Path: utzoo!utgpu!news-server.csri.toronto.edu!cs.utexas.edu!samsung!zaphod.mps.ohio-state.edu!swrinde!ucsd!ames!amdcad!sun!bartok.Eng.Sun.COM!bradr From: bradr@bartok.Eng.Sun.COM (Brad Rubenstein) Newsgroups: comp.music Subject: Music-Research Digest Vol. 5, #72 Message-ID: <139804@sun.Eng.Sun.COM> Date: 30 Jul 90 17:53:18 GMT Sender: news@sun.Eng.Sun.COM Reply-To: music-research%bartok.eng@sun.UUCP Lines: 271 Music-Research Digest Sat, 28 Jul 90 Volume 5 : Issue 72 Today's Topics: ASCII representation of music this is the IRCAM research-paper list *** 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: 26 Jul 90 22:29:42 GMT From: Dave Richards Subject: ASCII representation of music To: music-research@prg Message-ID: <148632@felix.UUCP> The article that prompted this has expired at my site, but I've been kicking around an idea I had... since MIDI is pretty much spoken everywhere now, why not use the midi number values for pitch representation (numbers 0-127)? This is non-ambiguous with regard to octave, and eliminates the requirement to spell accidentals correctly (is it F# or Gb), as well as the confusion associated with the occasional double-flat or double-sharp, and E#, Cb, etc. These MIDI numbers are not all that hard to memorize, at least for 2 or 3 octaves. The simplest way of showing duration that I can think of is to simply use integers representing the note value, eg: 1=whole note, 2=half note, etc., plus "." to indicate 1/2 the value. An alternate method would be to specify the number of beats. Thus 1=1 beat, 4=4 beats, etc. The problem with that is you wind up using decimals eg: .5, .25, etc. The first way is probably better. So with this system, any note is defined by two numbers. The numbers would be separated by a symbol that also indicates normal, staccato, or legato. I like the midi idea of not having to list things that don't change. In other words, for several sequential notes on the same pitch, the pitch is only given for the first note. Likewise, a series of notes with the same duration would only need the duration listed once. A series of notes on the same pitch and the same length would only need the separator. A file header would be a good idea. Information contained in the header could be: song name, composer/arranger, tempo, voice characteristics (timbre or patch no. for a synth, etc), time signature, and key signature. (key signature is op- tional because absolute note pitches are provided.) With the addition of ver- tical lines to indicate measures, the system is essentially complete. Here's the first line of "Happy Birthday" as an example. (key note=C72) 3/4 | R2 67-8 - | 69-4 67- 72- | 71-2 67-8 - | 69-4 67- 74- | 72-2 Dave [ Moderator's note: this system is OK, but for real music research it has a lot of drawbacks. Researchers interested in music representations must look at the standard alphanumeric representations, DARMS, Plaine and Easie, and IML. For a discussion of these, see one of the many standard references, or read chapter 3 of my thesis - Stephen Dowland Page, "Computer Tools for Music Information Retrieval", Diss. D.Phil. Oxford 1988, which suggests why alphanumeric representations are NOT good for music research. There is also a bibliography of 80 references on input systems (including encoding languages) in my thesis. Another useful and recent article is in the 1987 edition of the Directory of Computer Assisted Research in Musicology, ed. Walter B. Hewlett and Eleanor Selfridge-Field (Menlo Park, CA: Center for Computer Assisted Research in the Humanities). PLEASE let's stop inventing more encoding languages!!! - S ] ------------------------------ Date: 27 Jul 90 17:08:48 GMT From: Vladimir Orlt Subject: this is the IRCAM research-paper list To: music-research@prg Message-ID: <1388@philmtl.philips.ca> As promised, here is a copy of the IRCAM research paper summary that I obtained at the IRCAM offices. French titles/remarks are translated in [] brackets (by myself). Language versions of each paper are also included. All titles are copied with original grammatical errors (to the best of my proof-reading knowledge). The price for each paper is 15F (about $3 US) unless otherwise indicated; the prices do not include mailing charges. The IRCAM address is not included, but I'm sure some of you have it. I have other documentation, mostly pamphlets, which I picked up as well. I'll summarize these if anyone is interested, but don't ask me to type them in to the net; it would be best to ask for these at IRCAM by mail. [ This report has been added to the archive under the title "ircam.papers", for anyone who wants a copy in the future. - S ] regards, Vlad Orlt vo@philmtl.philips.ca ---- START RAPPORTS DE RECHERCHE ET PUBLICATIONS [ research reports and publications ] No 1 La recherche a l'IRCAM en 1977 [ research at IRCAM in 1977 ] G. Bennett [ french and english ] No 2 Unite electronique destinee a la transformation du son en temps reel, programmable et controlable par l'instrumentiste [ Electronic unit used for real-time sound transformation, programmable and controllable by the instrumentalist ] R. Causse [ french ] 20F No 3 Computer facilities for music at IRCAM, as October 1977 J. Gardner [ english ] No 4 A one Card 64 Channel Digital Synthesizer G. di Giugno [ english ] No 5 Real-Time Synthesizer Control M. Matthews [ and ] G. Benett [ english ] No 6 The use of the linear Prediction of speech in computer music application J.A. Moorer [ english ] No 7 Musica, Programme de codage de la Musique [ Musica, a music-coding program ] G. di Poli [ french ] 20F No 8 Musical Acoustics J.C. Risset [ english ] 20F No 9 The development of Digital Techniques: a turning point for electronic music? J.C. Risset [ english ] No 10 Paradoxes de hauteur [ Paradoxes of pitch(?) ] J.C. Risset [ french ] No 11 Hauteur et Timbre des Sons [ Pitch(?) and timbre of sounds ] J.C. Risset [ french ] No 12 Low Dimensional Control of Musical Timbre D. Wessel [ english ] No 13 Perception of Timbral Analogies D. Ehresman/D. Wessel [ english ] --- No 14 is not listed --- No 15 Computer-aided model of stereophonic systems B. Bernfeld/B. Smith [ english ] No 16 A digitally programmable filter M. Rozenberg [ english ] No 17 About this reverberation business J.A. Moorer [ english ] 20F No 18 A composer's notes on the development and implantation of software for a digital synthesizer N.B. Rolnick [ english ] No 19 La recherche a l'IRCAM en 1978 [ research at IRCAM in 1978 ] G. Benett [ french and english ] No 20 Constant High Q bandpass filters M. Rozenberg [ english ] No 21 On coupling between vocal tract and voice source J. Sundberg [ english ] No 22 Chest vibrations in singers J. Sundberg [ english ] No 23 Archivage numerique des sons [ Numeric archiving of sounds ] J.C. Risset [ french ] No 24 Le systeme de traitement de signaux digitaux "junior" [ "Junior": a digital-signal processing system ] J.L. Delatre [ french ] No 25 The computer as a sound porcessor S. Haynes [ english ] No 26 Inharmonique Analyse de la bande magnetique de l'oeuvre de J.C. Risset [ analysis of the tape of J.C. Risset's composition(?) ] 20F D. Lorrain [ french ] No 27 The sequential drum M.V. Matthews [ english ] No 28 Harmony and Nonharmonic Partials M.V. Matthews and J. Pierce [ english ] No 29 La recherche a l'IRCAM en 1979 [ research at IRCAM in 1979 [ no author mentioned ] [ french and english ] No 30 Une panoplie de canons stochastiques [ A panoply of stochastic canons ] D. Lorrain [ french ] 20F No 31 Density of Spectral Components: Preliminary Expermiments A. Gerzso [ english ] --- No 32 is not listed --- No 33 Aspects dynamiques du phrase de la trompette [ Dynamic aspects of trumpet phrasing ] D. Morrill [ french and english ] 20F No 34 Sons multiphoniques aux instruments a vent [ Polyphonic(?) wind-instrument sounds ] M. Castallengo [ french ] 20F No 35 Chant De la synthese a la voix chantee a la synthese en general [ Singing From synthesis to the singing voice to synthesis in general ] J.B. Barriere/Y. Potard/X. Rodet [ french ] 25F No 36 Formes Composition et ordonnancement de processus [ Forms Composition and process ordering ] P. Cointe/X. Rodet [ french ] 25F No 37 L'image auditive: une metaphore pour la recherche musicale et psychologique sur l'organisation auditive [ The aural image: a metaphor for musical and psychological research into auditory organization ] S. McAdams [ french ] 25F No 38 Nouvelles techniques instrumentales Composition et formalisation [ New instrumental techniques compostion and formalization ] G. Assayg/ M. Castallengo/C. Malherbe [ french ] 25F No 39 La station de travail musical 4X [ The 4X musical workstation ] O. Koechlin [ french ] 25F No 40 Fusion spectrale et la creation d'images auditives [ Spectral fusion and auditory image creation ] S. McAdams [ french ] 25F No 41 La composition assistee par ordinateur [ Computer-aided composition ] F. Lerdahl/Y. Potard [ french ] 25F ------ END (the last item is No 41) ------------------------------ End of Music-Research Digest