daemon@bartok.EBay.Sun.COM (10/21/89)
Music-Research Digest Fri, 20 Oct 89 Volume 4 : Issue 63
Today's Topics:
Abstract music data structure
Announcement: Musical Structures and Information Technology
CCARH Directory now available
Ethnomusicology meeting
Staff to Solfa Conversion
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Date: 20 Oct 89 03:24:39 GMT
From: michael burroughs <burrough@edu.indiana.cs.iuvax>
Subject: Abstract music data structure
To: music-research@uk.ac.oxford.prg
I am currently working on an iplimentation of a database server based on an
abstract music datamodel. Currently the data model is complete and hopefully
the initial server software will be operational in a period of about six months
or so. This might be of interest to those doing any sort of analysis, or anything
else for that matter. If anybody is interested, let me know and I can forward
you some information.
MIKE BURROUGHS
burrough@iuvax.cs.indiana.edu
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Date: Thu, 12 Oct 89 10:32:55 GMT
From: BEL@EARN.FRMOP11
Subject: Announcement: Musical Structures and Information Technology
To: music-research@UK.AC.OXFORD.PRG
***** PLEASE CIRCULATE ... *******
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)
______________________________________________
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 address:
Laboratoire Musique et Informatique de Marseille (MIM),
36 Bd. Pardigon, F-13004 Marseille FRANCE
tel. (033) 91 50 03 75 E-mail: bel@frmop11.bitnet
______________________________________________
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)
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.
------------------------------
Date: Tue, 17 Oct 89 12:14:25 PDT
From: Eleanor Selfridge <XB.L36@edu.stanford.forsythe>
Subject: CCARH Directory now available
To: music-research@com.sun.eng.bartok
October 17, 1989
The Center's 1989 Directory is now available. It includes as
regular features news of meeetings, theses, and publications; a log
of current applications; and comparative settings by software
developers of selected musical examples (Binchois, Haydn, C.P.E.
Bach, and Brahms). The programs represented this year are
Nightingale, Oberon Music Editor, the Note Processor, Musicwriter
II, Examplekrafter, Phil's Music Scribe, Amadeus Music Software
GmbH, The Copyist, SCORE, A-R Editions, La ma' de guido, Music
Printer Plus, the Synclavier Music Engraving System, Finale, THEME,
MusPrint, Master Score, Music Manuscriptor, and Subtilior Press.
Other programs are also listed in the directory. If there is no
copy from your favorite program, it is probably because the company
did not return any samples in response to our solicitation.
This year's directory also includes a five-year cumulative
index, a list of addresses of current contributors, and brief
reports on music software for the visually impaired, artificial
intelligence and music, musical information processing standards,
musical data acquisition by optical character recognition, and
databases of musical information.
This year's directory has 177 pages, of which 54 contain
illustrations [ 2 from an optical scanning project, 3 from
transcription-and-analysis programs concerned with Byzantine
notation, and the rest from music printing programs]. The cost is
$15.00. Postage rates are $9 to Asia, Africa, Australia, New
Zealand, and South America; $7 to Europe; $2 to Canada; and free
within the US. The overseas ones go by air [postage is free if you
want surface mail overseas; please allow up to four months for
delivery].
All orders must be prepaid. Overseas orders paid by
check should be in dollars from an American bank; they can also be
paid by postal money order. Separate terms are available for bulk
orders. Send all correspondence to CCARH, 525 Middlefield Road,
Suite 120, Menlo Park, CA 94025, USA.
------------------------------
Date: 15 Oct 89 12:59:00 EDT
From: "Dr. Karl Signell; MUSC" <signell@edu.umbc.umbc2>
Subject: Ethnomusicology meeting
To: music-research <music-research@uk.ac.oxford.prg>
ETHNOMUSICOLOGY COMPUTER NETWORK MEETING
Friday, 10 November 11:45am-1pm luncheon meeting
at SEM annual conference, Cambridge, Massachusetts USA, 8-12 November 1989
(see SEM final program for place)
All interested persons invited.
Details? Questions? Call or send E-mail to
Dr Karl Signell
Center for Turkish Music
University of Maryland Baltimore County (USA)
telephone (301) 699 9411
SIGNELL@UMBC Bitnet
SIGNELL@UMBC2.UMBC.EDU Internet
------------------------------
Date: Thu, 19 Oct 89 13:32:21 BST
From: mjd6@uk.ac.aber.cs
Subject: Staff to Solfa Conversion
To: Music-Research-Request@uk.ac.oxford.prg
My name is Marcus Davage. I am a fourth year finalist at Aberystwyth
University, studying Computer Science. For my first two years at Aberystwyth, I
studied music, and was very interested in the use of compters in music research.
I attended the Computers in Music Research Conference at Lancaster university,
in April 1988, and found it very interesting (which is where I got your
addresses from).
The reason I am writing is this - for my final year, I have to do a
project, and my project is to convert music from staff notation to sol-fa
notation. The input will be handled by one student, using a graphical user
interface on a SUN Microsystem Workstation, using the Ada programming language.
I will be handling the conversion aspect. So each project can work independently
and (hopefully) be joined at the end, to produce a neat package!
The only thing that the two separate projects have in common is a
common data-structure which represents the notes on the stave, which my program
will convert into sol-fa notation (and produce an output). At the moment, we
only have a very simplistic data-structure to hold the music in - the
attributes of the notes, and so on. So any help with regards to a fairly
comprehensive data-structure (hopefully incorporating tied-notes, triplets,
changes of time- and key-signatures etc.) will be gratefully recieved.
I have a good working knowledge of sol-fa, and the basic form of
user-input will be along the lines of Aegis SONIX v2.0 for the Commodore Amiga
and Atari ST microcomputers. Any help from anyone who has attempted writing
music on the SUNs will
be greatly appreciated.
Thank you very, much, and I hope to hear from someone at least (!),
fairly soon.
Yours sincerely,
Marcus J. Davage.
mjd6@uk.ac.aber.cs
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End of Music-Research Digest