Music-Research Digest Sat, 2 Feb 91 Volume 6 : Issue 8 Today's Topics: ASCII Formats for Music Belfast conference - draft programme Belfast conference - registration form FINALE_INFO? ICMC 1991 (3 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 @hplpm.hpl.hp.com (elsewhere) ---------------------------------------------------------------------- Date: 25 Jan 91 21:12:36 GMT From: tanith%csd4.csd.uwm.edu%uwm.edu%rpi%zaphod.mps.ohio-state.edu%usc@edu.ucsd (Michael D Kretzer) Subject: ASCII Formats for Music To: music-research@prg Message-ID: <9140@uwm.edu> Would someone point me in the right direction towards finding format/file descriptions for ASCII representation of Music? I have a burning desire to represent music in ASCII, and I would like any and all information concerning this. Also, if someone has any spec on non-ASCII formats, that would also be appreciated... Thanks.... ------------------------------ Date: Mon, 28 Jan 91 17:21 GMT From: "A.MARSDEN" Subject: Belfast conference - draft programme To: MUSIC-RESEARCH@prg Computers in Music Research 7-10 April 1991 The Queen's University of Belfast DRAFT PROGRAMME Sunday 7 April Evening: NOTATION AND PERFORMANCE David Halperin, Tel Aviv University, Israel. Deciphering the Ugaritic musical notation. Timothy C. Aarset, MIT Lincoln Laboratory, USA. Modelling and simulation: a tool for research on improvised counterpoint. Monday 8 April Morning, parallel session 1: THEORY AND MODELLING Uwe Seifert, University of Hamburg, Germany. Competence and performance in cognitive science - on the relation between music-theoretical research and the modelling of musical cognition. Stephen Dembski, University of Wisconsin, USA. Representations: cognitive theory and computational practice. Igor Popovic, Yale University, USA. Interactive modelling techniques for the manipulation of musical structures; with applications in music analysis, composition and education. Moisei Boroda, Ruhr-University, Bochum, Germany. The basic elements of a musical language and the problem of definition in music theory. Morning, parallel session 2: COMPOSITION Nick Bailey, University of Durham, England. Craftsman, composer, performer. Stephen Travis Pope, CCRMA, Stanford, California, USA. Using "A Generative Theory" for composition. David Cope, University of California, Santa Cruz, USA. Pattern matching as an engine for the computer simulation of musical style. Francesco Giomi & Marco Ligabue, Florence, Italy. A semiotic approach to computer-assisted composition. Afternoon: LATEST DEVELOPMENTS AND ANALYSIS TOOLS Short Reports - research teams, latest developments, work on standards, etc. Catherine Harbor, Royal Holloway and Bedford New College, England. PLAINSONG - a program for the study of chant in neumatic notation. Peter Castine, Technical University Berlin, Germany. Development of set- theoretic music analysis tools. Evening: CONCERT - music related to the conference theme Tuesday 9 April Morning, parallel session 1: REPRESENTATION AND RHYTHMIC ANALYSIS Alan Marsden, Queen's University, Belfast, N. Ireland. An object-oriented approach to musical information. John Dunn, COMUS Music Printing and Publishing, Stafford, England. Some experiences with a DARMS interpreter. Andranick Tanguiane, USSR Academy of Sciences, Moscow, Russia. Determination of time by means of recognition of generative rhythmic patterns. Bertrand Merlier, GRAME, Lyon, France. A computer algorithm for determination of time in simple rhythms. Morning, parallel session 2: EDUCATION Jacqueline B. de Jong, University of Amsterdam, Netherlands. Interfacing music. Gregory Gargarian, MIT Media Laboratory, USA. An epistemology of music. David Burnand, Goldsmiths' College, London, England. Evaluating the potential of interactive multimedia for study and research in music. Ann J. Donovan, Pismo Beach, California, USA. HyperCard applications in music. Afternoon: DEMONSTRATIONS - hardware and software for music research, including demonstrations relating to papers Evening: HARMONIC ANALYSIS Lelio Camilleri, Francesco Carreras & Francesco Giomi, Florence, Italy. Expert system for analytical discoveries on the harmonic structure of musical pieces. Eva Ferkova, Bratislava, Czechoslovakia. Algorithm of basic harmonic analysis of tonal classical music. Wednesday 10 April Morning, parallel session 1: MELODIC ANALYSIS Michael Burroughs, Indiana University, USA. A mathematical algorithm for the comparison of musical passages. J. Marshall Bevil, Houston, Texas, USA. The ongoing development of the MelAnaly software package for the comparative analysis of British and British-American folktunes. Eleanor Selfridge-Field, CCARH, California, USA. Issues of representation in melodic comparison. Larry Albright, University of Southwestern Louisiana, USA. Quantifying the cognitive dimensions of music. Morning, parallel session 2: SOUND AND PERFORMANCE Barry Eaglestone & Shaun Oates, University of Bradford, England. Computer- aided sound engineering. Fred J. Rees, New York University, USA. An interactive instructional system for analyzing performance behaviour of acoustic instrumentalists. Jaan Ross, Academy of Sciences, Tallinn, Estonia. Formant frequencies in Estonian speech and folk singing: a computer-aided analysis. Giuliana Fugazzotto, Bologna, Italy. Analysis of a case of musical micro- bilinguism in a town of eastern Sicily. Afternoon: REPRESENTATION Walter B. Hewlett, CCARH, California, USA. A base-40 number-line representation of musical pitch notation. John Wm. Schaffer, University of Wisconsin, USA. A "threaded" list-based prolog data structure for the analysis of atonal scores. Discussion - "Has computer-related music research advanced? What does it need to advance?" Conference ends late afternoon Wednesday 10 April. ------------------------------ Date: Mon, 28 Jan 91 17:20 GMT From: "A.MARSDEN" Subject: Belfast conference - registration form To: MUSIC-RESEARCH@prg Computers in Music Research 7-10 April 1991 The Queen's University of Belfast REGISTRATION FORM N.B. "#" is a pound sign, though it might not look like it to you! Personal Details Name: Institution: Address for correspondence: Permanent Address (if different): Are you happy for this address to be distributed to other conference participants? Yes/No: Email address (if any): Conference fee This includes buffet lunch Monday, Tuesday, Wednesday and conference handbook. You must send payment (to "The Queen's University of Belfast") in UK pounds with your registration form. Full fee #40 Reduced fee for speakers #20 (first author only of jointly authored papers) Unable to come? Mark here if you cannot come to the conference but would like to receive a copy of the handbook containing extended abstracts of the papers. Please enclose payment. #15 Accommodation Bed and Breakfast at Queen's Elms Hall (student residences, single rooms) #13 per night Number of nights required: Dates required: Alternative accommodation might be available in the Staff Common room, but numbers are severely limited and we are competing with another conference. Mark if you would like alternative accommodation if it is available: Single room c. #18 Single room with bathroom c. #23 Twin room with bathroom c. #35 Meals 3 course evening meal at Queen's Elms Hall #7 per meal Number of meals required: Dates required: (Conference Fee includes lunches) Excursion Mark here to reserve a place on the excursion to the North Antrim coast and Giant's Causeway (a UNESCO World Heritage site). Sunday 7 April 9.30 am to 5.30 pm. Includes refreshments and lunch. #18.50 Return to: Dr. Alan Marsden School of Music The Queen's University of Belfast Belfast BT7 1NN Northern Ireland Tel: (0232) 245133 ext. 3543/3480 Fax: (0232) 247895 Email: A.Marsden@v1.qub.ac.uk Cancellations Cancellations must be made by 15 March or a charge up to the full cost of accommodation, meals etc. requested will be payable. Signature: Date: Please return completed forms by 15 March. ------------------------------ Date: 1 Feb 91 06:51:11 GMT From: drdave%buhub%bradley.bradley.edu%ux1.cso.uiuc.edu%uwm.edu%spool.mu.edu%sdd.hp.com@edu.ucsd (David L. Vessell) Subject: FINALE_INFO? To: music-research@prg Message-ID: <1991Feb1.065111.4055@bradley.bradley.edu> In <8384.27a6d8ec@jetson.uh.edu> cosc12tf@jetson.uh.edu writes: >I heard that Finale is very good musical software for both professional >and non-profesional musician. Can someone send a me a description of >Finale along with the price and hardware/software requirements. I'll VERY >VERY appreciated. >Thanks in advance. >Scorpio >From the February '91 issue of Keyboard: Coda Finale 2.5 Description: Notation software. Requirements: Macintosh Plus or better, 2 Mb RAM, hard disk OR IBM AT or compatible (286 processor or better) or Yamaha C1, Windows 3.0, Windows-compatible mouse, hard disk. 2 Mb of RAM recommended. Features: Many input modes including MIDI transcription. Supports non-standard time and key signatures, multiple meters and clefs, nested tuplets, unusual stemming, beaming, and noteheads, "intelligent" chord symbols, user-created symbols, much more. Printing: PostScript output with Finale's Petrucci font or Adobe's Sonata font. Includes Seville font for guitar fingerboards. Additional PostScript fonts available for jazz symbols, figured bass, MIDI expressions. PC version supports PostScript printers, HP Laserjet II & compatibles, Epson-compatible dot-matrix. Playback: Multi-channel. Most symbols can be made to play back, including tempi, repeats, staccatos, dynamics, etc. Users can create their own symbols and executable shapes. MIDI program changes, controllers, pitch-bend supported. List price: $749. Contact: Coda Music Software, 1401 E. 79th St., Minneapolis, MN 55425 -1126 (800) 843-2066, (612) 854-1288 Pros: Full set of notational tools. Excellent live transcription capabilities. Excellent printed output. Improved documentation. New MIDI tools. Cons: Inconsistent, complex interface. Makes many rigid assumptions about music. Hard to learn. --------------------------------- The preceding was the review synopsis for Finale from the February issue, the one with Ray Manzarek on the cover. The review itself is seven or eight pages. -- ----------------------------------------------------------------------------- **dR.Dave** ....making the world safe for intelligent dance music. David L. Vessell Bradley Univ. Peoria, IL drdave@buhub.bradley.edu "I'm not a theatre major. I'm not even a theatre minor. I just have this obsession with power tools...." --Kory Komala ============================================================================= ------------------------------ Date: 28 Jan 91 19:07:43 GMT From: edda.css.gov%esosun@gov.css.seismo (Christopher Penrose) Subject: ICMC 1991 To: music-research@prg Message-ID: <657@esosun.UUCP> the icmc 90 at glascow was well advertised. I haven't encountered any information about icmc91 at all. I haven't seen any information at cme (center for music experiment, uc san diego) and I have not seen any announcements regarding it in this newsgroup. does anyone have any information? thankyou thankyou. Christopher Penrose jesus!penrose ------------------------------ Date: 29 Jan 91 07:44:46 GMT From: sandell%ferret.ils.nwu.edu%ils.nwu.edu%casbah.acns.nwu.edu%zaphod.mps.ohio-state.edu%magnus.ircc.ohio-state.edu@edu.ohio-state.cis.tut (Greg Sandell) Subject: ICMC 1991 To: music-research@prg Message-ID: <753@anaxagoras.ils.nwu.edu> This is in response to Christopher Penrose's query about ICMC 1991; it's in Montreal this year, Oct. 16-20. We recieved their circular here at Northwestern; it contains an anal little coupon you're supposed to fill out with individual little boxes for each letter and number of your name and address (like the income tax forms or a change of address card). However you may be able to bypass this by writing to: ICMC-91 Secretariat Conference Office McGill University 3450 University Street Montreal, Quebec Canada H3A 2A7 Better yet, there's an email address too: icmc@co.lan.mcgill.ca - Greg -- **************************************************************** * Greg Sandell (sandell@ils.nwu.edu) Evanston, IL USA * * Institute for the Learning Sciences, Northwestern University * **************************************************************** ------------------------------ Date: 30 Jan 91 02:35:28 GMT From: ted%dgbt%cunews%utgpu%news-server.csri.toronto.edu%cs.utexas.edu%sdd.hp.com@edu.ucsd (Ted Grusec DGBT/DBR) Subject: ICMC 1991 To: music-research@prg Message-ID: <1991Jan30.023528.6073@dgbt.doc.ca> Icmc 91 will be held in Montreal, Quebec, Canada., 16 to 20th October, hosted by the Faculty of Music of McGill University. For information contact ICMC-91 Secretariat, Conference Office, McGill University, 3450 University St., Montreal, Quebec, Canada, H3A 2A7, tel 514 398 3770, telex 05-268510, fac 514 398 4854, email ICMC@CO.LAN.MCGILL.CA I'm posting this in response to query from someone who wrote that he didn't know where it was this year. ------------------------------ End of Music-Research Digest