music-research@HPLPM.HPL.HP.COM (11/03/90)
Music-Research Digest Fri, 2 Nov 90 Volume 5 : Issue 90
Today's Topics:
centers
Computer music studies in the UK?
CONFERENCE ON COMPUTER MUSIC HARDWARE, Evanston, IL
Music Printer Plus
MusicTeX available
NoteWriterII --> PageMaker 4
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Date: Tue, 30 Oct 90 18:18:11 EST
From: "Steven R. Newcomb" <srn%cmr@edu.fsu.cc.mailer>
Subject: centers
To: Music-Research <Music-Research%uk.ac.oxford.prg@uk.ac.nsfnet-relay>
Message-ID: <9010302318.AA01320@cmrp.cmr.uucp>
The following statement is intended to be responsive to the recent
request in the Digest for listings of music research centers.
The Center for Music Research (CMR) is an integral unit of the School of
Music of the Florida State University in Tallahassee, Florida USA. The
daily activities of the CMR include:
(1) experimental research in music listening, musical
communications, music performance, music acoustics
(including digital sound synthesis and analysis),
music instruction and learning, music therapy
applications, and others;
(2) descriptive research in music, including survey
and status studies of music education and musical
culture in Florida and the nation;
(3) the design and implementation of prototype com-
puter hardware devices for music instruments and
other music applications, and the creation of
utility software for these devices;
(4) the design and evaluation of computer-based music
instructional materials for use by School of Music
students;
(5) research in the representation of music notation
and sound with computers, and contributions to the
design and promulgation of national and interna-
tional standards for music representation as digi-
tal data;
(6) technical consulting in music hardware and
software for School of Music faculty and students,
including research support for specific music dis-
ciplines (ethnomusicology, composition, music
therapy, and others); and
(7) the teaching and administration of University
undergraduate and graduate courses and programs in
the areas of music research and technology.
The CMR was founded in 1980 to bring together the already strong
research component of the School of Music with its newly-added computer
facilities. The purposes of this union are to create effective
technology environments for students and faculty and to form a research
system that blends the best human characteristics of the researcher and
teacher with the advantages of computers. The missions of CMR are
related to the central goal of bringing the best available technology
and research to music as an educational discipline, as a human system
of communication, and as a revealer of the workings of the human mind.
Its staff is dedicated to the premise that music, as a multicultural and
cross-cultural mode of communications, should be supported with the
very best research and technology.
------------------------------
Date: 26 Oct 90 16:28:47 GMT
From: Keith Kothman <kkothman%weber%network.ucsd.edu@edu.ucsd>
Subject: Computer music studies in the UK?
To: music-research@prg
Message-ID: <3943@network.ucsd.edu>
In article <2930@cernvax.UUCP> fuchsj@cernvax.UUCP (joachim fuchs) writes:
>Brian Smith writes:
>>Question:
>>
>>Does anyone know of schools in the United Kingdom that offer research
>>opportunities in Computer Music?
>
>Why only in the UK ?? I would be interested to have a reasonably
>complete list of the places all over the world which are involved
>in computer/music research. The best known (at least for me) are
>the media-lab at MIT and the IRCAM in Paris (Centre Pompidou).
>
>
There are two programs that i know of. One is at The University of
East Anglia (UK, but not exactly sure of the city). Dennis Smalley
heads it. The other is in France, at Lyon I think. Unfortunately,
I can't remember the name of the place or the name of the director,
who often works at IRCAM. Someone else might be able to help me out
here. Both these programs are fairly new. The East Anglia looks
superb from a musical instruction standpoint, although I'm not sure
what kind of facilities they have. The French one had a good
composer heading it, and also had some very nice facilities
(workstations, MIDI, direct-to-disk recording, etc.).
These are the only degree-oriented programs that i know of. There
are other studios that offer instruction, both private and group,
and the chance to work on your own (IRCAM actually falls in to this
category). Besides IRCAM, there is The Institute for
Electro-acoustic Music in Sweden (Stockholm), The Royal Institute of
Sonology in the Netherlands (The Hague?), and others.
I forgot one educational one. The Technical University in Berlin
has a computer music specific program.
Keith Kothman
Dept. of Music, UCSD
------------------------------
Date: 29 Oct 90 20:58:54 GMT
From: Greg Sandell <root%accuvax.nwu.edu%hayes.ims.alaska.edu%bionet%agate@edu.berkeley.ucbvax>
Subject: CONFERENCE ON COMPUTER MUSIC HARDWARE, Evanston, IL
To: music-research@prg
Message-ID: <14119@accuvax.nwu.edu>
[ If you are interested in further information, please read
the end of this article before replying to me. ]
NORTHWESTERN UNIVERSITY COMPUTER MUSIC CENTER
DREAM MACHINES FOR COMPUTER MUSIC
A meeting dedicated to issues of hardware for computer music in honor of John
Pierce's 80th birthday.
On November 15th-16th, 1990, Northwestern University will host a meeting
dedicated to the topic "future dream machines for creating computer music".
At present most machines are built by commercial companies with the average
commercial consumer in mind. Few machines are being built with considerations
for the academic and artistic communities and those, take into account only
present day technologies with emphasis on replicating existing musical ideals.
Visionary ideas, which have put the technological world as well as the computer
music world several steps ahead, such as the IRCAM 4X and Stanford's Sambox,
are not being discussed anymore. This meeting hopefully will bring the
initiative at suggesting new ideas back into the academic community.
Invited participants will include Richard Ashley, Chris Chafe, John Chowning,
Johannes Goebel, Gary Kendall, Max Mathews, James Anderson Moorer, John Pierce,
Miller Puckette, Jean-Claude Risset, Xavier Rodet, David Wessel, David
Zacarelli.
Each of the invited participants wil present a short paper on the topic,
followed by a round table discussion.
First session will start on the 15th at noon, and the meeting will end on
the 16th at 2 pm.
On the 15th there will be a concert of tape pieces honoring John Pierce
featuring composers: Clarence Barlow, Luciano Berio, John Chowning, Charles
Dodge, Paul Lansky, Dexter Morril, Jean-Claude Risset, Amnon Wolman.
For more information: Prof. Amnon Wolman - Co-director, Computer Music Center,
School of Music, Northwestern University
711 Elgin Rd. Evanston IL 60208-1200
amnon@ncm.music.nwu.edu
(708) 491-5722
--------------------------------------------
NOTE!! Do not reply via email to me, as I am not Amnon Wolman, and I am
not involved in the organization of this meeting. Write email
only to the address given immediately above. - Greg Sandell
------------------------------
Date: 22 Oct 90 19:02:13 GMT
From: "Eric J. Isaacson" <isaacso%copper@edu.indiana.cs.iuvax>
Subject: Music Printer Plus
To: music-research@prg
Message-ID: <isaacso.656622133@copper>
ttl@aura.cs.wisc.edu (Tony Laundrie) writes:
>I've got a chance to buy the latest version of Music Printer Plus from
>Temporal Aquities(sp) for relatively cheap (a friend is selling out).
>Any reviews?
OK. Here's a real quickie. MPP, like any software, has strengths and
weaknesses. Among its strengths are a very simple and easy to learn
user interface. Notation symbols are attached to keys on the keyboard
mnemonically. E.g., pressing c cycles through all the clef options.
The real-time MIDI input is as good as in any other notation package
I've seen, and better than most. Its palette of symbols is good for
standard western music and pop music (although I haven't used it for
this at all, so I could be mistaken). Plus, it's got good on-line
help so you can virtually dispense with the manual.
The drawbacks include relative weakness for pre-standard notation
notation. It's got some stuff, but not enough to satisfy an early
music person. If you're trying to do music analysis examples, it
requires a good deal of fudge-work. Perhaps it would be easier to say
that if you want to do serious music publishing or more esoteric sorts
of stuff, you want Score or Finale. But for most purposes, it's a
very good package.
Version 4 is due out soon, I believe, and will include a number of
significant enhancements in terms of interaction with sequencer files,
improved printer control, more printer drivers, more text fonts (at
least a header font which is apparently missing in the current
version), and probably a number of other things. We bought a number
of copies for the Indiana University School of Music precisely because
it is easy to learn, which is important when, for example, you want
students to be able to sit down and crank out their homework in a few
hours without having to spend three weeks teaching how to work the
program, and when faculty are reluctant to do the same themselves.
Yet it also satisfies the needs of all but probably the serious
composers and perhaps some theorists.
(I have no vested interest in seeing TAP succeed or fail--I'm just
reporting my person experiences with MPP.)
Eric J. Isaacson (the other) Internet: isaacso@ucs.indiana.edu
School of Music--Indiana Univ. NeXT Mail: isaacso@bartok.music.indiana.edu
Bloomington, IN 47405 -- I am NOT the author of A86 and other --
(812) 855-7832(o)/333-1827(h) -- outstanding software...I wish I were... --
------------------------------
Date: Sun, 28 Oct 90 15:00:35 CST
From: Richard Murphey <rich@edu.rice>
Subject: MusicTeX available
To: Music-Research <Music-Research%uk.ac.oxford.prg@uk.ac.nsfnet-relay>
Message-ID: <9010282100.AA15976@kappa.rice.edu>
MusicTeX is a set of TeX language macros and Metafont fonts for
typesetting music using the TeX document preparation system put
togeather by Daniel Taupin of Physique des Solides. MusicTeX is
available via anonymous ftp from qed.rice.edu (128.42.4.38) in the
file pub/musictex.tar.Z.
You must have TeX in order to use MusicTeX. See the files
aa_readme.text and demos/notice.tex within for more information.
Included are all the fonts needed to typeset notice.tex at either 82
or 300 dot per inch. I regret I can't handle email requests, but
would be glad to help someone else do so.
Rich Murphey
ECE, Rice U.
Rich@rice.edu
------------------------------
Date: 29 Oct 90 02:30:44 GMT
From: Dennis Ladd <ladd%uhccux%munnari.oz.au@net.uu.uunet>
Subject: NoteWriterII --> PageMaker 4
To: music-research@prg
Message-ID: <10069@uhccux.uhcc.Hawaii.Edu>
iI have tried to save NoteWriter files in the eps format for placing into
PageMaker and I can't get it to work. Has anybody out there had any
success with this? At first the files would Place but when I tried to
print with a LaserWriterIINT I got the following dialog box:
'Cannot print due to PostScript error: "undefined,"
in command: "T."
I recently upgraded to System 6.05. Now, the eps files won't even place.
I get the eps cursor with the Place command, but when I click the mouse
the cursor just disappears.
I have a Mac Plus with 4 miggles of RAM. I'm using System 6.05 and the
printer is a LWIINT. NoteWriter is version 2.5. I am using the Sonata
font.
Things I haven't tried yet but will: Using PMaker 3, trying again with
smaller NWII files...meanwhile, if there is someone out there who has
done it successfully, write and let me know, please.
Thanks--Dennis Ladd, University of Hawaii
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End of Music-Research Digest