Music-Research Digest Sat, 13 Oct 90 Volume 5 : Issue 86 Today's Topics: computer music software for the next (2 msgs) Forward of Computer Music Days in Jerusalem, March 17-19, 1991 seeking info on SMDL Stanford CCRMA Technical Reports (2 msgs) *** Send contributions to Music-Research@uk.ac.oxford.prg *** Send administrative requests to Music-Research-Request *** Overseas users should reverse UK addresses and give gateway if necessary *** e.g. Music-Research@prg.oxford.ac.uk *** or Music-Research%prg.oxford.ac.uk@nsfnet-relay.ac.uk *** Back issues, index, etc.: send "help" in a message to archive-server *** @uk.ac.oxford.prg (in the UK) or @bartok.sun.com (elsewhere) ---------------------------------------------------------------------- Date: 5 Oct 90 20:13:42 GMT From: Christopher Penrose Subject: computer music software for the next To: music-research@prg Message-ID: <13007@sdcc6.ucsd.edu> In article <84456@tut.cis.ohio-state.edu> mark@giza.cis.ohio-state.edu (Mark Jansen) writes: > > I am aware that there is a lot of public ftp software available to >do computer music on the NeXT machine. I would appreciate someone that has >had the experience of doing this to tell us where they got the software, >and any major difficulties in installation and use. If people only have >pieces of the puzzle thats OK too. Lets see whats available. I would appreciate any other information about computer music software for the NeXT also! Here is what I know: CARL software distribution cmusic, pvoc, pv (phase vocoders) no ftp access cost $250 :( CME (Center for Music Experiment) UC San Diego frm@plexus.ucsd.edu sfl@carl.ucsd.edu This is not free. You even have to provide your own optical disk. I paid my $250 grudgingly considering the fact that I installed much of this software myself at UCSD. They can be vultures. csound software (mit) ftp access! free! ems.ai.mit.edu (anonymous) This is the standard UNIX distribution of csound. I actually prefer this version as Pete's requires elaborate work directories that I find difficult to manage. Csound is extremely useful and quick to code with a little experience. And it is free. NeXT (C)sound, LPC ftp access! free! uvaarpa.acc.virginia.edu (anonymous) pmy@uvaarpa.acc.virginia.edu Pete has written some NeXTstep interfaces to csound and princeton's LPC routines. I prefer the standard shell interface to csound; however, you may like the NeXTstep interface instead. Also, Pete is a cool guy and I'm glad he is writing music applications. I use his LPC interface. You might find some other useful stuff there too. princeton's cmix! ftp access! free! princeton.princeton.edu (anonymous) princeton.edu paul@winnie.princeton.edu This software is very useful! I haven't made a major computer music piece without it. You can grab both a BSD UNIX version and the NeXT version here. Paul Lansky is also super cool, and he might be able to help you with snags. Don't abuse his help though, we wouldn't want people like him to disappear. Lisp Kernel ftp access! free! akbar.acs.washington.edu (???) My mind is fuzzy about this one. I haven't installed it yet, because I am waiting to install Common Music first. I think I found it on akbar but you can try blake.acs.washington.edu also. The Lisp Kernel (I believe) is a music kit interface and composition tool within Franz Lisp. Common Music ftp access soon free! hkt@ccrma.stanford.edu This is another lisp interface with some potentially interesting data abstraction functions. Henrich Taube is a very very busy guy, and he is really generous for his efforts to make this code available. It may be available next week on some stanford machine (they think that they really need ftp access, too bad UCSD doesn't consider this). neato-kludgy signal processors no ftp access :( free! cpenrose@ucsd.edu esosun!jesus!penrose@seismo.css.gov I write alot of audio DSP code for my pieces. I have some particularly interesting filter programs: FFT based window filter processor, Phase vocoder based interpolators and dynamic (time-varying) filters. I haven't done it yet, but I am planning upon a compressor. All this code is available, just send me mail. I don't like to use the 56001 for signal processing, in most of my cases floating point DSP takes longer on the 56001. Also, I can't play soundfiles while the 56001 is at work. Christopher Penrose ------------------------------ Date: 7 Oct 90 03:49:43 GMT From: The MIDIman Subject: computer music software for the next To: music-research@prg Message-ID: <270ea5d7.300e@petunia.CalPoly.EDU> I don't know if it's still around, but there used to be a mailing list for people interested in making music/sound on the NeXT's. To be added to the list e-mail to --> next-music-request@usc.edu Like I said, I don't know if it still exists. -- sseidman@polyslo.calpoly.edu Steven R. Seidman "The MIDIman" ------------------------------------------------------------------------------- "When I had first heard electronic music, it had affected me so strongly I just knew I had to play it." - Steve Roach ------------------------------ Date: Mon, 8 Oct 90 17:41:15 +0200 From: Hans.Strasburger@DE.DBP.UNI-MUENCHEN.MEDIZIN.PSYCHOLOGIE Subject: Forward of Computer Music Days in Jerusalem, March 17-19, 1991 To: Music-research@prg Message-ID: The Jerusalem Institute of Contemporary Music is hosting The First international Computer Music Days in Jerusalem March 17-19, 1991. This years focus: The interaction between performer/composer and computer The 1st International Computer Music Days in Jerusalem are going to consist of three days of events bringing together composers, performers, researchers and theorists from Jerusalem, Israel, and the world. The events will explore ideas relating to composition and performance, with emphasis on the interaction between the musical creator and the computer that serves as a vehicle to implement his ideas. The project will be hosted by the Jerusalem institute of Contemporary music and will take place in the Van Leer Jerusalem Institute. events will include: Live concerts, lecture demonstrations, as well as panels, workshops and showing of videos and films. Submissions of works and/or proposals for demonstrations and panel themes should be sent to: Stephen Horenstein, Director Jerusalem Institute of Contemporary Music Giladi 10/4 Jerusalem, Israel 93385 Deadline for receiving materials is November 15, 1990. for composition, send a cassette recording, score and full technical requirements sheet. (Regrettably, we cannot consider works in progress). A final selection will be made by an international jury. all works will be recorded and broadcasted by Israel Broadcasting Authorities (IBA). Proposals for demonstrations should be sent in three copies. Instrumentation could include any combination of the following: string quartet, contrabass, woodwind quintet (flute, oboe clarinet, bassoon, horn), multi-percussion (one player), piano/keyboard (one player), saxophone (soprano, alto, baritone), and brass. For additional information via E-mail: Dan@CCRMA.Stanford.Edu A project sponsored by the Jerusalem Foundation In cooperation with the Van Leer Jerusalem Institute ** END OF MESSAGE ** ------------------------------ Date: 10 Oct 90 05:55:19 EST From: "Edward L. Stauff" Subject: seeking info on SMDL To: Music-Research@prg Message-ID: <9010100956.AA09683@sununix.comm.wang.com> Can anyone give me information about the ANSI "SMDL" - Standard Music Description Language? I understand that it is currently "in committee". Specifically, I'd like to know: 1. How (if at all) can I get a copy of the spec? (ANSI in NYC doesn't seem to know about it.) 2. Has it become stable enough that it's worth starting to develop tools to support it? 3. Is anyone currently developing tools for it (i.e. editor, print formatter, conversions, etc.)? 4. Is there any indication that the MIDI software industry is going to support it? That is, can I expect programs like SCORE, FINALE, COPYIST, etc. to support it someday? Any information (including opinions, speculation, etc.) would be appreciated. My interest in SMDL is in the possibility of using it as a vehicle for exchanging music (scores) across the network. [ There are three files containing material submitted by the ANSI group working on SDML in the archive. These files are X3V1.sd6 (Objectives and Methodology), X3V1.sd7a (Technical Description and Formal Definition) and X3V1.sd7b (rest of latter). These files are large. If you are outside the UK, please request these from the US archive. - S ] ------------------------------ Date: 8 Oct 90 23:11:34 GMT From: William Alves Subject: Stanford CCRMA Technical Reports To: music-research@prg Message-ID: <27440@usc.edu> Does anyone know how I can get copies of CCRMA Technical Reports? I am specifically interested in John Grey's "An Exploration of Musical Timbre" (#STAN-M-2 1975), but would like to see what is available. Thanks! Bill Alves ------------------------------ Date: 10 Oct 90 01:02:00 GMT From: beaucham%uxh.cso.uiuc.edu%ux1.cso.uiuc.edu%ux1.cso.uiuc.edu%maverick.ksu.ksu.edu@net.uu.uunet Subject: Stanford CCRMA Technical Reports To: music-research@prg Message-ID: <61200001@uxh.cso.uiuc.edu> To obtain CCRMA technical reports, write to CCRMA Dept. of Music Stanford University Stanford, CA 95305 Ask for the specific report and the price. If you send them a check, they will send you the report. They also have a price list, I think. ------------------------------ End of Music-Research Digest