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Developing Sound Spatialization Tools for Musical Applications with Emphasis on Sweet Spot and Off-Center Perception
Sweet [re]production: Developing sound spatialization tools for musical applications with emphasis on sweet spot and off-center perception Nils Peters Music Technology Area Department of Music Research Schulich School of Music McGill University Montreal, QC, Canada October 2010 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. c 2010 Nils Peters 2010/10/26 i Abstract This dissertation investigates spatial sound production and reproduction technology as a mediator between music creator and listener. Listening experiments investigate the per- ception of spatialized music as a function of the listening position in surround-sound loud- speaker setups. Over the last 50 years, many spatial sound rendering applications have been developed and proposed to artists. Unfortunately, the literature suggests that artists hardly exploit the possibilities offered by novel spatial sound technologies. Another typical drawback of many sound rendering techniques in the context of larger audiences is that most listeners perceive a degraded sound image: spatial sound reproduction is best at a particular listening position, also known as the sweet spot. Structured in three parts, this dissertation systematically investigates both problems with the objective of making spatial audio technology more applicable for artistic purposes and proposing technical solutions for spatial sound reproductions for larger audiences. The first part investigates the relationship between composers and spatial audio tech- nology through a survey on the compositional use of spatialization, seeking to understand how composers use spatialization, what spatial aspects are essential and what functionali- ties spatial audio systems should strive to include. The second part describes the development process of spatializaton tools for musical applications and presents a technical concept. -
2016-Program-Book-Corrected.Pdf
A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue. -
Digital Cultures Listening Lists
Digital Cultures: Music Recommended Listening and Reading (Prof Andrew Hugill) The following long (but nowhere near long enough to cover everything) listening list not only illustrates some of the key ideas about modernism and postmodernism, structuralism and deconstruction, but also adds up to a mini-history of the evolution of electronic and electroacoustic music in the 20th Century. Some brief descriptive notes are included to indicate the salient features, but there is no substitute for careful and repeated listening, with perhaps some attempt to analyse what is heard. It should be remembered that Modernism and Postmodernism are not musical styles, nor words that artists and composers use to describe their work, but rather terms from critical and cultural theory that seem to sum up broad tendencies in art. In fact, all the pieces below will probably be heard to exhibit characteristics of both ‘isms’. Some useful questions to ask when listening are: what is the artist’s intention? How well is it realized? What is the cultural context for the work? What are its compositional techniques? What is the musical language? Pierre Schaeffer ‘Etude aux chemins de fer’ from ‘Cinq études de bruits’ (1948) on OHM: the early gurus of electronic music: 1948-1980. Roslyn, New York: Ellipsis Arts. This was the first time recorded sound was assembled into a musical composition. The sounds included steam engines, whistles and railway noises. Pierre Schaeffer and Pierre Henry Symphonie pour un homme seul (1950) on Pierre Schaeffer: l’oeuvre musicale EMF EM114. A 12-movement musical account of a man’s day using recorded sounds. -
To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today
FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING -
Orchestra with Electroacoustic Music: Literature
I. THE ORCHESTRA WITH ELECTROACOUSTIC MUSIC: LITERATURE, INTERVIEWS, AND ANALYSIS. II. ROOTS, A COMPOSITION FOR ORCHESTRA AND TWO-CHANNEL RECORDED SOUND By SAMUEL JEFFERSON HAMM, JR. A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Samuel Jefferson Hamm, Jr. This document is dedicated to the memory of my mother. ACKNOWLEDGMENTS First and foremost, I want to thank my wife Kimberly Solvang Hamm: the importance of her love is indescribable, and her support is irreplaceable. My deepest gratitude goes to my father, Sam Hamm, and my sister, Victoria Hamm. This document, and this degree, is not my accomplishment, it is our accomplishment. I want to offer my deepest respect and appreciation to Dr. James Paul Sain, who has been and always will be my mentor, advisor, and friend. I would not have taken the first or the last steps down this path without his inspiration. The guidance and influence of Dr. Paul Koonce have been vital in the construction of this document, and I respectfully acknowledge his contributions. His unique combination of brilliance and sensitivity has been invaluable to me. I want to offer my gratitude to Dr. Paul Richards for his insight and inspiration over the past five years. He has shown me how to maintain my musical conscience, and challenged me to realize my potential. Dr. David Kushner has inspired me with his scholarship and wisdom for more than twelve years, and I thank him for his guidance and scrutiny. -
Historymusicdepartment1 1
THE HARVARD UNIVERSITY DEPARTMENT OF MUSIC 1991 TO 2011 Compiled and Edited by Lesley Bannatyne 2015 John Knowles Paine Concert Hall. Photo by Shannon Cannavino. Cover photos by Kris Snibbe [Harvard News Office], HMFH Architects, Inc., Harvard College Libraries, Rose Lincoln [Harvard News Office] THE HARVARD UNIVERSITY DEPARTMENT OF MUSIC 1991 TO 2011 Compiled and Edited by Lesley Bannatyne Department of Music Harvard University Cambridge, Massachusetts 2015 Photographs in this volume were provided by the Department of Music unless otherwise noted. Articles are reprinted from the Department’s newsletters, Harvard Crimson and Harvard Gazette. © 2015 President and Fellows of Harvard University 2nd printing January 2017 All rights reserved. CONTENTS Preface vii Chapter One: The Chairs 1 Chapter Two: Undergraduate Studies 11 Chapter Three: Graduate Studies 23 Chapter Four: Musicology 33 Chapter Five: Ethnomusicology 51 Chapter Six: Theory 67 Chapter Seven: Composition 77 Chapter Eight: Performance 97 Chapter Nine: Conferences, Symposia, Colloquia, Lectures 111 Chapter Ten: Concert Highlights 119 Chapter Eleven: Eda Kuhn Loeb Music Library 127 Chapter Twelve: The Building 143 Appendices 151 Index 307 Music Department, 1992 Music Department picnic, late 1990s Appendices i. Music Department Faculty 151 ii. Biographical Sketches of Senior Professors, Lecturers & Preceptors 165 iii. Donors 175 iv. Teaching Fellows 179 v. Curriculum 183 vi. Fromm Commissions 207 vii. Recipients of the PhD degree 211 viii. Faculty Positions Held by Former Graduate Students 217 ix. Recipients of Department Awards and Fellowships 221 x Recipients of the AB degree and Honors Theses 227 xi. Visiting Committees 239 xii. Conferences, Colloquia, Symposia, Lectures 241 xiii. Concerts and Special Events 255 xiv. -
Musescore - Wikipedia
MuseScore - Wikipedia https://en.wikipedia.org/wiki/MuseScore MuseScore MuseScore is a scorewriter for Windows, MuseScore macOS, and Linux, comparable to Finale and Sibelius,[4] supporting a wide variety of file formats and input methods. It is released as free and open-source software under the GNU General Public License. MuseScore is accompanied by a freemium mobile score viewer and playback app, and an online score sharing platform. Contents MuseScore 2.0 in full screen, showing History palettes, inspector, and piano keyboard Features Original author(s) Werner Schweer Supported file formats Developer(s) The MuseScore Online score sharing developer Mobile player community[1] Portable application Initial release 4 February 2011[2] Versions Stable release 3.3.2 / 14 November Pre-release 2019 MuseScore 1 MuseScore 2 Repository github.com MuseScore 3 /musescore /MuseScore (https:// Development github.com/musesco Adoption re/MuseScore) Crowd-sourced engraving projects Written in C++, Qt Open Goldberg Variations Open Well-Tempered Clavier Operating system Windows 7 and Braille editions later, Linux, macOS OpenScore 10.10 and later MuseScore.com copyright issues Platform x86-64 (Windows, Linux and macOS), See also IA-32 (Windows References only) Size 101 to 144 MB History Available in 20 languages[3] 1 von 10 19.11.19, 16:51 MuseScore - Wikipedia https://en.wikipedia.org/wiki/MuseScore MuseScore was originally created as a fork List of languages of the MusE sequencer's codebase. At that Afrikaans, Catalan, Chinese (Traditional- time, MusE included notation capabilities Hong Kong, Traditional-Taiwan and and in 2002, Werner Schweer, one of the Simplified), Czech, Danish, Dutch, English MusE developers, decided to remove (United Kingdom and United States), notation support from MusE and fork the French, Galician, German, Hungarian, code into a stand-alone notation program. -
Transformation 19
TTRANSFORMARANSFORMAT IONT IONS ERIES SERIES 1917 COLLECTCOLLEIONct TRANSFORMAION TRANSFORMATTIONION NEW WORLDS of SOUND Electronics and the Evolution of Music in Canada KATHARINE WRIGHT Transformation Series Collection Transformation “Transformation,” an occasional series of scholarly papers La collection Transformation, publication en série paraissant published by the Collection and Research Division of the irrégulièrement de la Division de la collection et de la recherche Canada Science and Technology Museums Corporation, is de la Société des musées de sciences et technologies du intended to make current research available as quickly and Canada, a pour but de faire connaître, le plus vite possible et inexpensively as possible. The series presents original research au moindre coût, les recherches en cours dans certains secteurs. on science and technology history and issues in Canada Elle prend la forme de monographies ou de recueils de courtes through refereed monographs or collections of shorter études acceptés par un comité d’experts et s’alignant sur le studies, consistent with the corporate framework, “The thème central de la Société, « La transformation du Canada ». Transformation of Canada,” and curatorial subject priorities Elle présente les travaux de recherche originaux en histoire des in agriculture and forestry, communications and space, sciences et de la technologie au Canada et questions connexes transportation, industry, physical sciences and energy. réalisés en fonction des priorités du Musée, dans les secteurs de l’agriculture et des forêts, des communications et de l’espace, des transports, de l’industrie, des sciences physiques et de l’énergie. Disclaimer Responsabilité The publication format of the Transformation series La formule de la collection Transformation ne permet precludes extensive copy-editing. -
Notes and Bytes
NOTES AND BYTES AN EVALUATION OF SOME SOFTWARE USED IN TEACHING MUSIC IN FOUR-YEAR-OLD KINDERGARTEN THROUGH GRADE EIGHT MASTER’S PROJECT Submitted to the School of Education University of Dayton, in Partial Fulfillment of the Requirements for the Degree Master of Science in Education by Sister Sherrie L. Brainard, OSB School of Education UNIVERSITY OF DAYTON Dayton, Ohio November, 1996 UNIVERSITY OF DAYTON ROESCH LIBRARY Approved by: Official Advisor u TABLE OF CONTENTS CHAPTER I INTRODUCTION 1 Purpose for the Study 1 Statement of Purpose 1 Limitations 2 Definition of Terms 2 11. REVIEW OF LITERATURE 5 III PROCEDURE 10 IV RESULTS 13 Software Evaluations 15 V SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS 43 BIBLIOGRAPHY 45 iii CHAPTER I INTRODUCTION Purpose for the Study The purpose of compiling and evaluating this list of music software was to provide the researcher and other educators with an opportunity to experience several software packages. Although ideally each educator should evaluate software individually, sometimes this is not possible because of time or circumstances which preclude this happening. Therefore, this study categorizes and gives suggested grade level and usage for several music software packages. This author's interest in computer education and music gave the impetus for this evaluation of music software. In the past there have been many concerns expressed regarding the quality of educational software. The two main factors for poor software appear to be programmers who were not familiar with educational practices and educators who were not adept at programming. When either group attempted to market a piece of software, several shortcomings surfaced, from lack of educational content to glitches in the programs which resulted in a shut down of the program (or system). -
MUSIC 11 and 12 Choral Music Instrumental Music
MUSIC 11 AND 12 Choral Music Instrumental Music Integrated Resource Package 2002 IRP 118 Ministry of Education Copyright © 2002 Ministry of Education, Province of British Columbia. Copyright Notice No part of the content of this document may be reproduced in any form or by any means, including electronic storage, reproduction, execution or transmission without the prior written permission of the Province. Proprietary Notice This document contains information that is proprietary and confidential to the Province. Any reproduction, disclosure or other use of this document is expressly prohibited except as the Province may authorize in writing. Limited Exception to Non-reproduction Permission to copy and use this publication in part, or in its entirety, for non-profit educational purposes within British Columbia and the Yukon, is granted to all staff of B.C. school board trustees, including teachers and administrators; organizations comprising the Educational Advisory Council as identified by Ministerial Order; and other parties providing direct or indirect education programs to entitled students as identified by the School Act or the Independent School Act. TABLE OF CONTENTS PREFACE: USING THIS INTEGRATED RESOURCE PACKAGE Preface . III INTRODUCTION TO MUSIC 11 AND 12 Rationale . 1 Music 11 and 12. 1 Music Kindergarten to Grade 12 Objectives . 2 Curriculum Organizers . 3 Suggested Instructional Strategies . 4 Suggested Assessment Strategies . 4 Integration of Cross-Curricular Interests . 5 Learning Resources . 5 Organizing for Instruction . 6 THE CHORAL MUSIC 11 AND 12 CURRICULUM Course Description . 13 Grade 11 . 24 Grade 12 . 40 THE INSTRUMENTAL MUSIC 11 AND 12 CURRICULUM Course Description . 59 Grade 11 . 72 Grade 12 . 88 MUSIC 11 AND 12 APPENDICES Appendix A: Prescribed Learning Outcomes . -
2008 a Chronology of Electronic and Computer Music
(without A Chronology / History of Electronic and Computer Music and Related Events 1900 - 2014 frames) Last updated 5 January 2013 This page is currently being maintained. Please send suggestions and corrections to a subject of 'Chronology' gets my attention. © Copyright 2008-2014* Paul Doornbusch. This is a somewhat extended and updated version based on the same item originally published in The Oxford Handbook of Computer Music late in 2009. When attempting such a chronology or timeline, even one such as this which mostly ignores the commercial music world, it quickly becomes apparent that there is so much activity that it will necessarily be incomplete. It is impossible to list all of the events which have taken place in any locale or time. Given these limitations, perhaps this is still of some limited use as some sort of chronological overview of computer music research and related events, and I welcome suggestions for updates. This concentrates on electronic and computer music and includes fewer details of commercial music than a more comprehensive chronology might. Please see the references for a more detailed treatment of events (note 1). Year Selected Significant Musical Main Technological Events Electronic / Computer Events Music Events < Cylinder and disk recordings 1900 are common, as is the telephone. Moving pictures exist, but not with sound. 1906 First public performances of J. L. Baird creates the first Thaddeus Cahill's working (electromechanical) Dynamophone, also known as television. the Telharmonium (developed in 1897). Frank Conrad makes the first radio broadcast of audio. Lee De Forest develops the Triode (thermionic valve) or Audion tube, the first vacuum tube, which brought with it electronic amplification. -
Xenakis in America
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Xenakis in America Charles Wolcott Turner Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/120 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Xenakis in America by Charles Turner A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 Copyright © 2014 Charles W. Turner All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Joseph Straus ________________ ________________________________ Date Chair of the Examining Committee Norman Carey ________________ ________________________________ Date Acting Executive Officer David Olan Stephen Blum Anne-Sylvie Barthel-Calvet James Harley Supervisory Committee The City University of New York iii Abstract Xenakis in America by Charles Turner Adviser: David Olan Iannis Xenakis had a long-standing interest in the U.S., but given the five years he spent here, little has been written about his experiences. This study attempts, through archival research and interviews, to document Xenakis’ time in the United States. Its subject is his relationship to American cultural institutions, and in what lured Xenakis here for musical composition and research.