=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== 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 4 July, 1995 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@boethius.music.ucsb.edu or to mto-manager@boethius.music.ucsb.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.95.1.4.ann 1. Sound Anthology--"Computer Music Journal" Volume 19 Compact Disc 2. Electronic Journal Conference, Budapest Hungary 3. ISCA International Conference on Computers and Their Applications 4. History, Music, and the Arts in Germany and Austria, 1815-1848: Call for Papers 5. Fourth International Conference on Music Perception and Cognition (McGill University): Call for Papers 6. Music Theory Society of New York State: Call for Papers ----------------------------------------- 1. Sound Anthology--"Computer Music Journal" Volume 19 Compact Disc The first-ever Computer Music Journal CD--Sound Anthology--has appeared! It includes in its 20 selections over 60 minutes of compositions and sound examples from composers such as Clarence Barlow, Ludger Bruemmer, Paul Lansky, D. Gareth Loy, Mari Kimura, Jean-Claude Risset, Neil B. Rolnick, Denis Smalley, Rick Taube, James Tenney, Barry Truax, Tamas Ungvary, and Amnon Wolman, and researchers of the likes of James Beauchamp, Perry Cook, Lippold Haken, Andrew Horner, Peter Langston, Xavier Serra, and Julius Smith. The complete contents are below and are also stored on the Computer Music Journal WWW site and ftp archive under the URL http://www-mitpress.mit.edu/Computer-Music-Journal/Contents/19.CD.toc. For pricing and further information, contact: Computer Music Journal CD MIT Press Journals 55 Hayward St. Cambridge, Massachusetts, 02142 USA Tel: (+1-617) 253-2889 Fax: (+1-627) 258-6779 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- SOUND ANTHOLOGY CD 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 Suede")--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 20. Peter S. Langston: Reprise--0:30 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- SOUND ANTHOLOGY 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. Glissandoup. 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). Index 20--0:30 Peter S. Langston: Reprise -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ___Stephen Travis Pope, Editor--Computer Music Journal, MIT Press (and) ___Research Associate--Center for New Music and Audio Technologies, UCB ___email: stp@CNMAT.Berkeley.edu; telephone: (+1-510) 644-3881 ___http://www.cnmat.berkeley.edu/~stp/ (personal WWW home page) ___http://www-mitpress.mit.edu/Computer-Music-Journal/CMJ.html (CMJ home) ============================================ 2. Electronic Journal Conference, Budapest Hungary ___MAGYAR ELEKTRONIKUS TOZSDE____________________________HU-ISSN_1216-0229 HUNGARIAN ELECTRONIC EXCHANGE copyright 1990. Dear Sir, We organize an international ****************************************************************** ELECTRONIC JOURNAL CONFERENCE ****************************************************************** *** WE INVITE JOURNALISTS, EDITORS and PUBLISHERS *** to BUDAPEST, HUNGARY on November 9-10-11 ,1995 TOPICS: * ELECTRONIC JOURNAL WRITING, EDITING AND PUBLISHING * PUBLIC RELATIONS IN THE E-JOURNAL, GOPHER AND WWW CALL FOR PAPERS Papers are invited on all subjects mentioned. Please submit ASCII text and image (uuencode) [written in English] 5.000 words containing a 65 character/line a brief abstract (at max. 5 lines long) MET@huearn.sztaki.hu subject: papers Lecture Authors will be notified about the acceptance of papers by August 20, 1995. The conference proceedings are intended to be published on flopy disc. CONFERENCE LANGUAGE: English (translation into Hungarian) PROGRAM COMMITTEE Csaba S. Orczan [chair] Zsolt Orczan Dr [co-chair) orczanz@mars.iif.hu SOCIAL PROGRAMME Welcome Cocktail November 9, 1995 Excursion , Theatre, Opera... CALL FOR PARTICIPATION To participate in the conference please fill in and e-mail the attached Registration Form to the met@huearn.sztaki.hu at your earliest convenience. Please note that for early registration a reduced fee is applicable. You will receive the confirmation of your participation and the detailed program in due time. Early Registration until August 20, 1995 FEES before August 20, after 299 USD 350 USD ACCOMPANYING PERSONS are welcome and may attend the welcome cocktail, the Conference reception and the lunches on the conference days at a fee of: 120 USD PAYMENT Participants are kindly requested to transfer the fees to the following: MoneyGram to AMERICAN EXPRESS BUDAPEST HUNGARY-1052, ORCZAN Zsolt or POSTA BANK Budapest H-1920 account number: 131-121844 ORCZAN Zsolt Please note that in case of cancellation only a 50 % of the paid fee will be refunded. CONFERENCE SECRETARIAT MET Budapest Pf.311 Hungary H-1536 e-mail: met@huearn.sztaki.hu ........................cut here.......................................... REGISTRATION FORM Family Name:... ... male/female First Name(s):... Address:... e-mail:... Telephone:... I intend to submit a paper ... yes/no Title /area of paper:... Technical equipment required:... I pay the fee MoneyGram ... yes/no or Bank account ...yes/no transaction date:... and number...... I register ... accompanying persons. Please send me information about available accomodations ... yes/no I need a hotel room ... single/double luxus...five star(*****)...four star (****)...three star (***)...yes/no Date from ...... to ...... Please inform me about Excursion, Theatre, or Opera... yes/no ......................cut here........................................... About BUDAPEST In 1835, an English peer by the name of John Paget got his first look of Buda and Pest from the crest of Gellert Hill. Of what he saw there he wrote as follows: "Buda with its blue chain of hills, Pest with its yellow plain, and the majestic Danube with its green isles were all sprawled out at our feet... and we sat for some time, enthralled by all that beauty... One hundred and fifty years have passed since the ousting of the Turk, and in this space of time, the city has risen from squalid ruins to become one of the great cities of Europe. Pest owes its progress not to the good will of a benevolent ruler, but to its natural endowments and the en- ergy of its people... It lies on the banks of a river that traverses half of Europe, and may expand unbounded in every direction. All this leads one to anticipate a splendid future for Pest-Buda." It is interesting to compare Paget's description with the observation made by the geographer Kohl from Bremen just seven years later. The order-loving German appraised the city with satisfaction: "Pest was conceived in an orderly manner, the city plan was elaborated with proper circum- spection. The main thoroughfares leading in every direction from the centre of the town are broad and straight." The haphazardness of Buda, however, was less to his liking. "There is no sign of planning. The streets are neither cen- tralized nor straight; consequently, the town has no core, and in its network of streets, one will find nothing that re- sembles order. The reason for this is the unfavourable soil and the fact that the roads are cut off by hills, preventing the population from building their houses in a rational manner." Whether we think of the past or the present, the descrip- tion is faithful. Whether to its advantage or otherwise, Pest is comparable to other big cities lying on the plain. But Buda is unique, like Stockholm, Istanbul, or Rio, and this is due precisely to its "disorderliness". Pest may expand without constraint, but Buda is bound by the surrounding hill coun- try. In the course of its development, Pest has smothered and devoured its environment, as most big cities do. But even today, Buda is inseparable from it, despite the fact that the "peaceful coexistence" between man and nature is being increasingly threatened. More and more houses are appear- ing on the formerly sparsely populated hillsides, and the ten- tacles of urbanization feel their way not only upward: they bore their way into the remotest hollows of the valleys. Small plots of land are being congested by large houses, and even sometimes entire neighbourhoods; the gardens are shrinking, the woods receding into the distance. New roads are being built, public utilities, service accommodations es- tablished. Nevertheless, Buda continued to be characterized not so much by its wreath of hills as by the fragmentedness of its inner area. It has no rational geometrical scheme. The inner city hills - Rozsadomb, Naphegy, Varhegy (Castle Hill), Gellert-hegy and Sashegy, - which boast perhaps the world's only big city nature conservation area, divide the body of the town into sections, thus giving the whole a diver- sified, exciting aspect. The old sixteenth-century Italian say- ing according to which the world has three gems: Venice on the water, Florence on the plain, and Buda on the hill, in all probability still holds true, and so does the ironic saying of Hungarian architects, according to which the natural en- dowments of Buda are so beautiful that even they, the ar- chitects. can't wipe them out completely. Please reply as soon as possible! Yours sincerely, Dr. ORCZAN, Zsolt & ORCZAN Csaba | MET Publisher: ORCZAN, Zsolt e-mail.:orczanz@mars.iif.hu | | MET Chief editor: ORCZAN, Csaba e-mail.:orczanc@mars.iif.hu | *** MET BUDAPEST PoBox. 311. HUNGARY, H-1536 **** MET@HUEARN **** ============================================ 3. ISCA International Conference on Computers and Their Applications: Call for Papers ISCA INTERNATIONAL CONFERENCE ON COMPUTERS AND THEIR APPLICATIONS March 7 - 9, 1996 Sir Francis Drake Hotel, San Francisco, California USA Sponsored by the International Society for Computers and Their Applications (ISCA) ============================================================================= CONFERENCE CHAIR: Maurice E. Cohen (USA) California State University and U. of California, San Francisco Ph: (209) 278-4904 E-mail: cohen@ucsfresno.edu PROGRAM CHAIR: Donna L. Hudson U. of California, San Francisco Ph: (209) 225-6100, ext. 5776 E-mail: hudson@ucsfresno.edu PROGRAM COMMITTEE: Metin Akay (Rutgers U.) R. Ammar (U. of Connecticut) Mohamed El-Sharkawy (IUPUI) M. Sami Fadali (U. of Nevada, Reno) R. E. Gantenbein (U. of Wyoming) Ashok Goel (Michigan Tech.) Gordon K. Lee (North Carolina St. U.) Carl Looney (U. of Nevada, Reno) Sushil Louis (U. of Nevada, Reno) Mehdi Owrang (American U.) David Pheanis (Arizona State U.) Howard Sholl (U. of Connecticut) J. Steadman (U. of Wyoming) Joseph Tritto (Hospital St. Louis, Paris) Charles Webber, Jr. (Loyola U. Med Ctr) Xingdon Wu (Monash U., Australia) Suk-Chung Yoon (Widener U.) Joseph Zbilut (Rush-Presb. Med Ctr) The conference provides an international forum for presentation and discussion of research on computers and their applications. Authors are invited to submit papers and proposals for tutorials concerned with theory or practice or both. The focus of the conference includes, but is not limited to, the following areas: Adaptive systems Educational programs Algorithms Embedded systems Biomedical engineering Image Processing CAD/CAM Multimedia Communication Networks Computer vision Pattern Recognition Control systems Real-time applications Data-acquisition systems Robotics Digital Signal Processing Simulation INSTRUCTIONS TO AUTHORS: Each submission must include five copies of the paper or tutorial proposal and a cover letter specifying the affiliation, telephone number, electronic mail address, and fax number of the primary author. Papers should be at most 15 double-spaced pages and must include an abstract of 100-150 words with five keywords. The program committee will review each submission and judge it with respect to quality and relevance. Submit your paper by October 15, 1995 to the program chairman: Dr. Donna L. Hudson Ph: (209) 225-6100, ext. 5776 Univ. of California, San Fran. Fax: (209) 228-6955 2615 E. Clinton Avenue E-mail: hudson@ucsfresno.edu Fresno, CA 93703 Authors wishing to have their papers reviewed for possible publication in the ISCA International Journal of Computers and Their Applications should send four copies of expanded versions of their paper directly to the Editor, Professor Howard Sholl, University of Connecticut, U-31, 233 Glenbrook Road, Storrs, CT 06269-4051. The Editor also welcomes papers not submitted to the ISCA conference. IMPORTANT DATES: Deadline for paper and/or tutorial submission: October 15, 1995 Notification of acceptance: December 1, 1995 Camera ready papers due: January 15, 1996 Ms. Mary Ann Sullivan International Society for Computers Phone: (919) 847-3747 and Their Applications (ISCA) Fax: (919) 676-0666 8820 Six Forks Road E-mail: mas@isca.pdial.interpath.net Raleigh, NC 27615-2969 -------------------------------------- 4. History, Music, and the Arts in Germany and Austria, 1815-1848: Call for Papers Illinois Wesleyan University invites paper proposals, 500-1,000 words, for a two-day conference on HISTORY, MUSIC, AND THE ARTS IN GERMANY AND AUSTRIA, 1815-1848, to be held on 30-31 March 1996. Proposals should be directed toward one of the following sessions: (1) Music and the Visual Arts; (2) Music and the Literary Arts; or (3) Politics and the Arts. Send two copies of proposal by 30 September 1995 to: Prof. John Michael Cooper, Illinois Wesleyan University, School of Music, P.O. Box 2900, Bloomington, IL 61702-2900. John Michael Cooper mcooper@titan.iwu.edu ----------------------------------------- 5. Fourth International Conference on Music Perception and Cognition (McGill University): Call for Papers Montreal, Quebec, CANADA August 11 - 15, 1996 McGill University is sponsoring the 4th ICMPC. This inter-disciplinary conference will focus on a variety of aspects of music perception and cognition: psychoacoustics, music performance, musical development, music modeling, music analysis, neuro-psychology, psychophysiology, and sociology. Call for Papers and Demonstrations Deadline: January 31, 1996 Unpublished papers on research in music perception and cognition are invited for presentation at three types of sessions: reading sessions, poster sessions, and demonstrations. Submit: % a summary of the research (maximum 500 words) % five single or compound keywords describing the field and topic of the paper % each author's name, title, institutional affiliation, mailing address, telephone number, and email address % equipment requirements % statement indicating your preference for reading and/or poster, and/or demonstration session Formats : email (preferred), diskette (Word, WordPerfect, ascii), hardcopy 4th ICMPC Faculty of Music, McGill University 555 Sherbrooke St. West Montreal, Quebec, Canada H3A 1E3 Tel. (514) 398-4548 x 0504 Fax. (514) 398-8061 email: icmpc@music.mcgill.ca http://www.music.mcgill.ca/~icmpc/icmpc.html ------------------------------------------- 6. Music Theory Society of New York State: Call for Papers Music Theory Society of New York State Annual Meeting State University of New York at Stony Brook 13-14 April 1996 CALL FOR PAPERS The Program Committe invites proposals for papers and presentations on any topic. Areas of particular interest include: Analysis Symposium on Beethoven, String Quartet op. 18, no. 3 or Bartok, String Quartet no. 2 Analysis and Performance Rhythmic Theory and Analysis Analysis of Computer and Electronic Music Emerging Disciplines in Music Theory (Possible Round-Table Discussion) Papers given at national conferences or previously published will not be con- sidered. Any number of proposals may be submitted by an individual, but no more than one will be accepted. Most papers will be placed in 45-minute slots, with 30 minutes for reading and 15 minutes for possible response or discussion. Paper submission should include: 1. Six copies of a proposal of at least three but no more than five doubled-spaced pages of text. Each copy should include the title of the paper and its duration as read aloud, but _not_ the author's name. 2. An abstract of 200-250 words, suitable for publication. 3. A cover letter listing the title of the paper and the name, address, and telephone number of the author. Proposals should be sent to Marie Rolf, MTSNYS Program Chair Eastman School of Music 26 Gibbs Street Rochester, NY 14604 _POSTMARK DEADLINE IS 1 OCTOBER 1995_ Members of the MTSNYS 1996 Program Committee are Marie Rolf (Chair), Eastman School of Music; George Fisher, Aldelphi University; Sarah A. Fuller, SUNY at Stony Brook; David Gagne, Queens College, CUNY; David Headlam, Eastman School of Music; Shaugn O'Donnell, Queens College, CUNY. Mary I. Arlin, MTSNYS President arlin@ithaca.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. Copyrights for individual items published in (MTO) are held by their authors. 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