Derek Williams CV
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Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
Fakult¨at fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakult¨at fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof. -
Musical Notation Codes Index
Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20. -
A Collaborative Environment for Music Transcription and Publishing
82 Social Shaping of Digital Publishing: Exploring the Interplay Between Culture and Technology A.A. Baptista et al. (Eds.) IOS Press, 2012 © 2012 The authors and IOS Press. All rights reserved. doi:10.3233/978-1-61499-065-9-82 WIKI::SCORE A Collaborative Environment For Music Transcription And Publishing JoseJo´ ao˜ ALMEIDA a, Nuno Ramos CARVALHO a and Jose´ Nuno OLIVEIRA a a e-mail: {jj,narcarvalho,jno}@di.uminho.pt University of Minho, Braga, Portugal Abstract. Music sources are most commontly shared in music scores scanned or printed on paper sheets. These artifacts are rich in information, but since they are images it is hard to re-use and share their content in todays’ digital world. There are modern languages that can be used to transcribe music sheets, this is still a time consuming task, because of the complexity involved in the process and the typical huge size of the original documents. WIKI::SCORE is a collaborative environment where several people work to- gether to transcribe music sheets to a shared medium, using the notation. This eases the process of transcribing huge documents, and stores the document in a well known notation, that can be used later on to publish the whole content in several formats, such as a PDF document, images or audio files for example. Keywords. music transcription, Abc, wiki, collaborative work, music publishing Introduction Music transcriptions are most electronically shared is pictorial formats, as pictures or scans (copyright permitting) of the original music scores. Although this information is semantically rich it is hard to re-use or transform in automatic and systematic ways, without human intervention. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Dogs in Space Music Credits
THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo Johnn Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John Murphy Danila Stirpe James Rogers Jules Taylor Ollie Olsen 'Primitive Calculators' 'Marie Hoy & Friends' Terry Dooley Marie Hoy Denise Grant Loki Stuart Grant Tim Millikan David Light John Murphy Ollie Olsen Musical Director Ollie Olsen Strange Noises John Murphy Music Research Bruce Milne Music Recorded at Richmond Recorders by Tony Cohen Music mixed at A.A.V. by Ross Cockle "Rooms for the Memory" Remixed by Nick Launay 'Shivers Video Clip' directed by Paul Goldman and Evan English 3RRR I.D. Written & Produced by Martin Armiger Sung by Jane Clifton THE MUSIC 'Dog Food' Performed by Iggy Pop, James Osterman Music (BMI), Administered by Bug Music Group, (P) 1980, Arista Records Inc., Courtesy of Arista Records 'Frankie Teardrop' Courtesy of Stamphyl Revega 'Dogs in Space' Written by Sam Sejavka and Mike Lewis 'Win/Lose' Written by Ollie Olsen, Performed by Whirlywirld, Courtesy of Missing Link Records 'True Love' Performed by The Marching Girls, Courtesy of Missing Link Records 'Sky Saw' Written by Brian Eno, Courtesy of E.G. Records Ltd. and E.G. Music Ltd. 'Skullbrains' Written by Marcus Bergner and Marie Hoy 'Shivers' Written by Roland S. Howard, Performed by Boys Next Door Courtesy of Mushroom Records 'Diseases' Composed by Thrush and The C...s 'Pumping Ugly Muscle' Composed by The Primitive Calculators 'Window to the World' Written by Ollie Olsen, Performed by Whirlywirld 'Happy Birthday' and 'Mr. -
TECHNICAL REPORT Subject: Musicxml—The
3102 Thunder Road dak Alamogordo, New Mexico 88310 scientific and technical undertakings Douglas A. Kerr, P.E. (Ret.) Principal 575-921-6795 [email protected] TECHNICAL REPORT Subject: MusicXML—the duration element Issue: 1 Reference: MusicXML_duration.doc Date: December 22, 2020 Author: Douglas A. Kerr, P.E. (Ret.) To: File ABSTRACT AND INTRODUCTION MusicXML is a language for transporting musical scores between musical notation programs. It describes the score of interest in terms of its graphical notational symbols and their arrangement on the page. It also conveys further details of how the score is to be “played”. An important (albeit optional) encoding of the MusicXML element for a note is the element <duration>. The MusicXML documentation does not clearly explain the intended meaning of <duration>. As a consequence, different notation program developers have taken drastically different views as to how the value of that element should be interpreted when reconstructing the score. As a result the universal interchange of scores via MusicXML is severely compromised. This report describes this situation, and suggests an “understanding” of the meaning of the element <duration>. 1 ADMINISTRATIVE 1.1 Report not sponsored This report, and the research underlying it, was not sponsored by, nor done at the behest of, any external organization. 1.2 Distribution This report is not “published”, but its distribution is not limited. Copyright © 2020 Douglas A. Kerr. All rights reserved. MusicXML—the duration element Page 2 1.3 Disclaimer The author has used his best professional skill and available information in the preparation of this report, but makes no representation that it is accurate or useful for any purpose. -
Studies in Contemporary Australian Film Music Sydney: Australian Film Television and Radio School, 1998 ISBN 1 876 35100 4, Pp
Reviews 87 Sweethearts of Rhythm, while not being an overtly feminist book or expressly placed by its author in a feminist tradition, ends on an indisputably feminist note. At the end of Chapter Four, Dreyfus confronts the issue of the sex discrimination which is evident in the lives, attitudes and events covered in all the chapters. The confrontation is brief but important. Women both benefitted from being women in a men's world, where they were a novelty, and suffered from their situation, especially from the projections of masculine sexual wishful thinking, not to mention the scornful denigration which some men felt the urge to express. Dreyfus implies that the male dominance of the music profession which continues even today means that there is a need for the inspiration provided by knowledge of intrepid women musicians of the past. I find this book extremely informative and very pleasing. The times of all-girls bands are brought alive for the reader by the inclusion of well-chosen quotations from musicians, managers and the media, as well as by quantities of photographs, newspaper cuttings and programmes scattered over the pages. Sometimes the effect can be a little confusing, as one searches for the appropriate caption to an illustration, but there is also a certain charm of authenticity about the pages that resemble those of a private scrapbook or photo album. While being popular in tone rather than 'musicological,' Sweethearts of Rhythm is well researched and the research is well documented, especially in the footnotes which are clear, concise and accurate. The Select Bibliography is less satisfying, not as regards content, but as regards accuracy in the section entitled 'Books and Chapters in Books.' This section is riddled with inconsistencies in the use of capitals in book titles. -
Frauds Music Credits
Music Composed by Guy Gross Music Orchestrated and Conducted by Derek Williams Supervising Engineer Simon Leadley Orchestral Engineer Robin Grey Music Editor Andrew Lancaster Assistant to Mr. Gross Mattie Porges Music Publisher Mushroom Music, Australia "I've Got You Under My Skin" Written by Cole Porter Published by Warner/Chappell Music Performed by Marcia Hines with the Bob Cousins Big Band Courtesy of Peter Rix Management Arranged and Conducted by Derek Williams Produced by Guy Gross "It's Delovely" Written by Cole Porter Published by Warner/Chappell Music Performed by Bob Cousins Big Band Arranged and Conducted by Derek Williams Produced by Guy Gross "Tijuana Taxi" Written by Alpert/Coleman Performed by Herb Alpert and the Tijuana Brass Published by Rondor Music (Australia) Pty Ltd Courtesy of A & M Records Inc. Music Recorded at Trackdown Studios, Sydney and Alan Eaton Studios, Melbourne Music Performed by The Victorian Philharmonic Orchestra Supervising Re-Recording Mixer Jeffrey Perkins Re-Recording Mixer Kurt Kassulke Re-Recorded at International Recording Corporation The Producers Would Like To Thank The Cove Chamber Orchestra CD: A CD of the soundtrack was released: CD Picture This PTR003 1992 Original Music Composed and Produced by Guy Gross(Mushroom Music) Except * Composed by Cole Porter (Warner/Chappell) Performed by Marcia Hines and the Bob Coassin’s Big Band Orchestrated and conducted by Derek Williams Additional orchestration, synthesiser arrangements and conducting by Guy Gross Music editor: Andrew Lancaster Supervising engineer: Simon Leadley Orchestra recorded and mixed by Robin Gray Additional engineers: Tom Colley, Bernard O’Reilly & Tim Ryan Recorded at Allan Eaton Studios & Trackdown Studios Orchestra booker: Ron Layton Performed by the Victorian Philharmonic Orchestra Production co-ordinator: Geoff Watson. -
Full Music Credits
Original Songs Music; Guy Gross John Levine John Zulaikha Lyrics; John Palmer Incidental Music; Bob Young John Sangster SONGS Queen Ant Spider Cockroach Little Things Butterfly Worker Ant Music Music Guy Gross John Levine & John Zulaikha Lyrics Lyrics John Palmer John Palmer Additional Incidental Music Paul Adolphus Dot & the Kangaroo Song by Bob Young Songwriters John Levine and John Zulaikha: Levine later went into relaxation/trance music, with a bio here. He excluded his site from the Wayback Machine, but there's another site with samples here. John Zulaikha could be found on Discogs here. Co-composer of incidental music, Bob Young: Bob Young had worked as an Australian show band arranger and conductor, as well as a composer before doing the score for the feature film Journey Out Of Darkness. He did a trilogy of films for Goldsworthy CUP, starting with It Takes All Kinds, followed by Color Me Dead, and then the last in the package, That Lady from Peking, which was released in 1971. After doing the convict drama Adam's Woman for Warner Bros, he would continue on with other feature films, including Warwick Freeman's Demonstrator. As well as Inn of the Damned, he would do Plugg, Little Boy Lost and Lady Stay Dead with director Terry Bourke. Young also became an arranger and composer for Yoram Gross and his "Dot" animation features, starting with Dot and the Kangaroo, and including Gross's Sarah and The Camel Boy, and continuing until Gross's son Guy took over composing duties for the company. He became the first president of the Australian Guild of Screen Composers (AGSC) for the period 1987-1991, hosting the first Screen Music Awards ceremony in 1992. -
Senate Standing Committee on Environment and Communications
Senate Standing Committee on Environment and Communications Answers to Senate Estimates Questions on Notice Supplementary Budget Estimates Hearings October 2012 Broadband, Communications and the Digital Economy Portfolio Australian Broadcasting Corporation Question No: 139 Program No. ABC Hansard Ref: Page 73 Topic: Mr Loewenstein Senator Abetz asked: Mr Scott: … I should point out that Mr Loewenstein is not an employee of the ABC. As you pointed out, he has appeared as a guest on our programs, but he is not an employee. Senator ABETZ: But he gets paid a fee from time to time for those appearances? Mr Scott: I would have to check on that. I do not know… Senator ABETZ: It was within the week of that column that the ABC took that decision. Compare Mr Milne's column to Mr Lowenstein's offensive comment, which remained in the ether for five weeks before an apology was finally dragged out of him. Is the ABC willing to continue to have Mr Loewenstein appear as a credible panellist on its programs? Mr Scott: That decision was made, I think, at the editorial level of Insiders. The first I have become aware of this incident was this afternoon. I can take that question on notice, but I understand this was a very offensive statement made— Answer: Antony Loewenstein is a freelance journalist, blogger and author and has appeared as a guest and commentator from time to time on various ABC Radio networks. In 2012 he has appeared on triple j’s Hack and Sunday Night Safran, on Radio National on Common Knowledge, on 702 ABC Sydney Afternoons and on 105.7 ABC Darwin Afternoons. -
Australian Film Productions, 1990-2016
AUSTRALIAN FILM PRODUCTIONS, 1990-2016 TITLE PRODUCTION CO. PRODUCERS SCRIPT DIRECTOR DOP PROD DESIGNER COSTUME DESIGN EDITOR SOUND DESIGN $9.99 * Feature (A) 2007 Sherman Pictures/Lama Amir Harel, Emile Etgar Keret, Tatia Tatia Rosenthal Susan Stitt Melinda Doring Caroline Sherman Dany Cooper Christopher Bowen Productions Ltd Sherman Rosenthal 02:37:00 * Feature 2005 Moon On A Stick Nick Matthews Murali K Thalluri Murali K Thalluri Nick Matthews Jeni Lee Murali K Thalluri, Mark Tschanz Productions Nick Matthews 10 TERRORISTS * Feature Andrea Buck, Dee Dee McLachlan, Dee McLachlan Peter Falk Jill Johanson Sam Davies, Doron Kipen 2011 McLachlan Lenny de Vries Dee McLachlan 100 BLOODY ACRES * Kate Croser, Julie Cameron Cairnes, Cameron Cairnes, Colin John Brawley Tony Cronin Chloe Spalding Joshua Waddell Emma Bortignon Feature 2012 Ryan, Bryce Menzies, Colin Cairnes Cairnes Jonathan Page 1001 NIGHTS * Teleseries 1001 Nights Productions Dan Fill, Frank Andrew Kunzel, Stephen 2016 Pty Ltd Verheggen, Luke Bristow Jurevicius, Melissa Sheldrick 13 GANTRY ROW * Robert Bruning Robert Bruning Tony Morphett Catherine Millar Mark Wareham Michael Bridges Jackline Sassine Mark Perry Chris Neal Telemovie 1998 Productions Pty Ltd 15 AMORE * Feature 1998 MTXM Movies Maurice Murphy, Brooke Maurice Murphy Maurice Murphy John Brock Emma Hamilton Lawes Kate Walker Dana Hughes Carlo Giacco Wilson 1500 STEPS * Feature Peter Cameron, Maurine Maureen Gibbons Josh Reid Daniel Kajardi Kate Bailey Kate Bailey Daniel Kajardi Luke Topic 2012 Gibbons, Josh Reid 2:22 -
Annual Report 2001–2002 Australian Film Television and Radio School Annual Report 2001– 2002
AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL ANNUAL REPORT 2001–2002 AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL ANNUAL REPORT 2001– 2002 A Commonwealth Government Initiative Australian Film Television and Radio School Cnr Epping and Balaclava Roads North Ryde NSW 2113 PO Box 126, North Ryde NSW 1670 Tel +61 (0)2 9805 6611 Fax +61 (0)2 9887 1030 [email protected] http://www.aftrs.edu.au http://www.aftrs.edu.au/school/reports.html State Offices and Representatives Queensland Judith Wright Centre of Contemporary Arts Level 2, Cnr Brunswick and Berwick Streets PO Box 1480 Fortitude Valley Qld 4006 Tel +61 (0)7 3257 7646 Fax +61 (0)7 3257 7641 [email protected] Contact: Alex Daw South Australia 3 Butler Drive Hendon SA 5014 Tel +61 (0)8 8244 0357 Fax +61 (0)8 8244 5608 [email protected] Contact: Ann Walton Tasmania 5 Trumpeter Street Battery Point Tas. 7004 Tel + 61 (0)3 6223 8703 Fax + 61 (0)3 6224 6143 [email protected] Contact: Craig Kirkwood Victoria 1st Floor, 144 Moray Street © Commonwealth of Australia 2002 PO Box 1008, South Melbourne Vic. 3205 Tel + 61 (0)3 9690 7111 ISSN 0819-2316 Fax +61 (0)3 9690 1283 [email protected] This work is copyright.Apart from any use as permitted Contact: Simon Britton under the Copyright Act 1968, no part may be reproduced by any process without earlier written Western Australia 92 Adelaide Street, Fremantle WA 6160 permission from the Commonwealth available from Tel +61 (0)8 9431 6700 AusInfo. Requests and enquiries about reproduction Fax +61 (0)8 9335 1283 and rights should be addressed to the Manager, [email protected] Legislative Services, AusInfo, GPO Box 1920, Canberra Contact:Tom Lubin ACT 2601.