HDTenEightyP/NetNews huggingface dataset:
Newsgroups: bit.listserv.emusic-l
Date:         Wed, 30 Dec 1992 01:34:16 CST
From:         "Chad S. Mawson" <csm2747@NEBRWESLEYAN.EDU>
Subject: Re: INFO on Roland for AT
Comments: To: EMUSIC-L@AMERICAN.EDU

I would agree that DOS Cakewalk would probably be better than Windows(and ANY
software under windows)  I use a 286 for my day to day work, but I need at leas4
 Meg's of RAM.  I can't recall how much memory Cakewalk/for Win. eats, but
Windows will slow WAY down unless you have at least 4 (preferrably 8)
Megs.  Sorry to ramble but it's late, anyway sounds like a decent set up to
me, Good luck!
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Newsgroups: bit.listserv.emusic-l
Date:         Mon, 21 Dec 1992 17:26:28 EST
From:         Mark Simon <TIP@CORNELLC.BITNET>
Subject:      Re: PHIL COMP

My apologies to Mike Metlay for bruising his extremely delicate sensibilities.
He may remember that the original posting was soliciting people to describe
how they compose, which is what I was doing, and I don't think I needed to be
flamed for my effort.
     You'd darned well better believe I'd be just as happy having live people
play my music. Unfortunately this doesn't always happen soon or often enough.
On the other hand, these machines we like to play with can do a lot of things
that live musicians can never do, and make a lot of sounds that no other instru
ment can produce. I can't imagine being without them.

                           --Mark Simon
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Date:         Mon, 21 Dec 1992 13:06:00 EDT
From:         WSCOTT@ACS.WOOSTER.EDU
Subject:      Re: PHIL COMP
Comments: To: EMUSIC-L@AMERICAN.EDU

Metlay writes about my disagreeable message:
" I understand your background and opinions as much as I care to,
and respect if not agree with your approach. I trust you feel the same
way about me."

Absolutely. I want to be post-literate, but I've got tinnitus.

Bill Scott
From: metlay@NETCOM.COM (metlay)
Newsgroups: bit.listserv.emusic-l
Subject: Re: SOUND Blaster Pro ?
Date: 25 Dec 92 15:56:59 GMT
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Comments: To: EMUSIC-L@american.edu
              Rothwell" at Dec 24, 92 4:55 pm

>>No nothing came back. So I'm submitting my question again and again...
>
>That's a bit stupid.

Especially since this sort of topic has been moved to SYNTH-L, and people
here now take great glee in pointedly ignoring mispostings of this type.

Ho ho ho forsooth,

--
mike metlay                | Today's "Context is everything" quote:
atomic city                |
p. o. box 81175            | "Heck, I'd write music if all I had was
pittsburgh pa 15217-0675   |  a kazoo. Synths are more fun, though."
metlay@netcom.com          |                              (m. simon)
From: metlay@NETCOM.COM (metlay)
Newsgroups: bit.listserv.emusic-l
Subject: Re: Composing philosophies from a "gearhead"
Date: 21 Dec 92 15:04:08 GMT
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Comments: To: EMUSIC-L@american.edu
              Borcherding" at Dec 21, 92 6:45 am

>
>I agree with your line of thought and think it is this very type of exploritory
> thought that takes us new places. Are waterfalls, surfs, lightning, or wind
>just a "sound effect". I approach music the same way I draw that is to put
>something where there was nothing. I feel compelled to do this. I have seen the
>results of people with "Professional training" and not much creativity. They
>are so busy analyzing their work with a scanning electron microscope, that they
>miss if their listeners (customers) appreciate their work. I am convinced these
>people simply cannot understand what motivates hard-core artists like yourself
>me, and others that seek art for something other a ego massage.

Well, that's a nice sentiment, but I should point out that I GET an ego
massage from my work. Sorry. |->


--
mike metlay                | Hey-YEH!
atomic city                | Walkin' in the Valley of Decision--
p. o. box 81175            | Hey-YEH!
pittsburgh pa 15217-0675   | Reap all the Wages of Sin!
metlay@netcom.com          |                           ('vouf, after d.dax)
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Via: uk.ac.ucl.starlink; Mon, 21 Dec 1992 17:43:18 +0000
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 21 Dec 1992 17:42:00 GMT
From:         "David Rees, UCL." <DJXR@STARLINK.UCL.AC.UK>
Subject:      Re: PHIL COMP
Comments: To: EMUSIC-L <EMUSIC-L@AMERICAN.EDU>

Regarding techniques of composition, I have only recently began writing music
and would welcome comments on how I write.

For information, my music has been described as somewhere between John-Michael
Jarre and Vangelis (sp???), but with a more classical feel. The pieces tend to
be about 5-8 minutes duration.

What I like to do is be in complete silence and write nearly the entire piece
in my head (usually whilst pacing around and around the room!). Only when it is
nearly finished do I write it down. I estimate  about 90% is done in my head
and 10% added once I've heard it. I find it **extremely tedious** to transfer
the music to paper/my sequencer.

Form what I've read here others seem to "dabble" on the keyboard until they
find a pleasing melody, chord progression etc. Is my way unusual? Recommended?
Discouraged? Or as I suspect most replies will say, just personal taste.

Dave.
djxr@uk.ac.ucl.starlink
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Date:         Mon, 21 Dec 1992 10:59:07 EST
From:         Jon Crystal <OFABJC%UVMADMIN.BITNET@MITVMA.MIT.EDU>
Subject:      Compositional Approaches
Comments: To: emusic-l@american.edu

To add to Joe M.'s comment on saving fragments of work-in-process: I too often
work initially from short improvisational sketches which I return to later. I h
ave gotten into the habit of saving these (usually as single tracks) into the s
ame sequence file, so I can call up all my half-baked ideas at once. One real v
alue I've found in this approach is the serendipity of juxtaposing/combining th
ese fragments in random combinations, which sometimes leads to new ideas.

Wasn't it Schoenberg who said composition is simply frozen improvisation?

Jon
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Date:         Wed, 23 Dec 1992 08:18:08 CST
From:         Al Vigland <vigland@ASIA1.MDC.COM>
Subject:      Re: Roland W-30
Comments: To: EMUSIC-L@AMERICAN.EDU

> Hello all,  ...
> ...  I have found that you are extremely limited with respect to memory.

Yes, I've been told that before! %)

--
Al Vigland                                           vigland@asia1.mdc.com
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Newsgroups: bit.listserv.emusic-l
Date:         Thu, 31 Dec 1992 10:40:20 EST
From:         Moe Methot <AP201027@BROWNVM.BITNET>
Subject:      Faculty Position Announcement

Date:         Thu, 31 Dec 92 09:47:09 EST
From:         Moe Methot <AP201027@BROWNVM>
Subject:      Faculty Position Announcement
To:           music-research@prg.oxford.ac.uk
========================================================================
The Department of Music at Brown University announces a tenure-track position a
t the level of assistant professor.  The term of appointment begins in July 199
3.  We seek a composer or theorist with expertise in computer music.  Qualified
 candidates should hold the PhD and be prepared to teach a broad range of cours
es for both majors and non-majors in our theory-composition program, including
courses in computer music applications.  Preferences will be given to candidate
s who will contribute to our graduate programs as well.  The deadline for submi
ssion of applications and all supporting materials is February 1, 1993.  Applic
ants should send a letter describing their experience and interests together wi
th a curriculum vitae, graduate school transcripts, three letters of recommenda
tion, and up to three examples of compositions and/or scholarly research.  Each
 recorded example should be submitted on a seperate cassette tape.  Although al
l possible care will be taken in handling submitted materials, we cannot be res
ponsible for loss or damage to these items.  Send applications to:  Gerald M.
Shapiro, Search Committee Chair, Department of Music-Brown University, One Youn
g Orchard Avenue, Providence, RI 02912-1924
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Date:         Mon, 21 Dec 1992 10:25:36 -0500
From:         "Joseph D. McMahon" <xrjdm@CALVIN.GSFC.NASA.GOV>
Subject:      Re: PHIL COMP
Comments: To: EMUSIC-L@american.edu
              Dec 21, 92 09:10:04 am

Mark Simon writes:
>
> I would like to side up with Robert Depin as far as the paper-and-pencil vs.
 se
> quencer debate is concerned. We would expect as a matter of course that a
 novel
> ist or a poet should be able to transfer his/her thoughts fluently into
 written
>  language. Why shouldn't a composer be expected to be fluent with the basic
 ele
> ments of his/her written language? It's just a basic tool of the trade. When I
> get a musical idea I can't be bothered with pushing a lot of buttons on a
 machi
> ne. I've lost the idea by that time. But I can jot the idea on paper in two
 win
> ks and there it is for all time. It's so much more direct. I generally will
 wri
> te out the basic structure for the whole piece (melody, bass line, chords,
 some
>  counterpoint here and there) and then go to the sequencer, where I invariably
> come up with many other little details which flesh out the composition and
 make
>  it interesting.
>       I have very little interest in sound for its own sake. The most
 important
>  thing in music is structure. Whatever the basic material of the composition
 is
> be it melodic, rhythmic or timbral, it must be shaped into an effective large-
> scale structure in order for it to make any kind of emotional impact. Good
 soun
> ds can certainly make a big difference as far as creating interest is
 concerned
>  but it's got to take the back seat to structure. It's just like orchestration
> in the world of conventional music. Neither Beethoven nor Schumann were
 particu
> larly illustrious in the orchestration department, but Beethoven's structural
> mastery was so profound that it never matters in the slightest. Schumann's
 orch
> estral music, on the other hand, always leaves me feeling rather "ho-hum". On
> the other hand, both Stravinsky and Ravel were absoulutely brilliant with the
> orchestra, but Stravinsky's grasp of structure raises his music way above the
> level of "pretty sounds". Listening to too much Ravel leaves me feeling about
> the same way as eating too many jelly beans.
>      Mike Metlay shouldn't fret too hard about a stuffed shirt like Karl Haas
> not liking electronic music. Ever listen to one of his radio shows?
>
>                             --Mark Simon
>                               tip@cornellc.cit.cornell.edu
>
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Date:         Mon, 21 Dec 1992 10:26:23 CST
From:         Mark Borcherding <borch@UGLI.TSD.ITG.TI.COM>
Subject:      Re: Compositional Approaches
Comments: To: EMUSIC-L@AMERICAN.EDU

Jon,

>
> To add to Joe M.'s comment on saving fragments of work-in-process: I too often
> work initially from short improvisational sketches which I return to later. I
 h
> ave gotten into the habit of saving these (usually as single tracks) into the
 s
> ame sequence file, so I can call up all my half-baked ideas at once. One real
 v
> alue I've found in this approach is the serendipity of juxtaposing/combining
 th
> ese fragments in random combinations, which sometimes leads to new ideas.
>
> Wasn't it Schoenberg who said composition is simply frozen improvisation?
>
> Jon
>



I agree. What is wrong with operating in this mode?

Mark.
From: metlay@NETCOM.COM (metlay)
Newsgroups: bit.listserv.emusic-l
Subject: Re: Composing philosophies from a "gearhead"
Date: 21 Dec 92 15:05:06 GMT
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Comments: To: EMUSIC-L@american.edu
              Robinson" at Dec 21, 92 8:53 am

>> be ridiculed as "useless noodlings," "bleeps and bloips," and
>> "pointless sound effects."
>
>Not to mention... gee, I almost hate to bring this up... "musical onanism"

Have a nice holiday season, Patrick. You can go away now. |-P


--
mike metlay                | Hey-YEH!
atomic city                | Walkin' in the Valley of Decision--
p. o. box 81175            | Hey-YEH!
pittsburgh pa 15217-0675   | Reap all the Wages of Sin!
metlay@netcom.com          |                           ('vouf, after d.dax)
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Newsgroups: bit.listserv.emusic-l
Date:         Mon, 21 Dec 1992 11:08:00 EST
From:         Robert Depin <DEPIN@TARGET.COM>
Subject:      Re: Composing philosophies from a "gearhead"
Comments: To: EMUSIC-L@AMERICAN.EDU

>I approach music the same way I draw that is to put
>something where there was nothing. I feel compelled to do this. I have seen the
>results of people with "Professional training" and not much creativity. They
>are so busy analyzing their work with a scanning electron microscope, that they
>miss if their listeners (customers) appreciate their work.

Do you believe "creativity" soemthing you are born with ?  I have to argue you
that artistic createativity is something learned and practiced, a skill which
any artist can draw upon when necessary.  The only way to grow creativily is to
analyze your (and others) work.  Listeners, trained or otherwise,  can identify
"good"  (creative ?) music a mile away and make their own decisions.  By
analyzing music of the past which listeners appreciate I can find a new
direction to take the listener.

>I am convinced these
>people simply cannot understand what motivates hard-core artists like yourself
>me, and others that seek art for something other a ego massage.

I probably won't ever understand what motivates "hard-core" artisits!

>Well, that's a nice sentiment, but I should point out that I GET an ego
>massage from my work. Sorry. |->

Argee!  When I make a new musical discovery or a motif works just perfect
it's the greatest!

Bob
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Date:         Mon, 21 Dec 1992 12:07:08 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      Re: PHIL COMP
Comments: To: EMUSIC-L@american.edu
              at Dec 21, 92 11:26 am

>
>I think this dicussion as failed to examin music as a means of communication.

Yes it has, but that's because I deliberately skirted the issue; I've
been out here long enough to have been over this forever -damned "how
do we notate electronic music?" thread a bazillion times. For
electronic music in which timbre is critical, written documentation is
grossly insufficient. I KNOW that traditional notation lets me hand
out my arrangements to other musicians for their interpretation; but
if I'm interested in timbre, then writing stuff down avails me
nothing. And I should point out that modern methods like Standard MIDI
Files are not panaceas to this problem in and of themselves; the Chain
of Whispers project demonstrated that in spades as far as I was concerned.


>.  I personally hate music
>which I can only hear.  It iterates me that alot of these "New Age" artist
 don't
>notate their music.  Thus, I have to rely on my hear to understand how they
>created the harmonies, counterpoint, etc.

Biomass occurs. I personally hate music that is dry enough to go down
on paper without losing anything. It irritates me that a lot of these
"classical" artists insist on shackling everyone to a form of
documentation that's out of date, and I CAN'T use my ears to hear what
they're doing, but must rely on skills like sight-reading or
sight-singing, admittedly useful but NOT where I want to spend my time
practicing.

>A musician makes Music, a composer CREATES Music.

What does this statement have to do with people performing from a
score or whatever? Are you implying that because composers
traditionaly used pencil and paper to give their ideas to musicians to
play, that real composers therefore only work with pencil and paper?
Man, I hope not.

--
mike metlay                | Today's "Context is everything" quote:
atomic city                |
p. o. box 81175            | "I want to be post-literate,
pittsburgh pa 15217-0675   |  but I've got tinnitus."
metlay@netcom.com          |                            (w. scott)
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Date:         Mon, 28 Dec 1992 16:08:41 BDB
From:         Flavio Bressan da Luz <87141167@BRUFSC.BITNET>
Subject:      My last month in the net-world

Hello Fellows,

    First, my best wishes to xmas and a happy new year for all of you,
synth-l friends.

    After a brief time resting of the six years in the electric
engineering course, in a sunny and uncommunicable beach, I'm back.
Unhappely, to say that january is my last month in this adress. The guys
here at computer management will turn off the machines of the graduated
students. I'm dealing with a friend to see if I'll can use him adress.
When all will be ok I let you know.

    A good new: I intending to travel to U.S.A. at end of january. I'm
getting the passport this week, and I hope don't have problems to get the
visa. Then, I'll pass february there, and will visit some net-friends.
Again, when I'll be sure about the travel, I let you know.

Until next,
Flavio

ps: Waiting....and counting to the last night of the year!!! :-)

/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\
FLAVIO BRESSAN - 87141167@BRUFSC      | If you want to send your music
Engenharia Eletrica                   | to my radio show, please send,
Universidade Federal de Santa Catarina| in registered mail, to:
--------------------------------------| FLAVIO BRESSAN
"Let He who is without fault cast the | R AFONSO PENA, 987 - ESTREITO
first stone"   Jesus Christ           | 88070-650 - FPOLIS - SC - BRASIL
\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
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Date:         Wed, 23 Dec 1992 14:38:54 EST
From:         Mark Simon <TIP@CORNELLC.BITNET>
Subject:      Re: THRENODY

Yes, Threnody for the Victims of Hiroshima is by Krzysztof Penderecki and was
written in 1960.

   Joel, I believe you're the one who asked if I'd quit writing music if I
didn't have synthesizers. Heck, I'd write music if all I had was a kazoo.
Synths are more fun though.

                           --Mark Simon
                             tip@cornellc.cit.cornell.edu
From: RSIU42G@SAUPM00.BITNET (Wayne Jacob)
Newsgroups: bit.listserv.emusic-l
Subject: Roland W-30
Date: 23 Dec 92 13:46:48 GMT
Organization: King Fahd University of Petroleum and Minerals, S.A.
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X-Acknowledge-To: <RSIU42G@SAUPM00.BITNET>

Hello all,  Can anyone comment on the sampling capabilities of the Roland W-30
keyboard?  I have found that you are extremely limited with respect to memory.
 Is there anything on the market to increase RAM or ROM?

Also, I could use some input on sampling techniques.  Are there any guides to h
elp me get more out of the limited facilities I have?

Would it be possible for someone to mail me a few pages of info regarding sampl
ing techniques?  You can not find anything about that in Saudi Arabia!

Thanks,

Wayne
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Organization: Arizona State University
Date: Saturday, 26 Dec 1992 23:23:33 MST
From: Dan Wilson <ATDYW@ASUACAD.BITNET>
Newsgroups: bit.listserv.emusic-l
Subject: Re: PHIL COMP

David Reese asked if his method of composing "in his head" until complete
and writing it after was unique. David, you're not alone. I've done the
same thing for years, often because I get an idea while driving to the
office and can't capture my ideas on paper - although I've tried carrying
a portable tape recorder. I usually mull the thing over for a day or two,
then simply write out the melody line with chord notation; i.e. a lead sheet.
Then the real work begins as I second guess my second guesses and refine the
piece until I can live with it. (Note I did not say 'until finished.' I've
come to accept the fact I never actually 'finish' a composition in the usual
sense of the word - I only pause long enough to perform it.)

When I began composing, I used the 'happy wanderer' approach, letting my
fingers browse the keyboard until I heard something appealing. Later, I
found this too restrictive and adopted the mental approach. I must say of
the two, I prefer the latter since I do not noeed to be tied to an
instrument.
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Date:         Tue, 29 Dec 1992 11:41:16 +0200
From:         Yiannis Ventikos <yvent@ARETI.MARINENTUA.ARIADNE-T.GR>
Subject:      INFO on Roland for AT
Comments: To: EMUSIC-L@AUVM.bitnet

Hello everybody. I am a brand new user of the music mailing lists and though  I
am not fresh on the net, please excuse my  FAQs. (If I shoot any).  Here it is:
I have a AT-286 at 16 Mhz  with no MS Windows yet. What I am thinking about is:
Get a SVGA (STILL IN HERCULES!!!!!), a mono monitor, Windows, a Roland SCC-1 GS
sound  card, a PC-200  Midi Keybord and the  Cakewalk software. I know a lot of
things about midi, synths etc but only theoretically, from books and magazines.
My musical experience is from a classical piano and I am  into rock-jazz-blues,
not excluding others...
What I would appreciate from the  net is any experience-info-feedback mainly on
the card but  on the software also. I realize that this is a limited capability
system, but I hope that a) it is not TOO limited and b) it can be a base to put
more stuff on later. As you understand my budget is quite tight.
Any info  will  be  greatly  appreciated.


-------

 Yiannis Ventikos
 yvent@areti.marinentua.ariadne-t.gr
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