bradr@bartok.Eng.Sun.COM (Brad Rubenstein) (08/12/90)
Music-Research Digest Sun, 12 Aug 90 Volume 5 : Issue 73
Today's Topics:
ASCII music representation
Computer/Music research efforts
Development
gross/ircam soundfiles
Music-Research Digest V5 #71
WANTED -- Musical Classification Schemes of All Kinds
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Date: Sun, 5 Aug 90 15:29:58 EDT
From: "Steven R. Newcomb" <srn%cmr@edu.ufl.cis.bikini>
Subject: ASCII music representation
To: Music-Research <Music-Research%uk.ac.oxford.prg@uk.ac.nsfnet-relay>
Message-ID: <9008051929.AA15805@cmrp.cmr.uucp>
I am moved by Stephen Page's reply to Dave Richards's note on the ASCII
representation of music to reiterate an announcement made a very long
time ago (2 years?) in MRD regarding the existence of an effort (now in
the process of becoming an ISO effort) accredited by the American
National Standards Institute to create a Standard Music Description
Language (SMDL). Persons interested in receiving a four-page
introduction to this effort may request document number X3V1.8M/SD-0
(Introduction and Guide to Participation) from the Computer Music
Association (which serves as the official Secretariat of the ANSI
X3V1.8M committee), Box 1634, San Francisco, California 94101-1634 USA.
Be a good citizen and enclose a self-addressed stamped envelope and/or a
contribution to the CMA's worthy work. Many, many other documents,
including many having to do with the X3V1.8M work, are also available
from the CMA; write for a list (the X3V1.8M list is known as
X3V1.8M/SD-2). I would urge anyone interested in music representation
to join the CMA (no doubt they will be happy to send you information on
how to do that). The CMA is also, as usual, organizing an International
Computer Music Conference, this autumn in Glasgow.
For information on the CMA, write to the above address. It is also
possible to contact the CMA via e-mail at cma@dept.csci.unt.edu or at
USA telephone number 817 566 2235. The President is composer Larry
Austin; Rodney Waschka (last I knew) assists in answering requests for
information from the public.
I would also add this note to our Moderator's response: the CCARH
Directory he mentions will this year contain a thumbnail sketch of the
work of the ANSI X3V1.8M committee. The annual CCARH Directory is one
terrific contribution to the computer music field, and if you aren't
getting it, you definitely should be. (Or I have no idea why you are
reading this.)
Steven R. Newcomb, Vice Chairman, ANSI X3V1.8M
[ Sorry I forgot to mention the X3V1.8M work. This is a very important
piece of work which anyone interested in music representations should
get to know about. Some papers from the group are available from the
Music-Research archive server. - S ]
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Date: 1 Aug 90 21:07:50 GMT
From: Dikran Kassabian <deke%ee.rochester.edu%uhura.cc.rochester.edu%ub%zaphod.mps.ohio-state.edu@edu.ohio-state.cis.tut>
Subject: Computer/Music research efforts
To: music-research@prg
Message-ID: <1990Aug1.210750.5568@ee.rochester.edu>
I like to keep at least loose track of research efforts in computers-in-music
within the USA. I try to read the Computer Music Journal when I can, and have
a copy of _Computing in Musicology, A Directory of Research_ (1989) sitting
in front of me right now. And of course, I read comp.music and rec.music.synth
on USENET.
Still, I imagine that some of the less recently published research efforts have
escaped my less-than-rigorous search. Could we get together and try to list
university research efforts and degree granting programs in computer/music
research? I know I could benefit from such a list in general. In particular,
I would be interested to learn of such research efforts in and around Chicago
and St. Louis.
Here's a start to the list, in no particular order:
MIT Media labs, Mass.
Various UC branches, California
Stanford CCRMA, California
Princeton, New Jersey
University of Rochester, New York
SUNY Binghampton, New York
Northwestern University, Illinois.
University of Ottawa, Canada (yes, I know, not part of the USA :-)
I don't mean to leave anyone out. I know that there are lots more.
Please, post your favorites!
Thanks in advance,
^Deke Kassabian, deke@ee.rochester.edu or ur-valhalla!deke
Univ of Rochester, Dept of EE, Rochester, NY 14627 (+1 716-275-3106)
------------------------------
Date: 30 Jul 90 17:36:12 GMT
From: Alvin Henry White <Alvin%cup.portal.com%portal%fernwood@com.dec.decwrl>
Subject: Development
To: music-research@prg
Message-ID: <32252@cup.portal.com>
Development=develope the mind?
Musing. Programs like XTree have an auto scroll feature. Word processor
like Wordstar have spelling check dictionary. I saw some one with another
computerized dictionary. Anyone have one like the old Websters that had
the word broken up into syllables and the pronunciation indicated by the
symbols of the International Phonetic Alphabet. In music lyrics like
old church hymns the syllables are separated by a dash and the words by a
space. The Franklin Computer Company's Language Master 4000 [a million
word dictionary that speaks the word with an internal speaker in a hand
held case the size of a Timex Sinclair computer or a hand held calculator]
the words are coded in some code by a company called something like
Berkeley Speech, Inc. In the auto scroll feature you can change speed.
If one mode was to show the original word on line one, the broken word
on line two, the word in the International Phonetic Alphabet on line
three. The cursor could either underline or highlight each syllable as
it is being spoken. A person could add a line that showed the time duration
desired for each syllable by entering a musical note and setting or
resetting the metronome speed [scroll speed]. If the author wanted to
indicate the pitch at which the syllable was performed an optional treble
and or base clef line could be opened. The thesaurus function could look
up a word in a second language thesaurus and put that on a line. At the
same time a thesaurus window and a second language thesaurus window could
open. You could do a double language translation word for word where
the word you type on one line was translated to a second language word on
another line and then that second language word was translated back to
the first language word on another line. The author could select different
windows to select different thesaurus entries. The second language fonts
could display on a line or in a window. There could be an explaination in
the second language on all of the above item in the first language.
When you got to a period, signaling the end of a sentence or phrase translator
could dub a line with a, what is probably most commonly referred in the the
trade as a "translation. I better reemphasize that I want a word for word
translation spoken in each ear and time adjusted so that both words may
begin with a clearly audible click and end with the clearly audible click.
It probably, at some time would be nice to have the option to turn off the
click. But first I want to make sure both tracks very accurately adhere to
the time guidelines. Now when all of this comes to pass, I've got a friend
that makes ~$6K stereo amplifiers for home use so you can hear the music
and voice with very little distortion. I'm trying to get him to build an
optional equalizer that my audiologist can program to compensate for my
individual hearing spectrum. I think he calls his field "High end audio."
If I could sell something for him, which I never have as yet, he might make
a contribution so I could afford to continue my work with G.O.D.S.B.R.A.I.N.
development.
Word/music/language processor program anyone? I said "word" not world".
Alvin H. White, Gen. Sect.
G.O.D.S.B.R.A.I.N.
1505 De Rose Way #66
San Jose, CA 95126
USA
[ alvin@cup.portal.com (OR) ..!sun!portal.cup.portal.com!alvin ]
Government Online Database Systems
Bureau for Resource Allocations to Information Networks
------------------------------
Date: 1 Aug 90 18:26:27 GMT
From: harnden%auvm%psuvm@edu.psu.cs.psuvax1
Subject: gross/ircam soundfiles
To: music-research@prg
Message-ID: <90213.142627HARNDEN@auvm.auvm.edu>
i would appreciate it if someone could provide me with the complete
documentation for Gross/IRCAM soundfiles, preferably with a couple
of examples of working code. i have a short paper on their
structure, but the information is incomplete, and the structure is
a little opaque. if this can not be provided directly, i would
equally appreciate information as to the correct channels for
getting this data.
merci.
------------------------------
Date: Sat, 28 Jul 90 17:00 BST
From: JPT4@UK.AC.YORK.VAXB
Subject: Music-Research Digest V5 #71
To: MUSIC-RESEARCH@prg
Re Mike's
(<25692@bellcore.bellcore.com
) msg re algorithmic get-togethers:
nice idea but people's algorithms (particularly composers') tend to be their
own private business - I don't think you'll find too many people keen to
bare their souls to a lot of strangers, however much in common they may all
have with each other, musically or otherwise. On the whole, the only people
who are usually willing to burble on about their algorithms are the ones who
are insecure about such things. As to the rest, most of them are reluctant
to discuss their ideas either because of an inhibiting inferiority complex,
whereby they think their ideas aren't going to match up to everyone else's,
or because they're afraid someone's going to pinch their idea(s) and possibly
apply them
*better*. Which leaves algorithms already in the public domain,
for which you don't need to contrive a get-together - they'll end up on a
Digest such as this one!!
As to Michael Rose - This Elliott Sharp dude sounds interesting, can
you tell me how to get on touch (via e-mail)? I'm researching into the
application of fractals & the like to the algorithmic composition environment.
And by the way - can anyone tell how to contact Paul Rhys??
Cheers
"Scardanelli"
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Date: 1 Aug 90 19:35:52 GMT
From: "Mr. P. H. Smith" <mrsmith%ai-lab%snorkelwacker%usc%zaphod.mps.ohio-state.edu%sdd.hp.com@edu.ucsd>
Subject: WANTED -- Musical Classification Schemes of All Kinds
To: music-research@prg
Message-ID: <9653@rice-chex.ai.mit.edu>
Hello, I would like to enlist the help of you all.
I need to find examples of how people have divided and classified the
field of *music* from pre-history to today. So, I figured if each
person who responds to my request were to send me one example, I could
rather quickly acquire an understanding of the history of musical
classification, and a rather large bibliography.
The kinds of classification I am looking for any and all which articulate
the ENTIRE field of music, not just, say, instrumental styles. They
may come from encyclopedias, newspapers, fiction, juvenile literature, records,
movies, stone tablets -- heck, no source is unwelcome.
Something along the lines of "Music can be divided into 4 main parts:
rhythm, melody, harmony, and form."
If you would be so kind as to send me a short note about one book or
treatise in any language, written at any time, by composer, theorist,
performer, musicologist, historian, or critic, I will have been much
obliged. Also, if you are interested, I will forward the slew of
references to whomever may desire it.
My thanks to you all for helping a graduate student with his thesis
proposal!
Please email responses to:
mrsmith@ai.mit.edu
Thanks again! -- Paul Smith
....................................................................
P.S. -- for simplicity's sake, the reference may be just a list of the
author's divisions and the name, date, title of the source, but PLEASE
make sure the list is in the order in which the author gives it and
... most importantly ... in the original language, if possible.
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End of Music-Research Digest