The Early History of Music Programming and Digital Synthesis, Session 20
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Weeel for the IBM 704 Data Processing System Reference Manual
aC sicru titi Wane: T| weeel for the IBM 704 Data Processing System Reference Manual FORTRAN II for the IBM 704 Data Processing System © 1958 by International Business Machines Corporation MINOR REVISION This edition, C28-6000-2, is a minor revision of the previous edition, C28-6000-1, but does not obsolete it or C28-6000. The principal change is the substitution of a new discussion of the COMMONstatement. TABLE OF CONTENTS Page General Introduction... ee 1 Note on Associated Publications Le 6 PART |. THE FORTRAN If LANGUAGE , 7 Chapter 1. General Properties of a FORTRAN II Source Program . 9 Types of Statements. 1... 1. ee ee ee we 9 Types of Source Programs. .......... ~ ee 9 Preparation of Input to FORTRAN I Translatorcee es 9 Classification of the New FORTRAN II Statements. 9 Chapter 2. Arithmetic Statements Involving Functions. ....... 10 Arithmetic Statements. .. 1... 2... ew eee . 10 Types of Functions . il Function Names. ..... 12 Additional Examples . 13 Chapter 3. The New FORTRAN II Statements ......... 2 16 CALL .. 16 SUBROUTINE. 2... 6 ee ee te ew eh ee es 17 FUNCTION. 2... 1 ee ee ww ew ew ww ew ew ee 18 COMMON ...... 2. ee se ee eee wee . 20 RETURN. 2... 1 1 ew ee te ee we wt wt wh wt 22 END... «4... ee we ee ce ew oe te tw . 22 PART Il, PRIMER ON THE NEW FORTRAN II FACILITIES . .....0+2«~W~ 25 Chapter 1. FORTRAN II Function Subprograms. 0... eee 27 Purpose of Function Subprograms. .....445... 27 Example 1: Function of an Array. ....... 2 + 6 27 Dummy Variables. -
Wendy Reid Composer
WENDY REID COMPOSER 1326 Shattuck Avenue #2 Berkeley, California 94709 [email protected] treepieces.net EDUCATION 1982 Stanford University, CCRMA, Post-graduate study Workshop in computer-generated music with lectures by John Chowning, Max Mathews, John Pierce and Jean-Claude Risset 1978-80 Mills College, M.A. in Music Composition Composition with Terry Riley, Robert Ashley and Charles Shere Violin and chamber music with the Kronos Quartet 1975-77 Ecoles D’Art Americaines, Palais de Fontainbleau and Paris, France: Composition with Nadia Boulanger; Classes in analysis, harmony, counterpoint, composition; Solfege with assistant Annette Dieudonne 1970-75 University of Southern California, School of Performing Arts, B.M. in Music Composition, minor in Violin Performance Composition with James Hopkins, Halsey Stevens and film composer David Raksin 1 AWARDS, GRANTS, and COMMISSIONS Meet The Composer/California Meet The Composer/New York Subito Composer Grant ASMC Grant Paul Merritt Henry Award Hellman Award The Oakland Museum The Nature Company Sound/Image Unlimited Graduate Assistantship California State Scholarship Honors at Entrance USC National Merit Award Finalist National Educational Development Award Finalist Commission, Brassiosaurus (Tomita/Djil/ Heglin):Tree Piece #52 Commission, Joyce Umamoto: Tree Piece #42 Commission, Abel-Steinberg-Winant Trio: Tree Piece #41 Commission, Tom Dambly: Tree Piece #31 Commission, Mary Oliver: Tree Piece #21 Commission, Don Buchla: Tree Piece #17 Commission, William Winant: Tree Piece #10 DISCOGRAPHY LP/Cassette: TREE PIECES (FROG RECORDS,1988/ FROG PEAK) CD: TREEPIECES(FROG RECORDS, 2002/ FROGPEAK) TREE PIECES volume 2 (NIENTE, 2004 / FROGPEAK) TREE PIECE SINGLE #1: LULU VARIATIONS (NIENTE, 2009) TREE PIECE SINGLE #2: LU-SHOO FRAGMENTS (NIENTE, 2010) 2 PUBLICATIONS Scores: Tree Pieces/Frog On Rock/Game of Tree/Klee Pieces/Glass Walls/Early Works (Frogpeak Music/Sound-Image/W. -
Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
THE CLEVELAN ORCHESTRA California Masterwor S
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Computer Music Experiences, 1961-1964 James Tenney I. Introduction I Arrived at the Bell Telephone Laboratories in September
Computer Music Experiences, 1961-1964 James Tenney I. Introduction I arrived at the Bell Telephone Laboratories in September, 1961, with the following musical and intellectual baggage: 1. numerous instrumental compositions reflecting the influence of Webern and Varèse; 2. two tape-pieces, produced in the Electronic Music Laboratory at the University of Illinois — both employing familiar, “concrete” sounds, modified in various ways; 3. a long paper (“Meta+Hodos, A Phenomenology of 20th Century Music and an Approach to the Study of Form,” June, 1961), in which a descriptive terminology and certain structural principles were developed, borrowing heavily from Gestalt psychology. The central point of the paper involves the clang, or primary aural Gestalt, and basic laws of perceptual organization of clangs, clang-elements, and sequences (a higher order Gestalt unit consisting of several clangs); 4. a dissatisfaction with all purely synthetic electronic music that I had heard up to that time, particularly with respect to timbre; 2 5. ideas stemming from my studies of acoustics, electronics and — especially — information theory, begun in Lejaren Hiller’s classes at the University of Illinois; and finally 6. a growing interest in the work and ideas of John Cage. I leave in March, 1964, with: 1. six tape compositions of computer-generated sounds — of which all but the first were also composed by means of the computer, and several instrumental pieces whose composition involved the computer in one way or another; 2. a far better understanding of the physical basis of timbre, and a sense of having achieved a significant extension of the range of timbres possible by synthetic means; 3. -
Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. -
Editorial: Alternative Histories of Electroacoustic Music
This is a repository copy of Editorial: Alternative histories of electroacoustic music. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/119074/ Version: Accepted Version Article: Mooney, J orcid.org/0000-0002-7925-9634, Schampaert, D and Boon, T (2017) Editorial: Alternative histories of electroacoustic music. Organised Sound, 22 (02). pp. 143-149. ISSN 1355-7718 https://doi.org/10.1017/S135577181700005X This article has been published in a revised form in Organised Sound http://doi.org/10.1017/S135577181700005X. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. © Cambridge University Press Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ EDITORIAL: Alternative Histories of Electroacoustic Music In the more than twenty years of its existence, Organised Sound has rarely focussed on issues of history and historiography in electroacoustic music research. -
62 Years and Counting: MUSIC N and the Modular Revolution
62 Years and Counting: MUSIC N and the Modular Revolution By Brian Lindgren MUSC 7660X - History of Electronic and Computer Music Fall 2019 24 December 2019 © Copyright 2020 Brian Lindgren Abstract. MUSIC N by Max Mathews had two profound impacts in the world of music synthesis. The first was the implementation of modularity to ensure a flexibility as a tool for the user; with the introduction of the unit generator, the instrument and the compiler, composers had the building blocks to create an unlimited range of sounds. The second was the impact of this implementation in the modular analog synthesizers developed a few years later. While Jean-Claude Risset, a well known Mathews associate, asserts this, Mathews actually denies it. They both are correct in their perspectives. Introduction Over 76 years have passed since the invention of the first electronic general purpose computer,1 the ENIAC. Today, we carry computers in our pockets that can perform millions of times more calculations per second.2 With the amazing rate of change in computer technology, it's hard to imagine that any development of yesteryear could maintain a semblance of relevance today. However, in the world of music synthesis, the foundations that were laid six decades ago not only spawned a breadth of multifaceted innovation but continue to function as the bedrock of important digital applications used around the world today. Not only did a new modular approach implemented by its creator, Max Mathews, ensure that the MUSIC N lineage would continue to be useful in today’s world (in one of its descendents, Csound) but this approach also likely inspired the analog synthesizer engineers of the day, impacting their designs. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
DSP Class III: Digital Electronic Music Concepts Overview (Part III) ADC and DAC Analog-To-Digital Conversion
TECH 350: DSP Class III: Digital Electronic Music Concepts Overview (Part III) ADC and DAC Analog-to-Digital Conversion Parameters of ADC: • Sampling Rate (fs) = rate at which analog signal is ^ captured (sampling) (in Hertz) Intensity v • Bit Depth = number of values for each digital sample (quantization) (in bits) Time -> Limitations/Issues with Sampling Distortion caused by sampling, AKA ALIASING (or foldover) How can we rectify (or at least describe) this phenomenon? Sampling (Nyquist) Theorem •Can describe the resultant frequency of aliasing via the following (rough) formula, iff input freq. > half the sampling rate && < sampling rate: resultant frequency = sampling frequency (fs) - input frequency For example, if fs = 1000Hz and the frequency of our input is at 800Hz: 1000 - 800 = 200, so resultant frequency is 200Hz (!) •Nyquist theorem = In order to be able to reconstruct a signal, the sampling frequency must be at least twice the frequency of the signal being sampled •If you want to represent frequencies up to X Hz, you need fs = 2X Hz Ideal Sampling Frequency (for audio) •What sampling rate should we use for musical applications? •This is an on-going debate. Benefits of a higher sampling rate? Drawbacks? •AES Standards: •Why 44.1kHz? Why 48kHz? Why higher (we can’t hear up there, can we?) •For 44.1kHz and 48kHz answer lies primarily within video standard considerations, actually… •44.1kHz = 22 · 32 · 52 · 72, meaning it has a ton of integer factors •>2 * 20kHz is great, as it allows us to have frequency headroom to work with, and subharmonics (and interactions of phase, etc.) up in that range are within our audible range Anti-Aliasing Filters + Phase Correction •How to fix aliasing? Add a low-pass filter set at a special cutoff frequency before we digitize the signal. -
Computing Science Technical Report No. 99 a History of Computing Research* at Bell Laboratories (1937-1975)
Computing Science Technical Report No. 99 A History of Computing Research* at Bell Laboratories (1937-1975) Bernard D. Holbrook W. Stanley Brown 1. INTRODUCTION Basically there are two varieties of modern electrical computers, analog and digital, corresponding respectively to the much older slide rule and abacus. Analog computers deal with continuous information, such as real numbers and waveforms, while digital computers handle discrete information, such as letters and digits. An analog computer is limited to the approximate solution of mathematical problems for which a physical analog can be found, while a digital computer can carry out any precisely specified logical proce- dure on any symbolic information, and can, in principle, obtain numerical results to any desired accuracy. For these reasons, digital computers have become the focal point of modern computer science, although analog computing facilities remain of great importance, particularly for specialized applications. It is no accident that Bell Labs was deeply involved with the origins of both analog and digital com- puters, since it was fundamentally concerned with the principles and processes of electrical communication. Electrical analog computation is based on the classic technology of telephone transmission, and digital computation on that of telephone switching. Moreover, Bell Labs found itself, by the early 1930s, with a rapidly growing load of design calculations. These calculations were performed in part with slide rules and, mainly, with desk calculators. The magnitude of this load of very tedious routine computation and the necessity of carefully checking it indicated a need for new methods. The result of this need was a request in 1928 from a design department, heavily burdened with calculations on complex numbers, to the Mathe- matical Research Department for suggestions as to possible improvements in computational methods. -
MTS on Wikipedia Snapshot Taken 9 January 2011
MTS on Wikipedia Snapshot taken 9 January 2011 PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Sun, 09 Jan 2011 13:08:01 UTC Contents Articles Michigan Terminal System 1 MTS system architecture 17 IBM System/360 Model 67 40 MAD programming language 46 UBC PLUS 55 Micro DBMS 57 Bruce Arden 58 Bernard Galler 59 TSS/360 60 References Article Sources and Contributors 64 Image Sources, Licenses and Contributors 65 Article Licenses License 66 Michigan Terminal System 1 Michigan Terminal System The MTS welcome screen as seen through a 3270 terminal emulator. Company / developer University of Michigan and 7 other universities in the U.S., Canada, and the UK Programmed in various languages, mostly 360/370 Assembler Working state Historic Initial release 1967 Latest stable release 6.0 / 1988 (final) Available language(s) English Available programming Assembler, FORTRAN, PL/I, PLUS, ALGOL W, Pascal, C, LISP, SNOBOL4, COBOL, PL360, languages(s) MAD/I, GOM (Good Old Mad), APL, and many more Supported platforms IBM S/360-67, IBM S/370 and successors History of IBM mainframe operating systems On early mainframe computers: • GM OS & GM-NAA I/O 1955 • BESYS 1957 • UMES 1958 • SOS 1959 • IBSYS 1960 • CTSS 1961 On S/360 and successors: • BOS/360 1965 • TOS/360 1965 • TSS/360 1967 • MTS 1967 • ORVYL 1967 • MUSIC 1972 • MUSIC/SP 1985 • DOS/360 and successors 1966 • DOS/VS 1972 • DOS/VSE 1980s • VSE/SP late 1980s • VSE/ESA 1991 • z/VSE 2005 Michigan Terminal System 2 • OS/360 and successors