An Artificial Intelligence Approach to Concatenative Sound Synthesis
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Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
Educational Materials to Go with the Video & Extra Materials For
Educational Materials to go with the Video & extra materials for preparation and extension of the concert Prepared by Valerie Trollinger ([email protected], or [email protected] ) October 2012 Discovery Concert Series The Science of Sound Reading Symphony Orchestra Discovery Concert Series October, 2012 The Thrill of Resonance (Grades 4 , and above; Grade 3 with help) Teacher Quick-Start Guide The video is the second one in our sequence about the Science of Sound. There are three (3) ways to use this series at this point: 1) For students to get the full benefit of the science behind the sounds, then viewing the first video “The Science of Sound” is strongly recommended. a. Show the first video in the sequence (The Science of Sound) with the accompanying worksheet, go over the worksheet as needed. When the students are familiar with the meaning of the words Frequency, Amplitude, Time, Dynamics, and the rest of the terms on the worksheet, then go on to the second video (The Thrill of Resonance) with that accompanying worksheet. From there you can continue with activities that are relevant to your curriculum. There are a lot of other activities that go with both of these videos, addressing STEM technology ( adding the arts ) and building on creative thinking, problem solving, critical thinking, reading, writing, and even engineering. 2) If you don’t have time for the first video at this point and want to only show the second-- a) The students still need to be familiar with the terms Frequency, Amplitude, and Time. Definitions will follow in the teacher pack. -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
Final Thesis
University of Huddersfield Repository Merino, Elías THINGNESS: COMPOSITIONAL STRATEGIES FOR EMERGING VIRTUAL SONIC OBJECTS Original Citation Merino, Elías (2019) THINGNESS: COMPOSITIONAL STRATEGIES FOR EMERGING VIRTUAL SONIC OBJECTS. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35168/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ THINGNESS: COMPOSITIONAL STRATEGIES FOR EMERGING VIRTUAL SONIC OBJECTS Elías Merino Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy School of Music, Humanities and Media University of Huddersfield January 2019 Copyright Statement i The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
A City "... Waiting for the Sunrise " : Toronto in Song and Sound*
A City "... Waiting for the Sunrise " : Toronto in Song and Sound* Michael J. Doucet Abstract: One aspect of urban culture is examined to evaluate Toronto's position within the urban hierarchy, namely, the production of songs and sounds about the city. Although much music has been performed and created in Toronto over the years, and many songs have been urritten about a variety of features of life in the city, the musical images of Toronto remain largely unknown beyond its borders—even to many of the city's own residents. If Toronto is a "world-class city," the evidence for such a claim would have to be found on other dimensions than the one explored here. No one ever wrote / A single note / About Toronto. — Johnny Wayne and Frank Shuster (19%) I find that lately, I'm missing old Toronto, Where bass is strong and drums are full of fire. — from the Lenny Breau song "New York City" (1987) No nation can exist by the balance sheet alone. Stories, song, dance, music, art and the rest are the lifeblood of a country, the cultural images defining a people just as surely as their geography and the gross national product. — Robert Lewis, editor of Maclean's (19%) Interestingly, though, we don't seem to have an immediately identifiable style. The last time anyone spoke about a 'Toronto Sound' [former Mayor] Alan Lamport was booting hippies out of Yorkville. Unlike a Nashville or Manchester, there isn't any one thing that makes you say 'That's Toronto' -- Bob Mackowycz, writer and broadcaster (1991) Toronto itself doesn't have a distinctive civic culture. -
Text-Based Description of Music for Indexing, Retrieval, and Browsing
JOHANNES KEPLER UNIVERSITAT¨ LINZ JKU Technisch-Naturwissenschaftliche Fakult¨at Text-Based Description of Music for Indexing, Retrieval, and Browsing DISSERTATION zur Erlangung des akademischen Grades Doktor im Doktoratsstudium der Technischen Wissenschaften Eingereicht von: Dipl.-Ing. Peter Knees Angefertigt am: Institut f¨ur Computational Perception Beurteilung: Univ.Prof. Dipl.-Ing. Dr. Gerhard Widmer (Betreuung) Ao.Univ.Prof. Dipl.-Ing. Dr. Andreas Rauber Linz, November 2010 ii Eidesstattliche Erkl¨arung Ich erkl¨are an Eides statt, dass ich die vorliegende Dissertation selbstst¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt bzw. die w¨ortlich oder sinngem¨aß entnommenen Stellen als solche kenntlich gemacht habe. iii iv Kurzfassung Ziel der vorliegenden Dissertation ist die Entwicklung automatischer Methoden zur Extraktion von Deskriptoren aus dem Web, die mit Musikst¨ucken assoziiert wer- den k¨onnen. Die so gewonnenen Musikdeskriptoren erlauben die Indizierung um- fassender Musiksammlungen mithilfe vielf¨altiger Bezeichnungen und erm¨oglichen es, Musikst¨ucke auffindbar zu machen und Sammlungen zu explorieren. Die vorgestell- ten Techniken bedienen sich g¨angiger Web-Suchmaschinen um Texte zu finden, die in Beziehung zu den St¨ucken stehen. Aus diesen Texten werden Deskriptoren gewon- nen, die zum Einsatz kommen k¨onnen zur Beschriftung, um die Orientierung innerhalb von Musikinterfaces zu ver- • einfachen (speziell in einem ebenfalls vorgestellten dreidimensionalen Musik- interface), als Indizierungsschlagworte, die in Folge als Features in Retrieval-Systemen f¨ur • Musik dienen, die Abfragen bestehend aus beliebigem, beschreibendem Text verarbeiten k¨onnen, oder als Features in adaptiven Retrieval-Systemen, die versuchen, zielgerichtete • Vorschl¨age basierend auf dem Suchverhalten des Benutzers zu machen. -
Leonardo Music Journal [1])
IntroductIon LMJ 23: Sound Art What’s in a name? That which we call “Music” is judged by the full weight of history and fashion; substitute “Sound Art” and most of these preconceptions fall away. As recently as a decade ago the reaction instead might have been bemusement. The term Sound Art was coined in the late 1960s to describe sonic activities taking place outside the concert hall: interactive installations, listening walks, environmental recordings, open duration sound events—even “happenings” and performance art were occasionally lumped under this rubric. For many years Sound Art remained an interstitial activity, falling between music and visual art, embraced fully by neither. Many composers viewed self-styled Sound Artists as failed mem- bers of their own club pursuing “a career move . a branding exercise” (as Chris Mann is quoted as saying in Ricardo Arias’s contribution to this volume of Leonardo Music Journal [1]). Most museums and galleries, in turn, shied away from an art form that was often stunningly unvisual even by the standards of Conceptual Art and for which there appeared to be no mar- ket. (Gallery assistants often found it very irritating to boot.) By 2013, however, Sound Art clearly has been accepted as an identifiable musical genre, an art world commodity, and a subject of critical study. Its newfound visibility can be traced to a number of aesthetic, technological and economic factors. First and foremost, I suspect, is the ubiquity of video in contemporary life: On the heels of the ever-declining price of camcord- ers, cellphone cameras have brought the world—from out-of-tune Van Halen concerts to the Arab Spring—to our laptops, and every video clip is invariably accompanied by sound. -
Experiments in Sound and Electronic Music in Koenig Books Isbn 978-3-86560-706-5 Early 20Th Century Russia · Andrey Smirnov
SOUND IN Z Russia, 1917 — a time of complex political upheaval that resulted in the demise of the Russian monarchy and seemingly offered great prospects for a new dawn of art and science. Inspired by revolutionary ideas, artists and enthusiasts developed innumerable musical and audio inventions, instruments and ideas often long ahead of their time – a culture that was to be SOUND IN Z cut off in its prime as it collided with the totalitarian state of the 1930s. Smirnov’s account of the period offers an engaging introduction to some of the key figures and their work, including Arseny Avraamov’s open-air performance of 1922 featuring the Caspian flotilla, artillery guns, hydroplanes and all the town’s factory sirens; Solomon Nikritin’s Projection Theatre; Alexei Gastev, the polymath who coined the term ‘bio-mechanics’; pioneering film maker Dziga Vertov, director of the Laboratory of Hearing and the Symphony of Noises; and Vladimir Popov, ANDREY SMIRNO the pioneer of Noise and inventor of Sound Machines. Shedding new light on better-known figures such as Leon Theremin (inventor of the world’s first electronic musical instrument, the Theremin), the publication also investigates the work of a number of pioneers of electronic sound tracks using ‘graphical sound’ techniques, such as Mikhail Tsekhanovsky, Nikolai Voinov, Evgeny Sholpo and Boris Yankovsky. From V eavesdropping on pianists to the 23-string electric guitar, microtonal music to the story of the man imprisoned for pentatonic research, Noise Orchestras to Machine Worshippers, Sound in Z documents an extraordinary and largely forgotten chapter in the history of music and audio technology. -
Deep Listening, Touching Sound
WHAT IS DEEP LISTENING? What is Deep Listening? There’s more to listening than meets the ear. Pauline Oliveros describes Deep Listening as “listening in every possible way to everything possible to hear no matter what one is doing.” Basically Deep Listening, as developed by Oliveros, explores the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive -- of listening. The practice includes bodywork, sonic meditations, interactive performance, listening to the sounds of daily life, nature, one’s own thoughts, imagination and dreams, and listening to listening itself. It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth. The Deep Listening: Art/Science conference provides artists, educators, and researchers an opportunity to creatively share ideas related to the practice, philosophy and science of Deep Listening. Developed by com- poser and educator Pauline Oliveros, Deep Listening is an embodied meditative practice of enhancing one’s attention to listening. Deep Listening began over 40 years ago with Oliveros’ Sonic Meditations and organi- cally evolved through performances, workshops and retreats. Deep Listening relates to a broad spectrum of other embodied practices across cultures and can be applied to a wide range of academic fields and disci- plines. This includes, but not limited to: • theories of cognitive -
Sound Art in America: Cage and Beyond
Sound Art in America: Cage and Beyond “Sound Art”? In American art discourse, “sound art” is a thorny label. Practi tioners shy away from it, preferring to call themselves simply “artists” or “composers.” Critics often reject the phrase as well in favour of more generic descriptions such as “sound in the arts” or “the sonic arts.” Curators, too, are reluctant to put those two words side by side in exhibition titles.1 The reasons for this wariness seem to be twofold: (1) that “sound art” might just be a passing fad with which soon no one will want to have been associated, and (2) that the description is too narrow to capture work that invariably involves more than sound. In a statement written as wall text for the 2000 exhibition Volume: Bed of Sound at MoMA PS1 in New York City, the American pioneer of sound installation Max Neuhaus leveled both these arguments against the label. After declaring the flurry of soundthemed exhibitions to be “an art fad,” he dismissed the phrase “sound art” as a category mistake, the equivalent of grouping everything from steel sculpture to steel guitar music under the title “steel art.”2 Christoph Cox 51 Ye t, for all that, “sound art” keeps sneaking back into the discourse – and for good reason. While no more adequate to its content than the terms “video art” or “performance” are to describe the wild variety of work that falls under those labels, “sound art” helpfully marks the fact that, in the past two decades or so, sound has indeed become more prominent in venues of contemporary art in the U.S. -
100+ Alternative Search Engines You Should Know by Kay Tan
100+ Alternative Search Engines You Should Know By Kay Tan. Filed in Tools Ads by Google Web Site Optimizer Tooloptimizely.com/Web_Optimizer_ToolThe Hottest Web Site Optimizer Tool on the Planet. Test it out! Google is the most powerful search engine available, but when it comes to searching for something specific, Google may churn out general results for some. For instance, a search for a song in Google may return the singer, the lyrics and even fan sites – depending on the keywords you entered. This is when niche-specific search engines comes into the picture. These search engines allows you to search for the things you’re looking for, and because they are more focused, their results tend to be more accurate. E-books & PDF files, audio & music, videos, etc. are probably the most commonly searched items everyday and with this list, you’ll be able to locate them easily from now on. Enjoy! E-Book & PDF Search Engine PDF Searcher Pdf Searcher is a pdf and ebook search engine. You can search and download every ebook or pdf for free! PDFGeni PDFGeni is a dedicated pdf search engine for PDF ebooks, sheets, forms and documents. Data-Sheet Data-Sheet is a pdf ebook datasheet manual search engine where you can search any ebook datasheet pdf files and download. PDFDatabase PDF Database is a new search engine which uses a unique algorithm to search for pdf and doc files from all over the web quickly and efficiently. PDF Search Engine PDF Search Engine is a book search engine search on sites, forums, message boards for pdf files. -
Grades Prek–K Through 5
UNEDITED DRAFT Grades PreK–K through 5 GENERAL MUSIC CURRICULUM GUIDE UNEDITED DRAFT GENERAL MUSIC K-5 Grade Span: PreK-K I. Singing: Students will sing, alone and with others, a varied repertoire of music. South Carolina Standard Activities/Topics/Resources Assessment Strategies A. sing songs in a Teacher observation developmentally appropriate Additional South Carolina Standards range (using head tones), H. Demonstrate voice types by calling, whispering, speaking, singing, and by using vocal expressions to Teacher checklist matching pitch, echoing short, show emotion: crying, laughing, rejoicing, cheering, etc. PreK-K VI D Example: melodic patterns and I. Sing a variety of songs including play, story, game, folk, cumulative, and seasonal songs PreK-K IX - working to accomplish objective maintaining a steady tempo. A,B . √ accomplished objective B. speak, chant, and sing, using + exceeded objective expressive voices, moving to Rubric demonstrate awareness of beat, Examples of kindergarten age–appropriate songs: tempo, dynamics, and melodic Mary Had a Little Lamb The Farmer In the Dell Student portfolio direction. Ring Around the Rosy Happy Birthday C. sing from memory age- Twinkle, Twinkle, Little Star The Alphabet Song Performance appropriate songs representing Old McDonald Had a Farm If You’re Happy varied styles of music. The Muffin Man Ambos A Dos “Assessing the Developing Child D. experiment with high, This Old Man Eensy, Weensy Spider Musician: A Guide for General middle, and low vocal pitches by Vocabulary: Music Teachers, Brophy imitating known sounds such as high singing sirens, shrieks, and animals. middle head voice PreK-K VI C, low pitch E. experiment with and locate upward calling head tones through activities downward whispering such as pretending to throw repeat speaking voice upward, baby talking in head voice, and reciting nursery rhymes in head voice.