music-research@bartok.Eng.Sun.COM (08/18/90)
Music-Research Digest Sat, 18 Aug 90 Volume 5 : Issue 75
Today's Topics:
Categories of Musicological Analysis (2 msgs)
Graduate program survey
Questions about Finale & MIDI on the Mac
*** Send contributions to Music-Research@uk.ac.oxford.prg
*** Send administrative requests to Music-Research-Request
*** Overseas users should reverse UK addresses and give gateway if necessary
*** e.g. Music-Research@prg.oxford.ac.uk
*** or Music-Research%prg.oxford.ac.uk@nsfnet-relay.ac.uk
*** Back issues, index, etc.: send "help" in a message to archive-server
*** @uk.ac.oxford.prg (in the UK) or @bartok.sun.com (elsewhere)
----------------------------------------------------------------------
Date: 16 Aug 90 18:31:25 GMT
From: "Mr. P. H. Smith" <mrsmith%ai-lab%snorkelwacker@edu.ohio-state.cis.tut>
Subject: Categories of Musicological Analysis
To: music-research@prg
Message-ID: <9931@rice-chex.ai.mit.edu>
First, thanks to all who sent suggestions for where to look for
examples of the divisions of music. They were all very helpful.
Now, my next question is What are the basic categories of musicological
analysis? In other words, in what few basic categories can all
musico-analytic problems be understood?
Here is my first stab at the problem:
1. Primary Sound (any sound or silence without rhythm, melody,
harmony, or lyrics, but with choate musical value)
2. Rhythmics (the regularization of primary sound in
alternation with silence)
3. Harmonics (musical reference to an articulated tonal field
such as a scale, the overtone series, etc.)
4. Melodics (Logicial discursive overlays on 1, 2, and 3
above)
5. Lyrics (Verbal and semantic overlay on 1, 2, or 3 above -
includes song texts, but not vocalises - maybe includes the Teacher in
Charlie Brown TV shows)
6. Corpographics (the staging and visual presentation in alles
its aspects - i.e., is the music in a church, a stadium, in
headphones, etc.)
I think these six categories can serve to cover any and all problems
in musicological analysis in a meaningful way. That is, they are not too
broad and they are logically related to one another. But, of course
some of you will have better ideas about this. And that is what I
think would be interesting to hear about. So, please let me know what
you think of. Thanks.
Paul Smith
mrsmith@ai.mit.edu
------------------------------
Date: 16 Aug 90 21:06:20 GMT
From: Linda Ann Seltzer <lseltzer%phoenix@edu.princeton>
Subject: Categories of Musicological Analysis
To: music-research@prg
Message-ID: <1918@idunno.Princeton.EDU>
>Now, my next question is What are the basic categories of musicological
>analysis? In other words, in what few basic categories can all
>musico-analytic problems be understood?
>Here is my first stab at the problem:
>
> 1. Primary Sound (any sound or silence without rhythm, melody,
>harmony, or lyrics, but with choate musical value)
>
> 2. Rhythmics (the regularization of primary sound in
>alternation with silence)
>
> 3. Harmonics (musical reference to an articulated tonal field
>such as a scale, the overtone series, etc.)
>
> 4. Melodics (Logicial discursive overlays on 1, 2, and 3
>above)
>
> 5. Lyrics (Verbal and semantic overlay on 1, 2, or 3 above -
>includes song texts, but not vocalises - maybe includes the Teacher in
>Charlie Brown TV shows)
>
> 6. Corpographics (the staging and visual presentation in alles
>its aspects - i.e., is the music in a church, a stadium, in
>headphones, etc.)
The main problem with this categorization is that is has an inheretly
Western musical bias. I.E., the category of "primary sound" seems
be a catch-all for any sound that doesn't follow traditional Western
musical procedures. At the same time, there are categories which relate
to both Western and non-Western music which have been excluded here.
Musicological analysis usually starts with a reference to who produces
the music, rather than to the acoustics of individual phrases and
sounds. Thus we have historical musicology ethnomusicology or comparative
musicology. Systematic musicology moves away from this and you move
along the continuum until you reach disciplines which do analyze music
on the basis of acoustical properties of sound. Musical acoustics,
as reported in the Journal of the Acoustical Society of America, is
such a discipline. In acoustics we would normally talk about pitch
(rather than melody), timbre (rather than harmonics), temporal
properties (rhythm is probably an acceptable term, but one might wish to
analyze the temporal properties of a sound on a more microscopic level),
relationship of music to text (rather than "lyrics", a word which assumes
certain composition processes which might not occur in certain types
of music, such as improvised Indian ragas where syllables are
insterspersed with words). If one desires to examine music in relation
to text, one may also cross interdisciplinary boundaries by examining
the relationship of music to visual art, theater, and dance. Your
sixth category seemed to combine architectural acoustics and theater -
there are situations in which such matters should be treated together
and other situations where they are distinct disciplines.
------------------------------
Date: Fri, 17 Aug 1990 18:26:37 BST
From: EthnoFORUM <SIGNELL@EARN.UMDD>
Subject: Graduate program survey
To: Multiple recipients of <ETHMUS-L@EARN.UMDD>
**EthnoFORUM**
Ethnomusicology graduate program survey
Please fill in blanks and send to
SIGNELL@UMDD (Bitnet) or
SIGNELL@UMDD.UMD.EDU (Internet)
Do *not* send or Reply to LISTSERV@UMDD. Listserv is just a
server and won't know what to do with it.
Or by snailmail, hardcopy or diskette, to Dr Karl Signell,
Center for Turkish Music, Music Department, University of Maryland
Baltimore County, Baltimore MD 21228.
Submitted survey forms will be available for downloading from
EthnoFORUM archive.
1. Institution
2. Contact person, email address
3. Contact person, snailmail address
4. Degrees offered, e.g., M.A., PhD
5. Specialty areas, institutes, supporting disciplines
6. Permanent faculty
7. Visiting faculty
8. Financial aid
9. Archives
0. other
------------------------------
Date: 16 Aug 90 20:56:34 GMT
From: Aaron Goodisman <goodisma%catlat%roo%arisia%bionet%uwm.edu%zaphod.mps.ohio-state.edu%sdd.hp.com@edu.ucsd>
Subject: Questions about Finale & MIDI on the Mac
To: music-research@prg
Message-ID: <515@roo.UUCP>
I have some questions about using MIDI with Coda Software's Finale on
the Macintosh, and I hope someone in this newsgroup can either help
answer them or refer me to a better group.
I've hooked a DX-7 to a Mac II with an Opcode Professional Plus (the
cheapest I could find) MIDI-Mac converter. This seems to work well; I
can play stuff from the Mac through the keyboard and I can use one of
the three modes of music entry. I can't seem to get the other two to
work, though, and I'm fairly confident that this is a failure to
understand the software.
The music entry technique that does work is the "Speedy Note Entry"
tool. I hold down a note on the DX-7, and press a keypad key on the Mac
keyboard. The keypad key signifies the note duration. This works
great.
There are supposed to be two other techniques, though. One is the
"Transcription" tool, which pops up a window and some timing
information. When I play the keyboard, the clocks start ticking, and
when I'm done, there's a little pattern of the notes I played. It looks
right. And then there's a button marked "Transcribe," which, according
to the help stack, transcribes this music into the score. It doesn't
though. It pops up a dialog box that says "transcribing measure 2" or
something for about 1/10th of a second, and then it goes away. I've
tried all variations of selecting some or all of the pattern of notes,
and turning on and off various option boxes, but nothing seems to work.
Has anyone used this successfully? Please tell me what I'm doing wrong.
The other technique that's supposed to work is the "HyperScribe" tool
(who makes up these names?). That pops up a little box which fills up
as I play the keyboard. When I click the mouse (again, as described in
the help stack), it's supposed to transcribe these notes into the score,
but it does nothing. Any ideas?
If anyone can help me with these problems, please reply via e-mail; no
need to bother the entire group. Also, if anyone has and uses Finale, I
have some other, minor questions that I'd like to ask you, so please let
me know, even if you don't have any insight about these questions.
Thanks a lot,
-- Aaron
---------------------------------------------------------------------
| Signature? What signature? |
---------------------------------------------------------------------
------------------------------
End of Music-Research Digest