=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== 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 1 January, 1995 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@husc.harvard.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.95.1.1.ann a. League of Composers/ISCM 1995 National Composers Competition b. International Computer Music Association Software Library & Central Resource Locator c. Miles Davis and American Culture d. First International Conference on Gilles de Bins, dit BINCHOIS e. Computer Music Journal 18:4--Winter, 1994 f. Session on Fuzzy Techniques for Music Applications g. Four NEH Summer Seminars on Music h. CDMC Newsletter available on IRCAM's WWW Server -------------------------------------------------------- a. League of Composers/ISCM 1995 National Composers Competition The League of Composers/ISCM (US section) is pleased to announce its 1995 National Composers Competition. This year a winning work will receive a performance on our New York Concert Series, and will be submitted to the ISCM's World Music Days as an official US entry. The competition is open to any composer of US citizenship, except Board Members of the League/ISCM. Any instrumentation up to five players is acceptable (including solo and electronic or electro/acoustic works). There is a registration fee of $20. Deadline is January 31, 1995 for the receipt of scores and tapes. For more information, write National Composers Competition League/ISCM c/o American Music Center 30 West 26th Street #1001 New York, NY 10010 or email me at jnu1@columbia.edu (jason uechi, executive director) ******************** ***************** CALL FOR PROPOSALS The League of Composers/ISCM (US section) invites performers (soloists and chamber ensembles) to submit proposals for a League/ISCM sponsored concert during its 1995-95 season. Sponsorship includes the rental of one of New York's prime recital halls, publicity, and recording of the concert, but does not include payment for the performers. Proposals should include: a letter to the Programming committee, a proposed program (which may include alternate versions as well as electronic components), biographical information on the performer(s), and a sound recording of the performer(s) preferably including something from the proposed program. Proposals may include scores of the works, press kit material, etc. Please send proposals to the League/ISCM c/o The American Music Center 30 West 26th Street, #1001 New York, NY 10010 Proposals that are sent with a return mailer SASE will be returned, other materials will be donated to the AMC's library. For additional information: email jnu1@columbia.edu jason uechi, executive director ----------------------------------------------------------------- b. International Computer Music Association Software Library & Central Resource Locator The International Computer Music Association Software Library & Central Resource Locator In an ongoing effort to centralize information about computer-music software and to expedite coordinated progressive research in general, the ICMA is developing an online Software Library on the Internet. The Library was initiated by Roger Dannenberg of Carnegie Mellon University and is located at Dartmouth College under the joint sponsorship of Jon Appleton, Director of the Graduate Program in Electro-Acoustic Music at Dartmouth College, and the ICMA. Robert Newcomb, an independent composer/researcher, is acting as Software Librarian. The Library is stored on a Dartmouth College UNIX machine in the form of several textfiles. It is available for downloading via anonymous FTP from host Dartmouth.edu (IP Address 129.170.16.4), directory pub/ICMA- Library, by email through ftpmail, and on the WWW at URL http://coos.dartmouth.edu/~rsn/icma/icma.html. The WWW version allows for direct retrieval of files listed in the library, and navigation to a growing number of archives, forums, newsletters, and related home pages -- all accessible from a single Central Locator! These software listings are maintained for the benefit of the computer music community and in no way should be taken as an endorsement of any kind. The ICMA does not make any warranty as to the accuracy of these listings, nor does it maintain any control whatsoever over the listed software. For further information, please contact ICMA-Library@dartmouth.edu. ################## ICMA Software Library is On The Web! WWW Home Page to be Central Computer Music Resource Locator The ICMA Software Library has been upgraded, and is now available as a World Wide Web Home Page. The scope of the library has expanded to allow for direct retrieval of files listed in the library, and navigation to a growing number of archives, forums, newsletters, and related home pages -- all accessible from a single Central Locator! The URL is: http://coos.dartmouth.edu/~rsn/icma/icma.html The textfile version of the Software Library will continue to be maintained. It is available for downloading via anonymous FTP from host dartmouth.edu (IP Address 129.170.16.4), directory pub/ICMA-Library), and also by email through ftpmail. The following is an index of Library entries as of 11/1/94: (Utilities) (sound synthesis): Amir Guindehi (Utilities) (sound synthesis): Roberto H. Bamberger abc2mtex (representation): Chris Walshaw AIFF_DSP (DSP): Ben Denckla Aleatoric Composer (algorithmic composition): Carl Christensen Bol Processor (composition): Bernard Bel CCRMA Music Kit and DSP Tools Distribution (sound synthesis): David A. Jaffe and Julius O. Smith Cellular Automata Music 1.0 (composition): Dale Millen CMIX (composition): Paul Lansky CMU MIDI Toolkit (MIDI): Roger Dannenberg Common Music for Windows 3.1 (composition): Heinrich Taube and Joe Fosco CONVERT (audio analysis): Jesus Villena Csnd.app (sound synthesis): Stephen David Beck CSOUND (sound synthesis): Barry Vercoe CSOUND (Native Mode) for the Power Macintosh (sound synthesis): DMIX (composition): Daniel V. Oppenheim FORMULA (Forth Music Language) (algorithmic composition): David Anderson HMSL (algorithmic composition): Phil Burk and Larry Polansky IMPROVISE (composition): David Pannett inSanity (algorithmic composition): Garth T. Zenie Lemur/LemurEdit package (audio analysis): Kelly Fitz and Bryan Holloway LucyTuning Codes (composition): Charles Lucy MiXViews (sound synthesis): Douglas A. Scott MODE (composition): Stephen T. Pope Musical Set Complete (composition): Craig Shoemaker Nyquist (composition): Roger Dannenberg Perfect Pitch (education): Bernd Kohler PIP - Program In the shape of a Pear (composition): James Binkley Ravel (composition): James Binkley Real Time Composition Library for MAX (composition): Karlheinz Essl SoftSamp for Windows/CSOUND (sound synthesis): Dustin Barlow Sound Utility Programs for NeXTStep Computers (Utility): Jean Laroche Soundhack (sound synthesis): Tom Erbe STOCHGRAN (granular synthesis): Mara M. Helmuth Symbolic Composer (composition): Nigel Morgan and Peter Stone ----------------------------------------------------------- c. Miles Davis and American Culture The American Culture Studies Institute, the African and Afro-American Studies Program, and the Music Department of Washington University will host a conference, "Miles Davis and American Culture" on April 6-8, 1995, at Washington University in St. Louis. Participants include Martha Bayles, John Bracey, Hazel V. Carby, James Lincoln Collier, Thomas Cripps, Stanley Crouch, Darlene Clark Hine, Bill Kirchner, Nathaniel Mackey, Ingrid Monson, Kathy Ogren, Lewis Porter, Robert Stepto, and Quincy Troupe. There will also be a workshop with the Harold Mabern Trio. The conference is supported by a grant from the National Endowment for the Humanities. For information about the program, registration, accomodations, or travel stipends for non-presenters, contact: Elizabeth Kellerman American Culture Studies Institute Washington University Campus Box 1109 One Brookings Drive St. Louis, MO 63130-4899 (314) 935-5216 fax: (314) 935-5631 e-mail: ekellerm@artsci.wustl.edu ============================================================================= submitted by Robert Snarrenberg Washington University in St. Louis rsnarren@artsci.wustl.edu ----------------------------------------- d. First International Conference on Gilles de Bins, dit BINCHOIS Conference Announcement and Call for Papers: The First International Conference on Gilles de Bins, dit BINCHOIS will take place 31 October - 1 November 1995 (directly preceding AMS'95). It will be sponsored by the Graduate Center of the City University of New York (CUNY): the Ph.D. Program in Music, the Medieval Studies Program, the Renaissance Studies Program and the Humanities Center. Proposals for papers addressing any aspect of the life and music of Binchois will be welcome, but the organizers particularly would welcome topics concerning musical style. Single-page abstracts should be sent by 15 February 1995 either to: Dennis Slavin 26 Mercer Street Princeton, NJ 08540 -------------------- e-mail: slavin@phoenix.princeton.edu fax: (609) 258-6793 OR Andrew Kirkman Jesus College Oxford OX1 3DW U.K. ------------- e-mail: akirkman@jesus.oxford.ac.uk fax: (0865) 279687 ------------------------------------------------------ e. Computer Music Journal 18:4--Winter, 1994 Computer Music Journal 18:4--Winter, 1994 Topic: The ZIPI Music Interface Language Front: Cover: Jean-Jacques Perrey Back Cover: Dancers and Sonogram from Bruemmer article Contents ---------------- About This Issue Editor's Notes: What is Composition?--Giuseppe G. Englert Letters--A Note on Constant-gain Digital Resonators--Ken Steiglitz Announcements News ---------------- Interview Jean-Jacques Perrey and the Ondioline--Laurent Fourier ---------------- Composition and Performance in the 1990s Computer Music and the Post-modern: A Case of Schizophrenia--Dominique M. Richard Using a Digital Synthesis Language in Composition--Ludger Bruemmer ---------------- The ZIPI Music Interface Language ZIPI: Origins and Motivations--Keith McMillen The ZIPI Music Parameter Description Language--Matthew Wright A Summary of the ZIPI Network--Keith McMillen, David Simon, and Matthew Wright Examples of ZIPI Applications--Matthew Wright A Comparison of MIDI and ZIPI--Matthew Wright Answers to Frequently Asked Questions about ZIPI--Matthew Wright ---------------- Reviews Events Journees d'Informatique Musical (JIM'94)--Myriam Desainte-Catherine National Association of Music Merchants Convention and Expo, Anaheim, California, January 1994--Joseph Rothstein Publications Jeff Pressing: Synthesizer Performance and Real-Time Techniques-- Michael Czeiszperger Diana Raffman: Language, Music, and Mind--Richard Parncutt Leonello Tarabella with G. Bertini, A. Caioli, and A. Guerra: Informatica e Musica--Marina Bosi Randall E. Stross: Steve Jobs and the NeXT Big Thing--Peer Landa Recordings The Virtuoso in the Computer Age--III (CDCM Vol. 13)--Stephen Beck and Rick Bidlack Music from SEAMUS (Vol. 1)--Elizabeth Hinkle-Turner Products Mark of the Unicorn Multiport MIDI Interface and Processor for PCs-- Joseph Rothstein Sonitech SPIRIT-30/ISA Application Accelerator: a Signal Processing Board for IBM-PC and Compatibles, and IC-100-2 A/D and D/A Stereo Converter--James Dashow ---------------- Products of Interest New Product Announcements Instructions to Contributors ---------------- About This Issue There are several themes running through this issue of Computer Music Journal. The Editor's note is a guest contribution by Giuseppe Englert in which he poses the most basic of the many "dilemmas" that have been raised in previous notes--what is composition? The first feature article is an interview with the noted French innovator, performer, and humorist Jean-Jacques Perrey. In this text, he discusses his development of several early electronic music keyboard instruments, and their use in various settings for a wide range of musical styles. Mr. Perrey is also featured on the cover of this issue. The topic of the previous two issues--composition and performance in the 1990s--is continued in two feature articles. The first, by music philosopher and aestheticist Dominique Richard, evaluates the aesthetics and sociology of electroacoustic and computer music in the post-modern philosophical tradition, and discusses the ramifications of the insights thus gained. This article can be taken--together with the recent contributions of Roger Johnson--as the basis for a study of the sociology and philosophy of computer music. The second article on the topic is by the German composer Ludger Bruemmer (the winner of this year's Golden Nica at the Austrian Ars Electronica Competition). In it, he introduces his ideas about the role played by memory, tradition, and expectation in music listeners, and explores how electroacoustic music can built its own context and "language" so as to be more accessible to audiences. Mr. Bruemmer then outlines several of the techniques he used in two recent compositions to achieve this "higher level" of structure. 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. The remaining feature articles in this issue are dedicated to a detailed introduction to ZIPI, a proposed network protocol for music developed jointly by a group from the Gibson and Zeta instrument research laboratories and the Center for New Music and Audio Technologies (CNMAT) at the University of California, Berkeley. The bulk of these articles was written by Matthew Wright. The article "ZIPI: Origins and Motivations" gives some of the background behind ZIPI, the motivations for designing a new protocol for the control of digital synthesizers, and a description of the current state of ZIPI's commercial implementation. "The ZIPI Music Parameter Description Language" article is a description of the high-level protocol that will be used to transmit musical parameters such as pitch and loudness to a note or group of notes. It does not deal with any of the network or physical issues; this protocol could easily be sent over a lower-level network, such as Ethernet or FDDI. "A Summary of the ZIPI Network" is a brief discussion of ZIPI as a computer network. It ranges from physical details, such as a description of ZIPI cables, to network issues such as bandwidth and efficiency. The article "Examples of ZIPI Applications" is a brief list of potential uses of ZIPI. It shows how to use ZIPI in several practical musical situations. "A Comparison of MIDI and ZIPI" is a comparison between the ZIPI protocol and MIDI--the de facto standard whose shortcomings we hope to address with ZIPI. If you have experience with MIDI, this might be a good document to read first, because it motivates many of the decisions made in the design of ZIPI. Lastly, the ZIPI "FAQ" (frequently asked questions) article provides answers to the most common questions asked by readers new to this protocol. The motive for publishing these articles in Computer Music Journal now is to disseminate information about ZIPI, and to generate discussion that will lead to a better standard. Please feel free to make suggestions, comments, or criticisms to the editors and/or the authors. The reviews section includes no less than eleven (!!) with in-depth publication and product reviews from a wide range of perspectives (including many names that will be familiar to regular readers). The lengthy section of new product announcements presents the typical broad sampling of products of interest collected by Curtis Roads. Front cover: The photographs on the front cover show Jean-Jacques Perrey with his invention the Pianoline above the cruise ship the S. S. France, on which he performed as he describes in the interview that Laurent Fourier held with him. Back cover: The back cover relates to the article by Ludger Bruemmer. It shows the dancers of the Dance Theater of Wuppertal in Germany performing one of his works, and below this a sonogram of 30 sec of the work and mix script for the RT mixing program that created it. -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ___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 --------------------------------------------------------- f. Session on Fuzzy Techniques for Music Applications -=- -=- -=- -=- -=- -=- -=- -=- -=- -=- -=- -=- IFSA '95 Session on Fuzzy Techniques for Music Applications -=- -=- -=- -=- -=- -=- -=- -=- -=- -=- -=- -=- The International Fuzzy Systems Association is pleased to announce the sixth IFSA World Congress (IFSA '95) to be held in Sao Paulo, Brazil, from July 22nd to 28th, 1995. An invited session will be devoted to the use of fuzzy techniques in music applications. Techniques of interest include, but are not limited to: fuzzy measures, evidence theory & probability, non-classical logics, fuzzy petri nets, fuzzy decision making, evolutionary systems, neural nets, chaos. Target domains of interest include, but are not limited to: automatic composition, sound synthesis, sound analysis, representation of musical structures, tools for playing and composing music. Researchers wishing to contribute a paper are invited to submit a short abstract (1-2 pages) to the session organizer by January 20th. Authors of selected abstracts will be notified by February 15th, and will have to provide a full paper (about 5 pages) by March 15th. In order to speed up the process, electronic submissions are strongly encouraged. Authors can send their abstracts by e-mail, or upload them by anonymous FTP to the address below. Accepted formats are plain ASCII text or PostScript. Authors who do not have access to internet can submit their paper by fax. Make sure to include the full address and e-mail of the corresponding author in the abstract. SUBMISSION INFORMATION ^^^^^^^^^^^^^^^^^^^^^^ * Deadline: Abstract by Fri 20 Jan, 1995. * Length: Not exceeding 600 words. * Address: Send one copy of the abstract to one of the following addresses: - Surface mail: Alessandro Saffiotti IRIDIA, Universtite Libre de Bruxelles 50 av. F. Roosevelt, CP 194-6 B-1050, Brussels Belgium - E-mail: ifsa95@iridia.ulb.ac.be - FTP: upload to: IRIDIA.ULB.AC.BE (164.15.11.65) directory: /incoming/ifsa95 - Fax: +32 2 650-2715 (Attn. A. Saffiotti) * Inquiries: ifsa95@iridia.ulb.ac.be ------------------------------------------------- g. Four NEH Summer Seminars on Music National Endowment for the Humanities 1995 Summer Seminars for College Teachers Four Seminars on Music 1) Modernism in Literature and Music. Director, Daniel Albright.University of Rochester, Rochester, New York. June 12-July 21, 1995 (six weeks). Are music and literature two things, or two aspects of one thing? Some artists of the Modernist period tried to erase every boundary between music and literature, while others tried to build foot-thick walls between them. Join a group of your colleagues for conversation and research. We'll look at a number of Modernist collaborations, including the Ballets Russes, Der Blaue Reiter (involving Kandinsky and Schoenberg), Pound's and Yeats's attempts to make an opera of speech, Auden's Group Theatre, and the Friends and Enemies of Modern Music, starring Thomson and Stein. These projects and our individual research interests will help us to define Modernism in an unusually thorough way; for Modernism is about the possibilities for interchanging artistic media. ====================================================== 2) Blues as History, Literature, and Culture. Director, William R. Ferris. The University of Mississippi, University, Mississippi. June 12-August 4 (eight weeks) The seminar will explore the roots of blues in African and slave musics. The development of country blues in the rural South will be compared with more recent urban blues in northern cities such as Chicago. The influence of blues on jazz, country music, gospel, rock and roll, and black literature will also be discussed. Participants will take two field trips to meet with blues artists in the Mississippi Delta and on Beale Street in Memphis. ================================================= 3) The American Popular Ballad 1925-1950. Director, Allen Forte. Yale University, New Haven, Connecticut. June 19- August 4 (seven weeks). The seminar will study selected songs from this remarkable musical repertory, including those by Kern, Berlin, Porter, Gershwin, Rodgers, Arlen, and emphasizing idiomatic features of this music, text-music relations, and cultural background, with some attention given to issues involving the study of popular music. Special collections at Yale, such as The American Musical Theater Collection and the Cole Porter and Kurt Weill Collections, render it a particularly suitable location for the seminar. ============================================================ 4) Analyzing Early Music, 1300-1600. Director, Jessie Ann Owens. Brandeis University, Waltham, Massachusetts. June 12- August 4 (eight weeks). The seminar will consider a number of analytical approaches to early music that have been developed in recent years. After an introduction to music theory as it was taught by contemporary theorists and pedagogues, we will investigate a number of topics, including modality, non-modal borrowing (imitatio), text-music relations, line versus chord, and compositional process. The goal is to test the validity and usefulness of the new methodologies by applying them to a core repertory of compositions commonly taught in undergraduate music courses and performed by early music ensembles. =========================================================== The four seminars welcome applications from college teachers and independent scholars from all branches of music, including history, performance, theory, ethnomusicology, and education. Scholar-teachers from other disciplines, such as history, literary studies, art history, and library science, who have a background in music are also invited to apply. Applicants must be U.S. citizens or have been U.S. residents for three years. Persons affiliated with Ph.D. granting departments are not eligible. Participants will receive a stipend of $4000 for the eight-week seminars, $3600 for the seven-week seminar, and $3200 for the six-week seminar. The deadline for applications is March 1, 1995. Awards will be announced on March 28. For further information and application forms: Prof. Daniel Albright, Department of English, University of Rochester, Rochester, NY 14627. Tel.:(716) 586-9891, email: albr@dbl.cc.rochester.edu Dr. William Ferris, Director, Center for the Study of Southern Culture, The University of Mississippi, University, MS 38677. Tel.:(601) 232-5814, fax:(601) 232-5814, email:staff@barnard.cssc.olemiss.edu Prof. Allen Forte, c/o N.E.H. Summer Seminars for College Teachers, 246 Church St. Suite 101, New Haven, CT 06510.Tel.: (203) 288-8888, fax:(203) 432-2983, email:allenf@minerva.cis.yale.edu Prof. Jessie Ann Owens, Music Department, Brandeis University, Waltham, MA 02254. Tel/fax:(617) 641-2976, email:owens@binah.cc.brandeis.edu ------------------------------------------------------ h. CDMC Newsletter available on IRCAM's WWW Server The current issue (no. 30, Jan-Mar. '95) of the quarterly newsletter of the CDMC (Documentation Center for Contemporary Music) in Paris, France, is now available on IRCAM's WWW server (http://www.ircam.fr/index-e.html). It is in french. Contents (partial): - new scores, recordings, magazines, books, at the CDMC - contemporary music news: research centers, festivals, concerts (some with free entrance), opera, musical theater, ... - informations for composers (competitions, awards, reading panels, openings, conferences, tutorials, grants) - informations for interpreters (workshops, competitions) - the music publishing scene Michael Fingerhut -- WWW: http://www.ircam.fr tel: +33 1 44 78 48 53 ftp: ftp.ircam.fr fax: +33 1 42 77 29 47 +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 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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Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory. +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ END OF MTO ITEM