daemon@bartok.Eng.Sun.COM (02/03/90)
Music-Research Digest Fri, 2 Feb 90 Volume 5 : Issue 8
Today's Topics:
Call for papers on microtonality
Cognitive Musicology (from: Research Digest Vol. 5, #02)
DARMS parsers/manipulators anyone?
help with mtex
X3V1.8M
*** 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
----------------------------------------------------------------------
Date: 01 Feb 90 1021 PST
From: Douglas Keislar <DK%CCRMA-F4@EDU.STANFORD.SAIL>
Subject: Call for papers on microtonality
To: music-research-request@uk.ac.oxford.prg
The international journal PERSPECTIVES OF NEW MUSIC is seeking a few GOOD
articles for a feature on microtonality (and other tuning alternatives to
12-tone equal temperament), in music of the recent past, the present, and
the future. Preference will be given to articles dealing with the
significant work of one or more composers (either by the composers
themselves, or by other expert analysts), or dealing with theoretical
systems, whether presently realized in music or not.
In general, articles should not be longer than 30 typescript (double-spaced)
pages, and should be received by 30 March 1990. Typescripts must be
double-spaced. No dot-matrix prints, please.
Address submissions either by email to:
pnm@milton.u.washington.edu
or by post to:
Microtonal Feature
Perspectives of New Music
School of Music DN-10
University of Washington
Seattle, WA 98195
USA
--Richard Karpen, Douglas Keislar, and Jerome Kohl
------------------------------
Date: 29 Jan 90 23:30:35 GMT
From: Eliot Handelman <eliot%phoenix@edu.princeton>
Subject: Cognitive Musicology (from: Research Digest Vol. 5, #02)
To: music-research@uk.ac.oxford.prg
In article <1503@mit-amt.MEDIA.MIT.EDU> rowe@media-lab.media.mit.edu (Robert Rowe) writes:
;I
;have just finished rereading Laske's keynote address to the 1988 AAAI
;workshop on Artificial Intelligence and Music, and the most substantive
;part of it describes Laske and Don Cantor's work on Pr1Mac, a composer's
;workbench. I would be very interested to see Otto Laske reply to Eliot
;Handelman's posting, or just to see him describe the knowledge
;acquisition process adopted in Pr1Mac, and what his results and conclusions
;are. The most public manifestations I have recently seen from Mr. Laske,
;I must admit, are accusations of methodological laxness by the rest of
;us, and not much about what he is actually doing to redress the situation.
;
;Robert Rowe
;MIT Media Laboratory
Concerning Pr1Mac, I would like to see the following sentence explained
(taken from the proceedings):
"As every musician would agree, the crux in developing an intelligent
assistant for music lies in in providing a flexible interface between
the multiple representations with which musicians HABITUALLY work,
and to do so without interfereinig with their HABITUAL way of inventing
and intuiting." (my emphasis)
When I first read this, I thought that Laske wants to tailor the system to
the habitual concerns, whatever that means, of composers. But no, because:
"Events in Pr1Mac are collections of from 1 to 6 "notes" or "samples"
having a unified temporal, timbral, and dynamic represenation."
This sounds to me like one particular kind of representation is being
forced upon the users of Pr1Mac. What makes Laske think that this is
the way that musicians habitually work? What makes Laske think that
musicians have a habitual way of inventing music? Is assuming as much
an example of "knowledge acquistion"? Sounds to me more like "assumption
acquisition."
I agree with Robert on one further point: Laske protests too much. Robert
Rowe and I are intensively involved in artificial intelligence and music,
and if Laske does not want to pursue this discussion, but continues to make
use of the net to advertise his discontent with the state of affairs
then I, for one, have no reason to assume that Laske wants to avail himself
of opportunities to inform himself of states of affairs which may be
unknown to him. In that case his endless criticism are completely unjustified.
--Eliot Handelman
Princeton U., Music
------------------------------
Date: 31 Jan 90 00:07:05 GMT
From: Richard Friedman <rchrd%well@com.apple>
Subject: DARMS parsers/manipulators anyone?
To: music-research@uk.ac.oxford.prg
Does anyone out there know of any programs (preferably in C)
to parse and/or manipulate DARMS encoded text.
(DARMS is an alphanumeric representation of musical notation that
is being used for music analysis and even composition.)
What I'd like to be able to do is write music in DARMS and then
apply procedures to the music text that manipulate it in various
ways, generating an expanded DARMS output.
Anyone know of anything like this?
--
/s/ rchrd <=> Richard Friedman <=> rchrd@well
rchrd@well.sf.ca.us | {apple,pacbell,hplabs,ucbvax}!well!rchrd
[Pacific-Sierra Research / Berkeley CA] (415) 540-5216
(The usual disclaimers apply - I speak only for myself!)
------------------------------
Date: Mon, 29 Jan 90 16:42:30 EST
From: Allan Adler <ara@edu.yale.math.lom1>
Subject: help with mtex
To: music-research@uk.ac.oxford.prg
I learned about mtex from this digest several months ago and obtained a
copy. Since then I have been trying to learn metafont so I can compile
the fonts which come with the mtex distribution. I have finally succeeded
in compiling the fonts and in convincing TeX to look in my directory for
them. As a result I was able to print out mtexinfo and mtexinfoenglish
today. I also tried to print out mtexdemo and had some trouble with it.
The laserwriter would think about the dvi-alw file for a long time
and then would print out a picture of the laserwriter. I decided that
somehow the laserwriter was being given more than it could handle.
So I edited the file mtexdemo.tex and deleted everything after the first
\endchord. I followed that by \endsong and \end and tried again.
I was please to see one staff of music running across the page,
but also noted that the staff ended early in the measure and near the
end of the page and with no bar line. It occurred to me that if the
measure were completed, it would overreach the end of the page by a
large amount and that might have been the reason that the laserwriter
gave up on it. So the question is, what can I do to correct this ?
Is the music intended to run across an 8.5" by 11" page ? Or was it intended
to run in "landscape mode",with the page rotated 90 degrees ? And if so,
how does one do that in TeX ? Has anyone else had this problem and if so
how did they deal with it ? Also, it occurs to me that perhaps mtex
has been improved since I obtained it. How can one find out about
current versions ? When I looked at the file mtexdemo.tex, I didn't see
any numbers I could conveniently change to make the output smaller and
perhaps fit on the page. It seems a shame to have come so far and to
be held back at the last step by such a silly little problem.
I welcome your comments and suggestions. I felt it was appropriate to
ask about it here because this is where I first learned about mtex.
Allan Adler
ara@lom1.math.yale.edu
------------------------------
Date: Thu, 1 Feb 90 22:07:34 EST
From: "Steven R. Newcomb" <srn%cmr@edu.ufl.cis.bikini>
Subject: X3V1.8M
To: Music-Research <Music-Research%uk.ac.oxford.prg@uk.ac.nsfnet-relay>
X3V1.8M MUSIC IN INFORMATION PROCESSING STANDARDS (MIPS) COMMITTEE
operating under the rules and procedures of the
American National Standards Institute
X3V1.8M Secretariat:
c/o Larry Austin, President
The Computer Music Association
P. O. Box 1634
San Francisco, California 94101-1634 USA
MEETING NOTICE, CALL FOR PAPERS, AND DRAFT AGENDA - TWELFTH MEETING
MEETING NOTICE:
Meeting times:
Wednesday, February 28, 1990, 10:00 AM - 5:00 PM.
Thursday, March 1, 1990, 9:00 AM - 5:00 PM.
Friday, March 2, 1990, 8:30 AM - 5:00 PM (Morning session at Hypertext
User Requirements Workshop of TechDoc '90).
Saturday, March 3, 1990, 9:00 AM - 5:00 PM.
Meeting Host:
Graphic Communications Association, Marion
Elledge, Executive Director
Meeting Location:
Loews Santa Monica Beach Hotel
1700 Ocean Avenue
Santa Monica, California 90401
WRITTEN CONTRIBUTIONS
The usual mailing will be made to participants of
record on February 9, 1990. To get your paper into the
mailing, IT IS IMPERATIVE that you get the camera-ready
version into the hands of Vice-chairman Steven R.
Newcomb on or before February 5, 1990. His address is:
Center for Music Research, School of Music, Florida
State University, Tallahassee, FL 32306-2098 USA.
TRAVEL AND LODGING
Hotel Accommodations
The most convenient place for participants to stay
will be at the Loews Santa Monica Beach Hotel,
1700 Ocean Avenue, Santa Monica, CA 90401. The
only luxury beachfront hotel in Los Angeles, the
Loews Santa Monica Beach Hotel is located 8 miles
north of Los Angeles International Airport. The
host of the meeting, the Graphic Communications
Association (GCA), is having a conference, "Tech-
Doc Winter '90," currently with the X3V1.8M meet-
ing; participants in the X3V1.8M meeting may enjoy
the special GCA conference rate of $112/night,
single/double, plus 10% tax. Reservations can be
made by calling the hotel directly at 213/ 458-
6700 and identifying yourself as a GCA registrant.
(The GCA is waiving conference registration fees
for X3V1.8M participants so that X3V1.8M may also
participate in the TechDoc Hypertext Workshop on
Friday morning.) The cut-off date for accommoda-
tions is January 28, 1990.
Travel Arrangements - Air
It is recommended that you fly to Los Angeles
International Airport (LAX), which is only 8 miles
away from the meeting site. GCA has negotiated a
special fare with American Airlines that can save
you 45% off regular coach fare or 5% off the
lowest American promotional fare. Call American's
tool free number, 800/433-1790 (in Texas 800/792-
1160) and give the operator the GCA STAR file
number S-09Z0GV. Also inquire about reduced rates
on rental cars. You may also call Columbia
Travel, GCA's official agent, to make your travel
arrangements at 800/822-3399 (in Virginia
703/243-2900). Both will book you on the most
direct route with this special fare or the lowest
fare possible.
ABOUT OUR HOST, THE GRAPHIC COMMUNICATIONS ASSOCIATION (GCA)
The Graphic Communications Association organizes
several conferences each year intended to inform and
serve the needs of the entire community of publishers
and the systems makers who serve them. The GCA is par-
ticularly interested in promoting the development of
powerful standards for the representation of various
kinds of documents. In the TechDoc '90 conference, the
emphasis will be on the needs of publishers of techni-
cal documents.
More and more technical documents are hypertexts. The
GCA believes that the MIPS committee's developing
time-based hyperdocument standard, "HyTime," an out-
growth of its Standard Music Description Language
(SMDL) work, represents progress in the development of
a standard for hypertext representation. (Indeed,
HyTime is the only developing hyperdocument standard
that has become a written public document in the con-
text of an ANSI activity.) Therefore, the GCA is
pleased to provide the meeting space in Santa Monica,
and to invite X3V1.8M participants to its hypertext
workshop at no charge.
NOTES TO NEW PARTICIPANTS/OBSERVERS:
1. Prospective members and observers are welcome at
any time to participate in the current technical
work of the committee. (You can be most effective
in conveying your viewpoint if you can present it
in the context of the current work -- in other
words, please be familiar with X3V1.8M/SD-6, SD-7
and SD-8. If you don't have these, they can be
obtained for a nominal charge from the X3V1.8M
Secretariat.) New participants are also urged to
obtain and read ISO 8879 (Standard Generalized
Markup Language). ISO 8879 is not obtainable from
the committee's secretariat; it can be obtained
from Graphic Communications Association, 1730
North Lynn Street, Suite 604, Arlington, Virginia
22209-2085, for $67.50 (156 pp.). You should also
obtain International Standard ISO 8879:1986/Amend-
ment 1 from the same organization.
2. As usual, a portion of the second day's meeting
(Thursday) has been set aside for persons who wish
to address the committee on topics of their own
choosing, relating to the subject matter or metho-
dology of the committee's work.
3. New participants are asked (but not required) to
inform Charles Goldfarb (c/o Debbie Perez, IBM
Almaden Research Center, 408/927-2577) or Steve
Newcomb (Florida State University Center for Music
Research, Tallahassee, FL 32306-2098, 904/644-
5786) if they plan to attend.
DRAFT AGENDA:
Wednesday
Administrative matters, including: Opening, Appro-
val of Agenda, Attendance (including introduction
of new participants). Review of modularization of
HyTime from SMDL. Review of how SMDL applies
HyTime. Review of SMDL, including the pitch model
and chord gamuts. Review Disposition of Written
Comments document from last meeting.
Thursday
Approval of Draft Minutes of the October, 1989
meeting, Chairman's Report, Related Activities &
Liaisons. Consideration of input on HyTime from
the "Room 705 Ad Hoc Group" at the Hypertext Stan-
dardization Workshop of the National Institute of
Standards and Technology (NIST) (January 16-18,
1990). Technical work to include reviews of newly
contributed documents.
Friday
(8:30 AM - noon:) Joint session with GCA TechDoc
'90 Workshop on Hypertext User Requirements.
(After noon:) technical work, especially consider-
ing comments made during the morning session.
Saturday
Technical work. Disposition of written comments.
Schedule of future meetings. Adjournment.
------------------------------
End of Music-Research Digest