daemon@bartok.Sun.COM (02/22/90)
Music-Research Digest Wed, 21 Feb 90 Volume 5 : Issue 18
Today's Topics:
Contents of Perspectives of New Music
csound
NOTATOR
still more on knowledge acquisition
Subject: KA
System Administration Position at IRCAM (Paris, France)
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Date: Tue, 20 Feb 90 15:04:01 -0800
From: John Rahn <pnm@edu.washington.u.milton>
Subject: Contents of Perspectives of New Music
To: music-research@uk.ac.oxford.prg
The immediately forthcoming issue of Perspectives of New Music
includes a continuing Computer Music Forum and other articles which
may be of interest to readers here.
Perspectives of New Music
Volume 28 Number 1 (Winter 1990)
CONTENTS
6 From the Domaine Musical
to IRCAM PIERRE BOULEZ
in conversation with
PIERRE-MICHEL MENGER
20 Dating Charles Ives's Music:
Facts and Fictions CAROL K. BARON
COMPUTER MUSIC FORUM
58 Sieves IANNIS XENAKIS
80 Statistics and
Compositional Balance CHARLES AMES
112 Speech Extrapolated DAVID EVAN JONES
144 Observations in the Art of Speech:
Paul Lansky's Six Fantasies
DAVID LOBERG CODE
170 It's about Time: Some NeXT Perspectives
(Part Two) PAUL LANSKY
180 Processing Musical Abstraction:
Remarks on LISP, the NeXT, and the
Future of Musical Computing
JOHN RAHN
192 LISP as a Second Language:
Functional Aspects PETER DESAIN
222 A Major Webern Revision and
Its Implications for Analysis ALLEN FORTE
254 Row Derivation and Contour Association
in Berg's Der Wein DAVE HEADLAM
292 The Systematic Chromaticism of
Robert Moevs JAMES BOROS
322 A Conversation with Robert Moevs
JAMES BOROS
COLLOQUY AND REVIEW
334 The 1989 International Computer Music
Conference: An Overview of the Concerts
RICHARD KARPEN
342 Learning to Compose: A Review
CRAIG WESTON
57, 79, 143 Poems LOLA HASKINS
291, 341 Graphics RORY BUTLER
350 Editorial Notes
353 Correspondence
354 Personae
357 Acknowledgments
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Date: Tue, 20 Feb 90 12:40 GMT
From: JPT4@UK.AC.YORK.VAXA
Subject: csound
To: MUSIC-RESEARCH@uk.ac.oxford.prg
I'm a Music Technology student at York University, also a professional
composer, currently studying Csound. I'm looking for some examples of
interesting/effective .orc instruments produced by direct waveform
synthesis, adsyn, subtractive synthesis nad Karplus-Strong algorithms
- can anyone help? Also, I'd like to know what research has been done
in the field of fractal music and 1/f noise, as this will be the basis of my
MSc project. Any helpful suggestions much appreciated.
Jan Thomas, University of York.
------------------------------
Date: 17 Feb 90 20:12:52 GMT
From: Enartloc Nhoj <ramsiri%blake%ogicse%mintaka@com.think>
Subject: NOTATOR
To: music-research@uk.ac.oxford.prg
To owners and potential buyers of NOTATOR for the ST:
As a user of NOTATOR myself.. i would like to see
some improvements in a few areas. I am sure others
out there have their personal grievances and wish lists.
I would like to collect your suggestions and create a
compilation file that i will present to the reps
at C-LAB. I AM NOT AFFILIATED WITH C_LAB! Just a user
who knows that changes won't be made unless a good portion
of the user base insists on them. Please email me your
suggestions... after a time (not sure when), i will
present the info to C-LAB with the hope that we can
improve an already great package.
Here are a few of mine:
1) Make it work with Jim ALlen's Turbo16 accelerator board
2) Support for MONITERM and large screen display.
3) Print spooling
4) Postscript support (for importing files into PS document processors)
(as well as the obvious)
5) Ability to print when a RAM Disk is installed (perhaps certain ones
already allow it.. i would like to know)
6) Greater Laser Printer support.
7) When entering a note with the mouse, we need a "register"
that indicates the exact pitch as the mouse moves across
the staff a la music studio.
email me at ramsiri@blake.acs.washington.edu
If for some reason you can't find my node, post it to the
net, and i will grab it there.. but, do your best not to
waste bandwith on this. Thanks!
-kevin
------------------------------
Date: Tue, 20 Feb 90 17:56:11 PST
From: Stephen Smoliar <smoliar@edu.isi.vaxa>
Subject: still more on knowledge acquisition
To: Music-Research@uk.ac.oxford.prg
I think that Stephen Travis Pope has made some valuable contributions to
this discussion. I happen to think the issue of whether or not artistic
creativity is a form of "expertise" which may be modeled by an expert system
is an important one which has been misinterpreted too many times. I tried
to use the Detroit workshop as an opportunity to raise it; but as long as
there is a critical mass of zealous hackers, I'm nor sure it will ever get
through. In any event, I am now working on a paper which will attempt to
take the bull by the horns in a more sober manner. In particular, I think
it is necessary to analyze the relative virtues of what Laske calls the
"model-based" and "rule-based" paradigms. Laske clearly comes down
emphatically in favor of the latter; but I think I can make as case
that, as far as the capabilities of artificial intelligence are concerned,
he is misguided in his decision.
My arguments are guided, at least in part, by a belief that reasoning is not
about adding to one's store of "facts" about the world (in the form of some
repository of sentential forms). I think it is more important to focus on
the ACTIONS which an intelligence agent takes and the way those actions relate
to the STATE OF MIND of the agent and the relationship between state of mind
and input stimuli. Thus, Pope's work is interesting since, to a great extent,
the actions which he takes will be, to some extent, delimited by the tools he
has chosen to fashion for himself. The obvious question I wish to put to him,
then, is: To what extent has your design of tools been guided by prior
decisions of the nature of the actions you WISH to take? I think a more
systematic study of such actions may lead to a better understanding of what
we mean by "knowledge" when we try to invoke the term in discussing music.
I would like to conclude by observing that I think that Laske HAS been asking
similar questions in his research. Unfortunately, I am not sure where they
have led him. Laske, too, wishes to be regarded as a composer; but, lacking
any opportunity to hear his music, I find it hard to compare his theory to his
practice. Of course, I can say the same about Pope. Hopefully, we shall all
eventually find a forum in which we can offer some music along with our words.
------------------------------
Date: Tue, 20 Feb 90 08:12:18 EST
From: Otto Laske <laske@edu.bu.cs>
Subject: Subject: KA
To: music-research <music-research%uk.ac.oxford.prg@uk.ac.nsfnet-relay>
Feb 20, 90
The discussion on knowledge acquisition in composition has shown
itself to be an emotional topic (as evidenced by Stephen Pope's latest
remarks, among others). This is understandable, but should not hide the
fact that a community of inquiry is coming into being here which needs
some solidarity. Then also, one ought not to forget that KA in composition
is only one facet; there is equally KA in performing, music analysis,
musicological work, ethnomusicological work, so, we are not the hub of
the universe, even for musical KA.
More particularly to Stephen (Pope)'s reply, remember, I have
been the first to say that the traditional expert system path will not
work for music; I find your hypermedia ideas entirely germane to my
thinking and work. I also agree about the relevance of the history of
a composition--there is a video tape of mine on an expert system discussion
of mine with Raj Reddy, where I say exactly that (1987). Well, this just
by way of a comment.
Further, it is well possible that there are good "deep models"
in existing systems, except they not known presently, and ought to be
made known.
My general feeling is that it would be beneficial to let the
pressure off "KA in composition" and broaden one's views by getting
to know other fields of design, such as architecture, and try to cut
out this romantic notion of the composer that is so European. My goal
has always been to de-mystify composition, or art generally, because
I thought that only by making it transparent scientifically as much
as one can, one can point to what cannot be grasped scientifically.
This is different from proclaiming composition to be untouchable by
scientific understanding.
Otto Laske
------------------------------
Date: 14 Feb 90 08:40:21 GMT
From: Michel Fingerhut <mf%ircam%inria%mcsun%sunic%luth%eru@edu.mit.bloom-beacon>
Subject: System Administration Position at IRCAM (Paris, France)
To: music-research@uk.ac.oxford.prg
Organization:
IRCAM is the French Research Institute in Acoustics and Music
and a department of the Pompidou center, located in the heart
of Paris, where scientists and musicians collaborate in musical
reseach, composition and production, as well as scientific
reseach in such activities as studies of complex timbres,
real-time sound processing for synthesis and interaction with
traditional environments, creation of complex compositional
environment on new hardware and software, research in object-
oriented languages, personal computers, and many others.
Position Title: Assistant Systeme (Assistant to the System Manager)
Purpose: To provide systems administration and programming support for
the computing equipment, a Vax 780 with an array processor
and DACs and ADCs used for sound sampling and synthesis, a Vax 750,
7 Suns, 6 NeXT, 5 DecStations 3100, 50 Macintoshes, all connected
through Ethernet and LocalTalk.
Principal Activities:
1. Provide system administration support for the integrated
systems: backups, management of resources (accounts, disk
space, LAN and WAN), debugging of public programs.
2. Install, maintain and modify system software and locally
developped applications.
3. Developpement of system software, such as driver for D/A
and A/D device to connect sound converters to a DecSystem
5820, porting the existing music software environment to
this and other machines.
4. Provide assistance in the use of the system to the scientists
and musicians.
Qualifications:
BSEE/BSCS or equivalent. Demonstrated knowledge of, and experience
with, UNIX (perferably bsd), C.
Motivated and methodical individual with good human contact.
Preferred: Knowledge of Unix kernel (particularly drivers),
other high level languages and systems (C++, lisp, X-windows,
GKS), 3-5 years of relevant experience.
Contact:
e-mail your resume to:
mf@uunet.uu.net
or air-mail to:
Michael Fingerhut
System Manager
IRCAM
31, rue St Merri
75004 Paris, France
FAX: +33 1 42 77 29 47
Phone: +33 1 42 77 01 05
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End of Music-Research Digest