daemon@bartok.Eng.Sun.COM (11/26/89)
Music-Research Digest Sun, 26 Nov 89 Volume 4 : Issue 73
Today's Topics:
Info on workstations wanted
newsletter no. 28 of the ICTM Study Group
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Date: 26 NOV 89 11:30 CET
From: U7F01AA@EARN.DM0LRZ01
Subject: Info on workstations wanted
To: MUSIC-RESEARCH@UK.AC.OXFORD.PRG
Dr. Hans Strasburger Computer Music Studio
Inst. f. Med. Psychologie c/o EDV, Univ. Salzburg
Goethestr. 31 Hellbrunnerstr. 34
D-8000 Muenchen 2 A-5020 Salzburg
F R G Austria
email: u7f01aa @ dm0lrz01.bitnet
For our studio upgrade we are looking for a new - workstation or
mini - platform for B. Vercoe's CSound music synthesis compiler.
Who knows of portations and groups with similar interests?
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Date: Fri, 17 Nov 89 10:46:08 GMT
From: Schaffrath <JMP100@EARN.DE0HRZ1A>
Subject: newsletter no. 28 of the ICTM Study Group
To: Stephen Page <SDPAGE@UK.AC.OX.PRG>
Essen, November 9, 1989
STG-meeting in Marseille: 28th Sept. - 2nd October
__________________________________________________
The 1990 STG-meeting has been prepared by Bernard Bel. One of the
topics suggested is the automatic transformation of individual
music-codes, and one of the more specific suggestions consists of
transformations from and into MIDI-standard-files.
The meeting is also supposed to host some members of the STG on
Analysis. So we hope to read some more suggestions from this
side. But everyone is invited, of course.
It is of great importance for Bernard to get at least a rough
idea of the estimated number of participants. So we ask our rea-
ders to inform him immediately if they intend to come. Everything
else can wait. Those connected to e-mail should write to
bel@frmop11.bitnet
Everyone else is kindly requested to write the one sentence, "I
wish to participate in the 1990 meeting of the STG on Computer-
aided Research" (Sept. 28 to Oct. 2) to:
Bernard Bel, GRTC, CNRS, 31 chemin J. Aguier, 13402 Marseille
Cedex 9, FRANCE
Bernard has timed the meeting so that the Analysis-members can
join directly from their meeting in Spain and so that everyone
can take part in the following conference (see below). Some of it
will deal with socio-anthropological aspects of contemporary mu-
sic, and the interaction between contemporary music and traditio-
nal music systems. Prof. John Blacking and Dr. Jim Kippen have
been invited to chair panel discussions on these topics.
CALL FOR PAPERS AND MUSICAL WORKS
_________________________________
Second International Conference:
"Musical Structures and Information Technology"
- Analysis and Composition -
______________________________________________
3 - 6 October 1990
Bastide de La Magalone, Marseille (France)
______________________________________________
ICTM STUDY GROUP: INFO * 28 * p. 2
Co-sponsored by:
Laboratoire Musique et Informatique de Marseille (MIM)
Centre de Recherche en Sciences de la Musique a
l'Universite de Provence (CRSM)
CPMA Sud-Musiques
______________________________________________
Major areas (may be extended):
1. Theory and methodology of musical analysis and
composition (representation of the thought processes of the
analyst and the composer, etc.)
2. Modelling and formalising analysis and composition
(transcription, symbolic or logic representations, grammars
and automata, representations of sound, structure, time,
etc.)
3. Computer-aided composition and analysis
4. Expertise (analytical and compositional expertise,
procedural or rule-based approaches, expert systems,
machine learning, parallel distributed processes,
connectionist models, etc.)
5. Music and Humanities (cognitive psychology,
perception, memorization, anthropological approaches,
semiotics, etc.)
______________________________________________
Performance of musical works:
Priority will be given to musical works based on
compositional concepts related to one of the major areas of
the Conference. Technical facilities available for
performance include electroacoustic equipment, a chamber
music orchestra and SYTER (interactive real-time
synthesizer).
______________________________________________
Official languages:
French and English. Simultaneous translation facilities will
be made available to speakers and to participants.
______________________________________________
Important dates:
15 Nov. 1989: extended abstracts of papers (approx. 600
words) or information about musical works (compositional
concepts and technical requirements for its performance)
should be submitted.
15 Jan. 1990: notification of acceptance or rejection.
15 May 1990: final versions of papers.
______________________________________________
Contact addresses as above:
tel. (033) 91 50 03 75
______________________________________________
Scientific Committe:
Jean Paul ALLOUCHE (France)
Mira BALABAN (Israel)
Mario BARONI (Italy)
Francois BAYLE (France)
Bernard BEL (France)
John BLACKING (UK)
Lelio CAMILLERI (Italy)
Helene CHARNASSE (France)
Marc CHEMILLIER (France)
Francois DELALANDE (France)
ICTM STUDY GROUP: INFO * 28 * p. 3
Giovanni DE POLI (Italy)
Roberto DOATI (Italy)
Marcel FREMIOT (France)
Pascal GOBIN (France)
Jim KIPPEN (Canada)
Otto LASKE (USA)
Marc LEMAN (Belgium)
Christoph LISCHKA (FRG)
Alan MARSDEN (UK)
Andre MOURET (France)
Michel PHILIPPOT (France)
Guy REIBEL (France)
Andre RIOTTE (Belgium)
Bernard VECCHIONE (France)
______________________________________________
--> The Proceedings of the First International Conference
"Musical Structures and Information Technology"
(Marseille 1988, in French) are available from MIM.
New Members
___________
Since the Schladming conference there are more Austrian, Italian,
German, Russian, Israelian, Portuguese, French, Mexican and Eng-
lish readers. We hope to activate them some time soon...
Paola Pacetti (University "La Sapienza", Roma) has agreed to dis-
tribute our newsletters to the Italian snail-mail society. Since
Italian post has turned out to be simply incredible, I hope this
means improvement. For fast contacts please ask Lelio Camilleri
in Firenze who is on e-mail.
Some news about Asksam
______________________
Since the new version (4.2) handles graphics, one can also "sto-
re" Staff-Notation or have it printed together with the results.
The most attractive change is a kind of concatination: One can
now search for the same pattern in different databases one after
another automatically. This is more efficient since one does not
have to wait too long for an answer but also can browse complete
results. We will therefore try to make database packages (pro-
bably according to regions) not larger than 1,2 MB, i.e. have
them more portable. - This means also that identical paragraph
labels in different databases, such as LIED and ETHNO, can be
used for efficient searches. These changes are incomplete, howe-
ver, because one cannot save the results on disk in this case.
Since the Hypertext functions have become more elaborate, we are
checking a way of further using our synonym-dictionary for que-
ries. The list of synonyms forms a separate database and one
line within this database functions as a question. Some problems
again remain unsolved. Because the logic "or"- connectors count
only one more word and not as many as one would need for syn-
onyms, it is necessary to program many synonym requests. The pro-
gram, however, must still be stored in the respective database
ICTM STUDY GROUP: INFO * 28 * p. 4
and does not, in this kind of "Concatination Mode", examine any
of the other database. Since we have stored more than 400 syn-
onyms, it is simply unpractical to store them in each single, for
instance regional, database.
Other disadvantages can be compensated by filling in a certain
number of empty programs in the beginning of every database.
Dissertation on changing sound concept in Chinese music
_______________________________________________________
Udo Will has finished his Ph.D. thesis between the Universities
of Bielefeld and Essen, FRG. The title is "Destroying the Tiao",
the subject is mainly Guzheng playing.
There are some reasons to announce this for our STG:
1. The aspect of representation: Will proves that tone- flexions
in Chinese music are no ornaments but semantic and syntactic
units which are neither fully represented in cypher- or staff-
notation nor in computer codes. He demonstrates by statistical
means the use of such flexions can as well be a signifyer for
regional as well as for piece-bound styles (so even within
Chinese music there is no such thing as World-Music!).
2. Different tunings can also signify different regional styles.
Will examined 12 different Chinese performers and reconstruc-
ted scales via sampling methods. He can plausibly explain We-
stern influences by this method compared to age and geographic
origin of the respective performer.
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End of Music-Research Digest