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Path: utzoo!mnetor!uunet!lll-winken!lll-lcc!ames!sdcsvax!beowulf!mikulska
From: mikulska@beowulf.ucsd.edu (Malgorzata Mikulska)
Newsgroups: comp.sys.amiga,comp.sys.mac,comp.sys.atari.st,rec.music.makers,rec.music.synth,rec.music.classical
Subject: Re: Sonic Holography.
Message-ID: <4408@sdcsvax.UCSD.EDU>
Date: 20 Dec 87 06:01:22 GMT
References: <2151@crash.cts.com> <4359@venera.isi.edu>
Sender: nobody@sdcsvax.UCSD.EDU
Reply-To: mikulska@beowulf.UUCP (Margaret Mikulska)
Organization: EE/CS Dept. U.C. San Diego
Lines: 23

In article <4359@venera.isi.edu> smoliar@vaxa.isi.edu.UUCP (Stephen Smoliar) writes:
>
>I am suprised that no one has cited the "Little Boy Suite" on this topic.
>I cannot remember the composer's name, although I seem to recall that he
>was French.  This was one of the works composed with Max Mathews' Music V
>system;  and, as I recall, it goes down, rather than up.  Nevertheless,
>the principle is applicable in either direction.
>

Jean-Claude Risset, in late 1960's, Bell Labs. He used this and similar
effects in some other pieces, too (I think in "Mutations", but I don't
remember this for sure right now).

As for mentioning this piece(s), I had an impression that wasn't the
kind of "perpetuum mobile" the original poster was seeking.

Margaret Mikulska

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