From Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE Mon Nov 2 12:37:30 1998 From: Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE (Hartmuth Kinzler) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: ISSS-Info: CfP "Signs, Music Society" Colloquium 99/03/12-14 (fwd) Message-ID: <3.0.6.32.19981102123730.008b1b60@mail.rz.uni-osnabrueck.de> Forwarded message ---------- >Date: Sat, 31 Oct 1998 23:51:04 +0000 >From: Gloria Withalm >To: Signs-Music_ListOrgs >Subject: ISSS-Info: CfP "Signs, Music Society" Colloquium 99/03/12-14 > >Dear Colleagues, >With this mail we want to inform you about a colloquium to be held in Vienna >next March. We would like to ask you to forward the CfP to colleagues who >might be interested in the topic or to include it in any sort of newsletter/ >Conference Calender/Bulletin Board that might be appropriate for this event. >If you have any further questions, please send us an email. >Yours sincerely, >Gloria Withalm >(Secretary General ISSS & Assistant Secretary General IASS-AIS) > >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > C a l l f o r P a p e r s >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > "Signs, Music, Society - A Transdisciplinary Colloquium" >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > March 12-14, 1999 >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > organized by the > Institute for Socio-Semiotic Studies ISSS, Vienna > in co-operation with > MEDIACULT, Vienna >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > >-> Invitation - Abstracts: > >Please send your suggestions until > > December 15, 1998, > >in the form of an abstract of 10 to max. 15 lines, indicating >author's name, title of the lecture, all relevant addresses >(office, home) and technical coordinates (fax, phone, e-mail, etc.). >The lectures should not exceed 30 minutes + 15 minutes discussion. >Please direct your letter, fax or e-mail message to the ISSS. >We will reply within 14 days. > >Congress languages: English, German. > >-> Institut fur Sozio-Semiotische Studien ISSS > Jeff Bernard > Waltergasse 5/1/12, 1040 Wien > phone+fax: +43-1-5045344 > e-mail: > >-> Introductory Remarks: > >The *Colloquium* - announcing by this term that intensive discussion >should be a major feature of the meeting - intends to convene scholars >from semiotics, in general, and musical semiotics, in particular, and from >many disciplines (such as musicology, sociology psychology, ethnology, >philosophy, communication studies, media studies, cultural studies >literary studies, comparative studies, and other related fields). Our goal >is to investigate theoretical and especially practical problems of musical >signification in all types of music. > >The platform to enable inter- and transdisciplinary exchange and discussion >shall be provided by semiotics, i.e. the theory of signs, while the aim to >describe and to examine the social relevance of musical production, >distribution, and consumption, as indicated by the formula "Signs, Music, >Society", asks for focussing on fields like pragmatics, socio-semiotics, >musical communication, context dependence, and the like. By this, it shall >also be tried to transcend the somewhat isolated position of musicology, >musical aesthetics, and musical theory within the humanities, i.e., by >showing that even the problems of the study of musical structures, musical >forms and technical systems, musical signification and musical aesthetics >are indispensably linked with socio-practical features and conditions: >The meaning of music cannot be fully examined and understood without taking >account of its syntacto-semantic as well as pragmatic dimensions. > >In such view, one cannot neglect either, that musical meaning is very often >unfolded in composite signs systems (word and music, dance, film, musical >theatre, and other forms of art, as well as feasts, liturgies, rituals, >etc.), and in different media (discs, tapes, broadcasts, AV-media, and now >even "new" electronic media). The latter point stresses the problem of >musical reproduction detached from its original performance in space and >time, and how this influences, or changes, musical meaning. It stresses, >moreover, the problems of disposal and (cultural as well as economical) >hegemony. > >When the "sociality" of music and musical signification becomes of central >interest, there also appears the question of their "historicity", not so >much in terms of traditional history of music, but as an indicator of >(particularly present-time) cultural, social, sociological, medial, >technological, etc. change, or, in other words: the diachronic viewpoint - >hitherto not a main focus of musical semiotics - is as important, and in >many respects even more important, for the study of musical meaning as the >synchronic one. The examination of "codes" needs to be complemented by a >thorough investigation of code changes including all presuppositions and >consequences. > >In this framework, we want to invite scholars from all over the world >to join us for discussing questions of musical semiosis, texts, >representation, functions, impact, communication, experience and related >topics from the viewpoint of their "sociality" as well as "historicity". >Has there ever been a "day the music died", as a famous lyric once claimed? > >-> Special information: >One section with the particular topic "What is 'Austrian' Music?" will be >organized by our partner, MEDIACULT - International Research Institute for >Media, Communication, and Cultural Development. > >-> Publication: >The results of the Colloquium will be published either as a special issue >of one of our journals (_S - European Journal for Semiotic Studies_ or >_Semiotische Berichte_) or (depending on the final size) as a book in our >series "S - Addenda. Semiotic Studies". > > >Expecting to welcome you heartily in Vienna > >Jeff Bernard > (Director ISSS; Secr.Gen. IASS) >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > Jeff Bernard > (IASS-AIS Secretary General) > > Institute for Socio-Semiotic Studies ISSS > Waltergasse 5/1/12, A-1040 Vienna, Austria > phone+fax +43-1-5045344 > e-Mail: gloria.withalm@uni-ak.ac.at > > 7th IASS-AIS Congress 1999/10/6-11 Technical University Dresden > "http://www.tu-dresden.de/sulifg/semiotics" = Call for Papers > IASS-AIS homepage > "http://vhf.msh-paris.fr/escom/Ais/AISindex.html" >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > > > > From Bernd.Enders at rz.Uni-Osnabrueck.DE Mon Nov 2 14:42:07 1998 From: Bernd.Enders at rz.Uni-Osnabrueck.DE (Bernd Enders) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: online-Konzert Message-ID: <3.0.3.32.19981102144207.007b9920@mail.rz.uni-osnabrueck.de> The Society for Electro-Acoustic Music in the United States (SEAMUS) is pleased to announce the 1998 SEAMUS AudioClip Web Concert. The web concert will be available for listening the entire month of November at the following URL: http://leon.music.lsu.edu:591/audioclips/ This year's collection of AudioClips (works 2 minutes or less in length) is of very diverse styles, aesthetics and sounds. You will need a RealPlayer client (free from www.real.com) and a 28k modem (or faster) Internet connection to hear the concert. The AudioClip Web Concert is part of ElectroAcoustic Music Week, November 8-15, 1998, a celebration of electronic and computer music with events across the US, Canada and South America. For more information on ElectroAcoustic Music Week, go to: http://leon.music.lsu.edu:591/eamusicweek. Stephen David Beck President, SEAMUS -- Prof. Dr. Bernd Enders Universität Osnabrück Forschungsstelle Musik- und Medientechnologie Schloß, Neuer Graben, D-49069 Osnabrück http://www.fmt.uni-osnabrueck.de TEL (+)541/969-4147 FAX (+)541/969-4775 e-mail: Bernd.Enders@uni-osnabrueck.de http://www.musik.uni-osnabrueck.de/lehrende/enders TEL/FAX priv. (+)541/53176 -------------- From Bernd.Enders at rz.Uni-Osnabrueck.DE Tue Nov 3 12:49:23 1998 From: Bernd.Enders at rz.Uni-Osnabrueck.DE (Bernd Enders) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Zur Diskussion gestellt.... Message-ID: <3.0.3.32.19981103124923.007a55a0@mail.rz.uni-osnabrueck.de> FAZ, 3.11.98, S. 47 Wohin der Klang seine Zinsen trägt. Profit der Tonkunst: Die Geslleschaft für Musikforschung denkt in Halle auch ans Materielle In seinen Überlegungen zu ,,Umfang, Methode und Ziel der Musikwissenschaft" kam Guido Adler 1885 zu dem Schluß: ,,Mit dem Stand der Tonkunst wechseln die Aufgaben der Musikwissenschaft." Um diese angemessen erledigen zu können, teilte der österreichische Musikforscher die Fachgebiete in eine historische und eine systematische Richtung ein. Diese noch heute gültige Gliederung hat zu einer stetigen Auffächerung geführt. Mittlerweile stehen Musikethnologie, -psychologie oder -soziologie gleichwertig neben der historischen Ausrichtung des Fachs. So wuchsen die von Adler noch als ,,Hilfswissenschaften" bezeichneten Zweige in der relativ kurzen Geschichte der Disziplin zu Ästen mit Trieben und weltweiten Ablegern heran. Die Musikwissenschaft mußte ihre Methoden den neuen musikalischen und gesellschaftlichen Gegebenheiten anpassen, wenn sie mit der Musik ihrer Zeit Schritt halten wollte. Freilich meinte Adler mit seiner Formulierung vom "Stand der Tonkunst" alles andere als einen innovativen Materialbegriff, der zeitweise vor allem nach dem Zweiten Weltkrieg, das zeitgenössische Komponieren bestimmte. In Adlers modernem Denken spiegelt jede Erscheinung des Musiklebens den Stand der Tonkunst partiell wider. Daß die Musikwissenschaft nicht als ,,ein Anhängsel anderer wissenschaftlichcr Disziplinen" ein Schattendasein unter dem Dach der Alma mater führte, wie es der Bach-Biograph Philipp Spitta zwei Jahre vor Adlers Aufsatz in der königlichen Akademie der Künste zu Berlin beklagte, gründet vor allem auf Adlers methodisch differenzierter Ausrichtung des Fachs, die weitsichtig den Weg ins zwanzigste Jahrhundert ebnete. Nun allerdings müssen die Weichen für die Aktualität und den Fortbestand der Disziplin für das nächste Jahrhundert neu gestellt werden, was aus wirtschaftlichen Gründen zur Zeit nicht leicht fallen dürfte. An den deutschen Universitäten werden die kulturwissenschaftlichen Fächer streng auf ihre Effizienz hin abgeklopft. Frei werdende Stellen werden eingefroren oder fallen weg. Durch den fehlenden wissenschaftlichen Mittelbau werden die Institute ausgetrocknet. Sich selbständig eine fundierte Meinung zu einem selbstgewählten Thema zu bilden und diese auch vertreten zu können: diese Grundvoraussetzung wissenschaftlichen Arbeitens ist bei dem auf die Forschung übertragenen profitorientierten Oberflächendenken nicht mehr gefragt. So wird der von inhaltlosem Pragmatismus gespeiste Legitimierungsdruck auf die Musikforschung immer größer. Andererseits steigt in einer immer unüberschaubareren Welt der Bedarf an einer ordnenden und bewertenden Vorinstanz für all das, was als Musik daherkommt. Mit ihrem alle fünf Jahre stattfindenden internationalen Kongreß, der diesmal vom Institut für Musikwissenschaft der Martin Luther-Universität Halle-Wittenberg ausgerichtet wurde, stellte sich die ,,Gesellschaft für Musikforschung" der Frage nach "Umfang, Methode und Ziel der Musikwissenschaft" auf der Schwelle ins neue Jahrhundert. Unter dem Kongreßthema "Musikkonzepte - Konzepte der Musikwissenschaft" wurde in Kolloquien und Referaten nicht nur Adlers Fporderung bestätigt, die Aufgaben der Stand der Tonkunst anzupassen; es kam auch zu einer Öffnung der historischen zur systematischen Musikwissenschaft. Genau das forderte der Hauptreferent Ludwig Finscher nachdrücklich in seinen "Bemerkungen zur Lage der deutschen Musikwissenschaft" mit Blick nach Amerika: Dort ist die Verbindung beider in Richtungen zum Standard der Institute geworden. Halle war nicht nur wegen seiner techisch auf dem neuesten Stand ausgestatteten Räumlichkeiten in behutsam restauriertem historischem Ambiente als Ort der wissenschaftlichen Begegnung gut gewählt; das dortige Institut spiegelt mit seinen Professuren für Historische (Wolfgang Ruf) und Systematische Musikwissenschaft (Heiner Gembris) und einer geplanten Professur für Musikethnologie den umfangreichen Fächerkanon der Disziplin und die thematisch auf Verständigung angelegte Ausrichtung des Kongresses wider. Der hohe Anteil maßgeblicher Forscherpersönlichkeiten aus Übersee, England und den osteuropäischen Ländern sorgte seinerseits für ein durchweg freundschaftliches Klima während sechs anregender Kongreßtage. Bei unterschiedlichen Themen ,,Klangbilder", ,,Musik-Sprache-Rhetorik", ,,Musikpsychologie heute", ,,Macht der Musik: Magie und Mythos", ,,Musikkulturlandschaften" oder dem lokal begründeten, von seiner Bedeutung her jedoch weitreichenden Thema ,,Pietismus als musikhistorisches Problem" verlor man den Musik erfindenden oder rezipierenden Menschen innerhalb seiner Lebenswelten nicht aus dem Blick. Auch zwischen den einzelnen Diskussionsrunden kam es zu ungeplanten, um so erfreulicheren Berührungspunkten. So stellte Erik Fischer Bonn) im Kolloquium ,,Klangbilder" die in der bildenden Kunst voranschreitende, das Musikalische einbeziehende Kommunikation über Klänge heraus. Volker Kalisch (Düsseldorf) beschrieb in der musikanthropologischen Diskussion über die ,,Macht der Musik" die Musik als einen sozialen Raum, ,,in dem menschliches Handeln erst möglich wird" und in dem der Klang schließlich wieder zum Innersten des Menschen zurückkehrt. Das Themenspektrum der von Helmut Rösing geleiteten Runde zu den musikalischen Lebenswelten Jugendlicher reichte von einer Beurteilung der Rolle der populären Musik in Bulgarien vor und nach der politischen Wende (Claire Levy, Sofia) über die Beziehung zwischenTechno-Musik und Trance (Ansgar Jerrentrup, Wuppertal) bis zur Ästhetik von Videoclips, zum Problem rechtsradikaler Rockmusik und zur Selbstsozialisation Jugendlicher. Freilich ist durch Adlers strenge Trennung zwischen historischer und systematischer Musikwissenschaft auch eine Abkapselung der einzelnen Gebiete entstanden. Der Kongreß bemühte sich um die längst übertällige Überwindung dieser Kluft. Als Beweis kann die Anwesenheit des großen weisen Mannes der Musikethnologie, des mittlerweile achtzigjährigen Ki Mantle Hood (MarylandIUSA), bewertet werden. Er forderte die westliche Musiktheorie auf, ihren Horizont um das östliche Musikdenken ohne koloniale Attitüde zu erweitern: ,,Music is Music, East or West." ACHIM HEIDENREICH -- Prof. Dr. Bernd Enders Universität Osnabrück Forschungsstelle Musik- und Medientechnologie Schloß, Neuer Graben, D-49069 Osnabrück http://www.fmt.uni-osnabrueck.de TEL (+)541/969-4147 FAX (+)541/969-4775 e-mail: Bernd.Enders@uni-osnabrueck.de http://www.musik.uni-osnabrueck.de/lehrende/enders TEL/FAX priv. (+)541/53176 -------------- From jstangee at rz.Uni-Osnabrueck.DE Tue Nov 3 15:00:51 1998 From: jstangee at rz.Uni-Osnabrueck.DE (Dr. Joachim Stange-Elbe) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Zur Diskussion gestellt.... References: <3.0.3.32.19981103124923.007a55a0@mail.rz.uni-osnabrueck.de> Message-ID: <363F0C90.E1934C7B@rz.uni-osnabrueck.de> 3. 11. 1998 Bericht über den "internationalen Kongreß der 'Gesellschaft für Musikforschung'" (GfM) in der FAZ von 3. 11. 1998 Eine Erwiderung Den fast schon liebevoll anmutenden Anmerkungen des Autoren der FAZ und Kongressreferenten ACHIM HEIDENREICH kann ich mich als aktiver Teilnehmer des Kongresses in keiner Weise anschliessen, war doch die Kluft zwischen systematischer und der allmächtig daherkommenden deutschen historischen Musikwissenschaft mehr als unüberbrückbar. Hierfür sprechen zunächst einmal rein drei statistische Tatsachen: 1. Von den ca. 150 gehaltenen Referaten waren nicht einmal 10% (!) der systematischen Musikwissenschaft zuzuordnen. 2. Das Symposium "Computeranwendungen in der Musikwissenschaft" kam nur auf Drängen der Fachgruppe Studierende und Dachverband der Studierenden der Musikwissenschaft zustande (und wurde nur von ohnehin "schon Erreichten" frequentiert). 3. Die Musikpsychologie war zm ersten Mal innerhalb eines eigenständigen Symposiums auf einem GfM Kongress vertreten. Die Feststellung, dass es > in einer immer unüberschaubareren Welt der Bedarf an > einer ordnenden und bewertenden Vorinstanz für all das, was als Musik > daherkommt bedürfe, kann nur begrüsst werden, allerdings kann der Autor der FAZ hier nicht die GfM gemeint haben: das Feigenblatt "Musikalische Jugendkulturen" täuscht nur zu leicht über die so gut wie überhaupt nicht wissenschaftlich fundierte und institutionalisierte Beschäftigung mit der sog. abschätzig diffamierten "nicht artifiziellen Musik" hinweg. Ebenso war von einer > Öffnung der historischen zur systematischen Musikwissenschaft wenig bis fast garnichts zu bemerken. Sie wäre jedoch bitter nötig. Von der eher am Rande erwähnte Forderung von > Ludwig Finscher ... in > seinen "Bemerkungen zur Lage der deutschen Musikwissenschaft" mit Blick > nach Amerika: Dort ist die Verbindung beider in Richtungen zum Standard > der Institute geworden war in den nachfolgenden Tagen wenig, ja eigentlich nichts zu spüren. Statt Berichten US-amerikanischer Wissenschaftler über ihre neuesten Forschungsergebnisse, beschäftigte man sich auf diesem internationalen Kongress ausführlich mit den deutschen musikalischen Kulturlandschaften. Einer von der FAZ nicht erwähnten beiläufigen Erwähnung Finschers "zwar sind Computerkurse für Musikwissenschaftler peripher" stand die Forderung nach "Notationskursen" und die Rückbesinnung auf die Musik des 17. Jahrhunderts gegenüber. Und bei den von Finscher zurecht gewürdigten freien, sich selbst finanzierenden oder über öffentliche Zuschüsse existierenden Instituten fehlten diejenigen, die sich mit elementaren Fragen und aktuellen grundlegenden musikalischen Problemen und Forschungen auseinandersetzen (ich persönlich wage zu bezweifeln, dass Herr Finscher von der Existenz eines "Institutes für Musik und Akustik" am ZKM Karlsruhe - um nur eines der weltweit bekannten deutschen Forschungs- und künstlerischen Wirkungsstätten zu nennen - überhaupt schon Kenntnis zu nehmen sich herabgelassen hat). Über eine sinnvolle Integration der Medien in jedwelche Art von Musikwissenschaft, einer medientheoretischen musikwissenschaftlichen Auseinandersetzung wurde komplett geschwiegen. Statt innovativem Geistern waren stattdessen (immer noch) Studenten zu sehen, die in Outfit und Habitus einem Alban Berg erstaunlich nahe kamen, ihren Adorno mehr als nur verinnerlicht hatten und durch eloquente Wortschwälle zu beeindrucken suchten. Antworten auf die von dem Kongress in den Raum gestellte > Frage nach "Umfang, Methode und Ziel > der Musikwissenschaft" auf der Schwelle ins neue Jahrhundert bestanden in der Beschäftigung mit vordergründigem Personenkult (der bis hin über die Vertreter der Musikwissenschaft selbst am Frühstückstisch ausgeweitet wurde), Geschichtchen über Geschichten statt notwendiger musikalischer Grundlagenforschung und wissenschaftlichem Feuilleton statt diskussionswürdiger Musiktheorie. Erschreckend war geradezu ein methodologisches und wissenschafttheoretisches Vakuum. Diese Beobachtungen decken sich - wenn auch in anderer Weise - durchaus mit denen des FAZ Autoren, wenn er als Beweis für die > längst überfällige Überwindung dieser Kluft, der Kluft > zwischen historischer und systematischer Musikwissenschaft, die > auch eine Abkapselung der einzelnen Gebiete entstehen liess, > die Anwesenheit des großen weisen > Mannes der Musikethnologie, des mittlerweile achtzigjährigen Ki Mantle Hood > (MarylandIUSA) bewertet. Besser kann der vorherrschende Personenkult der deutschen historischen Musikwissenschaft nicht mehr belegt werden. Der Autor der FAZ irrt jedoch, wenn er bemerkt: > Nun allerdings müssen die Weichen für die Aktualität und den Fortbestand > der Disziplin für das nächste Jahrhundert neu gestellt werden, was aus > wirtschaftlichen Gründen zur Zeit nicht leicht fallen dürfte. Es sind hier weniger die "wirtschatflichen" denn die "wissenschaftlichen" Gründe, welche die Weichen in Richtung Abstellgleis stellen. Innerhalb der weltweiten musikwissenschaftlichen Landschaft ist der GfM in ihrem gegenwärtigen Zustand als Vertreter einer gesamten deutschen Musikwissenschaft jegliche Relevanz abzusprechen: sie ist ein taubes und blindes Fossil das dringend einer inhaltlichen Umstrukturierung oder ihrer Abschaffung bedarf. Joachim Stange-Elbe -- Dr. Joachim Stange-Elbe Universität Osnabrück, FB 3 - Forschungsstelle Musik- und Medientechnologie - e-mail:jstangee@rz.Uni-Osnabrueck.DE http://www.musik.Uni-Osnabrueck.DE/homepages/dokhabil/stange/ Tel. / Fax. (priv) +49-541-46003 From Bernd.Enders at rz.Uni-Osnabrueck.DE Thu Nov 5 20:43:54 1998 From: Bernd.Enders at rz.Uni-Osnabrueck.DE (Bernd Enders) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: "Bell Labs & the Origins of the Multimedia Artist"... panel in NYC (also electronic music, and computer graphics origins) Message-ID: <3.0.3.32.19981105204354.0085fc30@mail.rz.uni-osnabrueck.de> >X-Sender: asci@asci.org >X-Mailer: QUALCOMM Windows Eudora Light Version 3.0.5 (32) >Date: Mon, 19 Oct 1998 14:31:48 -0400 >To: asc@asci.org >From: "Art & Science Collaborations, Inc. (ASCI)" >Subject: "Bell Labs & the Origins of the Multimedia Artist"... panel in > NYC (also electronic music, and computer graphics origins) >Sender: owner-cecdiscuss@concordia.ca >Reply-To: cecdiscuss@concordia.ca > >IMMEDIATE RELEASE > >"Bell Labs & the Origins of the Multimedia Artist" >an afternoon panel >November 8th, 2pm >(Doors Open: at 1pm) >the Great Hall @ Cooper Union >7 E. 7th Street at 3rd Avenue >$10 (Pre-Registration advised) >http://www.asci.org/BellLabs > >This commerative event will celebrate a major aspect of the origins of the >creative explosion which has resulted in multimedia, electronic music, and >a new way of conceiving of art. The second half of the 20th century >offered a new set of tools for artists to work with -- namely, digital >computers. Bell Labs provided an environment for some of the earliest >experiments using these new technologies for both music and visual >experimentation -- both for artists and scientists. > >Our panelists, who were a part of that heady period at Bell Labs, will >give presentations that explore the projects and events which made that >time so exciting. This event represents an unprecedented opportunity to >enrich the digital art industries of the future by sharing its unique >beginnings. > >Ken Knowlton - one of the early developers of computer motion pictures >Max Mathews - often referred to as the "father of computer music" >Emmanuel Ghent - pioneer of algorithmic music & computer-controlled lighting >Michael Noll - extended the capabilities of the technologies >Laurie Spiegel - composer/visual artist who did extensive creative work @ >labs >Jerry Spivack - brought interactive graphics into a museum setting >Doree Seligmann - on the current relationship of Bell Labs to multimedia >Carl Machover - consultant on computer graphics technologies > >Visit our web-segment for panelist bios and Pre-Registration info. >http://www.asci.org/BellLabs > >This event is a production of ASCI. >Press contact: Cynthia Pannucci 718 816-9796 >------------------------------------------------------------------- >ASCI (Art and Science Collaborations Inc.) is a non-profit organization >based in New York City devoted to member services and the production of >public projects that provide visibility for the curious intersection of the >fields of art, science, and technology. Since 1993, ASCI has been >producing informative and provocative panel discussions and symposia on >timely issues in the field of art & technology. It is an open members >organization that welcomes your support and involvement. For information: >718 816-9796 http://www.asci.org >------------------------------------------------------ >//// APOLOGIES for duplicate mailings! >Please distribute to your colleagues, Thanks //// > > > > > >Cynthia Pannucci >Founder/Director >Art & Science Collaborations, Inc. (ASCI) >****Celebrating its 10th Anniversary**** > >718 816-9796; pannucci@asci.org >PO Box 358, Staten Island, NY 10301 >URL: http://www.asci.org > -- Prof. Dr. Bernd Enders Universität Osnabrück Forschungsstelle Musik- und Medientechnologie Schloß, Neuer Graben, D-49069 Osnabrück http://www.fmt.uni-osnabrueck.de TEL (+)541/969-4147 FAX (+)541/969-4775 e-mail: Bernd.Enders@uni-osnabrueck.de http://www.musik.uni-osnabrueck.de/lehrende/enders TEL/FAX priv. (+)541/53176 -------------- From Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE Fri Nov 6 20:29:31 1998 From: Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE (Hartmuth Kinzler) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Fwd: ISAMA 99 Message-ID: <3.0.6.32.19981106202931.00810b00@mail.rz.uni-osnabrueck.de> Forwarded message from: Reza Sarhangi ---------------------------------------------------------------------------- --- ISAMA 99 First Interdisciplinary Conference of The International Society for The Arts, Mathematics and Architecture 7-11 June 1999 San Sebastian, Spain INVITATION AND CALL FOR PAPERS Conference Directors Nathaniel Friedman Javier Barrallo The University at Albany (SUNY) Universidad del Pais Vasco Albany, New York (USA) San Sebastian, Spain Conference Secretariat Nathaniel Friedman Department of Mathematics & Statistics FAX: + 1 518 442 4731 The University at Albany PHONE: + 1 518 442 4621 Albany, NY 12222 USA E-MAIL: artmath@math.albany.edu Conference Web Site http://www.sc.ehu.es/mathema1/ISAMA99 Fields of Interest The main purpose of ISAMA 99 is to bring together persons interested in relating mathematics with the arts and architecture. This includes teachers, architects, artists, mathematicians, scientists and engineers. As in previous conferences, the objective is to share information and discuss common interests. Hopefully new ideas and partnerships will emerge which can enrich interdisciplinary education. In particular, we believe it is important to begin interdisciplinary education at an early age so one component of ISAMA 99 will be teacher workshops for K-12 in addition to college level courses. ISAMA will focus on the following fields related to mathematics: Architecture, Computer Design and Fabrication in The Arts and Architecture, Geometric Art and Origami, Music, Sculpture and Tessellations and Tilings. These fields include graphics interaction, CAD systems, algorithms, fractals and graphics within mathematical software (Maple, Derive, Mathematics, etc.) There will also be associated teacher workshops. Call for Papers Papers are invited on the topics outlined and other topics which fall within the general scope of the Conference. Abstracts should be submitted to the Conference secretariat by December 15, 1998. Abstracts should not be longer than 300 words, contain a list of keywords, and clearly state the methodology, purpose, results and conclusion of the final paper. All lectures will be in English. Participants may wish to give their presentation in the form of slides and/or video. The final paper should contain explanatory text and a selection of images. Reza Sarhangi, Ph.D. Chair, Mathematics Department Southwestern College 100 College Street Winfield, KS 67156 E-mail: sarhangi@jinx.sckans.edu Tel: (316) 221-8373 Fax: (316) 221-8224 http: //www.sckans.edu/~math/ http://www.sckans.edu/~bridges/ From s.steinemann at bluewin.ch Mon Nov 9 22:45:14 1998 From: s.steinemann at bluewin.ch (Zuger Sinfonietta) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Chaplin: The Circus (Konzertanzeige) Message-ID: <3647626A.7844@bluewin.ch> Für die "Südländer" in der Liste: 24. November 1998, 20 Uhr, Theater Casino, CH - Zug 26. November 1998, 20 Uhr, Burghof, D - Lörrach 27. November 1998, 15 und 20 Uhr, Burghof, D - Lörrach CHARLIE CHAPLIN: THE CIRCUS den legendären Film mit Livemusik in Originalbesetzung ZUGER SINFONIETTA Günter A. Buchwald, Leitung Die Zuger Sinfonietta gibt damit ihre Debütkonzerte und zeigt gleich, in welche Richtung ihre Projekte in Zukunft gehen werden: "MusikPlus" heisst ihre Leitidee. Dabei soll die Musik jeweils mit einer anderen Kunstgattung kombiniert werden. Nebst "MusikPlus Film" sind "MusikPlus Tanz" und "MusikPlus Pantomime" in den nächsten Projekten enthalten... From Bernd.Enders at rz.Uni-Osnabrueck.DE Sat Nov 14 22:28:27 1998 From: Bernd.Enders at rz.Uni-Osnabrueck.DE (Bernd Enders) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Archiv der MuWisys-Mails Message-ID: <3.0.3.32.19981114222827.007f1100@mail.rz.uni-osnabrueck.de> Liebe MuWiSys-Liste, wie an früherer Stelle bereits angekündigt, werden ab sofort alle Mails der MuWiSys-Liste in einem Archiv gesammelt, so daß alle bisherigen Mails jederzeit eingesehen und nach beliebigen Stichwörtern durchsucht werden können. Das Archiv kann über die Homepage der MuWiSys-Liste bequem erreicht werden. http://www.fmt.uni-osnabrueck.de/muwisys Für das MuWiSys-Archiv wird eine Datenbank verwendet, die mit Hilfe einer Buttonleiste das einfache Durchblättern sowie eine schnelle Volltextrecherche zuläßt. Die Mails sind chronologisch geordnet, die neuesten Mails werden jeweils vorne angehängt. Wir können das Archiv leider nur ca. einmal im Monat aktualisieren. Wir hoffen jedoch, daß dies genügt, da man das Archiv vermutlich eher für die Suche in älteren Mails nutzen wird. Viele Grüße Bernd Enders -- Prof. Dr. Bernd Enders Universität Osnabrück Forschungsstelle Musik- und Medientechnologie Schloß, Neuer Graben, D-49069 Osnabrück http://www.fmt.uni-osnabrueck.de TEL (+)541/969-4147 FAX (+)541/969-4775 e-mail: Bernd.Enders@uni-osnabrueck.de http://www.musik.uni-osnabrueck.de/lehrende/enders TEL/FAX priv. (+)541/53176 -------------- From Bernd.Enders at rz.Uni-Osnabrueck.DE Sat Nov 14 21:52:59 1998 From: Bernd.Enders at rz.Uni-Osnabrueck.DE (Bernd Enders) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: THE EMF GUIDE TO THE WORLD Message-ID: <3.0.3.32.19981114215259.007ebaa0@mail.rz.uni-osnabrueck.de> Hallo, hier eine mail, die einige interessante Hinweise, Adressen und Termine enthält. Gruß Bernd Enders >---------------------------------------------- >>From: Electronic Music Foundation >>Subject: THE EMF GUIDE TO THE WORLD >> >> >> >>THE EMF GUIDE TO THE WORLD >>============================ >>Electronic Music Foundation >>November 13, 1998 >> >>Here are some pointers to events and activities relevant to music in a >>technological world. For the most complete and up-to-date information, >>visit The EMF Guide to the World on the web: >> >> http://www.emf.org/guide.html >> >>Contents: >>=> 50 years ... >>=> IRCAM in December >>=> Electroacoustic Music Week >>=> Modulations >>=> Winter in (and around) New York >>=> Around the world in 60 days >>=> On the web >> >>=>Listing your events in this calendar >>=>On or off this list >> >>============================ >>50 years ... >>============================ >> >>Daniel Teruggi / Groupe de Recherches Musicales >>Around New York City, November 17 - 23 >>New York City, Harvestworks, November 21 >> >>On October 5, 1948, Pierre Schaeffer broadcast the Concert de Bruits >>(Concert of Noises) from Radiodiffusion Francaise in Paris. The event, the >>first public presentation of what Schaeffer called "musique concrete," was >>significant because it marked the official opening up of music to all >>sounds. >> >> -=-=-=-=- >> Want the whole story of musique concrete? Read this book: >> http://www.cdemusic.org/books/chadabe.electrics.html >> >>1998 is the 50th anniversary year of musique concrete. It has been >>celebrated in numerous festivals, mostly in Europe. At EMF, we thought we >>should do something to celebrate it in the US. So we invited Daniel >>Teruggi, current director of the Groupe de Recherches Musicales in Paris >>(GRM), to demonstrate recent work including a new version of GRM Tools (a >>major digital signal processing software package) at several colleges and >>universities in the New York area. Between November 17 and 23, Teruggi will >>visit Wesleyan University, Dartmouth College, Vassar College, Bennington >>College, and Princeton University. >> >>On November 21, Teruggi will demonstrate and discuss GRM technology at >>Harvestworks in New York City, which will mark the first event of an >>ongoing collaboration between EMF and Harvestworks. Our idea is to bring >>technology developers together with a small group of composers in a >>by-invitation-only series of informative and pleasurable encounters. If you >>would like to be invited to this event, and/or if you would like to be on >>the invitation list for future events of this kind, let us know: >> >> mailto:calendar@emf.org >> >>============================ >>IRCAM in December >>============================ >> >>If you're in Paris in December, go to IRCAM. You'll be three times fascinated. >> >>#1: IRCAM Forum >>December 8 - 10 >>Twice per year, the IRCAM Forum organizes 3-day workshops to discuss >>software developed at IRCAM and to provide a framework for members of the >>Forum to present their own work. >> >> mailto:admin-forum@ircam.fr >> http://www.ircam.fr/forum/ >> >>In general, we recommend that you look seriously into the IRCAM Forum. The >>meetings are useful and interesting. But there's more. Download jMax, for >>example, a realtime software signal processing system with a basic set of >>DSP libraries and documentation. And then bear in mind that a full-featured >>version, including more complete documentation, support, tutorials and an >>extensive set of IRCAM librairies and patches, is available to members of >>the Forum ... not to mention the CD-ROMs and other membership benefits. >> >> http://www.ircam.fr/jmax/ >> >>While you're at it, look at the IRCAM MSP download site. >> >> http://www.ircam.fr/msp >> >>#2: Conference on Human-Computer Interfaces >>December 11 - 12 >>This conference is a collaboration between IRCAM and Groupe de Recherches >>Musicales (GRM) and it is, at least in part, a celebration of the 50th year >>of musique concrete. Musique concrete posed important questions of how >>composers can work with sound. Now the question is: How can composers work >>with computers? The participants will include Daniel Teruggi, Hugues Vinet, >>Jean-Claude Risset, Claude Cadoz, Xavier Rodet, Philippe Manoury, Emmanuel >>Favreau, Yann Orlarey, Gerard Assayag, Tristan Murail and many other >>composers and researchers. >> >>#3: Second ESPRIT - CIUDAD meeting >>On December 12, following the IRCAM / GRM conference, the second CIUDAD >>meeting will take place with presentations on the Studio Online Project, >>sound navigation, digital audio standards, and other subjects. >> >>For information on all events: >> >> http://www.ircam.fr >> >>============================ >>ElectroAcoustic Music Week >>============================ >> >>ElectroAcoustic Music Week >>Throughout the USA, Canada, and South America >>November 8 - 15 >>ElectroAcoustic Music Week is a celebration of electronic and computer >>music with concerts, parties, radio broadcasts, and other forms of >>electrodelerium at (here's a small sampling:) University of Cincinatti, >>University of North Texas, Lousiana State University, University of >>Florida, University of Illinois, North Carolina State University, Kalvos & >>Damian's New Music Bazaar, Oberlin College, Concordia Unibversity, >>University of Wisconsin @ Milwaukee, University of Iowa, University of >>Virginia, University at Buffalo, University of Maryland, Ithaca College, >>and ... For the big picture, see: >> >> http://leon.music.lsu.edu:591/eamusicweek >> >>Note especially: >> >>*SEAMUS AudioClip Web Concert >>On the web >>Through November >>A collection of AudioClips (works 2 minutes or less in length) played on >>the web. You'll need a Real Audio player and a fast modem. Do you qualify? >>Then tune in! >> >> http://leon.music.lsu.edu:591/audioclips/ >> >>*Electromusica ... >>Buenos Aires >>Through November >>A series of radio programs produced in Buenos Aires by Ricardo Dal Farra >>and others, including music by Luis Jure, Jorge Antunes, Rodrigo Sigal, >>Orlando Jacinto Garcia, Daniel Maggiolo, Charles Dodge, Allen Strange, and >>others. >> >> mailto:maralefu@goedel.filosofia.uncor.edu >> http://music.dartmouth.edu/~ricardo/Electromusica.html >> http://geocities.com/soho/8444/fronteras-seamus98.html >> >>============================ >>Modulations >>============================ >> >>Technophiles, alert! >> >>Iara Lee, director of 'Synthetic Pleasures', has a new film titled >>'Modulations: Cinema for the Ear', an exploration into electronic music and >>its impact on late 20th century pop culture. It contains interviews and >>studio footage with Coldcut, The Invisibl Skratch Piklz, Roni Size and The >>Prodigy, and many others. Pioneers like John Cage, Stockhausen, Pierre >>Henry, and Robert Moog make cameo appearances. Wired Magazine called it >>"riveting." If you're in Detroit, Milwaukee, Williamstown, Santa Fe, San >>Antonio, Ithaca, Hartford, Cleveland, Providence, Portland, Spokane, San >>Francisco, Nashville, or Las Vegas, and if it's sometime in November or >>December, check the schedule. >> >> mailto:luko@caipirinha.com >> http://www.modulations.com >> >>============================ >>Winter in (and around) New York >>============================ >> >>Interpretations >>Merkin Hall, New York City >>November 12, December 3 ... >>The Interpretations series, now in its 10th season and still one of New >>York's most interesting concert series, is presenting John Kennedy and >>Karen Walwyn on November 12, Katrina Krimsky on December 3, and many other >>events in 1999. >> >> Kennedy/Walwyn >> http://www.emf.org/calevents/interpretations/981112kenwyn.html >> >> Krimsky >> http://www.emf.org/calevents/interpretations/981203krimsky.html >> >> Schedule for 1999 >> http://www.emf.org/calevents/interpretations.html >> >>Roulette >>New York City >>A continuing series >>Roulette, now in its 20th year, remains one of the most interesting >>downtown lofts. Concerts-to-be in November and December include Andrea >>Goodman and Gerry Hemingway, Mark Howell, Ikue Mori, and Jim Staley. >> >> mailto:info@roulette.org >> http://www.roulette.org >> >>Pierre Boulez at Connecticut College >>New London (Connecticut) >>November 21 >>Boulez will be a special guest composer at a day-long tribute to his music, >>including a round table discussion with Mario Davidovsky and Bernard Rands, >>and a performance of Boulez' 'Antheme II' for solo violin and electronics. >> >> mailto:nbzah@conncoll.edu >> >>Giuseppe Englert at the Swiss Institute >>New York City >>November 30 >>Englert was one of the first European composers in the 1960s and 1970s to >>compose with computer algorithms. This program is a tribute to his >>pioneering work, including a panel discussion at 6 pm with Englert, James >>Tenney, Larry Polansky, and Joel Chadabe. A concert at 8:30 will feature >>the Euler-Quartet and others performing Englert's music. >> >> mailto:sglfisch@aol.com >> >>Harvestworks >>New York City >>Ongoing >>Studying digital media arts at Harvestworks may be just the thing for you. >>All of the courses are short, hands on, and practical, and they'll teach >>you to do things like design web pages, edit digital photographs, and use a >>lot of high tech software. >> >> mailto:harvestw@dti.net >> http://www.hartvestworks.org >> >>============================ >>Around the world in 60 days >>============================ >> >>Nuova Consonanza >>Rome (Italy) >>Concerts: October - December >>Symposium: November 28 - 29 >>This year's Nuova Consonanza, an annual festival in Rome, is subtitled >>'1948-1998: 50 Years of Electronic Music' and it includes a long long list >>of composers, among them Pierre Schaeffer, Jean-Claude Risset, Edgard >>Varese, Bruno Maderna, Natasha Barrett, James Dashow, Trevor Wishart, Denis >>Smalley, Luciano Berio, Tamas Ungvary, Henri Pousseur, Karlheinz >>Stockhausen, Franco Evangelisti, Cornelius Cardew, Alessandro Cipriani, >>Gerard Pape, Hans Tutschku, Agostino Di Scipio, Luigi Nono, James Tenney, >>and many more ... including Edison, a multimedia group based in Rome. Then, >>Hans Tutschku, Henri Pousseur, Luciano Berio, Giuseppe di Giugno, Alvise >>Vidolin, Claude Cadoz, Jean-Claude Risset, Daniel Teruggi, and others will >>participate in a symposium. >> >> http://www.axnet.it/edison >> mailto:nuovaconsonanza@iol.it >> http://users.iol.it/nuovaconsonanza/ >> >>Festival Manca >>Nice (France) >>November 6 - 15 >>This year's Manca 98, an annual festival produced by CIRM (Centre National >>de Creation Musicale) on the French Riviera, features concerts, >>exhibitions, meetings, and sunshine, as well as Luciano Berio, Marcello >>Panni, Jean-Claude Risset, Paul Mefano, Michel Redolfi, and other fine >>composers. The major event is John Cage's 'Roaratorio, An Irish Circus on >>Finnegan's Wake', one of Cage's big big pieces. >> >> mailto:cirm_studio@compuserve.com >> http://www.rom.fr/manca >> >>The Space of Sound >>Brussels (Belgium) >>November 18 - 22 >>This 5th International Acousmatic Festival, in celebration of 50 years of >>electronic music, includes music by Annette Vande Gorne, Leo Kupper, Todor >>Todoroff, Francis Dhomont, Jonty Harrison, Denis Smalley, Paul Koonce, >>Daniel Teruggi, and many others. >> >> mailto:musiques.recherches@skynet.be >> >>DEAF98 >>Rotterdam (The Netherlands) >>November 17 - 29 >>DEAF (Dutch Electronic Art Festival) is a bi-annual event that deals with >>inter-relations between art, technology and society. "Through its >>presentation of independent and interdisciplinary artistic and scientific >>projects, DEAF seeks to stimulate a critical discussion about social, >>political and aesthetic developments in new media." >> >> mailto:DEAF@v2.nl >> http://www.v2.nl/DEAF/ >> >>DAFX98 >>Barcelona (Spain) >>November 19 - 21 >>Sponsored by the G6 action of the European Cooperation in the Field of >>Scientific and Technical Research (COST) framework, the Audiovisual >>Institute of the Pompeu Fabra University of Barcelona is organizing the >>First Workshop on Digital Audio Effects (DAFX98), an international meeting >>of researchers interested in the theory and practice of digital processing >>techniques for the transformation of sounds in music and audio applications. >> >> mailto:dafx98@iua.upf.es >> http://www.iua.upf.es/dafx98 >> >>SoundCulture '98 >>Auckland (New Zealand) >>November 20 - December 6 >>SoundCulture '98 will focus on performance art, sound sculpture, innovative >>uses of public communications systems, site-specific public artworks, >>events or spectacles, curated historical exhibitions and performances of >>sound art, symposia, new media arts and technologies, innovative uses of >>public communications systems, and forms yet to be discovered! >> >> http://mat.sapp.auckland.ac.nz/artspace/ >> >>Harry Partch in England >>London & Huddersfield >>November 27 - 29 >>Harry Partch's music will be performed by Newband in the UK on authentic >>Partch instruments for the 1st time in the UK! The program will include >>'Castor and Pollux', verses from 'Petaluma', 'Daphne of the Dunes', and two >>works by Dean Drummond for the Partch instruments. The events will start on >>November 27 at the Barbican Centre (London) and include Bob Gilmore talking >>about Harry Partch's life and work. The concert will be repeated at the >>Huddersfield Music Festival. >> >> mailto:bhpslatest@compuserve.com >> >> -=-=-=-=- >> More info on Partch in general? Read Gilmore's book: >> http://www.cdemusic.org/books/gilmore.partch.html >> >>Nature is Perverse >>Fylkingen, Stockholm >>November 27 - 29 >>Noise, performance, video. Groups will come from Switzerland, Holland, >>Japan, USA, Thailand, and elsewhere and converge in Stockholm with an >>explosive bang. >> >> http://www.fylkingen.se >> >>Touch >>STEIM, Amsterdam >>December 14 - 19 >>STEIM is presenting 'Touch', a week of Tactile Tronics, "alive and >>vivacious, throbbing, warm, sensual, ecstatic live electronic stage acts >>and immediate media ... a festival of music, theatre and performances, >>hosting an exhibition of 'Please Do Touch' instruments and a meeting place >>for pioneers, inventors, scientists and philosophers." There'll be >>performances by Joel Ryan & Evan Parker, Laetitia Sonami, Frances Marie >>Uitti & Michel Waisvisz, Schreck Ensemble, and many many others. There'll >>be opportunities to interact with a wide range of devices at the Electro >>Squeek Club. And there'll be a symposium with Trevor Wishart, George Lewis, >>Roger Malina, Dick Raaijmakers, and others. >> >> mailto:steim@xs4all.nl >> http://www.xs4all.nl/~steim >> >>============================ >>On the web >>============================ >> >>On November 8 in New York City, ASCI (Art and Science Collaborations, Inc.) >>presented 'Bell Labs & the Origins of the Multimedia Artist', a panel that >>celebrated the beginnings of multimedia and electronic music. The panelists >>were Ken Knowlton, Max Mathews, Emmanuel Ghent, Michael Noll, Laurie >>Spiegel, Jerry Spivack, Doree Seligmann, and Carl Machover. If you missed >>it there, find it here: >> >> http://www.asci.org/BellLabs >> >>Laurie Spiegel recently mentioned to us the need for an archive of vintage >>software. It's certainly in our plans. But for the moment, it's time to >>refresh your memory re 'Music Mouse', Spiegel's interactive composing >>program from the 1980s. >> >> http://www.dorsai.org/~spiegel/ls_programs.html >> >>On another note, 'Meteorite', a musical installation by Tod Machover, >>opened in Essen, Germany, on June 5, 1998. From the press release: >>"Meteorite is inspired by the whimsical notion that a giant meteor has >>crashed into the Earth from an alien, future culture ... Visitors enter >>Meteorite through a small structure visible above ground and descend into a >>vast, multi-storied cavern with ramps and walkways leading to a series of >>brightly colored, geometric chambers." >> >> http://www.media.mit.edu/ttt/groups/machover/meteor.html >> >>Visit the Waisvisz Archives, now visible on the web to document the many >>interesting works of Michel Waisvisz, exceptional artist and innovator. And >>while you're at it, have a general look at STEIM, makers of many >>fascinating devices. >> >> http://www.xs4all.nl/~mwais >> http://www.xs4all.nl/~steim >> >>============================ >>Listing your events in this calendar >>============================ >> >>If you'd like us to list your events in The EMF Worldwide Calendar, send >>your information as early as possible to: >> >> mailto:calendar@emf.org >> >>An email address and/or web reference for further information (such as the >>address where the event will occur, box office phone, time of the event, >>ticket price, etc) is essential. If you don't have a website to use in this >>way, we suggest that you compose a standard email message with the relevant >>information and be prepared to send it out to answer any inquiries. If you >>would like us to create a website or manage a standard email message for >>you, contact us for information. >> >>============================ >>On or off this list >>============================ >> >>We maintain separate email lists for different email publications. If you >>would rather not receive this calendar, simply send us a message saying "No >>calendar, please" and we will take you off the calendar list. >> >> mailto:calendar@emf.org >> >>============================ >>Copyright 1998 Electronic Music Foundation, Ltd. >>EMF is a trademark of Electronic Music Foundation, Ltd. >>============================ >> >>Electronic Music Foundation >>116 North Lake Avenue >>Albany NY 12206 >>USA >> >>(518) 434-4110 Voice >>(518) 434-0308 Fax >> >>mailto:calendar@emf.org >>http://www.emf.org >> >>## >> > >*************************************************************************** >All places are here! All times are now! > > > -- Prof. Dr. Bernd Enders Universität Osnabrück Forschungsstelle Musik- und Medientechnologie Schloß, Neuer Graben, D-49069 Osnabrück http://www.fmt.uni-osnabrueck.de TEL (+)541/969-4147 FAX (+)541/969-4775 e-mail: Bernd.Enders@uni-osnabrueck.de http://www.musik.uni-osnabrueck.de/lehrende/enders TEL/FAX priv. (+)541/53176 -------------- From kerzel at swin.baynet.de Tue Nov 17 23:18:32 1998 From: kerzel at swin.baynet.de (Thomas Kerzel) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Lied 17. Jhdt. Es ist ein Schnitter, heisst der Tod Message-ID: Eine Frage von Thomas Kerzel: Hat jemand auf unseren Listen den originalen Text des Liedes "Es ist ein Schnitter, heißt der Tod" parat? Ich habe in meinen Liederbüchern und in der Schumann-Komposition (Textfassung aus "Des Knaben Wunderhorn") so verschiedene Fassungen gefunden, dass ich nach dem Original von 1638 suche. Die Anfänge der vorhandenen Strophen sind: 1. Es ist ein Schnitter 2. Was heut noch grün und frisch dasteht 3. Viel hunderttausend ungezählt 4. Das himmlische Ehrenpreis 5. Das hübsch Lavendel 6. Trutz, Tod! Ich bin gespannt auf Antworten (bitte direkt an mich). Ich werde eine Zusammenfassung an die Listen schicken. Gruss und Dank Thomas ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ kerzel@swin.baynet.de Deutschland ~ Germany Homepage des Schweinfurter Kammerchores ~ My chamber choir 16 themenbezogene Konzertprogramme ~ 16 concert programs Links, Textquellen, Repertoire ~ links, lyrics, repertoire http://www.swin.de/kuku/kammchor/ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From G.Kreutz at em.uni-frankfurt.de Wed Nov 18 14:00:37 1998 From: G.Kreutz at em.uni-frankfurt.de (Dr. Gunter Kreutz) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Klanganalyse auf dem Macintosh Message-ID: <3652C4F5.B594B681@em.uni-frankfurt.de> Hallo Liste, wer kennt sich denn mit Klanganalyseprogrammen f|r den Macintosh aus? Wir wollen diese in Verbindung mit Digidesigns Audiomedia III einsetzen. Bislang ist mir nur SoundScope von der Fa. Additive bekannt. Zu einem vern|nftigen Preis erhdlt man allerdings damit maximal nur 10 Bit Auflvsung. Wer hat also Erfahrungen mit solchen Programmen und kann evtl. neben Hersteller auch ca. Preise nennen? - Herzlichen Dank im voraus! Gunter _______________________________ Dr. Gunter Kreutz Institut f. Musikpaedagogik JWG-Universitaet Frankfurt Sophienstr. 1-3 D-60487 Frankfurt/M. Tel.: +49 (069) 798-23778 Fax: +49 (069) 798-28929 Imehl: G.Kreutz@em.uni-frankfurt.de priv.: Ginnheimerstr.12 D-60487 Frankfurt/M. Tel.: +49 (069) 707 94594 From kerzel at swin.baynet.de Fri Nov 20 17:24:05 1998 From: kerzel at swin.baynet.de (Thomas Kerzel) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Alte Volksliedtexte - original (Zusammenfassung) Message-ID: Liebe Listenteilnehmer, auf meine Anfrage nach dem ursprünglichen Text von "Es ist ein Schnitter, heisst der Tod" von 1638 habe ich 5 freundliche Antworten bekommen. Ein Tip, den mir Guido Fackler schickte, ist vielleicht für manche von Euch auch interessant: Deutsches Volksliederarchiv Silberbachstr. 13 79100 Freiburg Tel: 0761/705030 Fax: 0761/72076 E-mail: James@Ub.Uni-Freiburg.de (Frau Barbara Boock, Tel. 7050314) http://www.uni-freiburg.de/philfak3/volk/volklied/vlsek.htm (URL zeigt nur die Adresse) Frau Boock hat sich sofort und sehr gründlich um meine direkte E-Mail-Anfrage gekümmert und ich hatte blitzschnell eine Beschreibung der im Archiv vorhandenen Quelle in der Mailbox und am nächsten Tag alle 16 Strophen und eine Kopie des "Fliegenden Blattes" von 1638 gegen Porto und geringe Kopiergebühren im Briefkasten. Das nenne ich engagierte Archiv-Arbeit! Viele Grüße Thomas ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ kerzel@swin.baynet.de Deutschland ~ Germany Homepage des Schweinfurter Kammerchores ~ My chamber choir 16 themenbezogene Konzertprogramme ~ 16 concert programs Links, Textquellen, Repertoire ~ links, lyrics, repertoire http://www.swin.de/kuku/kammchor/ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE Sat Nov 21 13:51:57 1998 From: Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE (Hartmuth Kinzler) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: EARTRAINING SURVEY Message-ID: <3.0.6.32.19981121135157.007a7d70@mail.rz.uni-osnabrueck.de> >Date: Thu, 19 Nov 1998 11:38:50 -0800 (PST) >Reply-To: smt-list@boethius.music.ucsb.edu >Originator: smt-list@boethius.music.ucsb.edu >Sender: smt-list@boethius.music.ucsb.edu >From: Douglas Spangler >To: hkinzler@rz.uni-osnabrueck.de >Subject: EARTRAINING SURVEY > >Dear SMT List Subscribers, > >PURPOSE--to evaluate the use of CAI (Computer-Assisted Instruction) in >undergraduate Ear-Training during the 1998-99 academic year as part of a >Master's Thesis in Music Theory. > >More than 54 Colleges and Universities have responded to the following >Eartraining CAI survey. Preliminary results as well as a list of the >responding institutions can be viewed on my web page at >http://www.msu.edu/user/spangle9 > >PLEASE consider filling out this 2-MINUTE SURVEY if your institution is not >yet represented. > >FORMAT--Most of the questions can be answered by tabbing the appropriate >response or deleting the responses that do not apply. >___________________________________________________ >PLEASE SEND RESPONSE TO: spangle9@pilot.msu.edu > >1. Name of Undergraduate Institution: >2. Approximate number of Undergraduate Music Majors: > 1 to 19 students > 20 to 49 students > 50 to 99 students > 100 to 199 students > 200+ >3. Which CAI Programs are used (more than one may apply)? > NONE--(PLEASE SEND RESPONSE TO: spangle9@pilot.msu.edu) > MacGamut > Practica Musica > OTHER (Please specify) >4. How do students access CAI Software (more than one may apply)? > In ONE computer lab > From MANY computer labs > Personal copies of CAI Software > Through a campus NETWORK > OTHER MEANS OF DISTRIBUTION (Please specify) >5. How many computers in labs have access to CAI Software? > NONE > 1 to 9 computers > 10 to 19 computers > 20 to 29 computers > 30+ >6. How is CAI integrated (more than one may apply)? > PRACTICE ONLY--Individual Student Practice--NO TRACKING > TIME--Tracking of time spent on CAI > TESTING--Students pass levels or complete exercises > LAB WORK--Students use CAI during part of a CLASS PERIOD >7. How is CAI work evaluated? > UNGRADED PRACTICE > EXTRA CREDIT > 1-9% of the GRADE > 10% to 19% of the GRADE > 20% to 29% of the GRADE > 30% to 39% of the GRADE > OTHER (Please specify) >8. How would you rate the CAI software (OPTIONAL)? > Excellent --Highly successful > Good --Moderately successful > Fair --Workable, slight flaws > Poor --Unworkable, major flaws >9. Do students seem to find the CAI helpful? > Yes > No > Indifferent >10. Please write any additional observations (OPTIONAL). > (shortcomings, problems, successes) > >___________________________________________________ >PLEASE SEND RESPONSE TO: spangle9@pilot.msu.edu > > Douglas R. Spangler spangle9@pilot.msu.edu >Master's Student in Music Theory: Michigan State University > http://www.msu.edu/user/spangle9 > > > > From reinhard.kopiez at mail.uni-wuerzburg.de Sun Nov 22 17:58:21 1998 From: reinhard.kopiez at mail.uni-wuerzburg.de (Reinhard Kopiez) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: Festschrift Helga de la Motte-Inhalt Message-ID: <32F79516CE9@rznov.uni-wuerzburg.de> BUCHANKUENDIGUNG > Musikwissenschaft zwischen Kunst, AEsthetik und Experiment. Festschrift fuer Helga de la Motte-Haber zum 60. Geburtstag. > > > Hrsg. v. von Kopiez, Reinhard; Berthelmes, > > Barbara; Gembris, Heiner; Kloppenburg, Josef; > > Loesch, Heinz von; Neuhoff, Hans; Roetter, > > Guenther; Schmidt, Christian M. Vlg. > > Koenigshausen u. Neumann, 1998 752 S., zahlr. > > Abb., z.T. farb. - 24 x 16 cm. - Broschiert > > ISBN 3-8260-1524-X 198,- DM (176,20 SFr, > > 1448,- OES) > > > > Autoren koennen direkt beim Verlag mit 40% > > Rabatt bestellen. Anschrift: Postf. 6007, > > 97010 Wuerzburg, T. 0931-7840700 > > > Fuer alle anderen gilt bis zum 30.11.98 der > > Subskriptionspreis von 158DM ------------------------------------------ > Verlagszettel mit Inhalt: > > Wie kaum eine andere Musikwissenschaftlerin hat Helga de la Motte-Haber weit > ueber die Grenzen ihres Fachs hinaus gewirkt. So haben die Musikpsychologie, > die Musikaesthetik, die Musikgeschichtsschreibung des 20. Jahrhunderts, wie > auch die Musikpaedagogik wesentliche Impulse von ihr empfangen. Zu Ehren des > 60. Geburtstags der Forscherin legt diese Festschrift durch 62 Beitraege > einer grossen Zahl von Freunden, Kollegen und Schuelern Zeugnis von ihrem > reichhaltigen Wirken ab. Fuer eine Festschrift aussergewoehnlich sind die 12 > groesstenteils farbigen Kuenstlerbeitraege des Anhangs. In ihnen zeigt sich, wie > wichtig fuer die Musikwissenschaft die Verbindung zur bildenden Kunst und der > Kontakt mit zeitgenoessischen Komponisten der Avantgarde ist. > > Inhalt: > Tabula gratulatoria - Inhalt - Vorbemerkung der Herausgeber - Hans-Peter > Reinecke: "An Stelle einer Laudatio" - Laudatio I - Laudatio II > > I. Fachwissenschaftliche Beitraege > Christian G. Allesch: > "...eine solche frauenzimmerliche Art, AEsthetik zu treiben..." UEber den > schwierigen Umgang der Psychologie mit dem Gegenstand der Musik > > Klaus Angermann: Das Stundenglas vor Augen - Zur Faust-Historia von Alfred > Schnittke > > Wolfgang Auhagen > Zur Klangaesthetik des Sinustons > > Barbara Barthelmes: > Grossstadt und Musik > > Klaus-Ernst Behne > Versuch, sich dem Schreiben ueber das Schreiben zu naehern > > Elmar Budde > Hoernerklang und finstere Maechte. Zu Carl Maria von Webers Oper Der Freischuetz > > Wolfgang Burde > Der Komponist als Dramaturg. Notizen zu Mahlers Wirken in New York > > Rainer Cadenbach > "That entertainment called a discussion". Zeit Bedeutung und Nichts in John > Cages Lecture on Nothing > > Hermann Danuser > Instruktion durch den Autor. Zur Vortragsaesthetik von Schoenbergs 2. > Streichquartett op. 10 > > Mark Delaere > Das Analyseseminar Olivier Messiaens und die Entwicklung der seriellen Musik > um 1950 > > Irene Deliege > The perception of the invariant/variant opposition. An experimental study of > Steve Reich s Four Organs fuer four electric organs and maracas > > Ursula Ditzig-Engelhardt > Prometheus von Skrajabin Musik und bildnerische Gestaltung. Ein Projekt zum > integrativen Hoeren > > Dagmar Droysen-Reber > Der Prototyp "Harfe" im Paris der 1750er und 1760er Jahre. Zu Texten und > Kupferstichen in Diderots Encylopedie > > Hugues Dufort > Les fondements socio-politiques de teatre musical du XXe siecle > > Hans Emons > Berios Sinfonia und Mahlers 2. Sinfonie. Re-Komposition als aesthetische Idee > > Jobst P. Fricke > Systemische Musikwissenschaft - eine Konsequenz des Dialogs zwischen den > Wissenschaften > > Rudolf Frisius > Musik als gestaltete Zeit. Formverlaeufe in der Neuen Musik - fliessende Zeit > und geschnittene Zeit > > Heiner Gembris > Zwischen Musik, Psychologie und Paedagogik. Zum Standort der Musikpsychologie > > Walter Gieseler > Die "Motte" in Koeln > > Wolfgang Gratzer > Mikrskopische Kunst. UEber Tarkowskij und Nono > > Martin Greve > Die Aufloesung der Grenzen > > Wilfried Gruhn & Eckart Altenmueller > The impact of contemporary brain research on music education > > Janina Klassen > Seidener Strumpf ueber krummen Fuss. Gelehrsamkeit und Kunst > > Guenter Kleinen > Die chinesische Floete. Mythos und psychologische Wirklichkeit > > Josef Kloppenburg > Komponieren im Musikunterricht der Hauptschule anhand der Wege zum > Komponieren von Diether de la Motte > > Reiner Kluge > Affektive Besetzungen von Trommel-Schlagmustern in Taenzen der > afro-kubanischen Tumba-francesca-Gesellschaften > > Werner Klueppelholz > Thesen zu einer Theorie der Filmmusik > > Vladimir J. Konecni > Helga s Rave Party > > Reinhard Kopiez > Die Performance von Erik Saties Vexations aus Pianistensicht > > Rudolf-Dieter Kraemer > Musik-Lernen - Versuch einer Annaeherung aus Sicht des Hoerers > > Manfred Krause > Original oder Illusion: Ziel der technischen Reproduktion von Musik? > > Clemens Kuehn > Zwoelfton- oder -musik? > > Heinz v. Loesch > "Musica" und "opus musicum". Zur Fruehgeschichte des musikalischen Werkbegriffs > > Karin v. Maur > Feininger und die Kunst der Fuge > > Guerino Mazzola > Die schoene Gefangene - Metaphorik und Komplexitaet in der Musikwissenschaft > > Christoph Metzger > Die kuenstlerische Bach-Rezeption bei Paul Klee und Lyonel Feininger > > Ulrich Mosch > Zur Rolle bildnischer Vorstellungen im musikalischen Denken und Komponieren > Wolfgang Rihms > > Gisela Nauck > Zwei Minuten gegen das Vergessen. Der Schweizer Komponist Hans Wuetherich - > ein Portrait > > Christa Nauck-Boerner > Musik in der Justizvollzugsanstalt fuer Frauen > > Hans Neuhoff > Rationalitaetsgrade oder Rationalitaetstypen? Zur Kritik von Max Webers > "Musiksoziologie" > > Ingeborg Pfingsten > Formentwicklung und -aufloesung in der Aktivitaet zur Verfuegbarkeit von > "Klassik" im Auto: Erinnerungen an ein Stueck Mentalitaetengeschichte > > Guenter Reinhold > Von der veraenderten Sicht des Komponisten auf das eigene Werk. Franz > Schuberts Fassungen von Rastlose Liebe (D 138) > > Helmut Roesing > Musik - ein audiovisuelles Medium. UEber die optische Komponente der > Musikwahrnehmung > > Guenther Roetter > Ist der Beitrag zur Klassifikation musikalischer Rhythmen von Helga de la > Motte-Haber heute noch von Bedeutung? > > Peter Rummenhoeller > Empfindsame Lyrik und Redendes Prinzip. Christian Fuerchtegott Gellert - und > ein Blick auf Carl Philipp Emanuel Bach > > Sabine Sanio > Jenseits der Geschichte? Das Verhaeltnis der Geisteswissenschaft zur > Gegenwartskunst > > Marion Saxer > Die Mathematisierbarkeit der (Klang-) Welt. UEberlegungen zur Verwendung der > Mathematik im Schaffen von Iannis Xenakis > > Christian Martin Schmidt > Was anders ist, das lerne nun auch. Charles Edward Ives oder ueber den > Kontrast in der Musik > > Robert Schmitt Scheubel > Alfred Einstein als Kritiker > > UEber MoMA. Dr. Wolgang Becker (WDR) im Gespraech mit dem Komponisten Dieter > Schnebel > > Maria-Luise Schulten > Aspekte der Unterrichtsforschung fuer den Musikunterricht > > Oliver Schwab-Felisch > Die Logik der Koinzidenz. Modell und Modellverarbeitung in Ludwig van > Beethovens Streichquartett Es-Dur op. 127 > > Eva Sedak > Noch eine kleine Geschichte: UEberlegungen ueber das Narrative und die > Intertextualitaet als Chancen fuer die Musik am Rand > > Wolfram Steinbeck > Zum Verhaeltnis von Dauer und Akzent im deutschen Volkslied. Eine > statistische Untersuchung > > Reinhard Steinberg, Martin Flesch & Wilfried Guenther > Zur Psychophysiologie von Musikhalluzinationen > > Rudolf Stephan > Vom Musikverstehen zur Rezeptionsgeschichte. Einfuehrende Worte zur Reprise > eines Konzerts mit Musik der Wiener Moderne in Bochum 1921 > > Martin Supper > de la - de la oder de la x - de la x oder de la x - de la y oder de la y - > de la x oder: Zur Beobachtung des Beobachters > > Elena Ungeheuer & Pascal Decroupet > Die Drachen spielen mit dem Ball - Energetische Bewegungen bei Ernst Kurth, > Popmusik und experimenteller Avantgarde > > Isolde Vetter > "Musik aus dem Jenseits": Der Fall Rosemary Brown und seine soziokulturellen > und psychologischen Bedingungen > > Sigrid Wiesmann > Dieter Kaufmann, Gunda Koenig und K&K Experimental-Theater > > II. Schriftenverzeichnis > > III. Kuenstlergaben > > Giorgio Battistelli - Eberhard Blum: Sechs Seiten fuer HDLM > Esther Ferrer - Johannes Fritsch: Nachtmusik > Tom Johnson One Example. A composer s debt to a musicologist > Rolf Julius Katja Koelle Imaginaere Installationen, 1997 > Christina Kubisch - Joself Anton Riedl: UEber die Stille. Dreissig > Textfragmente fuer Helga de la Motte-Haber > Beate-Gabriela Schmitt: Floeten-Sprach-Komposition zum 2. Oktober 1998 > Karheinz Stockhausen - Andre Werner- Hans Wuetherich: O miseria umana. Szene > aus Happy Hour (1996/7) > ------------------------------------ Prof. Dr. Reinhard Kopiez Hochschule fuer Musik und Theater Emmichplatz 1 D-30175 Hannover T. 0511-3100 608 F. 0511-3100 600 Privat: Eichendorffstr. 3, 97218 Gerbrunn, T./F. 7059140 e-mail: reinhard.kopiez@mail.uni-wuerzburg.de http://www.uni-wuerzburg.de/musikhochschule/hfm.htm ------------------------------------- From Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE Fri Nov 27 22:27:35 1998 From: Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE (Hartmuth Kinzler) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: fwd: CMI-99 Message-ID: <3.0.6.32.19981127222735.008ed100@mail.rz.uni-osnabrueck.de> Forwarded message from : ---------------------------------------------------------------------------- --- Reminder - Deadline for submissions December 31 1998: CMI-99 Conference on Musical Imagery http://www.hf.uio.no/imt/CMI-99/ The International Society for Systematic and Comparative Musicology will arrange its sixth international conference at the University of Oslo, Section for Musicology, June 17 - 20, 1999, with musical imagery as its theme. Musical imagery can be defined as our capacity for imagining musical sound in the absence of a directly audible sound source, meaning that we can recall and re-experience or even invent new musical sound through our "inner ear". We would like to see a broad scope of approaches to this theme, as may be suggested by the following sub-topics: - Elements of auditory imagery in music (pitch, melody, harmony, timbre, dynamics, rhythm, textures, etc.) - Auditory imagery in language and other sonic events - The epistemology of musical imagery - Musical imagery and event imagery - Cross-modality and musical imagery - Performance and musical imagery - Mental practice and musical imagery - Oral traditions and musical imagery - Theories of consciousness and musical imagery - Neurological aspects of musical imagery - Schema theory and musical imagery - Musical analysis and musical imagery - Musical imagery and representations of musical sound in mind and machine - Musical imagery and conceptual spaces - Guided visual imagery Researchers are invited to submit extended abstracts (min. 400, max. 800 words) by no later than December 31, 1998. Submissions by e-mail are encouraged, but submissions may be made either by paper copy or by e-mail to the following address: CMI-99 Section for Musicology University of Oslo P. B. 1017 Blindern 0315 Oslo Norway fax: (+47)22854763 e-mail: r.i.godoy@imt.uio.no Further details are posted at the conference web-site: http://www.hf.uio.no/imt/CMI-99/ From Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE Fri Nov 27 22:32:40 1998 From: Hartmuth.Kinzler at rz.Uni-Osnabrueck.DE (Hartmuth Kinzler) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: fwd SMT-98 meeting Message-ID: <3.0.6.32.19981127223240.008f0870@mail.rz.uni-osnabrueck.de> The abstracts for SMT's 1998 annual meeting in Chapel Hill are now available online. They can be accessed either directly, at http://theory.esm.rochester.edu/smt-98.abstracts or through the SMT home page http://smt.ucsb.edu/smt-list/smthome.html >From the home page, follow the "Annual Meetings" link in the sidebar menu, or the link in the main frame of the home page. Many thanks to Aleck Brinkman, Networking Committee Chair, for the hard work in creating the online version of the abstracts at a very busy time of year. Lee A. Rothfarb, Boethius System Administrator University of California, Santa Barbara sys-admin@smt.ucsb.edu From Bernd.Enders at rz.Uni-Osnabrueck.DE Sat Nov 28 20:44:36 1998 From: Bernd.Enders at rz.Uni-Osnabrueck.DE (Bernd Enders) Date: Fri Jun 1 15:36:48 2007 Subject: [MWS]: STUDIE II Message-ID: <3.0.3.32.19981128204436.0081bca0@mail.rz.uni-osnabrueck.de> Hallo, in der mailing-Liste "cecdiscuss" gab es vor ein paar Tagen eine Diskussion zu einer Rekonstruktion von Stockhausen ´Studie II´, m.E. eine reizvolle Thematik. Daher gebe ich die betreffenden mails hier gesammelt weiter. Viele Grüße Bernd Enders --------------------------------------------- Date: Fri, 20 Nov 1998 05:48:06 -0400 (EDT) From: KEVIN AUSTIN Subject: Studie II To: cecdiscuss@concordia.ca X-VMS-To: IN%"cecdiscuss@concordia.ca" X-VMS-Cc: KAUSTIN Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca Jorge wrote: >In his Nr.3 Elektronische Studien/Studie II, Stockhausen used paper and >analogic magnetic tape as supports. >There is a score in paper, published by Universal Edition (U.E.12466). >With this score it's possible reconstruct the tape. I heard (an urban myth??) a few years ago that someone (in Sweden?) did attempt to reconstruct this piece from the score, and that it in fact sounded different. Anyone know if this story has a basis in reality? Best Kevin kaustin@vax2.concordia.ca -------------- Date: Fri, 20 Nov 1998 13:27:30 -0200 From: Guto Caminhoto Organization: DEL X-Mailer: Mozilla 3.04 (Win95; I) To: cecdiscuss@concordia.ca Subject: Studie II Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca Hi, This sounds very similar to the Stockhausen realization, except that sounds are brighter: http://www.uel.br/Web/home/uel/ceca/dart/web/studie-2.orc http://www.uel.br/Web/home/uel/ceca/dart/web/studie-2.sco It is only an 20" excerpt of the Studie II (three first pages), realized with Csound. Best, Guto -------------- Date: Fri, 20 Nov 1998 19:36:42 +0100 From: Risto Holopainen X-Mailer: Mozilla 4.05 [en] (X11; I; IRIX 6.2 IP22) To: cecdiscuss@concordia.ca Subject: Re: Studie II Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca KEVIN AUSTIN wrote: > I heard (an urban myth??) a few years ago that someone (in Sweden?) did > attempt to reconstruct this piece from the score, and that it in fact > sounded different. Anyone know if this story has a basis in reality? Yes, as far as I know, Knut Wiggen did a reconstruction of Studie II as a technical test of the EMS studio in Stockholm, when it was new (in the middle of the sixties). He found that they managed to realize the score in some hours, whereas it must have taken months for Stockhausen. In an article that Wiggen wrote for our Norwegian journal of contemporary music, Parergon, he says that they did not have the intention to reconstruct the piece exactly, only to reproduce what was in the score. And he comments that yet, the result is interresting, as it reveals what is lost when a piece from the Cologne studio in the fifties is redused to a score. He also claims they developed a programming system that was very much like Max, but just better, and many years before, but that is an other story. Risto Holopainen --------------- Date: Sun, 22 Nov 1998 18:26:50 +1000 From: dan X-Mailer: Mozilla 4.05 [en] (Win95; I) To: cecdiscuss@concordia.ca Subject: Re: Studie II Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca G'day, this is my first post to the list (i've been skulking around for a while)....but to get on.. i reconstructed Stockhausen's "Studie II" last year to use in one of my university folios. i actually haven't heard the original and would be interested to hear and compare. cheers, dan horwood. KEVIN AUSTIN wrote: > > Jorge wrote: > > >In his Nr.3 Elektronische Studien/Studie II, Stockhausen used paper and > >analogic magnetic tape as supports. > >There is a score in paper, published by Universal Edition (U.E.12466). > >With this score it's possible reconstruct the tape. > > I heard (an urban myth??) a few years ago that someone (in Sweden?) did > attempt to reconstruct this piece from the score, and that it in fact > sounded different. Anyone know if this story has a basis in reality? > > Best > > Kevin > kaustin@vax2.concordia.ca ------------- Date: Sun, 22 Nov 1998 08:26:58 -0400 (EDT) From: KEVIN AUSTIN Subject: Re: Studie II To: cecdiscuss@concordia.ca X-VMS-To: IN%"cecdiscuss@concordia.ca" X-VMS-Cc: KAUSTIN Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca G'day Dan Now _here's_ an interesting twist (particularly for our German copyright legal beagal). >From oz, Dan wrote: >i reconstructed Stockhausen's "Studie II" last year to use in one of my >university folios. i actually haven't heard the original and would be >interested to hear and compare. > >cheers, >dan horwood. It is my understanding that: >> It is legal to perform a work by a living composer without his/her permission. (from a legal copy of the score, with performance rights being paid... etc) >> It is legal to record a work by a living composer without their permission. (same caveat). >> Is it legal to put your own interpretation of a song on the web? (a cover in the vernacular) ... same caveat. ipso facto ... (?) Could Dan put his realization of Studie II on the web without Stockhausen's permission? (see caveat above). With an adequately detailed score, it would be possible to perform covers of Hymnen (if you could get rights to use the recordings of the national anthems ... does anyone know if Stockhausen used commercial recordings [with legal permission] or if the national anthems were recorded by WDR for this piece), Kontakte, Gesang, Poeme electronique, the entire early collection of Schaeffer, Henry ... even the Beatles' "number five" (for which a score does exist). Would it be legal to use Dan's 'cover' of the Studie II on a CD compilation, paying Stockhausen in the same way that pop music cover bands pay the original composer? How would (say) Varese's estate respond to a Spice Girl's cover of Poeme electronique? or Stockhausen perhaps to a rap cover of Gesang ... the possibilities are endless! (eg a hip-hop version of Presque Rien ... do the children in the recording still receive royalty payments?) <<*<<\\8-() >>*>>>*> (Now both the beard and the hair are on fire!) Dan, I would be interested in having a copy of your cover of Studie II for my classes ... let me know! Best Kevin kaustin@vax2.concordia.ca (Was cold, but could get much warmer quite quickly.) ------------------- From: Nicolas Vérin Subject: Re: Studie II Date: Sun, 22 Nov 1998 16:46:30 +0200 To: cecdiscuss@concordia.ca X-Sender: nverin@pop.infonie.fr (Unverified) X-MIME-Autoconverted: from quoted-printable to 8bit by clyde.concordia.ca id EAA15431 Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca >With an adequately detailed score, it would be possible to perform covers >of Hymnen (if you could get rights to use the recordings of the national >anthems ... does anyone know if Stockhausen used commercial recordings >[with legal permission] or if the national anthems were recorded by WDR for >this piece), Kontakte, Gesang, Poeme electronique, the entire early >collection of Schaeffer, Henry ... even the Beatles' "number five" (for >which a score does exist). Do you mean Revolution 9 ? I've never heard of a score for it. >How would (say) Varese's estate respond to a Spice Girl's cover of Poeme >electronique? or Stockhausen perhaps to a rap cover of Gesang ... It seems a purely hypothetical question, yet there was a CD that came out of re-mixes by everal DJs of "La messe pour le temps present" by Pierre Henry, for which I believe he was approached for his autorization (and the negociation of royalties). ~~~~~~~ Nicolas Vérin - compositeur / composer ~~~~~~~ pour plus d'inforamtions, visitez mon site : http://perso.infonie.fr/nverin/ for more informations, visit my site : http://perso.infonie.fr/nverin/ --------------- Date: Sun, 22 Nov 1998 21:26:41 +0000 To: cecdiscuss@concordia.ca From: Lawrence Casserley Subject: Re: Studie II X-Mailer: Turnpike Version 3.01 Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca In message <01J4DWCGNLZY00QS8X@vax2.concordia.ca>, KEVIN AUSTIN writes >Jorge wrote: > >>In his Nr.3 Elektronische Studien/Studie II, Stockhausen used paper and >>analogic magnetic tape as supports. >>There is a score in paper, published by Universal Edition (U.E.12466). >>With this score it's possible reconstruct the tape. > >I heard (an urban myth??) a few years ago that someone (in Sweden?) did >attempt to reconstruct this piece from the score, and that it in fact >sounded different. Anyone know if this story has a basis in reality? > I think this would be at the then brand new studio at EMS in Stockholm in about 1970. This studio was based on digitally controlled analogue sine wave oscillators controlled by an enormous console with various touch controls and light indicators. In practise, though, anything really interesting had to be programmed via the teletype. I visited the studio in 1974, (the console was awesome) but I never worked there. Perhaps one of those who did can fill in the details. There is a brief discussion of the studio in Chadabe's 'Electric Sound', but no mention of the 'Studie II' re-creation. I have a recollection of at least one other attempt, but I can't remember who or where. Any one? Lawrence Casserley -- Lawrence Electronic Operations -Tel +44 1494 481381 -FAX +44 1494 481454 Signal Processing for Contemporary Music -email leo@chiltern.demon.co.uk http://www.chiltern.demon.co.uk ---------------- Date: Sun, 22 Nov 1998 21:36:47 +0000 To: cecdiscuss@concordia.ca From: Lawrence Casserley Subject: Re: Studie II X-Mailer: Turnpike Version 3.01 Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca In message <01J4GTV2GRJI00RL3C@vax2.concordia.ca>, KEVIN AUSTIN writes ><<*<<\\8-() >>*>>>*> (Now both the beard and the hair are on fire!) Must be Shed Rack, Me Shack and To Bed We Go in that fire somewhere!!! (As Stockhausen might [or might not] have put it) ;-)> Lawrence -- Lawrence Electronic Operations -Tel +44 1494 481381 -FAX +44 1494 481454 Signal Processing for Contemporary Music -email leo@chiltern.demon.co.uk http://www.chiltern.demon.co.uk ------------------------- Date: Sun, 22 Nov 1998 23:34:02 -0600 From: Bob Falesch X-Mailer: Mozilla 4.04 (Macintosh; I; PPC) To: cecdiscuss@concordia.ca Subject: Re: Studie II Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca Regarding Stockhausen and reconstructions (or constructions, in this case!), I'm curious about whether anyone has treated Plus-Minus algorithmically. I am aware of the significant work of Alcedo Coenen, which includes a thoughtful analysis of the score and much preliminary design, but to my knowlege his effort is still on hold. This score is fascinating, and is one which seems impossible to execute properly with the pen and paper available to interpreters of its day (1960-ish?). Could he have anticipated the composer's desktop computer, free O/S'es, and free compilers? :-) --Bob Falesch Lawrence Casserley and KEVIN AUSTIN wrote about Stockhausen's Nr.3 Elektronische Studien/Studie II > [...] > >>In his Nr.3 Elektronische Studien/Studie II, Stockhausen used paper and > >>analogic magnetic tape as supports... ---------------- From: Anna.Rubin@oberlin.edu Date: Mon, 23 Nov 1998 10:33:09 -0500 Subject: Re: Studie II To: cecdiscuss@concordia.ca X-Mailer: Mulberry (MacOS) [1.3.3, s/n S-398020] X-Authenticated: frubin by mail.oberlin.edu X-Licensed-To: Oberlin College Individual User Sender: owner-cecdiscuss@concordia.ca Reply-To: cecdiscuss@concordia.ca --On Sun, Nov 22, 1998 11:34 PM -0600 "Bob Falesch" wrote: > Regarding Stockhausen and reconstructions (or constructions, in this case!), I'm curious > about whether anyone has treated Plus-Minus algorithmically. Some twenty years ago Lucky Mosko at CalArts led a group of us through a laborious semester of realizing Plus Minus. You might want to contact him to see if he continued his interest in the score. Best, Anna Rubin *************************************************************************** Anna Rubin Department of Composition, Room 213, Oberlin College, Conservatory of Music Oberlin, OH 44074-1588 Phone: 440-775-6155 Email: Anna.Rubin@oberlin.edu -- Prof. Dr. Bernd Enders Universität Osnabrück Forschungsstelle Musik- und Medientechnologie Schloß, Neuer Graben, D-49069 Osnabrück http://www.fmt.uni-osnabrueck.de TEL (+)541/969-4147 FAX (+)541/969-4775 e-mail: Bernd.Enders@uni-osnabrueck.de http://www.musik.uni-osnabrueck.de/lehrende/enders TEL/FAX priv. (+)541/53176 --------------