bradr@bartok.Sun.COM (Brad Rubenstein) (04/07/90)
Music-Research Digest Fri, 6 Apr 90 Volume 5 : Issue 34
Today's Topics:
How to print score from Performer 2.31 (2 msgs)
Interface Special Issue
Only amateurs?
Second Call for Papers - Workshop on AI & Music
Typesetting music
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Date: 2 Apr 90 14:55:51 GMT
From: Duy-Minh NHIEU <dmnhieu%watdragon%watserv1%utgpu%news-server.csri.toronto.edu%cs.utexas.edu@edu.ohio-state.cis.tut>
Subject: How to print score from Performer 2.31
To: music-research@prg
Message-ID: <22752@watdragon.waterloo.edu>
May be someone out there is able to help me out. I now want to print a copy
of the score of a piece of music that I compose with MIDI keyboard and entered
in the Performer (Mac software sequencer). Is there anyother program that
can take the output from Performer and typeset it as music score and print it
out? (Note, I don't have the Performer manual, I only get access to it in
the studio in school here.)
------------------------------
Date: 3 Apr 90 15:01:31 GMT
From: Nick Rothwell <nick%lfcs%edcastle%ukc%mcsun@net.uu.uunet>
Subject: How to print score from Performer 2.31
To: music-research@prg
Message-ID: <3137@castle.ed.ac.uk>
In article <22752@watdragon.waterloo.edu>, dmnhieu@watdragon (Duy-Minh NHIEU) writes:
>May be someone out there is able to help me out. I now want to print a copy
>of the score of a piece of music that I compose with MIDI keyboard and entered
>in the Performer (Mac software sequencer). Is there anyother program that
>can take the output from Performer and typeset it as music score and print it
>out?
Yes, it's called Composer; the more hip with-it Mac/MIDI users
presumably purchase the twin-pack. I can't afford Composer myself,
though I'd love to have it.
Performer 3.41 will have score-editing of sequence data; I don't know
if it will be able to print the stuff as well (Pro-24 can do this,
albeit pretty mindlessly).
Nick.
--
Nick Rothwell, Laboratory for Foundations of Computer Science, Edinburgh.
nick@lfcs.ed.ac.uk <Atlantic Ocean>!mcsun!ukc!lfcs!nick
~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~
Ich weiss jetzt was kein Engel weiss
------------------------------
Date: Fri, 30 Mar 90 19:03:10 GMT
From: Antonio Camurri <music@it.unige.dist.dist>
Subject: Interface Special Issue
To: Music-Research@prg
Message-ID: <9003301703.AA20617@dist.dist.unige.it>
Here follows the list of contents and the Preface of a forthcoming
special issue of the Interface journal, of which I am guest editor.
It will be available next summer.
Antonio Camurri (music@dist.dist.unige.it)
---
INTERFACE, Vol.19, 2-3, 1990 (Swets & Zeitlinger)
Special Issue on Artificial Intelligence and Music:
Selected proceedings from the
European Workshop on Artificial Intelligence and Music
---
CONTENTS
A.Camurri - On the role of artificial intelligence in music research.
M.Leman - Emergent properties of tonality by self-organization.
P.Beyls - Musical morphologies from self-organizing systems.
B.Bel - Time and musical structures.
G.De Poli, L.Irone, A.Vidolin - A many sorted approach to musc score
interpretation.
L.Camilleri, F.Carreras, C.Duranti - An expert system prototype for the
study of musical segmentation.
R.B.Dannenberg, M.Sanchez, A.Joseph, P.Capell, R.Joseph, R.Saul -
A computer-based multi-media tutor for beginning piano students
S.Szeider - The semantics of musical scores: an approach to the mechanical
composition of microtonal music.
B.Fagarazzi, C.Saraggiotto - An object-oriented approach to computer music
aided composition
B.Baird, D.Blevins, N.Zahler - The artificially intelligent computer performer:
the second generation.
---
PREFACE (to the special issue)
Artificial Intelligence (AI) is an area of Computer Science devoted
to the study of mental faculties and to
the development of models and systems able to store and manipulate,
in some "intelligent" way, knowledge about the world.
Artificial Intelligence and Music (AIM) can be considered a field
in the area of Artificial Intelligence, involving fundamental interdisciplinary
contributes from Cognitive Musicology, Cognitive Sciences, Cybernetics,
Psychology, Philosophy, Music Theory.
AIM is particularly concerned with the use of existent,
but above all the development of new, Artificial Intelligence theories and tools
"for different practical usages of musical knowledge and musical
communication" (Leman, 1989).
Cognitive Musicology is a discipline strictly related to AIM (see Leman, 1989).
By introducing AIM as a particular branch of AI, I mean to
emphasize that AIM does not involve the mere application of existent
Artificial Intelligence methodologies and tools to Music.
The peculiarity of the music domain, involving different and complex
(intelligent) tasks, in some cases leads to the development of
new AI approaches: it is what Mira Balaban (1989)
refers to as the cross-fertilization relationships between music and AI.
Research going on in this field, as confirmed by the works presented in
this special issue of Interface, confirms this tendency.
This special issue of Interface presents a selection from the
European Workshop on Artificial Intelligence and Music, held in
Genoa in June 1989. The workshop included eighteen contributions,
both papers and presentations of tools, and the Programme Committee selected
the contributions included in this special issue.
We think that these papers are all good indications of the vitality of this
new field. An introduction to the papers included in this issue and to the
field of AIM can be found in my paper, a sort of tutorial "on the role of
artificial intelligence in music research".
Besides the scientific meetings, the workshop has been
an occasion for two further significant events.
First, Goffredo Haus (LIM-DSI, University of Milan)
officially presented the first research project
supported by the Italian National Research Council (CNR)
(MUSIC goal, PFI2-CNR),
regarding the design and development of an "Intelligent Musical Workstation".
The MUSIC goal project will go on for three-five years, unifying three
research centers: the LIM-DSI,
University of Milan, the AI and Music Labs at
DIST, University of Genoa and the CSC, University of Padua.
Our hope is that this event will be the first step toward further initiatives
aimed at increasing and supporting research activities in this emerging field.
The second significant event which took place at the workshop was a
computer music concert.
Its peculiarity was the inclusion of a significant "amount of
AI and music" in the programme.
In particular, Peter Beyls presented an impressive
live performance in which he used his "Oscar" AI tool;
Noel Zahler presented his multi-media composition "Gothic Tempest"
whose creation involved his artificially intelligent performer.
Before concluding, I want to express my gratitude to all the persons who
contributed to this event.
Firstly, I am very grateful to Marc Leman, for his precious help and suggestions
in the editing of this special issue. I am also indebted to
Gianni De Poli, Goffredo Haus, Alvise Vidolin and Renato Zaccaria for
their suggestions and encouragement. I thank also all the authors
for their efforts. Finally, I want to mention also those
friends and collegues who gave substantial contributions
to the local organization of the workshop: Francesco Giuffrida and
Paolo Podesta`;
the composers Corrado Canepa and Giuliano Palmieri; my wife Daniela;
Paolo Franchi, Orietta Stramigioli, Gianni Vercelli and Sandro Zappatore.
A final acknowledgement is due to the sponsors of the workshop:
Cassa di Risparmio di Genova e Imperia, Ente Decentramento Culturale,
Systemsline computers, TAU Technology and Services, and
Taulino strumenti musicali.
Antonio Camurri
References
Balaban, M. (1989). The cross-fertilization relationship between music and AI
(based on experience with the CSM project), Interface, 18(1-2), 89-115.
Leman, M. (Ed.) (1989). Models of musical communication and cognition.
Interface, 18(1-2).
------------------------<end of message>---------------------------------
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Date: Mon, 2 Apr 90 10:51:11 EDT
From: "David M. Chess" <CHESS@com.ibm.almaden>
Subject: Only amateurs?
To: music-research@com.sun.eng.bartok
Message-ID: <9004021451.AA17888@Sun.COM>
E. Handleman writes, in passing,
> ...the kinds of things that amateurs find exciting, like generating
> tonal music, or music "in the style of," or ways of making one piece
> sound sort of like another piece, or trying to make music sound
> "authentic" or "expressive," or arranging chords so that your tune
> comes out moderately "happy" or "soul searching." I don't say this
> sort of thing shouldn't be done -- I'm only saying that I don't care
> about this kind of work at all.
But you're also saying that "amateurs" find it exciting. Do you
mean to say that professionals don't? Professional whats? *8)
I admit that I am an amateur, and that I find at least some of that
sort of thing exciting (I think there's still lots of good tonal
music to be written, for instance), but might I venture that your
reference to "amateurs" was more of a passing slap at stuff that
doesn't interest you than it was a considered, rational, statement?
Or is it really true that Professionals have all abandoned tonality?
I suspect not! (Pls don't take this as a flame or an attack; I've
been enjoying the discussion greatly, but just couldn't bring myself
to let this get by without comment...)
Dave Chess
IBM T. J. Watson Research
------------------------------
Date: Fri, 30 Mar 90 19:07:05 GMT
From: Antonio Camurri <music@it.unige.dist.dist>
Subject: Second Call for Papers - Workshop on AI & Music
To: Music-Research@prg
Message-ID: <9003301707.AA20655@dist.dist.unige.it>
ECAI Workshop on
Artificial Intelligence and Music
* SECOND CALL FOR PAPERS *
Stockholm, Sweden. Tuesday, August 7, 1990
This workshop is the successor of the four previous workshops held in
the last two years: the AAAI-88 (St.Paul) and IJCAI-89 (Detroit)
Workshops, the GMD Workshop that preceded the International
Computer Music Conference (Bonn, Sept. 88), and the
European Workshop on AI and Music (Genoa, June 89).
AI and Music is an emerging discipline that involves such fields as
artificial intelligence, music, psychology, philosophy, linguistics, and
education. The last four workshops demonstrated a mixture of
methods, that range from somewhat technical application of AI methods
to music problems, to theoretical cognitive research.
This workshop will focus on further deepening our understanding of
those AI techniques and approaches that are relevant to music, and
on the relevance of music to AI research.
The workshop topics include (but are not limited to) the following:
Cognitive Musicology
Expert Systems and Music
Knowledge Representation and Music
Tutoring
Neural Computation in Music
Composition, Performance, Analysis tools (based on AI techniques)
Multi-media Composition and Performance
The Workshop is scheduled during the ECAI Tutorials
(August, 7), held immediately before the ECAI Scientific
Meeting (August, 8-10).
ORGANISING COMMITTEE :
Mira Balaban , Dept of Math and Computer Science, Ben-Gurion University, Israel.
Antonio Camurri , DIST, University of Genoa, Italy.
Gianni De Poli , CSC, University of Padova, Italy.
Kemal Ebcioglu , IBM, Thomas J. Watson Research Center, USA.
Goffredo Haus , LIM-DSI, University of Milan, Italy.
Otto Laske , NEWCOMP, USA.
Marc Leman , IPEM, University of Ghent, Belgium.
Christoph Lischka , GMD, Federal Republic of Germany.
SUBMISSION INFORMATION
Submit eight copies of a camera ready manuscript
(about 5 single-spaced A4 pages) to Antonio Camurri.
Please follow the IJCAI standards for the preparation of the manuscript.
Antonio Camurri, DIST - University of Genova
Via Opera Pia, 11A - 16145 Genova, Italy
e-mail: music@ugdist.UUCP
Phone +39 (0)10 3532798 - 3532983; Telefax +39 (0)10 3532948
Important dates
May 15, 1990: Deadline for submission.
July 1, 1990: Notification of acceptance.
For registration and general information on the ECAI-90 conference,
please refer to:
ECAI-90, c/o Stockholm Convention Bureau, Box 6911
S-102 39 Stockholm, Sweden.
Tel. +46-8-230990 FAX. +46-8-348441
------------------------------
Date: 5 Apr 90 12:53:07 GMT
From: "M.W.Guy" <mg%gos.ukc.ac.uk%harrier.ukc.ac.uk%ukc%mcsun%sunic%luth%eru@edu.mit.bloom-beacon>
Subject: Typesetting music
To: music-research@prg
Message-ID: <2922@gos.ukc.ac.uk>
I know of two systems for typesetting music, both bolt-ons to existing
typesetting programs.
The MuTeX package, copyright by Andrea Steinbach and Angelika Schofer,
is a set of macros allowing TeX to typeset beautiful music. It is the
outcome of a Master's thesis at the Rheinische Friedrich-Wilhelms University.
``Music'' is a troff preprocessor by Eric Foxley <ef@cs.nott.ac.uk>, which
can use the Sonata font of musical glyphs, if you have it on your laserprinter,
or can put out pic input. You will need Device Independent Troff to use this.
Unfortunately, while we do have the Sonata font, we don't have the font metrics
required by troff :-(
Of the two, MuTeX is more complete than the June 1987 version of `music'
that I have. It can do more sophisticated musical notation, such as slurs
and phrasing, which music cannot, but it cannot make use of Sonata, carrying
its own TeX fonts instead.
Martin
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End of Music-Research Digest
---Brad Rubenstein-----Sun Microsystems Inc.-----bradr@sun.com---