apr 91 11:34:23 GMT
From: andka%liuida%sunic%hagbard%eru@edu.mit.bloom-beacon (Andreas Kagedal)
Subject: A.R. Editions?
To: music-research@prg
Message-ID: <1991Apr12.113423.6224@ida.liu.se>
Some time ago I read somewhere in a news group (I think it was in a Music
Research Digest) something about a music notation program for Sun/unix.
I think the program (or the company that made the program) is called
A.R. Editions. The article where it was mentioned was the end of a
thread discussing programs for Mac and this program was only referred to
as very good and then the article continued discussing SCORE.
My questions are:
Does this program exist?
Is it really good?
Where can I get it, and at what cost? (Is it perhaps ftp-able?)
Any answers are appreciated!
Thanks!
/Andreas
--
----------------------------------- < * > ------------------------------------
Andreas Kagedal Internet: andka@IDA.LIU.SE
Dep. of Computer and information science UUCP: {uunet,mcsun,...}!liuida!andka
University of Linkoping, Sweden BITNET: andka@SELIUIDA
------------------------------
Date: 15 Apr 91 04:36:11 GMT
From: rchrd%well@com.apple (Richard Friedman)
Subject: A.R. Editions?
To: music-research@prg
Message-ID: <24205@well.sf.ca.us>
andka@IDA.LiU.SE (Andreas Kagedal) writes:
>Some time ago I read somewhere in a news group (I think it was in a Music
>Research Digest) something about a music notation program for Sun/unix.
>I think the program (or the company that made the program) is called
>A.R. Editions. .....
I spoke with A.R. about a year ago and they said that their system
was solely for in-house use and not for sale. And, they said, if
there were to make it available, it would be VERY expensive.
A-R is in the music publishing business and obviously they dont want
to give it away!
However, it is a shame that there isnt something as powerful as
FINALE or SCORE available on unix/x-windows workstations.
But the marketplace runs the show, I guess.
--
/\=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=/\
\/Richard Friedman (415)540-5216 | rchrd@well.sf.ca.us \/
/\Pacific-Sierra Rsrch (Berkeley) | or well!rchrd@apple.com /\
\/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=\/
------------------------------
Date: Tue, 16 Apr 91 12:51:59 MEZ
From: Schaffrath <JMP100@EARN.DE0HRZ1A>
Subject: INFO34 (of the ICTM)
To: Stephen Page <Stephen.Page@prg>
Universitaet Essen, FB 4 - Musik, Henri Dunant Str. 65, 4300 Essen
Prof. Dr. Helmut Schaffrath (Tel. 0201/183-4247; 4215)
e-mail: JMP100@DE0HRZ1A (BITNET)
INFO 34
Study Group on Computer Aided Research
in the INTERNATIONAL COUNCIL for TRADITIONAL MUSIC (ICTM)
1 STG-MEETING IN HONGKONG
There will be a special STG-Meeting during the ICTM-World-Conference in
Hongkong. Only little time can be reserved for papers because the main
purpose should be to found an Asian branch of our Study Group. We con-
sequently need more time for discussions.
E.A. Lubej will demonstrate his portable digital acoustic workstation
and H. Schaffrath will talk about Input, Retrieval, Analysis and Output
of Asian one-part music. We expect many participants.
Members who wish to read a paper or give a demonstration referring to
Asian music (only!) are kindly requested to send me their suggestions
either by snail- or by e-mail (see top address), as soon as they have
booked their participation in the World Conference.
2 STG-MEETING IN BRATISLAVA (CSFR): 10-14 September
During our meeting in Marseille Oskar Elschek invited the STG to Bratis-
lava in 1991. We decided to focus on two major topics:
1. Compatibility of Hard- and Software
2. Analysis-Systems for Ethnomusicologists
Papers shall be read from 9 to 12 a.m. while the afternoons are reserved
for demonstrations. There will be 3 or 4 PC's (IBM), 1 Atari and one
MacIntosh available.
Inviting institutions are:
- The institute of Musicology (Comenius-University),
- The Institute of Musicology of the Slowak Academy of Arts,
- The Slowak Musicology Association and
- The Institute for Mathematics (Comenius-University).
Lodgings in the Students' Hostel Druzba should not be more than DM 30,-
per day including(!) food. Participants should book soon so that rooms
can be reserved. Please use one of the formula at page 4 of this info.
2.1 Call for papers
There were quite some people willing to read a paper at this conference
when we asked in Marseille. Up to now we know from Jukka Louhivuori,
Emil Lubej and Uli Franzke (Essen software-packages). Everybody should
send his/her suggestions soon to one of the addresses at page 4 of this
info for the final planning.
3 New Literature
Christoph Micklisch: Der Midi-Standard in Musikunterricht und Musikaus-
bildung. Essen 1991, Dissertation manuscript, 251 pages. Date of
publication not yet known. Requests via Schaffrath.
4 New Software in Essen
Instead of database-software one can now also use the new (Version 2.0) which searches for any pattern. This is especially useful
for ESAC-Code (of course) and has several advantages compared with com-
mercional database software:
1. It is free as usual, but there will be a new licence agreement,
and we do of course expect formatted diskettes and neither
refuse praise nor presents.
2. One can search pattern phrasewise and not only in the complete
melody (which is an advantage in the phrase-oriented ESAC-
method).
3. One can search any pitch (or rhythm) irrespective of length sym-
bols and the like (which means one can control theories of
central pitches etc.).
4. PAT works independent from meter (which MAPPET does often not).
5. PAT translates the melody containing the searched pattern into
staff notation by request and plays it.
6. PAT has an option for temperaments: you choose 12, 15, 22 (or
whichever) steps per octave and listen.
7. Music analphabets can watch a toggle point above the notes and
choose any tempo to listen to the melody.
8. PAT has the same wake-up function as the new ESTAFF (in the
making): it informs you about teatime, time to listen to the
news, to go to bed (no indiscrete options) and when you wish to
be reminded.
PARTICIPATION IN BRATISLAVA
STG-MEETING IN BRATISLAVA (CSFR): 10-14 September
IF YOU ARE ON E-MAIL:
Please send this paper (copy) to Dr. Emil H. Lubej at Vienna University
................ (BITNET)
ELSE write to:
Dr. Oskar Elschek
Institut of Musicology of the Slowak Academy of Sciences,
Fajnorovo 1,
88416 Bratislava,
CSFR
/ / I wish to participate in the conference.
/ / I wish to have a room reserved in the Students' Hostel.
/ / I wish to read a paper on the following topic:
...............................................................
/ / I wish to give a demonstration of the following software:
..............................................................
To read my paper or give a demonstration I would need the following
eqippment:
...........................
............................
............................
..................................
(Signature:)
------------------------------
Date: Tue, 16 Apr 91 20:38:36 GMT
From: John Rahn <jrahn@edu.washington.u>
Subject: Music and Power
To: music-research@prg
Message-ID: <9104162038.AA127520@byron.u.washington.edu>
A Symposium at the University of Washington School of Music
Brechemin Auditorium
Saturday and Sunday May 4 and 5, 1991
Sponsored by the Committee for a Center for Creation
and Interdisciplinary Study of Music (CCISM)
Saturday May 4
9:30 - 12:45 Session I Information
Thomas Bauman (Music, University of Washington)
"Listening for Your Self"
Marshall Brown (Comparative Literature, University of Washington)
"Unheard Melodies: The Force of Form"
Lawrence Kramer (English, Fordham University)
"Charles Ives and Elliott Carter: The Politics of Form"
2:00 - 5:00 Session II The Power of Music
Eric Gans (French, UCLA)
"Mallarme, Wagner, and the Power of Music"
Douglas Collins (Romance Languages and Literature, University of Washington)
"Banality and Repetition: The Critique of Power in Modern Aesthetic Culture"
John Rahn (Music, University of Washington)
"Differences"
Sunday May 5
9:30 - 12:45 Session III Culture, Gender, and Education
Michael Nixon (Music, University of Washington)
"Music and Power in the U.S.-South African Nexus"
Barbara Lundquist (Music, University of Washington)
"Issues of Power and Education"
Angela Gilliam (Anthropology, Evergreen State College)
"The Ideology of Crossover and its Relationship to Gender"
Panel discussion on "The Ideology of Crossover and its Relationship to Gender":
Angela Gilliam, Barbara Lundquist, Michael Nixon, Howard Becker
2:00 - 6:00 Session IV Conditions on Making Music
Jaime Montano (Music, University of Washington)
"The Soul of the People"
Kenneth Gaburo (Music, University of Iowa)
"ESSAYS ON DAMAGE, --- and OTHER: AH DIO (third essay)"
Benjamin Boretz (Music, Bard College)
"Some Things I Noticed, Some Things I've Done, and Some Things
I Need to Think Some More About"
Howard Becker (Sociology, Northwestern University)
"The Power of Inertia"
All events are free and open to the public.
Call (206) 543-1200 for more information, or contact
John Rahn, email jrahn@u.washington.edu, phone (206) 543-2291
------------------------------
Date: 12 Apr 91 12:32:00 EDT
From: "\"NAME \" Dr Karl Signell"@uk.ac.nsfnet-relay,
Subject: Music notation software review
To: music-research <music-research@prg>
See Spring 1991 issue of _Journal of the American Musicological Society_
(JAMS), soon out, for my review of seven PC and five Macintosh music
notation programs. My review also cites other reviews and other
information sources.
Karl Signell
University of Maryland Baltimore County
USA
------------------------------
Date: Wed, 17 Apr 91 12:21:02 PDT
From: stp@edu.Stanford.ccrma
Subject: Request for Comments--Dilemmas--CMJ Editorial
To: Music-Research@prg
Cc: stp@edu.Stanford.ccrma, everyone@edu.Stanford.ccrma
Message-ID: <9104171921.AA14942@ ccrma.Stanford.EDU >
Call for Comments/Letters to the Editor
The editorial below is slated to appear in "Computer Music Journal"
15(3), Fall, 1991. We are starting a new practice in that I am
submitting the text to "The Net" in order to get replies in the
form of "letters to the editor" that can be printed in the "Journal"
coincident with the appearance of the editorial.
Your (succinct and well-written) comments are invited.
====Editorial: "Computer Music Journal" 15(3) Fall, 1991====
A number of recent events have confused me as to the state and
direction of our field in relation to the rest of the contemporary
media arts movement. I have identified two worrisome trends that I
describe as (1) the marginalization of "art" music within
contemporary art, and (2) the marginalization of non-real-time
music within electroacoustic music. I'd like to address the first
of these topics in this column.
Two announcements in recent "Computer Music" Journals related
the statements made by the juries of last year's NEWCOMP and Ars
Electronica competitions expressing the disappointment of both
groups with the year's entries. This obviously serious discrepancy
can be interpreted either as a "low-quality year" or as a mismatch
between the expectations of the juries and the direction that
composers are currently taking. The possible interpretations of the
second of these cases appear to be too lofty or specific
expectations on the part of an aesthetically-predisposed jury, or
a divergence in the stylistic generations between the jury members
and the productive body of composers. It is, however, interesting
to note that there has been no such difficulty in awarding first
prizes among the other competitions for contemporary music (e.g.,
Gaudeamus) as there has been among the "electroacousticians" (e.g.,
the Bourges or Ars Electronica competitions of recent years). This
is the first of several dilemmas that I have noticed, but for which
I have no simple explanations.
For seemingly unrelated (allegedly financial), reasons, the
computer music prize of Ars Electronica has been discontinued
altogether as of this year. The entry materials sent out by the
Austrian Broadcasting Authority ORF did not even offer any
information as to why this branch of the competition was dropped--
their materials simply mentioned the three remaining fields of
graphics, animation and interactive arts for which (quite generous)
prizes are to be awarded.
My third dilemma related to the marginalization of "art" music
within contemporary art is the quality of music found at several
recent "interdisciplinary" media arts festivals. A number of music-
oriented participants at these festivals remarked on the "poor
relation" treatment of contemporary music; last year's SISEA
symposium on electronic art, for example, presented a single
(parallel) paper session in the topic of "music" (out of 18 paper
and panel sessions), and a single (marathon) concert at a three-
day event. The organizers of the SISEA also produced a visual-only
record of the symposium in the form of a collection of slides of
the best art work that was presented there.
It has been a well-known fact for several years that juries at
competitions for integrated media art are typically interested
primarily in the visual channels and do not address musical
quality. One need only listen to sound tracks of the computer
animations presented at the ACM's annual SIGGRAPH meetings or
interdisciplinary festivals such as SISEA to observe this. It is
not rare that a computer animation that utilizes advanced image
processing techniques and is well placed within contemporary visual
aesthetics is accompanied by music that can at best be described
as insipid and cliche (e.g., rather pedestrian pop/rock music). One
need only question whether a contribution would be accepted that
coupled more progressive and "serious" music with outdated and
commercial graphical effects and production techniques.
The prime dilemma as it presents itself to me is, "What is the cause
for these apparent inequities, and what can computer musicians do
about it?" I would very much welcome reader's responses to this.
Stephen Travis Pope
Editor, Computer Music Journal
EMail: computer-music-journal@CCRMA.Stanford.edu
(Text copyright (c) 1991. Stephen T. Pope. All Rights Reserved.)
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End of Music-Research Digest