Path: utzoo!utgpu!jarvis.csri.toronto.edu!cs.utexas.edu!uwm.edu!zaphod.mps.ohio-state.edu!tut.cis.ohio-state.edu!ucbvax!bartok.Eng.Sun.COM!daemon From: daemon@bartok.Eng.Sun.COM Newsgroups: comp.music Subject: Research Digest Vol. 5, #08 Message-ID: <9002030244.AA02327@bartok.sun.com> Date: 3 Feb 90 02:44:18 GMT Sender: daemon@ucbvax.BERKELEY.EDU Reply-To: music-research@bartok.Eng.Sun.COM Distribution: inet Organization: The Internet Lines: 364 Music-Research Digest Fri, 2 Feb 90 Volume 5 : Issue 8 Today's Topics: Call for papers on microtonality Cognitive Musicology (from: Research Digest Vol. 5, #02) DARMS parsers/manipulators anyone? help with mtex X3V1.8M *** 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 ---------------------------------------------------------------------- Date: 01 Feb 90 1021 PST From: Douglas Keislar Subject: Call for papers on microtonality To: music-research-request@uk.ac.oxford.prg The international journal PERSPECTIVES OF NEW MUSIC is seeking a few GOOD articles for a feature on microtonality (and other tuning alternatives to 12-tone equal temperament), in music of the recent past, the present, and the future. Preference will be given to articles dealing with the significant work of one or more composers (either by the composers themselves, or by other expert analysts), or dealing with theoretical systems, whether presently realized in music or not. In general, articles should not be longer than 30 typescript (double-spaced) pages, and should be received by 30 March 1990. Typescripts must be double-spaced. No dot-matrix prints, please. Address submissions either by email to: pnm@milton.u.washington.edu or by post to: Microtonal Feature Perspectives of New Music School of Music DN-10 University of Washington Seattle, WA 98195 USA --Richard Karpen, Douglas Keislar, and Jerome Kohl ------------------------------ Date: 29 Jan 90 23:30:35 GMT From: Eliot Handelman Subject: Cognitive Musicology (from: Research Digest Vol. 5, #02) To: music-research@uk.ac.oxford.prg In article <1503@mit-amt.MEDIA.MIT.EDU> rowe@media-lab.media.mit.edu (Robert Rowe) writes: ;I ;have just finished rereading Laske's keynote address to the 1988 AAAI ;workshop on Artificial Intelligence and Music, and the most substantive ;part of it describes Laske and Don Cantor's work on Pr1Mac, a composer's ;workbench. I would be very interested to see Otto Laske reply to Eliot ;Handelman's posting, or just to see him describe the knowledge ;acquisition process adopted in Pr1Mac, and what his results and conclusions ;are. The most public manifestations I have recently seen from Mr. Laske, ;I must admit, are accusations of methodological laxness by the rest of ;us, and not much about what he is actually doing to redress the situation. ; ;Robert Rowe ;MIT Media Laboratory Concerning Pr1Mac, I would like to see the following sentence explained (taken from the proceedings): "As every musician would agree, the crux in developing an intelligent assistant for music lies in in providing a flexible interface between the multiple representations with which musicians HABITUALLY work, and to do so without interfereinig with their HABITUAL way of inventing and intuiting." (my emphasis) When I first read this, I thought that Laske wants to tailor the system to the habitual concerns, whatever that means, of composers. But no, because: "Events in Pr1Mac are collections of from 1 to 6 "notes" or "samples" having a unified temporal, timbral, and dynamic represenation." This sounds to me like one particular kind of representation is being forced upon the users of Pr1Mac. What makes Laske think that this is the way that musicians habitually work? What makes Laske think that musicians have a habitual way of inventing music? Is assuming as much an example of "knowledge acquistion"? Sounds to me more like "assumption acquisition." I agree with Robert on one further point: Laske protests too much. Robert Rowe and I are intensively involved in artificial intelligence and music, and if Laske does not want to pursue this discussion, but continues to make use of the net to advertise his discontent with the state of affairs then I, for one, have no reason to assume that Laske wants to avail himself of opportunities to inform himself of states of affairs which may be unknown to him. In that case his endless criticism are completely unjustified. --Eliot Handelman Princeton U., Music ------------------------------ Date: 31 Jan 90 00:07:05 GMT From: Richard Friedman Subject: DARMS parsers/manipulators anyone? To: music-research@uk.ac.oxford.prg Does anyone out there know of any programs (preferably in C) to parse and/or manipulate DARMS encoded text. (DARMS is an alphanumeric representation of musical notation that is being used for music analysis and even composition.) What I'd like to be able to do is write music in DARMS and then apply procedures to the music text that manipulate it in various ways, generating an expanded DARMS output. Anyone know of anything like this? -- /s/ rchrd <=> Richard Friedman <=> rchrd@well rchrd@well.sf.ca.us | {apple,pacbell,hplabs,ucbvax}!well!rchrd [Pacific-Sierra Research / Berkeley CA] (415) 540-5216 (The usual disclaimers apply - I speak only for myself!) ------------------------------ Date: Mon, 29 Jan 90 16:42:30 EST From: Allan Adler Subject: help with mtex To: music-research@uk.ac.oxford.prg I learned about mtex from this digest several months ago and obtained a copy. Since then I have been trying to learn metafont so I can compile the fonts which come with the mtex distribution. I have finally succeeded in compiling the fonts and in convincing TeX to look in my directory for them. As a result I was able to print out mtexinfo and mtexinfoenglish today. I also tried to print out mtexdemo and had some trouble with it. The laserwriter would think about the dvi-alw file for a long time and then would print out a picture of the laserwriter. I decided that somehow the laserwriter was being given more than it could handle. So I edited the file mtexdemo.tex and deleted everything after the first \endchord. I followed that by \endsong and \end and tried again. I was please to see one staff of music running across the page, but also noted that the staff ended early in the measure and near the end of the page and with no bar line. It occurred to me that if the measure were completed, it would overreach the end of the page by a large amount and that might have been the reason that the laserwriter gave up on it. So the question is, what can I do to correct this ? Is the music intended to run across an 8.5" by 11" page ? Or was it intended to run in "landscape mode",with the page rotated 90 degrees ? And if so, how does one do that in TeX ? Has anyone else had this problem and if so how did they deal with it ? Also, it occurs to me that perhaps mtex has been improved since I obtained it. How can one find out about current versions ? When I looked at the file mtexdemo.tex, I didn't see any numbers I could conveniently change to make the output smaller and perhaps fit on the page. It seems a shame to have come so far and to be held back at the last step by such a silly little problem. I welcome your comments and suggestions. I felt it was appropriate to ask about it here because this is where I first learned about mtex. Allan Adler ara@lom1.math.yale.edu ------------------------------ Date: Thu, 1 Feb 90 22:07:34 EST From: "Steven R. Newcomb" Subject: X3V1.8M To: Music-Research X3V1.8M MUSIC IN INFORMATION PROCESSING STANDARDS (MIPS) COMMITTEE operating under the rules and procedures of the American National Standards Institute X3V1.8M Secretariat: c/o Larry Austin, President The Computer Music Association P. O. Box 1634 San Francisco, California 94101-1634 USA MEETING NOTICE, CALL FOR PAPERS, AND DRAFT AGENDA - TWELFTH MEETING MEETING NOTICE: Meeting times: Wednesday, February 28, 1990, 10:00 AM - 5:00 PM. Thursday, March 1, 1990, 9:00 AM - 5:00 PM. Friday, March 2, 1990, 8:30 AM - 5:00 PM (Morning session at Hypertext User Requirements Workshop of TechDoc '90). Saturday, March 3, 1990, 9:00 AM - 5:00 PM. Meeting Host: Graphic Communications Association, Marion Elledge, Executive Director Meeting Location: Loews Santa Monica Beach Hotel 1700 Ocean Avenue Santa Monica, California 90401 WRITTEN CONTRIBUTIONS The usual mailing will be made to participants of record on February 9, 1990. To get your paper into the mailing, IT IS IMPERATIVE that you get the camera-ready version into the hands of Vice-chairman Steven R. Newcomb on or before February 5, 1990. His address is: Center for Music Research, School of Music, Florida State University, Tallahassee, FL 32306-2098 USA. TRAVEL AND LODGING Hotel Accommodations The most convenient place for participants to stay will be at the Loews Santa Monica Beach Hotel, 1700 Ocean Avenue, Santa Monica, CA 90401. The only luxury beachfront hotel in Los Angeles, the Loews Santa Monica Beach Hotel is located 8 miles north of Los Angeles International Airport. The host of the meeting, the Graphic Communications Association (GCA), is having a conference, "Tech- Doc Winter '90," currently with the X3V1.8M meet- ing; participants in the X3V1.8M meeting may enjoy the special GCA conference rate of $112/night, single/double, plus 10% tax. Reservations can be made by calling the hotel directly at 213/ 458- 6700 and identifying yourself as a GCA registrant. (The GCA is waiving conference registration fees for X3V1.8M participants so that X3V1.8M may also participate in the TechDoc Hypertext Workshop on Friday morning.) The cut-off date for accommoda- tions is January 28, 1990. Travel Arrangements - Air It is recommended that you fly to Los Angeles International Airport (LAX), which is only 8 miles away from the meeting site. GCA has negotiated a special fare with American Airlines that can save you 45% off regular coach fare or 5% off the lowest American promotional fare. Call American's tool free number, 800/433-1790 (in Texas 800/792- 1160) and give the operator the GCA STAR file number S-09Z0GV. Also inquire about reduced rates on rental cars. You may also call Columbia Travel, GCA's official agent, to make your travel arrangements at 800/822-3399 (in Virginia 703/243-2900). Both will book you on the most direct route with this special fare or the lowest fare possible. ABOUT OUR HOST, THE GRAPHIC COMMUNICATIONS ASSOCIATION (GCA) The Graphic Communications Association organizes several conferences each year intended to inform and serve the needs of the entire community of publishers and the systems makers who serve them. The GCA is par- ticularly interested in promoting the development of powerful standards for the representation of various kinds of documents. In the TechDoc '90 conference, the emphasis will be on the needs of publishers of techni- cal documents. More and more technical documents are hypertexts. The GCA believes that the MIPS committee's developing time-based hyperdocument standard, "HyTime," an out- growth of its Standard Music Description Language (SMDL) work, represents progress in the development of a standard for hypertext representation. (Indeed, HyTime is the only developing hyperdocument standard that has become a written public document in the con- text of an ANSI activity.) Therefore, the GCA is pleased to provide the meeting space in Santa Monica, and to invite X3V1.8M participants to its hypertext workshop at no charge. NOTES TO NEW PARTICIPANTS/OBSERVERS: 1. Prospective members and observers are welcome at any time to participate in the current technical work of the committee. (You can be most effective in conveying your viewpoint if you can present it in the context of the current work -- in other words, please be familiar with X3V1.8M/SD-6, SD-7 and SD-8. If you don't have these, they can be obtained for a nominal charge from the X3V1.8M Secretariat.) New participants are also urged to obtain and read ISO 8879 (Standard Generalized Markup Language). ISO 8879 is not obtainable from the committee's secretariat; it can be obtained from Graphic Communications Association, 1730 North Lynn Street, Suite 604, Arlington, Virginia 22209-2085, for $67.50 (156 pp.). You should also obtain International Standard ISO 8879:1986/Amend- ment 1 from the same organization. 2. As usual, a portion of the second day's meeting (Thursday) has been set aside for persons who wish to address the committee on topics of their own choosing, relating to the subject matter or metho- dology of the committee's work. 3. New participants are asked (but not required) to inform Charles Goldfarb (c/o Debbie Perez, IBM Almaden Research Center, 408/927-2577) or Steve Newcomb (Florida State University Center for Music Research, Tallahassee, FL 32306-2098, 904/644- 5786) if they plan to attend. DRAFT AGENDA: Wednesday Administrative matters, including: Opening, Appro- val of Agenda, Attendance (including introduction of new participants). Review of modularization of HyTime from SMDL. Review of how SMDL applies HyTime. Review of SMDL, including the pitch model and chord gamuts. Review Disposition of Written Comments document from last meeting. Thursday Approval of Draft Minutes of the October, 1989 meeting, Chairman's Report, Related Activities & Liaisons. Consideration of input on HyTime from the "Room 705 Ad Hoc Group" at the Hypertext Stan- dardization Workshop of the National Institute of Standards and Technology (NIST) (January 16-18, 1990). Technical work to include reviews of newly contributed documents. Friday (8:30 AM - noon:) Joint session with GCA TechDoc '90 Workshop on Hypertext User Requirements. (After noon:) technical work, especially consider- ing comments made during the morning session. Saturday Technical work. Disposition of written comments. Schedule of future meetings. Adjournment. ------------------------------ End of Music-Research Digest