bradr@bartok.Eng.Sun.COM (Brad Rubenstein) (07/14/90)
Music-Research Digest Fri, 13 Jul 90 Volume 5 : Issue 67
Today's Topics:
A Mathematical Theory of Music
Information on graduate programs needed
Music-Research Digest V5 #66
Music-Research Digest Vol. 5, #64: IRCAM research papers
MuTeX/MTex Documentation
need advice on choosing a typewritten notation (2 msgs)
Time change without pitch change (2 msgs)
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Date: 10 Jul 90 20:45:53 GMT
From: Joe Keane <jgk%osc%pacbell%pacbell.com@edu.ucsd>
Subject: A Mathematical Theory of Music
To: music-research@prg
Message-ID: <3022@osc.COM>
In article <1278.2694ccd9@gp.govt.nz> philip@gp.govt.nz (Philip Dorrell)
writes:
>A rather popular chord sequence is -
>
>C major --------------> G major --------------> D major ------------> C major
> (again)
>C ----(* 3/2)--------> G --( * 3/4)------> D (*3/2) --->A (*3/5)---> C
>
>total -
>
> C -----------------------------( * 81/80)-------------------------> C
The A in the key of C major is defined to be a major sixth (5/3) above C. The
A in the key of D major is defined to be a perfect fifth (3/2) above D. If we
say D is a major tone (9/8) higher than C, the first A is lower than the
second one by the ratio 81/80. The interval 81/80 is called a comma and pops
up all over the place.
This kind thing of thing has been studied since Pythagoras. There is actually
a rich theory dealing with somewhat subtle differences, where you talk about
different kinds of commas, chromatic versus diatonic semitones, major versus
minor tones, and so on. One conclusion is that the second note in a major
scale is somewhat flexible.
Unfortunately, the result of equal temperament has been to pave over this
theory. If you ask a piano player what is the difference between G# and Ab,
he will say there is none. This ignores the fact that some organs had keys
for each, or that modern electronic instruments can easily play them as
different notes. Also, if you ask people what are CX or Ebb (excuse my ASCII)
you're likely to get blank looks.
This is interesting, but not math; followups are directed to `comp.music'.
------------------------------
Date: Thu, 12 Jul 90 16:30:19 -0400
From: Joe Winograd <gt0944c@edu.gatech.prism>
Subject: Information on graduate programs needed
To: Music-Research@prg
Message-ID: <9007122030.AA06747@prism.gatech.edu>
Could anyone recommend a graduate program that is strong
in the area of Digital Audio? I'm looking for something in ICS
(or EE) for the study of DSP, audio algorithms, and digital
electronics design for sound processing and recording equipment.
If there is a list available just send it to me, re-post it,
or point me in its direction.
Thanks, Joe Winograd.
------------------------------
Date: Wed, 11 Jul 90 13:54 BST
From: JPT4@UK.AC.YORK.VAXA
Subject: Music-Research Digest V5 #66
To: MUSIC-RESEARCH@prg
Re weird german notation: would it not make life easier to simply include\
the 'e' which the umlaut stands for? eg Maedchen, Fruehstueck, &c. (not to
mention Schoenberg).
an ex-linguist
------------------------------
Date: 10 Jul 90 21:12:38 GMT
From: Vladimir Orlt <vo%philmtl@net.uu.uunet>
Subject: Music-Research Digest Vol. 5, #64: IRCAM research papers
To: music-research@prg
Message-ID: <1359@philmtl.philips.ca>
Hi there
I was in Paris recently and I picked up a summary of IRCAM research
papers; this is probably too small to be an exhaustive list, but I think
it dates back to the mid 70s or so. If there is enough interest, I'll
post it.
I believe these papers are available from IRCAM upon request, but they're
on the expensive side (the prices are quoted in the list).
Vlad Orlt
vo@philmtl.philips.ca
------------------------------
Date: 12 Jul 90 15:38:38 GMT
From: John Richards <eczjr%clan.nott.ac.uk%nott-cs%warwick%ukc%mcsun@net.uu.uunet>
Subject: MuTeX/MTex Documentation
To: music-research@prg
Message-ID: <51770@robin.cs.nott.ac.uk>
We have obtained the MuTeX macros (called MTeX here for some reason).
The problem is that the documentation is all in German.
Does anyone have any English docts ? How do I get them if so.
The examples that come with the macros include what we surmise is the
code to produce the output. I can't get this to work. This is not surprising
as I understand almost no TeX and no German but I can read the input code
and relate it to the parts produced. I have already found out that \chord is
not a valid macro and I need \lchord<notes>\endchord to produce chords.
If anyone can help plase mail me or reply to this group.
Thanks in anticipation.
John
John Richards | email : eczjr@clan.nott.ac.uk
Dept. of Chemical Engineering | : ecxam@vax.nott.ac.uk
Nottingham University | tel : (0602) 484848 x2956
Nottingham, NG7 2RD | fax : (0602) 588138
------------------------------
Date: 11 Jul 90 18:58:59 GMT
From: Torkil Hammer <torkil%psivax@net.uu.uunet>
Subject: need advice on choosing a typewritten notation
To: music-research@prg
Message-ID: <3451@psivax.UUCP>
You need to express:
* Pitch, either in cps or in tone notation relative to a basis.
* Duration, in seconds or relative to a metronome setting.
* Modification (legato, staccato, neither, etc)
else you don't get very far.
You also need commands to set metronome, basis, staccato fraction etc.
I know of many systems but no standard. The one I have been using
for 25 years looks like
c'',1/2 or c'',0.5 (which is the same thing).
0.5 is the duration in metronome clicks.
c'' is a c in 2nd small octave. C'' is 5 octaves lower by usual standard.
c#'' and db'' are one and same note as long as you are in equal temper.
The "," is for normal mod, while "." and "-" are for staccato and legato.
Harmony, timbre and volume is besides my point which is square waves.
Happy beeping
Torkil Hammer
------------------------------
Date: 12 Jul 90 11:46:01 GMT
From: Gene De Lisa <gene%ntvax@edu.ohio-state.cis.tut>
Subject: need advice on choosing a typewritten notation
To: music-research@prg
Message-ID: <1990Jul12.114601.26706@dept.csci.unt.edu>
Have you ever heard of DARMS? If not Ill send some references.
If you've already rejected that have you considered the
Script MIL that the Synclavier uses?
--
Gene De Lisa
"Ducking for apples--change one letter and it's the story of my life"
Dorothy Parker(1893-1967) (spoken at a halloween party)
------------------------------
Date: 10 Jul 90 16:40:35 GMT
From: "samuel.r.mullins" <srmjr%cbnewsd%att@edu.berkeley.ucbvax>
Subject: Time change without pitch change
To: music-research@prg
Message-ID: <1990Jul10.164035.516@cbnewsd.att.com>
There is a wealth of literature concerning DSP algorithms for Time-Scale
Modification of speech. I can't say for sure but I would guess
that some of the algorithms would not work well on music. Anyway for
a representative sample of articles see Part Four of:
Speech Enhancement, Edited by Jae S. Lim, Prentice-Hall Signal Processing
Series, 1983. ISBN 0-13-829705-3
In particular, the algorithm (based on modification of the Short-Time
Fourier Transform) presented by M. R. Portnoff gives very
high quality results (at least for speech.)
If you're not comfortable with DSP, don't bother (mostly IEEE Journal
articles)
Sam Mullins
--
"What a strange, strange boy. He sees the cars as sets of waves.
Sequences of mass and space. He sees the damage in my face."
- Joni Mitchell
------------------------------
Date: 11 Jul 90 00:10:14 GMT
From: Jim Smith <smithj%hpsad%hpnmdla%hpl-opus@com.hp.hpl.hplabs>
Subject: Time change without pitch change
To: music-research@prg
Message-ID: <2650002@hpsad.HP.COM>
The cleanest digital algorithm to do what you want is called a Phase Vocoder,
but it is really computationally intensive, as you mentioned. Here
are a couple of good references:
The Use of the Phase Vocoder in Computer Music Applications
James A. Moorer
Journal of the Audio Engineering Society
Jan/Feb 1978, V26 N1/2, pp42-45
Implementation of the Digital Phase Vocoder using
the Fast Fourier Transform
Michael R. Portnoff
IEEE Transactions on Acoustics, Speech, and Signal Processing
Vol. ASSP-24, No 3, June 1976
And probably the best first article on the topic;
The Phase Vocoder: A Tutorial
Mark Dolson
Computer Music Journal, Vol.10, No.4, Winter 1986 pp14-27
Mark was with the computer music department at UCSD,
and perhaps they would have reprints.
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End of Music-Research Digest