=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== 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) 1994 Society for Music Theory +-------------------------------------------------------------+ | Volume 0, Number 9 July, 1994 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@husc.harvard.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.94.0.9.ann 1. "Gender Trouble" in Music Research: Theoretical Challenges, Problems, and Approaches 2. Humdrum Toolkit Seminars 3. New mailing list: music-and-moving-pictures 4. Computer Music Journal (CMJ) Internet Archive --------------------------------------- 1. "Gender Trouble" in Music Research: Theoretical Challenges, Problems, and Approaches Pre-conference Roundtable for the Joint Meeting of the American Folklore Society and the Society for Ethnomusicology, Milwaukee WI Wednesday, 19 October, 1994 1-5 p.m. $10 registration fee The pre-conference rountable, jointly sponsored and convened by SEM and AFS, will feature an afternoon devoted to the open exchange of ideas and work in progress. The conveners seek to promote interdisciplinary dialogue among reseachers working in diverse fields, including ethnomusicology, folklore, anthropology, and musicology, who are also engaged or interested in feminist and/or gender approaches to the study of music. To this end the rountable will feature a discussion of recent writings in the above fields and brief presentations from a number of scholars on their work in progress and the kinds of gender troubles--or theoretical and methodological challenges and questions--it provokes. Issues which MIGHT be addressed, but in no way are limited to, include: --How do we account for gender in our disciplinary environments? --Where are there collisions between feminist perspectives and those of our musical discipline? --How do we account for the lived experience of women's lives? --How do we account for the interactive and even contradictory understandings of male and female, masculinity and femininity? --What can we learn from each other as ethnomusicologists, anthropologists, folklorists, or musicologists? Throughout the afternoon there will be time for on-going responses to presentations from attendees. Students are especially encourages to take part. The $10 registration fee will cover refreshments and the set of readings to be discussed. Readings will be sent to all registered attendees well in advance of the pre-conference date. For more information, or it you are interested in participating, please contact either Susan C. Cook or Elizabeth Tolbert Susan C. Cook Elizabeth Tolbert School of Music Peabody Conservatory of the University of Wisconsin Johns Hopkins University Humanities--455 N. Park 1 Mt. Vernon Place Madison WI 53706 Baltimore MD 21202 scook@macc.wisc.edu tolbert@jhunix.hcf.jhu.edu -------------------------------------------- 2. Humdrum Toolkit Seminars ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + + + Humdrum Toolkit Seminars + + + + August 17-20 August 25-28 + + + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ MTO Subscribers may be interested to learn of two 4-day seminars introducing the forthcoming Humdrum Toolkit. The Humdrum Toolkit is a set of 60 general-purpose software tools intended to assist music scholars in posing and answering research questions. Humdrum allows researchers to encode, manipulate, and output a wide variety of musically-pertinent representations. Humdrum is NOT (1) a MIDI sequencer, (2) a music printing package, or (3) a computer sound synthesis language. The emphasis is on posing and answering questions about music. For example: * In Bartok, are dissonances more common in strong metric positions than in weak metric positions? * What passages of the original `Salve Regina' chant are preserved in the settings by Tomas Luis de Victoria? * In Urdu folk songs, how common is the so-called "melodic arch" -- where phrases tend to ascend and then descend in pitch? * Which of the Brandenburg Concertos contains the B-A-C-H signature? * Identify all the harmonic contexts in which Handel doubles the leading- tone. * Which of two English translations of Schubert lyrics best preserves the vowel coloration of the original German? * Is there evidence of greater metric syncopation in late Mozart than in early Mozart? * After the V-I progression, which harmonic progression is most apt to employ a suspension? * Are crescendos in Wagner more strongly associated with rising pitch than is the case for other composers? * Which of several MIDI performances displays the greatest contrast in dynamics between the initial thematic statement and the thematic return? Humdrum can encode information in an unbounded variety of forms, such as French lute tablatures, conducting gestures, or perceptual data. Users are free to concoct their own task-specific representations -- such as schemes to represent Telugu notation, Dagomba dance, or Schenkerian graphs. Humdrum tools can transform, classify, coordinate, transfer, transpose, restructure, and otherwise manipulate both pre-defined and user-defined information. Humdrum provides extensive facilities for pattern searching. Tools are also provided that can charcterize the similarity between various types of information according to user-defined criteria of similarity. Humdrum will be of potential benefit to anyone wishing to pursue systematic investigations of musical information. This includes the posing of "factual" questions about music, and the testing of hypotheses about musical organization. In short, Humdrum may prove useful to music theorists, ethnomusicologists, historical musicologists, psychomusicologists, music librarians, dance scholars, linguists, and others. The Toolkit was designed for the UNIX operating system. However, with appro- priate UNIX utilities, the humdrum tools will also work under DOS or OS/2. The Humdrum Toolkit will soon be distributed on a non-profit basis by the Center for Computer Assisted Research in the Humanities, Menlo Park, CA. Although humdrum provides unprecedented opportunities for processing music- related data, becoming a proficient user is not trivial. Learning humdrum is comparable in complexity to learning C, perl, or kornshell programming. In order to assist scholars wishing to make use of Humdrum, two 4-day seminars will be held at the University of Waterloo, in Waterloo, Ontario (Canada), August 17-20 and August 25-28. The cost of the seminar is C$560 (approximately $400 US). This seminar price includes: daily lectures and tutorials, a complete copy of the Humdrum Toolkit software, an Installation Guide, a Humdrum User's Guide, a 350-page Humdrum Reference Manual, an electronic edition of the 48 fugues from J.S. Bach's Well-Tempered Clavier, and a VHS videotape containing review tutorials. Further information concerning the seminars, and concerning Humdrum in general, is available by request. The following further information is available: * Electronic brochure describing the Humdrum seminars in further detail. * Overview of Humdrum features. * A 750-line Humdrum FAQ (Frequently Asked Questions) * A 50-minute VHS videotape demonstration of Humdrum can be ordered for $16 Canadian ($11.50 US). N.B. The videotape is currently available in North American NTSC format only. Requests for further information should be addressed to: dhuron@watserv1.uwaterloo.ca The deadline for pre-registration is July 1, 1994. Distribution of the Humdrum Toolkit to the scholarly community is supported in part by a grant from the Social Sciences and Humanities Research Council of Canada. David Huron University of Waterloo dhuron@watserv1.uwaterloo.ca ------------------------------------------------- 3. New mailing list: music-and-moving-pictures A new list, music-and-moving-pictures has been established in England. The list was set up to open discussions about the techniques, aesthetics and future of music for film, television, video, computer animation, drawn animation, virtual reality simulators, games, and new areas, as yet to be invented. It is not essentially a list about hardware or software developments (the emusic list does that very well). The apparent need for this list arose out of designing and running a PGDip/MA course in Electro-Acoustic Music for Film & Television. Attempts to locate serious information about the aesthetics of film and television music revealed that relatively little has been published in these areas (the Library of Congress lists only 150 books at most, and several of these are reprints). The list, therefore, has as one of its goals the encouragement of serious discussion of the above topics, and the possibility of Networked publication. Questions about the list can be addressed to me: Stephen Deutsch: e-mail: sdeutsch@bournemouth.ac.uk Vox; (0202) 595102 FAX (0202) 595350 smail: Bournemouth University Department of Media Production Talbot Campus Fern Barrow Poole Dorset, UK BH12 5BB To subscribe write to mailbase@mailbase.ac.uk join music-and-moving-pictures your name your name should be 1st name space 2nd name Example: join music-and-moving-pictures joe joeson --------------------------------------------- 4. Computer Music Journal Internet Archive Announcing the Computer Music Journal Internet Archive and World-Wide Web Home Page This archive is a set of files that are stored on two Internet-accessible servers--one at MIT and one at Stanford--for the use of CMJ readers and members of the computer music community in general. The "root" directories are for the archive are "mitpress.mit.edu:/pub/Computer-Music-Journal" and "ccrma-ftp.stanford.edu:/pub/Publications/cmj." The archive includes the tables of contents, abstracts, and editor's notes for the last several volumes of CMJ (including the recent bibliography, diskography, and taxonomy of the field), a number of useful CM-related documents such as the full MIDI and AIFF format specifications, a lengthy reference list, the guidelines for manuscript submission, and the full text of several recent articles. The files in these directories can be copied via anonymous Internet ftp file transfer, and there also is a World-Wide Web (WWW) "home page" in the file named "CMJ.html" that contains useful pointers into the archive (and elsewhere) and provides hypertext access for users of web browsers such as the NCSA's Mosaic. The document reproduced below is part of the archives and describes its contents in more detail. The two URLs for the Computer Music Journal WWW home page are "file://mitpress.mit.edu/pub/Computer-Music-Journal/CMJ.html" and "file://ccrma-ftp.stanford.edu/pub/Publications/cmj/CMJ.html". Please note that neither of these machines run local http servers, so Mosaic users should access them using the file URLs as above. Comments and suggestions are invited from readers/users about what if of use to you and what should be stored here. Stephen Travis Pope Computer Music Journal, CNMAT/U.C.Berkeley stp@CNMAT.Berkeley.edu, (510) 644-3881 ------------------------------------------------------ Filename: mitpress.mit.edu:/pub/Computer-Music-Journal/README Computer Music Journal Internet Archive README File This document describes the files related to Computer Music Journal that are available from the Internet server mitpress.mit.edu in the directory /pub/Computer-Music-Journal and also in the directory /pub/Publications/cmj on the server ccrma-ftp.stanford.edu at Stanford. The top-level directory has a Hypertext Mark-up Language (HTML) document for use as a "home page" with World-Wide Web (WWW) browsers such as the NCSA's Mosaic. It is in the file named CMJ.html and contains useful hypertext pointers into the archive (and elsewhere). CMJ subscription information can be found in the file Subscribe.t. The file named ls.lR contains a UNIX-style full directory listing of the archive (i.e., the output of the UNIX shell command "ls -lR").. There are several kinds of files kept in the various subdirectories of the directory where this README file is found. The subdirectories contain: Contents--tables of contents and abstracts from Computer Music Journal EdNotes--editor's notes and commentaries Authors--guidelines and templates for authors Documents--other computer music-related texts References--computer music reference lists Texts--full-text of several Computer Music Journal articles More details are given in the README files within each subdirectory, which are collected together in the file Index.t (ASCII) and Index.ps.Z (compressed PostScript). Please send comments and suggestions about what you'd like to find here to the editors at CMJ@CNMAT.Berkeley.edu. ------------------------------------------------------ Filename: mitpress.mit.edu:/pub/Computer-Music-Journal/Contents/README This directory contains ASCII text files with the tables of contents and article abstracts for the last few volumes of Computer Music Journal. Eventually this will be augmented by some sort of database allowing keyword, author, or other queries against all back issues of Computer Music Journal. ===================================== CMJ Topical Overview Volumes 13-18 (1989-94) ===================================== CMJ 13:1 Spring 1989--Clara Rockmore [Green] CMJ 13:2 Summer 1989--Object-Oriented Software CMJ 13:3 Fall 1989--Neural Nets and Connectionism--1 CMJ 13:4 Winter 1989--Neural Nets and Connectionism--2 CMJ 14:1 Spring 1990--New Performance Interfaces--1 [Blue] CMJ 14:2 Summer 1990--New Performance Interfaces--2 CMJ 14:3 Fall 1990--Analysis/Synthesis, Pitch Detection--1 CMJ 14:4 Winter 1990--Analysis/Synthesis, Lisp--2 CMJ 15:1 Spring 1991--Interactive Algorithmic Composition [Yellow] CMJ 15:2 Summer 1991--CAMP, Performance Rules CMJ 15:3 Fall 1991--IRCAM Musical WorkStation CMJ 15:4 Winter 1991--Dream Machines: John Pierce at 80 CMJ 16:1 Spring 1992--Advances in AI for Music--1 [Red] CMJ 16:2 Summer 1992--Advances in AI for Music--2 CMJ 16:3 Fall 1992--Computer Music Systems CMJ 16:4 Winter 1992--Physical Modeling 1 CMJ 17:1 Spring 1993--Physical Modeling 2 [Orange] CMJ 17:2 Summer 1993--Synthesis and Transformation CMJ 17:3 Fall 1993--Music Representation and Scoring--1 CMJ 17:4 Winter 1993--Music Representation and Scoring--2 CMJ 18:1 Spring 1994--Music Representation and Scoring--3 [Yellow] CMJ 18:2 Summer 1994--Composition and Performance in the 1990s--1 CMJ 18:3 Fall 1994--Composition and Performance in the 1990s--2 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Filename: mitpress.mit.edu:/pub/Computer-Music-Journal/EdNotes/README This directory contains the full text of the Computer Music Journal Editor's Notes from 1991 through the present, including the Journal's annotated bibliography, diskography, and taxonomy of the field, and a note on electronic network-accessible resources that are relevant to computer music researchers. The file Topics.t (included below) lists the titles of the notes. ===================================== Topics of Editor's Notes for "Computer Music Journal" 15:3 - 18:3 ===================================== CMJ 15:3 (Fall, 1991) "The First Dilemma: The Marginalization of `Art Music'" CMJ 15:4 (Winter, 1991) "The Second Dilemma, or Tape Music--the Poor Cousin" CMJ 16:1 (Spring, 1992) "For Lack of a Better Word by Any Other Name" CMJ 16:2 (Summer, 1992) "The Composer and the Computer" CMJ 16:3 (Fall, 1992) "Performing with Active Instruments" CMJ 16:4 (Winter, 1992) "New Music Delivery" CMJ 17:1 (Spring, 1993) "Dancing about Architecture?" CMJ 17:2 (Summer, 1993) "Placing Max in Perspective" guest-edited by Brad Garton and Robert Rowe CMJ 17:3 (Fall, 1993) "The Basic Computer Music Library" CMJ 17:4 (Winter, 1993) "An Incomplete Diskography of Computer Music CMJ 18.1 (Spring, 1994) "A Taxonomy of Computer Music CMJ 18.2 (Summer, 1994) "Electronic Resources for Computer Music CMJ 18:3 (Fall, 1994) "Why is Good Electroacoustic Music So Good? Why is Bad Electroacoustic Music So Bad?" -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Filename: mitpress.mit.edu:/pub/Computer-Music-Journal/Authors/README This directory contains the style guidelines for authors, general instructions to contributors, and the (still to come) full style sheet for Computer Music Journal. There are also two document template files, one for MS-Word on a Macintosh, and one for FrameMaker on an UNIX workstation. -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Filename: mitpress.mit.edu:/pub/Computer-Music-Journal/Documents/README This directory and its subdirectories contain a variety of computer music-related documents from various sources. Readers are encouraged to submit new documents for archival here by contacting the editor, Stephen Travis Pope, at stp@CNMAT.Berkeley.edu. The directory MIDI contains a version of the MIDI specification (grabbed from the server at csuhayward.edu--California State University, Hayward). The directory SoundFiles contains several documents describing various sound file formats. AIFF-c.ps.Z The "current" description of the AIFF sound file format. Can be obtained from ftp.sgi.com in the directory /sgi. AudioFormats2.10.t Guido van Rossum's excellent sound file format paper. From guido@cwi.nl. AudioFormats2.resp.t STP's extensions to Guido's document: The EBICSF sound file system. BICSF.t The description of the Berkeley/IRCAM/CARL sound file format. The top level directory contains the following files. Benchmarks.src.tar.Z The benchmarks used in the article comp-languages Carter Scholz's list of Computer Music Languages (csz@well.sf.ca.us). ircam.papers The IRCAM research-paper list from Music Research Digest. midi-archives A list of ftp and mail-based archives on the Internet that contain MIDI related stuff, and a list of midi mailing lists from Piet van Oostrum (piet@cs.ruu.nl). notation-pgms Music Notation Programs - a list to answer a FAQ from Dennis O'Neill (denio@seismo.CSS.GOV). -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Filename: mitpress.mit.edu:/pub/Computer-Music-Journal/References/README (Rudimentary) Computer Music Reference List This should eventually become an annotated (with well-selected keywords) reference list that can be searched with a full-text retrieval engine like WAIS. (Any volunteers?) Please feel free to send in your submissions (in exactly this format, please) to cmj@CNMAT.Berkeley.edu. -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Filename: mitpress.mit.edu:/pub/Computer-Music-Journal/Texts/README This directory contains (as an experiment) the full text of two recent Computer Music Journal articles. If you find this useful, send us mail. The two articles are included in PostScript and ASCII formats, and can be freely copied provided that the copyright notices are maintained. The Interim DynaPiano: An Integrated Computer Tool and Instrument for Composers, Stephen Travis Pope Appeared in Computer Music Journal 16:3 Fall, 1993 Files: IDP.ps.Z Compressed PostScript of the text and figures IDP_MODE.t.Z Compressed ASCII of the text Machine Tongues XV: Three Packages for Software Sound Synthesis Stephen Travis Pope Appeared in Computer Music Journal 17:2 Summer, 1993 Files: SWSS.text.ps.Z Compressed PostScript of the text SWSS.figs.ps.Z Compressed PostScript of the figures SWSS.t.Z Compressed ASCII of the text -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Please send comments and suggestions about what you'd like to find here to the editors at CMJ@CNMAT.Berkeley.edu. stp 1994.06.10 ------------------------------------------ +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Copyright Statement [1] Music Theory Online (MTO) as a whole is Copyright (c) 1994, 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