=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== M U S I C T H E O R Y O N L I N E A Publication of the Society for Music Theory Copyright (c) 1995 Society for Music Theory +-------------------------------------------------------------+ | Volume 1, Number 2 March, 1995 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@boethius.music.ucsb.edu or to mto-manager@boethius.music.ucsb.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.95.1.2.ann 1. Stanford University CCRMA Summer Workshops 1995 2. Computer Music Journal 19:1 (Spring, 1995) 3. International Semiotics Institute, Toronto Semiotics Research Unit Summer School of Semiotics 4. Music Theory Midwest and Society of Composers: Joint Conference 5. Colorado College Summer Session on Wagner's Ring -------------------------------------- 1. Stanford University CCRMA Summer Workshops 1995 >>> Introduction to Psychoacoustics and Psychophysics --- With emphasis on the audio and haptic components of virtual reality design. """""""""""""""""""""""""""""""""""""""""""""""""""""""""" June 26 - July 8, 1995; Fee: $800 Two weeks instruction and laboratory. Limited to 15 participants. Instructors: Brent Gillespie, Craig Sapp. This course will introduce concepts and apply tools from cognitive psychology to the composition of virtual audio and haptic environments. In particular, the salience of various auditory and haptic phenomena to the perception and performance of music will be examined. Morning lectures will cover relevant topics from acoustics, psychology, physics and physiology. Principles of speech, timbre, melody, pitch, texture, and shape perception will be used to tailor virtual objects to be convincingly touched and heard. Guest lectures by eminent researchers and entrepreneurs working in the fields of psychoacoustics and psychophysics will be featured. Afternoon labs will provide practical experience through a set of human subject experiments. In addition to sound synthesis tools, various haptic interfaces will be available. >>> Introduction to Algorithmic Composition """""""""""""""""""""""""""""""""""""""""""""""""""" July 10 - July 21, 1995; Fee: $800 Two weeks hands-on instruction. Limited to 20 participants. Instructors: Heinrich Taube, Fernando Lopez Lezcano, Tobias Kunze, Nicky Hind. This course introduces basic principles and techniques of algorithmic composition and covers topics such as data representation, techniques employing random selection, enveloping, algorithmic editing, pattern generation and scheduling. Sound synthesis as used in course examples will include MIDI, the (realtime) Music Kit and (non-realtime) Common Lisp Music and Common Music Notation. The course will be taught using the Common Music / Stella environment on NeXT workstations and on Macintoshes using the a newly developed graphical interface. The afternoon(morning) labs will be hands-on spectral and physical modeling using software such as SMS, MusicKit, SynthBuilder, and simple C-Code examples. The Yamaha synthesizers to be used in the course will include the VL-1 and SY-77. All source code and documents from the workshop including the graphic interface are free to take. No prior programming experience is assumed. >>>> Advanced Projects in Algorithmic Composition """""""""""""""""""""""""""""""""""""""""""""""""""""""""" July 24 - August 4, 1995; Fee: $800. Topics are continued from the first course but emphasis is placed on developing programming skills while working on individual projects of the student's own choosing. [Students may take the full 4 week course at a reduced tuition rate of $1400.] >>> Digital Signal Processing for Musicians: Spectral and Physical Models """"""""""""""""""""""""""""""""""""""""""""""""" July 24 - August 4, 1995; Fee: $1200. Two weeks instruction. Limited to 15 participants. Instructors: Xavier Serra, Perry R. Cook. This course will cover analysis and synthesis of musical signals based on spectral and physical models. The course will be organized into morning lectures covering theoretical aspects of the models, and afternoon labs. The morning lectures will present topics such as Fourier theory, spectrum analysis, the phase vocoder, digital waveguides, digital filter theory, pitch detection, linear predictive coding (LPC), and various other aspects of signal processing of interest in musical applications. The afternoon labs will be hands-on spectral and physical modeling using software such as SMS, MusicKit, SynthBuilder, and simple C-Code examples. Familiarity with engineering, mathematics, physics, and programming is a plus, but the lectures and labs will be geared to a musical audience with basic experience in math and science. Most of the programs used in the workshop will be available to take. >>> Music Printing with Small Computers using SCORE """""""""""""""""""""""""""""""""""""""""""""""""""""" July 10 - July 21, 1995; Fee: $700. Two weeks instruction. Limited to 8 participants. Instructor: Leland Smith. This course will cover the details of the use of the SCORE software program for the creation of publication-quality music typography on PC compatible computers. Emphasis will be placed on the production of individual participant's projects. ANNUAL SUMMER CONCERT """"""""""""""""""""""""""""""""""" The annual concert of new music by CCRMA composers will take place during the Summer Workshops. It will be held in Frost Outdoor Amphitheater at Stanford on July 20, 1995. ADDITIONAL INFORMATION """"""""""""""""""""""""""""""""""" Housing costs are not included in the course fee. Campus housing is available through the Stanford University Conference Office. No academic credit is offered for participation in the workshops. FOR APPLICATIONS CONTACT: """"""""""""""""""""""""""""""""""" CCRMA Summer Workshops Department of Music Stanford University Stanford, CA 94305-8180, USA. Phone: (415) 723-4971. Fax: (415) 723-8468. E-mail: aledin@ccrma.Stanford.EDU ======================================================= 2. Computer Music Journal 19:1 (Spring, 1995) Computer Music Journal 19:1--Spring, 1995 Title: Synthesis and Transformation Front cover: Photo from the opera "Rasa" by Sirish Korde Back cover: Graph of the Earth's magnetic field from 1961 Contents ---------------------------------- About This Issue Editor's Notes: A Time-oriented Taxonomy of Computer Music--Stephen Travis Pope Letters Announcements News ---------------------------------- Interview An Interview with Charles Dodge--Ed M. Thieberger ---------------------------------- Machine Tongues Machine Tongues XVIII. A Child's Garden of Sound File Formats--Stephen Travis Pope and Guido Van Rossum ---------------------------------- Composition and Performance in the 1990s Performance Practice in Computer Music--Mari Kimura ---------------------------------- Synthesis and Transformation Ten Criteria for Evaluating Digital Synthesis Techniques--David A. Jaffe Fractal Interpolation Waveforms--Gordon Monro ---------------------------------- Reviews Events Synthese 1994: The 1994 Bourges Festival International de Musique Electroacoustique - Bourges, France, 3-11 June 1994--David Keane Technology and the Composer: The Continuing Tradition of Music Composed for Tape - Luxembourg City, Luxembourg, 12-15 June 1994, College Park, Maryland, USA, 10-12 November 1994--Brian Belet Publications David Butler: The Musician's Guide to Perception and Cognition--Stephen W. Smoliar Steven R. Holtzman: Digital Mantras-The Languages of Abstract and Virtual Worlds --Donna Marie McCabe George E. Lewis: Voyager--Zane East Sanjit Mitra and James Kaiser, editors: Handbook of Digital Signal Processing--Allesandra Missoni Recordings Bruno Degazio, Gustav Ciamaga, John Celona, Robert Del Buono, Campbell Foster, and John Free: The Devil's Staircase: Composers and Chaos--Jason D. Vantomme David Mott, John Celona, Bruno Degazio, and James Tenney: Sound Pressure: Pressure Points--James Harley Shirish Korde: Rasa, Tenderness of Cranes--Thomas DeLio Giuseppe Englert: A Portrait--Martin Hoff Products Performer and Vision: A Comparative Review of Two Macintosh-based Sequencers--Alan Belkin Ultrasound Max Digital Audio and MIDI Card for Windows--Joseph Rothstein ---------------------------------- Products of Interest New Product Announcements Instructions to Contributors ---------------------------------- Computer Music Journal CD Program Notes ---------------------------------- About This Issue This issue of "Computer Music Journal" opens several new topics and features, and also touches on the focal points of recent interest. The Editor's Note and the response letters continue the discussion on basic definitions of the field by proposing a working taxonomy based on a time scale. The first feature article is an interview of composer, teacher, and computer music pioneer Charles Dodge by Ed M. Thieberger, a Ph. D. student at Columbia University, where he is writing a dissertation on the history of computer music in the USA. Dodge takes the opportunity to remember the early days of computer music in the New York/New Jersey area, and to describe his work including his use of speech as source material. The "Machine Tongues" article presents the topic of the design and implementation of sound file management systems. It introduces the issues in the field, and surveys many of the currently popular systems. The topic of the previous two issues--composition and performance in the 1990s--is addressed here in the form of a detailed article by internationally acclaimed violinist and composer Mari Kimura on modern performance practice for instruments and electroacoustics. The topic of--synthesis and transformation--is raised again in two articles. David Jaffe's article presents a series of criteria for judging digital synthesis techniques based on their musical flexibility and the properties of their control streams. This text could be placed under either of the topics of composition and performance in the 1990s or synthesis and transformation because it addresses the musical relevance of technical details of a number of popular sound synthesis techniques. Gordon Monro has written a simple yet elegant software package for generating wave form tables via fractal interpolation. His article describes the theory behind the technique, discusses its implementation and output, and evaluates its utility in a number of musical applications. The reviews section consists of an even dozen contributions, including very interesting discussions of recent publications and recordings, and a comparison of two popular Macintosh-based software MIDI sequencers by Alan Belkin. The lengthy section of new product announcements presents a broad sampling of products of interest collected by Curtis Roads. This issue also marks the release of the first Computer Music Journal CD, replacing our annual "floppy" sound sheets with a digitally mastered CD. The volume 19 CD contains sound and music examples relating to articles in this and recent issues, and also from the sound sheets of volumes 15-18, making it a "5-year collection" of Computer Music Journal music. Cover Description Text Front cover: The photograph on the front cover shows a scene from the production of Sirish Korde's chamber opera Rasa, the recording of which is reviewed by Thomas DeLio in this issue of Computer Music Journal. Back cover: A portion of a Bartels diagram displaying fluctuations in the Earth's magnetic field for the interval 1 January - 4 March, 1961. The data depicted in the diagram served as the basis for composer Charles Dodge's work Earth's Magnetic Field. Reprinted from Bulletin No. 18 of the International Association for Geomagnetism and Aeronomy, 1961. --------------------------------------------------------- Computer Music Journal Volume 19 (1995) Compact Disc Notes Contents CMJ Volume 19 1. Rick Taube Gloriette for John Cage--4:20 2. Tamas Ungvary Fingerprint #2--3:11 3. Ludger Bruemmer Excerpt from La cloche sans vallees--3:00 4. Mari Kimura--Performance excerpts--3:00 CMJ Volume 18 5. D. Gareth Loy: Blood from a Stone--4:30 6. Barry Truax: Granular Time-shifting and Transposition Composition Examples--6:10 7. Andrew Horner, James Beauchamp, and Lippold Haken: FM Matching Sound Examples--2:10 CMJ Volume 17 8. Perry R. Cook: SPASM/LECTOR Sound Examples--2:54 9. James Tenney: Collage #1 ("Blue SuedeS)--3:22 10. Neil B. Rolnick: Macedonian AirDrumming (excerpt)--3:00 11. Denis Smalley: Wind Chimes (excerpt)--3:40 CMJ Volume 16 12. Amnon Wolman: FORJOHN (excerpt)--3:30 13. Jean-Claude Risset: Echo--3:15 14. Paul Lansky: The Sound of Two Hands (excerpt)--3:50 15. Clarence Barlow: OTOdeBLU--3:30 CMJ Volume 15 16. Charles R. Sullivan: Extended Electric Guitar Timbres--2:42 17. Xavier Serra and Julius O. Smith, III: Spectral Modeling Synthesis Examples--3:32 18. Peter S. Langston: Composition Examples: Incidental Music--3:26 19. Michael Gogins: Composition Examples: Iterated Functions Systems--3:00 Peter S. Langston: Reprise--0:30 ----------------------------------------------------- CD Program Notes Index 1--4:20 Heinrich K. Taube: Gloriette for John Cage Gloriette for John Cage is a four minute algorithmic composition for mechanical organ written in honor of John Cage, who died in 1992. The work was composed for the "Busy Drone" organ at the Stedelijk Museum in Amsterdam. This organ reads a large cardboard score similar in some respects to a piano roll. Though the physical properties of the score limit both the length and texture of a work, the opportunity to combine modern digital algorithmic composition with the ancient organ (itself a technological wonder) was simply too inviting to pass up. In keeping with the late composer's interest in aleatoric music, the main algorithm in the work uses chance processes in which the likelihood of the musical notes C A G E occurring out of a background of G dorian gradually increases as a function of time, causing the composer's name to slowly emerge to the forefront. The rhythmic mensuration and number of voices are similarly inspired by the composer's name. Index 2--3:11 Tamas Ungvary: Fingerprint No. 2 Fingerprint No. 2 is one of a number of impromptus created out of enthusiasm when Roel Vertegaal and Tamas Ungvary got together in August 1993 in Vienna to try out a beta version of the Intuitive Sound Editing Environment (ISEE), discussed on pages 21-29 of Computer Music Journal 18:2. In these impromptus the border between the church organ and computer music domains seems to fade. This piece was edited out of several spontaneous recording sessions. During those recording sessions, two Sentographs (isometric joysticks with 3 degrees of freedom, developed out of Clynes' 2-D version by the University of Uppsala in Sweden with Alf Gabrielsson and Tamas Ungvary) were connected via a FaderMaster to an Apple Macintosh IIci running Max and ISEE, which were connected by Apple's MIDI Manager to one another and to a Yamaha SY99 synthesizer. Max was running an existing composition environment by Tamas, using one Sentograph output to generate notes and chords according to a selection of scales, a second for dynamics and a third for pitch bend control. The remaining three Sentograph outputs were used to change the Overtones, Brightness and Articulation parameters of a selection of Open Labial, Lingual and Compound organ instrument spaces created by Ernst Bonis. These organ instrument spaces were implemented on the SY99, respectively using waveshaping, FM and complex waveform additive synthesis. The most important ISEE parameter, Overtones, altered the phase of the waveshaping transfer function in the Open Labial spaces, the c:m ratio in the Lingual spaces and the complex waveforms used in the Compound space. Brightness controlled the input function amplitude and the pitch of the inharmonic organ 'spook' in the Open Labial spaces, the modulation index in the Lingual spaces and the low-pass filter cutoff frequency in the Compound space. Articulation controlled the harshness of the attack by changing the 'spook' level and the envelope attack rates. All parameter information was processed in real-time by the SY99. The various instrument spaces could instantly be accessed at random from the keyboard. Fingerprint No. 2 exemplifies what two finger tips, moving together in 6 degrees of freedom, can get up to, in a well-structured way controlling over 30 parameters at once in real-time. We hope it also demonstrates what regular MIDI hardware is capable of, given the right tools. Index 3--3:00 Ludger Bruemmer: La cloches sans vallees (excerpt) The idea of a "cantus firmus" using an Gregorian melody as a bass line for a new composition is the model for "La cloche sans vallees." In the same way that the cantus firmus uses an already existing melody the piece "La vallee des cloches" from the cycle "Miroir" composed by Maurice Ravel is used as the source for the new composition. It is the intention to put a new structure above the source piece so that an interaction between the original piece and the algorithmically determined parameters of the composition is developed. This results in a mixture between different time concepts; the listener switches in the process of perception between the algorithmic level and the level of the source piece depending of what is more significant. For example in the case that sound grains are long enough and not heavily processed, the listener recognizes the source sound. But if there would be a ritardando of short grains he would perceive the structure of the algorithm instead. The most important algorithmical structure is the ritardando and accelerando (slowing down and speeding up). The first 560 seconds of the piece were completely transposed up 7 times until this time-window, the transposition, collapses into a click. Beginning with this click a ritardando which opens up the small time window is performed exploring its new contents. In the middle of the piece a quote appears as a mirror (original plus a cancer, reflecting the time continuity) referring to the cycle "Miroir" and to the symmetric formal structure of the source piece. The signal processing techniques applied to the source sounds are reduced to simple processes: pointer operations, forward backward reading and sampling rate conversion. The piece was composed 1993 as the last one of a trilogy using compositions of Maurice Ravel. It was generated at the NeXT net of the Center for Computer Research in Music and Acoustics (CCRMA) at the Stanford University with William Schottstaedt's Common-Lisp-Music and Rick Taube's Common-Music as well as with Paul Lansky's RT mixing program. Index 4--3:00 Mari Kimura: Two Composition Examples U (The Cormorant) by Mari Kimura (excerpt) In January of 1991, I saw pictures of cormorants in the Persian Gulf trying to shake the oil off their bodies. A constant feeling of urgency about the global environment, anzd probably my reflections on the subject effected the piece. I imagine kinds of sounds that I usually do not identify with myself playing the violin. I try to merge the timbre and the movement of the sounds of my violin with the electronic sounds very carefully. Electronic sounds are created using YAMAHA TG77. Synchronisms No.9 for violin and tape by Mario Davidovsky (excerpt) In this work, the violin part makes use of instrumental gestures reminiscent of Romantic, heroic violinistic virtuosity, although the work's rhythmic, harmonic, and melodic language are very much consistent with the composer's own characteristic Rcontemporary languageS. Davidovsky was the director of Columbia University's Electronic Music Center from 1981-1994. Synchronisms No.9 was commissioned by the Massachusetts Council of the Arts and Humanities, and the tape part was realized at the MIT Media Laboratory and Columbia University's Electronic Music Center. Index 5--4:30 D. Gareth Loy: Excerpt from Blood from a Stone for Mathews electronic violin and interactive computer-controlled synthesis system (1982-1992), violin performed by Janos Negyesy. Blood from a Stone is a live-performance piece for violin and interactive computer-controlled synthesis. It began a decade ago with the building--from scratch--of an interactive performance system around a Mathews electronic violin, including a custom-built violin pitch-detector. This was in the days before MIDI. At a formal level, it is an exploration of a taxonomy of relationships between composer, performer, and interactive, real-time computer system. The synthesizer accompaniment is generated live during performance by transforming musical gestures captured from the electronic violin. The piece is dedicated to Janos Negyesy, my friend--and through his consummate artistry, the most eloquent spokesman for my music. The title is dedicated to my brother, T. H. Loy, whose recent work includes extracting Neanderthal DNA from the blood on ancient stone tools. Blood from a Stone appears on the CDCM CD The Virtuoso in the Computer Age II; it was reviewed in the previous issue of Computer Music Journal and was the inspiration for the drawing on the cover of this issue. Index 6--6:10 Barry Truax: Examples of pitch and time transformations using real-time granular synthesis techniques These sound examples accompany the article "Discovering Inner Complexity: Time-shifting and Transposition with a Real-time Granulation Technique" that will appear in Computer Music Journal 18:2. (1) Excerpt from the opening of The Wings of Nike (1987) using fixed granulation of two pairs of phonemes from male and female voices--0:30 minutes. (2) Material for the "Ocean" movement of Pacific (1990); original ocean waves cross-faded with a time-stretched version that is gradually low-pass filtered--1:15 minutes. (3) Excerpt from Dominion (1991); a time-stretched train whistle leading to three blasts from a ferry horn (the last of which is stretched), mixed with a stretched steam whistle--0:30 minutes. (4) Source material for Basilica (1992) and the opening of the work using both time stretching and harmonization (adding versions one octave lower and a twelfth higher than the original)--0:12 and 1:23 minutes. (5) Material for Song of Songs (1992); the text "I am the rose of Sharon" is transposed down by a fourth, an octave, and two octaves, first with a slight degree of time-stretching, followed by a sudden jump to a 50:1 stretching ratio--0:45 minutes. (6) Excerpt from the "Evening" movement of Song of Songs (1992) showing granulation and time-stretching of male and female voices accompanied by the granulated sound of a fire crackling and a time-stretched monastery bell--0:53 minutes. Index 7--2:20 Andrew Horner, James Beauchamp, and Lippold Haken: Sound examples of FM parameter matching using genetic algorithms These sound examples accompany the article "Machine Tongues XVI: Genetic Algorithms and their Application to FM Matching Synthesis" that appeared in Computer Music Journal 17:4. Using this technique, the "optimal" parameters for FM synthesis are derived to match a given source sound iteratively using so-called genetic algorithms. For each instrument used here as an example, the orginal tone is played first, followed by the FM reconstructions using one, three, and five FM carriers, respectively. The test instruments demonstrated here are trumpet, oboe, tenor voice, viola, and guitar. Index 8--2:54 Perry R. Cook: Sound examples from the Spasm, Lector and Singer programs These sound examples accompany Perry Cook's article in this issue of Computer Music Journal describing his Spasm, Lector and Singer physical model based speech and singing synthesis systems. Example 1. Phoneme synthesis: "ahh eee ooo" (repeated). Example 2. What happens if there's no pitch deviation (played once). Example 2. Fricative consonants: "fff, sss, shh, xxx" (played twice). Example 4. Diphone synthesis: "yah yoo ooee lah rah" (played twice). Example 5. Nasal diphones: "mah nah ngah mee noo" (played once). Example 6. Voiced plosives: "bah dah gah bee goo" (played twice). Example 7. Glottal interpolation: crescendo Example (played twice). Example 8. Singer code: "Sheila" (played twice). Example 9. Lector: "requiem" spoken (played twice). Example 10. Lector: "requiem" sung (played twice). Example 11. Connected singing: vocal exercise (played once). Example 12. Voice quality example: yodeling (played once). Example 13. Putting it all in context--a duet for the original (1959) Kelly-Lochbaum-Mathews "Daisy" and Singer (played once). Index 9--3:22 James Tenney: Collage #1 ("Blue Suede") (1961) This piece, long regarded as one of the "classics" of American musique concrete, was realized in the electronic music studio at the University of Illinois at Urbana-Champaign in April of 1961 using a recording of Elvis Presley's rendition of Blue Suede Shoes. It was first released on Musicworks cassette number 36 and is taken here from the CD James Tenney: Selected Works 1961-1969 reviewed in this issue of Computer Music Journal. This version is a remastering of the original analog tape master. The CD is available as ART 1007 from Artifact Records, 1374 Francisco Street, Berkeley, California 94702 USA. Copyright (c) 1992 by James Tenney. Used by permission. Index 10--3:00 Neil B. Rolnick: Excerpt from Macedonian AirDrumming for MIDI performance system and Palmtree AirDrums (1990). Performed by Neil B. Rolnick. Macedonian AirDrumming is solo performance piece using musical sources from the Balkan peninsula. While on a trip to Yugoslavia in 1989 my interest in the traditional music of the region, which I had earlier explored in the composition Balkanization, was rekindled and deepened. The samples used in Macedonian AirDrumming include rhythmic patterns and melodic fragments played by a Macedonian drum (tapan), flute (duduk), and fiddle (cemene). The AirDrum MIDI controllers provide me with a whole new set of physical gestures to transduce into musical gestures. The problem of composing physical gestures which make sense as a performer led me to design a number of different combinations of sounds and movements which have evolved as I have toured and performed the piece. This excerpt is taken from the CD Macedonian AirDrumming, reviewed in this issue of Computer Music Journal. A complete recording of Macedonian AirDrumming is available on the CD BCD 9030 from Bridge Records, Inc. GPO Box 1864, New York, New York 10116 USA. Copyright (c) 1992 Bridge Records, Inc. Used by permission. Index 11--3:40 Denis Smalley: Excerpt from Wind Chimes Wind Chimes was commissioned by the South Bay Center in London and realized at the studios of the Groupe de Recherches Musicales in Paris and the University of East Anglia in the UK, being completed in 1987. The piece is based on the chance find of a set of ceramic wind chimes whose harmonies and timbres attracted the composer. The sounds of these chimes were processed and combined with various other natural and synthesized sounds into what the composer calls "a strongly expressive narrative built around energies and gestures, materials made up of different substances, and different types of motions in space." This excerpt is taken from the CD Computer Music Currents 5, Wergo CD WER 2025-2, reviewed in this issue of Computer Music Journal and distributed through Wergo and Harmonia Mundi. Wind Chimes is also released (together with several other pieces of Mr. Smalley's), on the CD Impacts Interieurs, which is available as CD IMED 9209 on the emprientes DIGITALes label distributed by Diffusion i Midia, 4487, rue Adam, Montreal Quebec H1V 1T9 Canada. Volume 16:1 Four Compositions in Honor of John Pierce The soundsheet contains four new compositions written for John Pierce. See Computer Music Journal 15:4 "Dream Machines for Computer Music: In Honor of John Pierce's 80th Birthday," Winter, 1991. These program notes were provided by the composers. Index 12--3:30 Amnon Wolman: FORJOHN (excerpt) FORJOHN is based onfive short excerpts of the sounds of the ud playing and the singing of several Egyptian singers and performers. These were manipulated and processed using the Studer/Editech Dyaxis digital mixer at the Northwestern Computer Music Studio. FORJOHN represents my ongoing interest in the use of folk material in stylized environment. It was written for John Pierce celebrating our friendship. Index 13--3:15 Jean-Claude Risset: Echo Echo is dedicated to John Pierce. The title alludes to the first communication satellite-a vision which John Pierce turned into a milestone in the history communication. The sounds have been processed by adding delayed echoes. If the echoes are very close in time, the process yields acomb filter effect. In the piece, the "echoes" are often transposed in frequency. At the end, a clarinet motive is reverberated into a series of echoes going into nothingness. One could also say that the clarinet like sounds echo the harp-like sounds, and vice-versa. Last, the title alludes to the nymph Echo from Greek mythology, who, initially too talkative and distracting, was deprived of speech; she could then only repeat, reverberate, echo. Echo-a symbol of sound reflection-fell in love with Narcissus-fond of his own reflected image. Echo was realized in the Equipe d'Informatique Musicale of the Laboratoire de Mecanique et d'Acoustique in Marseille. The sounds of the piece were developed from three kinds of sound material: clarinet, Celtic harp, and sounds synthesized by computer using the Music-5 program (as adapted for IBM PC-compatible computers by my colleague Daniel Arfib). Thus, shortly after the beginning of the piece, clarinet sounds have been transformed by sharp resonant filtering, adding a harp-like echo, and by slowing down without pitch transposition. Next, one hears synthetic trembling sounds and ascending harmonic arpeggii-the latter generated with the help of a simple compositional subroutine. The last section, where a host of echoes dwindle away, was also realized with Music-5 (used as a processing and mixing program). Most of the sounds in the piece were transformed using the SYTER, a real-time digital audio processor designed by Jean-Francois Allouis in the Groupe de Recherches Musicales in Paris. Index 14--3:50 Paul Lansky: The Sound of Two Hands (excerpt) In my continuing interest in applying the power of high technology to the simple sounds of the world around us, I decided to make a computer percussion piece from the simplest of our carbon-based percussion instruments, the sound of two hands clapping. I used this source to create lots of different kinds of percussive sounds, emulating the sounds of hands hitting lots of different kinds of resonant objects (mostly those found in our kitchen). These sounds were processed and mixed using the cmix software package on a NeXT computer at my home and the studios of Princeton University. Index 15--3:30 Clarence Barlow: OTOdeBLU My friend and former student Georg Hajdu has done a lot of research into equal temperaments of various kinds, his particular favorite being the division of the octave into 17 equal parts. When Amnon Wolman contacted me about making a contribution to celebrate John Pierce's 80th birthday, I found the impulse to sit down and write a collection of short pieces for two interleaved pianos tuned to this 17-tone scale (with the same white keys and different black keys). It took me eight hours with my program AUTOBUSK, not counting a couple of days preparation and post-processing. At first I wanted to create a harmonic grammar involving the 7th and 11th partials, but decided for lack of time to leave it for a later l7-tone piece. The grammar here is Grameanus-based (= Glareanus + Rameau). Also, it only uses ten of the 17 tones, all available on one of the two pianos. The title is odd-could it be a reference to the computer program that was used in the generation of the piece (everything but a very short quote from the song "16 Ton[e]s" is algorithmic in origin), or perhaps to the month of its completion (October), or to the brand new octogenarian in whose honor it was written? In any case otode blu is Japanese, I am told, for "colored blue by sound" and simply came to me "out of the blue!" This recording was realized using an Akai sampler and Atari computer at the Institute for Sonology in The Hague, The Netherlands. The editors wish to thank Amnon Wolman for his co-production, and the staffs of the CCRMA Center in Stanford, California, and Anckarstrvm Records in Gothenburg, Sweden for the use of their production facilities in the preparation of the soundsheet master. Index 16--2:42 Charles R. Sullivan: Sound examples to accompany the article "Extending the Karplus-Strong Algorithm to Synthesize Electric Guitar Timbres with Distortion and Feedback" in Computer Music Journal 14(3): 26-37, 1990. These examples demonstrate the power and flexibility of the author's extensions to the well-known Karplus-Strong plucked string synthesis algorithm. Example 1. The Star Spangled Banner (1:28) (for a score example, see Computer Music Journal 14(3) pp. 70). Example 2. Two string tones from simplified versions of the algorithm-one with no decay, and one with frequency-independent decay (0:08). Example 3. Seven string tones using the full algorithm and varying parameters (0:32). Example 4. String tone demonstrating the effect of changing the delay line length during the duration of a note (0:04). Example 5. Demonstration of glissando on a bass guitar theme (0:12). Index 17--3:32 Xavier Serra and Julius O. Smith III: Sound examples to accompany the article "Spectral Modeling Synthesis: A Sound Analysis/Synthesis System based on Deterministic plus Stochastic Decomposition" in Computer Music Journal 14(4) 1990. The three parts of the examples illustrate the use of the SMS technique on string, voice and percussion timbres. Part 1. Guitar passage (1:24). Example 1. Original sound. Example 2. Deterministic component. Example 3. Stochastic component. Example 4. Deterministic plus stochastic components. Example 5. Frequency transposition by a factor of 0.3. Example 6. Frequency transposition by a factor of 0.7 with a stretching of the partials. Example 7. Time-varying glissando with a stretching of the partials. Example 8. Time-varying time scale. Example 9. Time compression by a factor of 2 with time-varying time scale and a stretching of the partials. Example 10. Time compression by a factor of 2 and frequency transposition by a factor of 0.4. Example 11. Time compression by a factor of 2 with a glissando down. Part 2. Speech phrase (1:08). Example 1. Original sound. Example 2. Deterministic component. Example 3. Stochastic component. Example 4. Deterministic plus stochastic components. Example 5. Frequency transposition by a factor of 0.6. Example 6. Compression of the frequency evolution and frequency transposition by a factor of 0.4. Example 7. Frequency transposition by a factor of 0.4 with a stretching of the partials. Example 8. Cross-fade from the deterministic to the stochastic component during the phrase. Example 9. Time compression by a factor of 3, compression of the frequency evolution and frequency transposition by a factor of 0.4. Example 10. Time compression by a factor of 3 and compression of the frequency evolution. Example 11. Time expansion by a factor of 3 of the stochastic component with a time-varying time scale. Part 3. Conga phrase (0:54). Example 1. Original sound. Example 2. Deterministic component. Example 3. Stochastic component. Example 4. Deterministic plus stochastic components. Example 5. Compression of the frequency evolution. Example 6. Compression of the frequency evolution and frequency transposition by a factor of 0.3. Example 7. Compression of the frequency evolution and frequency transposition by a factor of 2. Example 8. Stretching of the partials. Example 9. Glissando down. Example 10. Glissando up. Example 11. Time-varying mix of noise component. Example 12. Time-varying time scale. Example 13. Time-varying time scale (inverse of Example 12). Example 14. Time-varying time scale with a time-varying stretching of the partials. Example 15. Manipulation of the frequency evolution. Example 16. Manipulation of the frequency evolution (inverse of Example 15). Example 17. Time expansion by a factor of 3. Index 18--3:26 Peter S. Langston: Music examples to accompany the article "IMG/1: An Incidental Music Generator" These sound examples are taken from the CD supplement to Computing Systems, The Journal of the USENIX Association, 3(2), Spring 1990, where they are described in the article "Little Languages for Music" by Peter S. Langston. They are used here by permission of the author. The sounds were generated by commercial MIDI equipment (synthesizers, samplers and drum machines)-with the exception of the "voice" on Example 6, which was produced by a DECTalk DTC01 speech synthesizer-all driven by the author's improvisation software running on a Sun Microsystems workstation. Example 1. Samba Batucada, a classic variation of the samba generated using the DP drum pattern description language (0:12). Example 2. Empty Bed Blues, the accompaniment was generated automatically from cc-format chord charts; the lead (MIDI) vibraphone voice was played by the author (0:30). Example 3. Two Reggae Vamps, the results of executing the same MUT language script twice (0:32) Example 4. Boogie woogie, samba and bluegrass accompaniments of the same chord chart. The chord chart was generated by IMG/1 for a boogie woogie improvisation, and subsequently re-labeled (with a text editor) for samba and then bluegrass styles and re-interpreted by IMG/1. The harmonic structure of the boogie woogie is luckily appropriate for the other styles (1:02). Example 5. Drum part generated by the DDM program using the technique of stochastic binary subdivision (0:28). Example 6. Scat singing in an Indian scale, the drone was played by the author and the voice part generated using DDM (and stochastic binary subdivision) for melody improvisation (0:42). Index 19--3:00 Michael Gogins: Music examples to accompany the article "Iterated Functions Systems Music" This composition was generated using the author's software on a IBM PC-compatible personal computer and commercial wavetable MIDI synthesizer. Example 1. HEX7, this first selection is the opening two minutes of the seventh of the hexagonally symmetrical IFS systems described in the article (1:52) Example 2. SQUARE5, this is the final minute of the rectangularly symmetrical IFS system described in the article text. (1:10). --------------------------------------------------------- ___Stephen Travis Pope ___Editor, Computer Music Journal, MIT Press ___Research Assoc., Center for New Music and Audio Technologies ___(CNMAT), Dept. of Music, U. C. Berkeley ___stp@CNMAT.Berkeley.edu, (+1-510) 644-3881 =============================================== 3. International Semiotics Institute, Toronto Semiotics Research Unit Summer School of Semiotics The International Semiotics Institute and the Toronto Semiotics Research Unit are sponsoring a Summer School of Semiotics, to be held in Imatra, Finland, June 10-18, 1995. The music semiotics portion of this conference will be under the direction of Eero Tarasti (Finland), Charles Rosen (New York), Vladimir Karbusicky (Hamburg), Robert S. Hatten (Pennsylvania), Marta Grabocz (Strassbourg), and Richard Littlefield (Texas). In addition to the conference proper, there will be a 3-day trip to St. Petersburg to meet with Russian scholars of music semiotics. Other sessions of the conference will concern cultural and social semiotics, literary semiotics, and semiotics of psychotherapy. Plenary sessions will take place under the direction of Thomas Sebeok (Indiana University) and others. To receive further information about this conference (as to paper and session proposals, registration and lodging fees, etc.), contact one of the following: Eero Tarasti, Chair Dept. of Musicology University of Helsinki Vironkatu 1 00170 Helsinki Finland email: tarasti@cc.helsinki.fi Paul Forsell Assistant to Prof. Tarasti, International Semiotics Institute email: forsell@cc.helsinki.fi Richard Littlefield School of Music Baylor University Waco, TX 76798 email: Richard_Littlefield@baylor.edu ========================================== 4. Music Theory Midwest and Society of Composers: Joint Conference The sixth annual conference of Music Theory Midwest, to be held jointly with the 28th annual conference of the Society of Composers, will take place in Iowa City, Iowa on April 5-8, 1995. In addition to papers on a wide variety of theoretical and compositional topics, this conference will offer many exceptional opportunities for new music concerts, joint sessions involving composers and theorists, round-table discussions, a joint keynote address by Professor Glenn Watkins of the University of Michigan, several evening receptions hosted by the University of Iowa, and a Saturday night banquet preceding a concert by the Kronos Quartet. A complete schedule of the 14 concerts, 8 paper sessions, workshops, round-table discussions, poster sessions, receptions, and other events should be attached to this message. Registration for this gala conference is $25 ($20 for students). Tickets to the Joint Banquet on Saturday evening are $20 each, while tickets to the Kronos Quartet are $19 each. Please make out all payments to MTMW and mail along with your address, telephone, and email address to: Thomas Christensen Local Arrangements Coordinator MTMW 1995 Conference School of Music University of Iowa Iowa City, IA 52242 Hotel rooms have been reserved at the Iowa House (319-335-3513; singles $48, doubles $54), The Holiday Inn (319-337-4058; singles $65, doubles $70), and the Heartland Inn (319-351-8132; singles $38, doubles $46). The Iowa House is situated on the Iowa River in the center of the university campus, and is a 7-minute walk to the School of Music. The Holiday Inn is situated in the center of the Downtown Pedestrian Mall, and is a 5-minute ride or 20-minute walk to the School of Music. The Heartland Inn is located in Coralville (a town adjacent to Iowa City), and is a five minute ride to the School of Music. A shuttle service will be available. (Be sure to mention the MTMW/SCI conference when booking hotel rooms to secure the special conference rate; rooms will be available on a first-come service.) All of the major carriers fly into the Cedar Rapids Airport, which also serves Iowa City (20 minute drive). A shuttle will be available from the airport to Iowa City. The University Campus, in the heart of Iowa City, is located one mile south on I-80 (exit 244). For any further information, please contact me via the mailing address given above, or through the internet. Thomas Christensen Local Arrangements Coordinator Tchriste@music-po.music.uiowa.edu ---------------------------------------------------------------------------- Joint Meeting of the Society of Composers 28th National Conference and Music Theory MidWest 6th Annual Conference University of Iowa, April 5-8, 1995 Wednesday, April 5 8:00 pm SCI Concert I - Choral/Orchestral Concert Thursday, April 6 8:30-5:00 pm Registration MB Lounge 9:00-11:00 am SCI Session I - Cheryl Marshall, soprano 9:00-12:00 pm MTMW Session I - Text and Narrative Robert Snarrenberg, Washington University, chair "Attitudes Toward Female Sexuality and the Tonal Structure of Hindemith's Sancta Susanna," Jonathan C. Santore, Plymouth State College "An Analysis of Cadence Formation in the 'Introduction' of Roger Sessions's Cantata, When Lilacs Last in the Dooryard Bloom'd," William P. Pfaff, Somerville, Massachusetts "A Musical Analysis of the Fundamental Content of American English Speech and Conversation," Benjamin Boone, Ashville NC "Visions and Revisions: Dallapiccola's Concerto per la notte di Natale dell'anno 1956," Michael Eckert, University of Iowa 10:15-12:00 pm SCI Concert II Burt, Warren Recitative/Tracing Lefkowitz, David Miniature VI Tenreiro-Vidal A. Cancion de Luz Kuehn, Mikel Between the Lines Eckardt, Jason flux Taub, Bruce Lady Mondegreen's Dances Zaimont, Judith Doubles Jenni, D. Martin Per Elysios 1:30-3:45 pm MTMW Session II - Mathematics and Analysis Michael Cherlin, University of Minnesota, chair "Mathematics and Aesthetics in the Music of Xenakis," Eugene Montague, Univ of Pennsylvania "The Group Structure of Babbitt's Three Compositions for Piano," Larry Fritts, Univ. of Iowa "Microtonal Serialism in Ben Johnston's Diversion," David Loberg Code, Western Michigan University 1:30-2:30 pm SCI Concert III Decker, Pam Nightsong and Ostinato Dances Fennelly, Brian Brass Quintet van der Slice, John Solo for Trombone Worley, Daniel Incarcerating Raven Bermel, Derek Theme and Absurdities 3:00-4:00 pm SCI Concert IV - Words and Music (Writer's Workshop poets and U of I composers) 4:00-5:00 pm MTMW Session III - Sightsinging Methods Robert Zierolf, College-Conserv. of Music, U of Cincinnati, chair "A Beat-Oriented System of Rhythmic 'Solfge,'" Richard Hoffman, William Pelto, John White, Ithaca College "The Jersilf Approach: A Sightsinging Method from Denmark," Michael Rogers, Univ of OK 4:30-7:00 pm SCI Membership Meeting and Dinner 8:00-9:30 pm SCI Concert V (Duquesne University New Music Ensemble - David Stock, director) Godfrey, Daniel Two Pieces in Chiaroscuro Vali, Reza Persian Folksongs Phillips, Mark Shadow Dancing Hamilton, Bruce Kinetikos Daugherty, Michael Dead Elvis 9:30 pm Reception Clapp Lobby Friday, April 7 8:00-5:00 pm Registration Lounge 8:00-10:00 am SCI Session II - New Frontiers for Composers I. "Composers and the Internet" James Ure, chair; James Ure, Kirk Corey, William Mathews, participants II. "The Creative and Pedagogical world of CD-ROMs" Elizabeth Hinkle-Turner, chair; James Ure, Bruce Mahin, Radford University, Reynold Weidenaar, Joan Huntley, Second Look Computing, The University of Iowa 9:00-10:00 am SCI Session III - Kevin James, trombone 10:00-12:00 pm MTMW Session IV - Computers in the Classroom Timothy Koozin, University of North Dakota, chair "Computers and Multi-media in the Music Theory Classroom," Sterling Cossaboom, Robert Fruehwald, Southeast Missouri State University "Using the Guido Eartraining Curriculum Editor," John Adkins, Evangel College 10:15-12:00 pm SCI Concert VI Clapp Phan, P.Q. Banana Trumpet Games Blackburn, Philip P.P.S. Schultz, Mark Dragons in the Sky Zaimont, Judith Parable Barry, David Duo Wells, Tom Into Darkness Epstein, Paul Variations for Wind Quintet 12:00 pm SCI Executive Committee/National Council Business Lunch 12:00 pm MTMW Executive Board Lunch 1:30-2:30 pm SCI Concert VII (Northwestern New Music Ensemble - Don Owens) Yim, Jay Alan Moments of Rising Mist Schwendeinger, Laura Fable Misurell-Mitchell, Janice Cantus Interruptus Huang, Joan Yellow Land Sevyerud, Stephen Five Pieces for chamber orchestra 1:30-4:30 pm MTMW Session V - Theoretical Modeling Robert Cook, University of Chicago, chair "Knowledge-based Simulation: A Tool for Investigating Theoretical Positions," Deron L. McGee, University of Kansas at Lawrence "Toward a Theory of Sound Color in Electro-Acoustic Music," John Cuciurean, State University of New York at Buffalo "The Composite Fundamental Structure and its Manifestation in Three Songs by Schubert," John Benoit, Simpson College "The Principle of Belongingness as an Heuristic for Contour Segmentation in Webern's Op. 9, No. 6," Robert Clifford, Tucson, Arizona 3:00-3:45 pm SCI Session IV - Women and Minorities Committee 4:00-5:00 pm Kronos Quartet and Mr. Davids 4:30-5:15 pm MTMW Business Meeting 4:00-5:00 pm SCI Concert VIII Wilson, George Cornices, Architraves, and Friezes Gabel, Gerald Chansons d'Eluard Twomey, Michael Impromtos Vayo, David Border Crossing Zahler, Noel ReCollections Hoag, Charles With Mallets of Forethought 7:00-8:30 pm SCI Concert IX (UI Band and CNM) Gallagher, Jack The Persistence of Memory Rands, Bernard Ceremonial for symphonic wind band Jones, Stephen The Taciturn Phylactery Brouwer, Margaret Tolling the Spirits Thomas, Augusta The Inventions of Summer (1995) 7:00-8:30 pm Joint SCI/MTMW Session VI Panel Discussion "Theorists and Composers in the University" Barton McLean (composer, Petersburgh NY) Greg Steinke (composer/theorist, Ball State Univ., president of SCI) Stephen Peles (theorist, Washington University) David Neumeyer (theorist/composer, Indiana University, President of MTMW) 9:00-10:15 pm SCI Concert X (UI Jazz and CNM) Verkade, Gary Heterophonies Jones, David Mansanita Miss Young, Charles Nichols, Jeff The Light Fantastic Johnston, Ben Sleep and Waking Luo, Jing Jing The Mosquito 10:15 pm Reception Clapp Lobby Saturday, April 8 8:30-12:00 pm Registration Lounge 9:00-10:00 am SCI Session V - Ron George and Ben Johnston Voxman 9:00-12:00 pm MTMW Session VII - Twentieth-Century Analysis Severine Neff, College-Conservatory of Music, U of Cincinnati, chair "Modal Formations and Transformations in the First Movement of Chou Wen-chung's Metaphors," Eric Lai, Baylor University "Wedging Motion, Registral Space, and Clarity in Ruth Crawford's String Quartet 1931, Movement II," Nancy Yunyhwa Rao, University of Michigan "Formal Process and Discontinuity in Louis Andriessen's De Staat (1972-6)," Yayoi Uno, University of Colorado at Boulder "Aggregation, Assassination, and An Act of God: The Impact of the Murder of Archduke Ferdinand Upon Webern's Op. 7, No. 3," Wayne Alpern, New York, New York 10:15-12:00 pm Concert XI Corey, Kirk Three Vignettes Chambers, Evan Deep Flowers First, C.P. Black Sun French, Tania Equinox Satterwhite, Marc Time Considered Frazin, Howard Dream Pedlary Smoot, Richard Tango and Dance Hass, Jeff Violin Fantasy 12:00-1:00 pm bag lunch 1:00-2:00 pm Joint Keynote: Glenn Watkins, University of Michigan 2:00-5:00 pm MTMW Session VIII - Rhythm: Conceptions and Applications Candace Brower, Northwestern University, chair "Temporal Disjunction in Beethoven's Op. 109, First Movement," Frank Samarotto, College-Conservatory of Music, University of Cincinnati "Rhythm Equivalence-Classes: A New Approach to the Analysis of Rhythm in Schoenberg's Early Nontonal Music," Edward R. Pearsall, Madison, Wisconsin "Sieves, Sets, and Temporal Constructs in Iannis Xenakis's Psappha," Ellen Rennie Flint, Wilkes University "Rhythm As A Generator of Cohesion in Monteverdi's Romanesca Ohim dov' il mio ben," Linda Ciacchi, University of Alabama 2:30-3:45 pm Concert XII Montague Wild Nights Fritts, Larry Tetraktys Albright, William Flights of Fancy: Ballet for Organ Kilstofte, Mark LoveLost 4:00-5:00 pm Kronos Quartet and Ben Johnston 5:30-7:30 pm Joint SCI and MTMW Banquet 8:00-10:00 pm Concert XIII (Kronos Quartet) 10:00-10:30 pm Kronos audience questions 10:30-- Reception Hancher Loft ========================================== 5. Colorado College Summer Session on Wagner's Ring From July 24 through August 11 the Colorado College Summer Session will offer an interdisciplinary intesive course on Wagner's Ring. On August 5th the class will fly to Seattle and see the entire cycle. We will also take the back-stage tour and attend the symposium on August 8 with Andrew Porter, Dale Harris, Simon Williams and Alan Hollingshurst. Seattle housing arranged on University of Washington campus. Course team-taught by Carlton Gamer, composer and musicologist, and myself, a political scientist/philosopher. Guest lecturers include Ofer Ben-Amots, composer, who will discuss "the Nazi connection." Course open to students of all ages. Total cost, including tuition, all opera tickets, air fare, etc., approx $2000. To register send $100 deposit to Summer Session Office, Colorado College, Colorado Springs, CO. 80903. For more information email to mjoyal@cc.colorado.edu or to me at my Georgia address (below). Lief Carter LHCARTER@UGA.CC.UGA.EDU +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Copyright Statement [1] Music Theory Online (MTO) as a whole is Copyright (c) 1995, all rights reserved, by the Society for Music Theory, which is the owner of the journal. 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