|
I'm trying to install the "How to use Csound interactively via WWW" as shown in
the ACCCI:
http://mars.let.uva.nl/gather/accci/websound.html
There seems to be a problem with the comment lines in the example
webtest.csound:
; ************************************************************************
since the shell script "play_csound" (for SGI) uses the construct:
...
read line
if test "`echo $line | cut -b 1-2`" = "sr"
...
and
...
echo $line >> $ORC_FILE
...
the comment lines with asterisks "*" (even any line containing asterisk, i.e.
multiplication!) will be expanded by the shell into the list of files in your
$HOME directory. If it is as cluttered as mine, the script will break.
My first attempt was to replace the comment lines
; ************************************************************************
by
; ########################################################################
This caused csound to crash with the message:
Csound Version 3.48 (Apr 15 1998)
orchname: www.csound.orc
scorename: www.csound.sco
orch compiler:
error: Unknown # option [ this line occured 36 times ]
error: Unknown # option, line 8: [ these 2 lines occured 33 times ]
ksmps= 100
Segmentation fault - core dumped [ this line occured once ;-) ]
So when I call csound interactively:
csound ~/www.csound.* -d -A -m0 -odac
with the following www.csound.orc and www.csound.sco csound crashes:
; ########################################################################
; ACCCI: WEBTEST.ORC
; synthesis: short test tone to test Csound compilation via WWW
; coded: jpg 8/95
sr = 8000
kr = 80
ksmps= 100
nchnls = 1
instr 1; #################################################################
iamp = p4
ifq = p5
a1 oscil iamp, ifq, 11
out a1
endin
; ########################################################################
; ACCCI: WEBTEST.SCO
; coded: jpg 8/95
; GEN functions ##########################################################
; carrier
f11 0 2048 10 1 ; 1 partial
; score ##################################################################
; idur iamp ifq
i1 0 4 8000 440
e
It seems as if the comments in csound (starting with ";") don't seem to be
100% safe.
Any suggestions?
I continued by fixing the play_csound script for SGI, so as not letting the
shell expand the asterisks by inserting
set -f
as its first statement. This disables file name generation.
Furthermore, Using Composer 4.04 I only managed to play webtest.csound when
using a html-file in the local file-system, the example
http://mars.let.uva.nl/gather/accci/webtest.csound
just displayed the file itself as ASCII-text.
My .mime.types & .mailcap modifications:
type=application/csound \
desc="Csound for Web" \
exts="csound"
application/csound;/home/theseus2/bwagner/CSOUND/ACCCI/play_csound < %s;
Has anyone managed to install this properly?
Thank you
Bernard
Bernhard Wagner, MultiMedia Laboratory wagner@ifi.unizh.ch
University of Zurich VOICE +41-1-635 45 69
Inst.f.Informatik, Winterthurerstr. 190 FAX +41-1-635 68 09
CH-8057 Zurich, Switzerland http://listen.to/bernard
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Date: Sat, 16 May 1998 17:18:41 -0700 (MST)
From: Mark T Vigorito
To: csound@maths.ex.ac.uk
Subject: Re: Composing
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I'd suggest "Musical Composition : projects in ways and means" by Ellis B.
Kohs. As the title suggests, it uses a very practical project-oriented
approach - good for the beginning composer to get a handle on defining the
parameters for a piece and then realizing the composition.
Happy Writing!
Mark Vigorito
mtv@u.arizona.edu
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Date: Sat, 16 May 1998 04:44:17 +0200
From: rasmus ekman
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To: Rikeimu@worldnet.att.net
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Subject: Re: New to Csound, need help.
References: <19980515222319.AAA20729@oemcomputer>
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RIKEIMU wrote:
>
> I am new to Csound and I recently downloaded the Csound program file and
> the Csound manual file.
Since you use MS mail, I take a wild guess you're on a PC machine.
In that case you could try the installation notes at
http://hem.passagen.se/rasmuse/PCinstal.htm
See if they help.
Cheers,
re
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Date: Sun, 17 May 1998 22:54:35 -0700 (PDT)
From: Qian Chen
Subject: Re: Help with 2 questions please
To: Csound
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> 2. (More obscure question) I looked attempting to write a instrument
> using the "shaker" opcode. How would I know what gen routine to use
if
> none is listed?
IMHO, whenever I use a new opcode, I do not know how to give the
correct magnitude in the valid range of a parameter. A lot of times,
I hope to find the info in the manual - but desparately failed. For
example, I know
ar oscil 4000,440,1
will give me a sine wave audio if I use
f1 0 1024 10 1.
But what about other opcodes? Is there any guide for using them? Any
ideas? Could those who programmed the opcodes give the valid range?
Just like "the valid range should be ..., for best result, the
magnitude should be ..."
Happy Csounding.
==
Qian Chen
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
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From: Gabriel Maldonado
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References: <355DA59A.860A544D@prodigy.net> <355DCD40.C629729C@intercom.es> <355DF965.D4FA6695@cableinet.co.uk> <355E598A.8F94523B@ccrma.stanford.edu>
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I use a good freeware text editor under Win95 called PFE. It
automatically recognizes the UNIX type text files under Win95 and show
them correctly (the Windowsnotepad cannot do this).
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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From: Larry Troxler
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To: =cw4t7abs
Cc: Contribute Csound
Subject: Re: Fractals (off-topic), what to do with this list?
References: <199805142125.QAA17240@xochi.tezcat.com>
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Wow, this csound list has got a lot of off-topic posts lately. I know, I
probably contribute to some of them. I hate to complain about this, and
I'm not, really, it's more of an observation.
Should the name of this list be changed? What the new name would be, I'm
not sure. It is certainly *not* a Csound list any more.
In fact, it seems to be not even limited to software synthesis.
This is not another complaint against c4tabs, in fact the "pencil"
discourse was very intriguing, and I'm glad the antiporp decided to
write in a conventional language this time.
But it has nothing to do with csound.
So what should be done with this list? Personally, most of the topics
discussed here are of interest to me. But less than half of the messages
are actually specific to csound. And i think that this may be true of
many, if not most, readers, judging by the lack of complaints about
non-csound posts.
Should this list be somehow renamed to something more general?
There are probably a lot of potential readers and contributers that are
left out because they think this is a csound list, which it is not.
Larry
=cw4t7abs wrote:
>
> >pencil
>
> It is possible to take a cannonball apart into finitely many pieces, and
> put those pieces together to
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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From: Larry Troxler
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To: Hans Mikelson
Cc: "csound@noether.ex.ac.uk"
Subject: Re: Composing
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Hans Mikelson wrote:
>
> Hello,
>
> I think I'm beginning to move from the realm of sound experiments to the
> realm of sound composition so I suppose that it wouldn't hurt for me to
> learn something about composing. There is a good web site with composing
> information at:
>
> http://www-personal.umich.edu/~fields/gems/0.htm
>
> I thought the section on dramatic shape of a composition was good since with
> Csound you are often working with collections of sound rather than just
> musical notes.
>
> Can anyone reccomend some other sites?
>
> Bye,
> Hans Mikelson
I don't think you should be looking for web sites at this stage; rather,
look for a conventional (human) music composition or theory tutor.
You're not going to learn about music theory and composition from a web
site! Try calling some local music stores, etc, for recomendations.
Larry
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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To: csound@maths.ex.ac.uk
From: Arne Hanna
Subject: Composing
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I would recommend Harry Partch's 'Genesis of a Music', ISBN 0-306-80106-X
Cheers
Arne
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=cw4t7abs is an alien.
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From: Hans Mikelson
To: Larry Troxler
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Subject: Re: Composing
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Hi,
Larry wrote:
> Try calling some local music stores,
Errmmm I am a bit skeptical about the quality of the talent available from
our local music stores...it's not a real big town.
I would consider taking a university course but they usually don't offer the
ones I want at times that I could attend.
Bye,
Hans Mikelson
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From: john Weeks
To: csound@maths.ex.ac.uk
Subject: (CSound) newbie with Questions
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Greetings and Salutations,
My name is john Weeks.
I was recently working on a project trying to attach fractal graphics to
musical compositions. A professor told me to look into CSound.
I have downloaded and read about half of the CSound manual.
I'm on a 166pentium PC operating with Win95.
I've downloaded "Csound95" and Csounder.
I've got what may be an insane notion that Orchestra files can be
compiled in a program that utilizes the values sent from a fractal
iteration. I primarily code in C or C++.
My questions are:
1. Is there anything else that I need to start experimenting with
CSound?
There are quite a few "players" out there, what might be the best
combination?
2. In your experience is an "Orchestra creator" utilizing fractals a
possibility or a fools errand?
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From: RIKEIMU
To: csound@maths.ex.ac.uk
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Subject: New to Csound, need help.
Date: Fri, 15 May 1998 18:24:07 -0500
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I am new to Csound and I recently downloaded the Csound program file and
the Csound manual file.
When I attempted to open the files, I was asked what program I wanted to
use to open the files.
Please inform me what program I need in order to open the downloaded files.
Thank you.
Richard Abrams
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From: David Vincelli
To: csound@maths.ex.ac.uk
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Subject: ENVEXT.EXE ?
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The Csound manual mentions ENVEXT.EXE as a utility for extracting
an envelope from a sound file. I can't find this file anywhere. Nor
on the ftp site, nor inside archives (nor in my bin directory). Does
anyone know where I am find this file?
Also, where and how does it store an extracted envelope? Could I
use the envelope within a function table or with an opcode?
Thanks.
--
David Vincelli
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From: Hans Mikelson
To: csound
Subject: Re: New to Csound, need help.
Date: Fri, 15 May 1998 22:08:25 -0500
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Hi,
Programs often consist of more than one file and possibly some directories.
They are often combined into a single file so that people do not have to
download each file individually. The "zip" format is one method of doing
this. As a bonus the files are "compressed" so that the combined file is
smaller than the separate files making for faster download times. The
program which is used for zipping and unzipping is called PKZip and can be
found at:
http://www.pkware.com/pkzip_win.html
I'm not sure of the shareware restrictions on this program.
Bye,
Hans Mikelson
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Message-Id: <355EC9F5.951E46C0@ere.umontreal.ca>
Date: Sun, 17 May 1998 07:28:53 -0400
From: Jean Piche
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To: badrats@badrat.com, csound
Subject: Re: realtime audio problems
References: <355E52DF.28722964@badrat.com>
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James Garfield wrote:
>
> A big problem I've been having consistently is that realtime audio is very
> choppy when I try to play any score. Generating a soundfile and playing it
> back is clean; it's just the realtime output that sounds like garbage.
>
> I'm using Csound for PPC, version 0.3.1, along with the Perf fix (all
> downloaded from the Mills FTP site). I've checked to make sure that the
> sampling rate is 44100 all around, but that doesn't seem to make a difference.
> Changing the audio buffer size changes the rate of choppiness but does not
> eliminate it.
>
> I've got a 604e machine (160 MHz) with Sound Manager 3.3, from recently
> installing QuickTime 3.0....but I was having these problems with QuickTime 2.5
> and the previous Sound Manager extension as well. At one point I had
> something like Csound for PPC 0.2b and did not experience these problems.
>
> Is there something I'm missing here, like some preferences that need to be
> reset or tweaked? I feel like a weenie whenever I do things the old-fashioned
> way and just generate a soundfile.
>
Choppiness can come from two obvious sources:
- the orchestra/score are too demanding on the machine and it cannot keep up.
- the buffers (software and hardware) are not of optimal size.
You know the answer for the first problem. For the buffers, it is important to
change both the soft and hard (on the PPC, good values seem to be -b1024 and
-B2048. on Unix -b likes a small value...)
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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From: David Boothe
To: "'Rikeimu@worldnet.att.net'" ,
csound@maths.ex.ac.uk
Subject: RE: New to Csound, need help.
Date: Fri, 15 May 1998 17:33:33 -0500
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What platform and OS are you using? What files did you download?
-dB
(David M. Boothe, Audio Director
Lyrick Studios, Dallas, TX)
> -----Original Message-----
> From: RIKEIMU [SMTP:Rikeimu@worldnet.att.net]
> Sent: May 15, 1998 18:24
> To: csound@maths.ex.ac.uk
> Subject: New to Csound, need help.
>
> I am new to Csound and I recently downloaded the Csound program file
> and
> the Csound manual file.
> When I attempted to open the files, I was asked what program I wanted
> to
> use to open the files.
> Please inform me what program I need in order to open the downloaded
> files.
>
>
> Thank you.
>
> Richard Abrams
>
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Date: Fri, 15 May 1998 18:35:11 -0400
From: Jean Piche
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To: Rikeimu@worldnet.att.net
Cc: csound@maths.ex.ac.uk
Subject: Re: New to Csound, need help.
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RIKEIMU wrote:
>
> I am new to Csound and I recently downloaded the Csound program file and
> the Csound manual file.
> When I attempted to open the files, I was asked what program I wanted to
> use to open the files.
> Please inform me what program I need in order to open the downloaded files.
>
1- what platform are you using (in detail please, Hardware, Operating system
etc..) From your second sentence, I suspect you are using a Mac. In which case,
if you have not seen this question/dialog box before, you are in for an
extremely steep learning experience...
2- Which files did you download?
3- From where did you download these files?
Please do not assume everyone will know what you are talking about. Be as
specific as you can and help will be easier to give!
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Sun, 17 May 1998 12:34:04 -0400
To: Contribute Csound
From: QATJD
Subject: Re: Fractals (off-topic), what to do with this list?
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Yes. Upon reviewing my csound mailbox, I think it's perfectly valid as a
csound resource. There is a certain amount of 'noise'; but it always stems
somehow from csound or DSP somehow. I consider someone like "=cw4tFabs" or
whatever a general nuisance, but far less bothersome than the counterpart
role on many other lists. Besides, there's always the Delete key. Or
Ctrl-D. Or whatever....
And if it were no longer a csound list, there would be NO central csound
community for information central to the code itself and the latest
developments.
At 09:00 AM 5/16/98 -0500, Hans Mikelson wrote:
>Richard Dobson wrote:
>>Csound is the kernel underwriting all the posts to the list
>
>I agree with this. I think the reason the list ranges so widely in topic
>matter and no one complains, is that Csounders have such wide interests and
>people can relate almost any topic to Csound one way or another.
>
>Hans Mikelson
>
>
>
>
thank you for your bandwidth
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Date: Fri, 15 May 1998 16:45:41 -0600
From: Mike Berry
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Subject: Re: New to Csound, need help.
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You need to include what platform you are using when you ask a question about
setting up CSound, since it is available for every platform (basically) and
the setup will differ from machine to machine.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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Date: Sun, 17 May 1998 23:14:01 -0500
To: Csound mailing list
From: "Daniel W. Hosken"
Subject: Re: Composing
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Trevor Wishart put out a book called "Audible Design" that might be
applicable. It was reviewed in the Computer Music Journal (vol. 20, no. 1).
I have not read it, and the two reviews in CMJ offer differing opinions on
the book's value (Miller Puckette's review gave it a general thumbs up).
Robert Morris' Composing with Pitch Classes does an admirable job of
including more than just pitch and rhythm parameters in an approach to
compositional design, but might be too tied to set-class/twelve-tone pitch
ideas for some tastes.
At 2:33 PM -0500 5/17/98, Michael A. Thompson wrote:
>IMHO--- I personally think that you should listen to EA music. Buy CD's
>(or how
>ever you get them) and listen to them. Go to concerts of EA music. I think you
>will learn more from one good CD or concert than a library full of books
>on this
>subject.
>I also believe that this applies to all forms of composition.
IMHO,
I agree that listening to existing works is extremely important to the
process of learning to compose (for EA works, check out the Electronic
Music Foundation for selections http://www.cdemusic.org/electronic.html).
However, I think that the optimal approach is to study examples in the
context of some pedagogical framework---in other words, a
book/tutor/college curriculum. The notion that listening is all you have to
do assumes that we have some innate mechanism for assimilating the
techniques (micro and macro) that we hear. While this is romantic (and
trendily anti-academic) I think it shortchanges the intellectual component
of art and leaves one without a strong conceptual base from which to make
compositional decisions. A pedagogical framework might seem limiting, but I
think that most good artists transcend their frameworks to some degree as
they mature. On the other hand, having no explicit framework means that
you're just relying on assumptions you've already unconsciously made, and
hence have no control over. Just my couple o' cents.
--Dan Hosken
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Date: Sat, 16 May 1998 19:30:41 +0200
From: Josep M Comajuncosas
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To: Carlton Wilkinson
Cc: Javier Ruiz ,
Csound list
Subject: Re: Errors/typos in manual?
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I had the same problem under Windows. I use to open the HTML file in word and
re-save it as and msDOS file. It works ok.
> > 5) [MACINTOSH only] If you copy an example from the manual (using Explorer
> > or Navigator) and you paste it in SimpleText or BBEdit, the Csound never
> > likes it. It reports various errors. Any hint?
> >
> > Thanks for your help.
> >
> > Javier Ruiz
>
> --
> Carlton Joseph Wilkinson
> http://excaliber.net/alex/wilkwrks.htm
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Date: Sun, 17 May 1998 12:30:17 +0100
From: Jamie Bullock
Subject: Re: Composing
To: Csound List
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While everyone's recommending books - I may as well add my old fave:
"New Music Composition" by David Cope
a brilliant general introduction to a broad range of C.20th works and
techniques, which gives the reader sufficient 'pointers' for further study
in whichever areas they find most interesting.
JamieB
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Date: Mon, 18 May 1998 10:26:54 +0100
From: Richard Dobson
Organization: Composers Desktop project
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Subject: Re: Composing
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His earlier book 'On Sonic Art' might be even more useful, if you can find it (may
need to contact Trevor directly - I can help there if needbe) . Trevor's approach,
while thoroughly rigorous, is also simple, in the sense that he gives great thought
to the issue of communicating structure and relationships to the listener -
something which many composers prefer not to worry about too much! Hence the title
'Audible design', of course - though that book is less concerned with the
larger-scale issues of compositional design and more concerned with small to
medium-scale transformations (it's also something of an extended manual for the CDP
system).
Re composing: though there are historical precedents for composers entirely
finding their own way, it must still be a very difficult thing to do. Composing
does not normally require the body to be trained as playing or singing does, but
the best way to learn still appears to by the apprenticeship system. Do any USA
colleges give group 'classes' in composition? Beyond the legendary classes in
Europe, such as those of Messiaen (and even they were apparently mostly concerned
with analysis) , I only know of it in environments such as the Dartington
International Summer School (which does indeed run a course in electro-acoustic
composition). The caveat is that probably all books and classes teaching
composition presume a subscription to one or more recognized styles or 'schools',
for which a pedagogical canon is available. It is still something of a moveable
feast in electro-acoustic music. But it would be useful to practise writing
counterpoint, harmonic progressions, variation form, etc. Steve Reich, Philip Glass
et al. will have ground through all that before looking outside the Western
tradition and going their own way.
Otherwise, I would suggest - choose a working composer who seems to be simpatico,
and offer yourself into some sort of learning programme. A composer who is also a
gourmet would be a good choice! The other trick, if you play, is to join a
performance group. One can learn quite a lot about composition from the music
stand.
Richard Dobson
Daniel W. Hosken wrote:
> Trevor Wishart put out a book called "Audible Design" that might be
> applicable. It was reviewed in the Computer Music Journal (vol. 20, no. 1).
> I have not read it, and the two reviews in CMJ offer differing opinions on
> the book's value (Miller Puckette's review gave it a general thumbs up).
>
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Date: Sun, 17 May 1998 10:29:51 -0700 (PDT)
From: "Matt J. Ingalls"
To: James Garfield
Cc: Csound
Subject: Re: realtime audio problems
In-Reply-To: <355E52DF.28722964@badrat.com>
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> back is clean; it's just the realtime output that sounds like garbage.
>
> I'm using Csound for PPC, version 0.3.1, along with the Perf fix (all
> downloaded from the Mills FTP site). I've checked to make sure that the
> sampling rate is 44100 all around, but that doesn't seem to make a difference.
> Changing the audio buffer size changes the rate of choppiness but does not
> eliminate it.
>
> I've got a 604e machine (160 MHz) with Sound Manager 3.3, from recently
> installing QuickTime 3.0....but I was having these problems with QuickTime 2.5
> and the previous Sound Manager extension as well. At one point I had
> something like Csound for PPC 0.2b and did not experience these problems.
>
> Is there something I'm missing here, like some preferences that need to be
> reset or tweaked? I feel like a weenie whenever I do things the old-fashioned
> way and just generate a soundfile.
>
> ---James
>
> --
> James Garfield
> BadRat Multimedia Productions
> http://www.badrat.com
>
>
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Date: Sun, 17 May 1998 07:20:02 -0600
To: Csound List
From: =cw4t7abs
Subject: Re: Com.posit.ng \\ pencil
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>While everyone's recommending - I may as well add my old fave:
127.0.0.1
>While everyone's recommending books - I may as well add my old fave:
>
>"New Music Composition" by David Cope
David Cope.s kode = n!sz
neural netverkx altzo.
delete key = pozbl !f knowlege = external!zd
Edge investigated a pencil of canonical curves of genus \6\ on a del Pezzo
quintic surface in a \5\-dimensional projective space
Maria Agnesi mastered many languages such as Latin, Greek and Hebrew at an
early age. At the age of \9\ she published a Latin discourse in defence of
higher education for women.
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
kode1.tzzt.
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Date: Sun, 17 May 1998 09:39:37 -0700
From: Jim Stevenson
Message-Id: <199805171639.JAA05554@eos.arc.nasa.gov>
To: dlphilp@mail.bright.net, langhatm@rosevc.rose-hulman.edu
Subject: Re: linux sound editors
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Does anyone know of linux sound editors that are command driven?
Thanks.
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Date: Sun, 17 May 1998 23:50:59 +0100
From: Richard Dobson
Organization: Composers Desktop project
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To: Drew Skyfyre
Cc: Csound List
Subject: Re: x!onz,pencil,etc.,etc.
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sure, but it understands re/mi/doh/doh/sol!
Richard Dobson
Drew Skyfyre wrote:
> =cw4t7abs is an alien.
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Date: Sun, 17 May 1998 08:59:58 -0400
To: csound@maths.ex.ac.uk
From: QATJD
Subject: Realtime in NT - HOW?
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I've tinkered and I've tinkered, but can't get a peep out of csound
realtime using the GUI in NT (ver 3.48). I saw a little blurb from (I
beleive) Rasmus saying 'basically' one needs to specify a large output
buffer. Is this the samples/hardware -B setting ? Or do I need somehow to
set -b as well?
Should there be a switch somewhere telling csound to pipe out to hw rather
than to file? I omit an output SF name, and even check the 'no sound to
disk' setting, but still - a complete performance with no sound to disk or
anywhere for that matter.
Any tips? Jean? Rasmus?
I'm on a P6 233 with 96 megs of RAM and two soundcards. I should have no
dramatic perf. limitations. I've just got to be missing something.
P.S. will realtime be documented (more) in future versions?
Thanks a whole pile in advance all you magnanimous audio compatriots.
pax DQ
thank you for your bandwidth
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Date: Sun, 17 May 1998 07:40:29 -0600
To: Csound List
From: =cw4t7abs
Subject: x!onz
Sender: owner-csound-outgoing@maths.ex.ac.uk
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He worked on the Theory of Errors and aimed to prove that
the arithmetic mean was better than a single observation.
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
\5\6\5\6\
\6\4\6\4\
\7\3\7\3\
\8\2\8\2\
\9\1\9\1\
\0\0\0\0\
kode1.tzzt.
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
\5\6\5\6\
\6\4\6\4\
\7\3\7\3\
\8\2\8\2\
\9\1\9\1\
\0\0\0\0\
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
\5\6\5\6\
\6\4\6\4\
\7\3\7\3\
\8\2\8\2\
\9\1\9\1\
\0\0\0\0\
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
\5\6\5\6\
\6\4\6\4\
\7\3\7\3\
\8\2\8\2\
\9\1\9\1\
\0\0\0\0\
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
\5\6\5\6\
\6\4\6\4\
\7\3\7\3\
\8\2\8\2\
\9\1\9\1\
\0\0\0\0\
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
\5\6\5\6\
\6\4\6\4\
\7\3\7\3\
\8\2\8\2\
\9\1\9\1\
\0\0\0\0\
\1\0\1\0\
\2\9\2\9\
\3\8\3\8\
\4\7\4\7\
segmentat]on v!ol.at!on -- k=F8re dump.d
|
p r 0 d U k t [=7F]-----| =D8 f =D8 =
=D8 =D8 3
|
__p u n k t p r o t o k o L _
\7\3\7\3\
\8\2\8\2\ data =3Dk]orrekt_-humanz =3D!nk]orrekt
\9\1\9\1\
\0\0\0\0\
pol!sz.
kodez.teczt.
hTTp://www.tezcat.com/~antiorp/7b%21ThrEaT.hTmL
kode1.[do tzo at ur oun konven!ensz]
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Date: Sun, 17 May 1998 11:33:32 +0200
From: David Schuyeteneer
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Subject: dynamics with Csound
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How can I let a parameter (of an oscil for example) evolve
by a math function in Csound ?? For example : an
oscil with a dry, flat tone
letting it sweep by a sine function...etc etc....
is it possible to let reverb time vary at k-rate (by sine function for
example) ??
Anyone has done of these tricks ??
David.
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From: Hans Mikelson
To: Contribute Csound
Subject: Re: Fractals (off-topic), what to do with this list?
Date: Sat, 16 May 1998 09:00:04 -0500
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Richard Dobson wrote:
>Csound is the kernel underwriting all the posts to the list
I agree with this. I think the reason the list ranges so widely in topic
matter and no one complains, is that Csounders have such wide interests and
people can relate almost any topic to Csound one way or another.
Hans Mikelson
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Date: Sat, 16 May 1998 23:00:47 -0400
From: James Garfield
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Organization: BadRat Multimedia Productions
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To: Csound
Subject: realtime audio problems
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A big problem I've been having consistently is that realtime audio is very
choppy when I try to play any score. Generating a soundfile and playing it
back is clean; it's just the realtime output that sounds like garbage.
I'm using Csound for PPC, version 0.3.1, along with the Perf fix (all
downloaded from the Mills FTP site). I've checked to make sure that the
sampling rate is 44100 all around, but that doesn't seem to make a difference.
Changing the audio buffer size changes the rate of choppiness but does not
eliminate it.
I've got a 604e machine (160 MHz) with Sound Manager 3.3, from recently
installing QuickTime 3.0....but I was having these problems with QuickTime 2.5
and the previous Sound Manager extension as well. At one point I had
something like Csound for PPC 0.2b and did not experience these problems.
Is there something I'm missing here, like some preferences that need to be
reset or tweaked? I feel like a weenie whenever I do things the old-fashioned
way and just generate a soundfile.
---James
--
James Garfield
BadRat Multimedia Productions
http://www.badrat.com
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To: tribute Csound
From: =cw4t7abs
Subject: oblique posts
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Zeno of Elea was a philosopher, the pupil and friend of Parmenides. He gave
four paradoxes which had a profound influence on the
development of mathematics.
The flavour of the paradoxes is given by the proof that motion is
impossible. In order the traverse a line segment it is necessary to reach
its midpoint. To do this one must reach the 1/4 point, to do this one must
reach the 1/8 point and so on ad infinitum. Hence motion can
never begin.
The paradoxes were important in the development of the notion of
infinitesimals.
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Date: Mon, 18 May 98 12:02:02 BST
From: jpff@maths.bath.ac.uk
Subject: Re: sndwarp problem
To: karpen@u.washington.edu, DBoothe@lyrick.com, csound@maths.ex.ac.uk
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Message written at 17 May 1998 13:30:05 +0100
--- Copy of mail to DBoothe@lyrick.com ---
In-reply-to:
(message from David Boothe on Wed, 13 May 1998 18:43:22 -0500)
References:
Now I am confused. I cannot see a # character in your example, and it
is that character which triggers the error message
error: Unknown # option, line 14:
The line number may be wrong in the distributed version. Do you have
a # in a comment? That is supposed to work but may not.
I would like the actual orc/sco you are using so I can deal with the
problem.
==John ffitch
> Thank you, Richard. That fixed it with Winsound 3.47. I downloaded
> Winsound 3.481 in the meantime (thinking that might solve the problem),
> and get the following compile-time errors (I don't know what they mean):
>
> error: Unknown # option, line 14:
> irandw = p10 ;rand window size bw (in samps)
> error: Unknown # option, line 15:
> ioverlap = p11 ;dens of overlapping windows
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From: jpff@maths.bath.ac.uk
Subject: Re: play_csound for web (ACCCI)
To: csound@maths.ex.ac.uk, jpgather@acsu.buffalo.edu
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Message written at 17 May 1998 17:03:08 +0100
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In-reply-to: (message from
Bernhard Wagner on Fri, 15 May 1998 14:36:20 +0200 (MDT))
References:
There is obviously a problem with the # being seen inside a comment
when it is supposed to only be active at the start of a line. Mea
culpa. My problem.
==John ffitch
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From: jpff@maths.bath.ac.uk
Subject: Re: illegal opcode
To: csound@maths.ex.ac.uk
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Message written at 17 May 1998 13:18:58 +0100
In-reply-to: <355A30D1.5289@hem.passagen.se> (message from rasmus ekman on
Thu, 14 May 1998 01:46:25 +0200)
References: <355A30D1.5289@hem.passagen.se>
I was referring to the manual from MIT which is the one by Barry. It
is that manual which lives on my shelf.
Yes it was there, but as the spectral opcodes do the same task
better, it was removed.
==John ffitch
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Date: Sat, 16 May 1998 10:41:31 -0400
From: Carlton Wilkinson
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To: Javier Ruiz ,
Csound list
Subject: Re: Errors/typos in manual?
References:
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The copy function sticks in little "invisibles"--hidden characters. I usually
just go through whatever I copy, deleting and reinserting every white space.
But with BBEdit there is a function that will show you all the hidden
characters. A few tries andyou'll get an eye for the silly ones that Csound
doesn't like.
Javier Ruiz wrote:
> 5) [MACINTOSH only] If you copy an example from the manual (using Explorer
> or Navigator) and you paste it in SimpleText or BBEdit, the Csound never
> likes it. It reports various errors. Any hint?
>
> Thanks for your help.
>
> Javier Ruiz
--
Carlton Joseph Wilkinson
http://excaliber.net/alex/wilkwrks.htm
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Date: Sat, 16 May 1998 17:45:36 -0500
To: Hans Mikelson , Larry Troxler ,
csound@maths.ex.ac.uk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.stork
From: tolve
Subject: Re: Composing
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music theory and composition? don't pay much attention to that myself these
days. just like to make noise. but maybe you might want to read a book or
two. hated most of those studied in school. but am sure there are good
books on just about every style and topic.
know a few (and hundreds of awful ones) on jazz and, at the risk of flame,
would suggest that they could even be useful to jump start a classical
student. real utilitarian approach. perhaps because, in music geared
towards improvisation, there is no time to debate for an entire class
session exactly where the key changes. the first two quick reads will get
your feet plenty wet. and for those of you interested in jazz, you might
want to just stop there and listen to music. -perhaps the most important
study technique for all styles.
Improvising Jazz by Jerry Coker pub Prentice Hall (115 pgs)
Composing for the Jazz Orchestra by William Russo pub University Chicago
Press (a Phoenix Book) (90 pgs) -some of the notation a bit archaic but
better in...
Jazz Composition and Orchestration by William Russo pub University of
Chicago Press 825 pgs
great for that 4 tone line thickening progressive big band stuff.
and since i hate all the other books i know, here are a few recommended to
me long ago by a theory major with sloppy handwriting.
Perspectives on Schoenberg & Stravinsky by Lowe & Buretz
textbooks by Aldwell, Schacter (sp?)
Voiceleading and Harmony, or maybe harmony and voiceleading vol 1 & 2.
Beyond Orpheus by David Epstein MIT Press
_?__ Theory by Peter Westercaard
The Classic Style by Charles Rosen
Counterpoint in Composition by Schacter - Joros?
Perspectives in Music Theory edited by Ben Boretz and Edward Lowe.
(would welcome corrected spellings, or additional info on any of the above)
ok, i did use the following basic text in school. not too bad, though it
seems the professor was always correcting it...
Harmony by Walter Piston WW Norton & Company, New York.
you could also obtain scores of actual compositions to look at.
The Norton Scores an anthology for listening pub by Norton
or call Carl Fisher in New York and request score of something that
interests you:
212 677-1148 band orchestra chorus
212 677-0821 piano vocal instrumental
just be sure not to actually follow any of the rules you learn.
so you see, it has been clearly stated by some of the programmers on this
list that studying programming is useless for understanding csound, from
mathematicians that studying math is useless, and from musicians that music
is useless.
hmmm. anybody know any good books on french cooking?
tolve
>Hans Mikelson wrote:
>>
>> Hello,
>>
>> I think I'm beginning to move from the realm of sound experiments to the
>> realm of sound composition so I suppose that it wouldn't hurt for me to
>> learn something about composing. There is a good web site with composing
>> information at:
>>
>> http://www-personal.umich.edu/~fields/gems/0.htm
>>
>> I thought the section on dramatic shape of a composition was good since with
>> Csound you are often working with collections of sound rather than just
>> musical notes.
>>
>> Can anyone reccomend some other sites?
>>
>> Bye,
>> Hans Mikelson
>
>I don't think you should be looking for web sites at this stage; rather,
>look for a conventional (human) music composition or theory tutor.
>You're not going to learn about music theory and composition from a web
>site! Try calling some local music stores, etc, for recomendations.
>
>Larry
>
>-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Subject: Resonance curves on filters
From: Daniel Fattorini
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Dear Users,
Does anyone know what the excact specifications are on the
butterbp,lp,hp,br and port,tone reson filters. Iam just interested to know
so that I can use them properly. Also is there thing that you can use as a
parametric e.q. with the normal freq, q, and db controls. It seems to me
that at present that you are limited to increments of 3db per filter.
Cheers,
Dan.
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Date: Sat, 16 May 1998 20:29:14 -0700
From: Tobias Kunze
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To: Csound list
Subject: Re: Errors/typos in manual?
References: <355DA59A.860A544D@prodigy.net> <355DCD40.C629729C@intercom.es> <355DF965.D4FA6695@cableinet.co.uk>
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Unless things have changed dramatically in the past years, there
are 3 different ascii end-of-line terminations:
UNIX: NEWLINE (0x0A, aka LINEFEED)
MAC: RETURN (0x0D, aka CARRIAGE RETURN)
DOS: RETURN - NEWLINE
As a result, if you transfer a text file with unix linefeeds to a mac
or a windows box, the software will treat it as a single-line file,
with obvious consequneces for languages that base at least part of
their syntax on "lines", like csound does (Opcodes have to be on
one line and comments extends to the end of a line).
The solution is to watch out and always transfer text files in a mode
that tranlsates the end-of-line markers automatically, like ftp's
ASCII mode.
A simple no-brainer solution on all platforms is to open a wrongly
transferred ascii file in your web browser
(file://.t[e]xt)
and then "save-as" it as whatever.
There shouldn't be any "gremlins" in a csound file, anyway.
Hope that helps, and sorry if i've stated the obvious.
-Tobias
______________________________________________________________________
Tobias Kunze tkunze@ccrma.stanford.edu
CCRMA, Stanford University http://www-ccrma.stanford.edu/~tkunze
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Date: Fri, 15 May 1998 13:52:09 +0100
To: csound@maths.ex.ac.uk
From: Javier Ruiz
Subject: Errors/typos in manual?
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Hola desde Espa=F1a,
1) it seems that the examples provided for GEN01 are wrong in the manual
(3.48b1.HTML)
2) the order of parameters for voice opcode could be wrong.
The manual says:
a1 voice kamp, kfreq, kphoneme, kform, kvibf, kvamp, ifn, ivfn
but when kvamp=3D0.5 it reports an error: invalid ftable no. 0.50000
3) [MACINTOSH only] Copy does not work in Perf 3.47. Maybe those nice guys
at Mills want to add it.
4) Unfortunately, some of the new opcodes dont have any example. And maybe
it would be a good idea to give a suggested range for _each_ parameter.
5) [MACINTOSH only] If you copy an example from the manual (using Explorer
or Navigator) and you paste it in SimpleText or BBEdit, the Csound never
likes it. It reports various errors. Any hint?
Thanks for your help.
Javier Ruiz
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Subject: Re: New to Csound, need help.
From: Daniel Fattorini
To: Rikeimu@worldnet.att.net, csound@maths.ex.ac.uk
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I am not sure what platform you are on but if you are on a power mac it
should be stuffit expander, but I think that is in the OS so it shouldn't
happen like that.
----------
From: "RIKEIMU"
To:
Subject: New to Csound, need help.
Date: Fri, 15 May 1998 18:24:07 -0500
I am new to Csound and I recently downloaded the Csound program file and
the Csound manual file.
When I attempted to open the files, I was asked what program I wanted to
use to open the files.
Please inform me what program I need in order to open the downloaded files.
Thank you.
Richard Abrams
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From: Stuart Felenstein
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Subject: Help with 2 questions please
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The good news is I'm finally sitting down and trying to code some orcs
and scos, the bad news is that I maybe using this list to ask some
questions :) (from time to time)
Anyway....
1. In the manual, where the sig mods and sig gens are described. There
are two sections, one for "initialization" and another for
"performance". What significance does seperating the parameters this
way have?
2. (More obscure question) I looked attempting to write a instrument
using the "shaker" opcode. How would I know what gen routine to use if
none is listed?
Much appreciation,
Stuart
stuartf@dimensional.com
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Date: Sun, 17 May 1998 14:33:21 -0500
From: "Michael A. Thompson"
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To: tolve , Csound mailing list
Subject: Re: Composing
References: <01bd806f$ed376e40$76e167ce@hljmm>
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IMHO--- I personally think that you should listen to EA music. Buy CD's (or how
ever you get them) and listen to them. Go to concerts of EA music. I think you
will learn more from one good CD or concert than a library full of books on this
subject.
I also believe that this applies to all forms of composition.
Michael
tolve wrote:
> music theory and composition? don't pay much attention to that myself these
> days. just like to make noise. but maybe you might want to read a book or
> two. hated most of those studied in school. but am sure there are good
> books on just about every style and topic.
>
> know a few (and hundreds of awful ones) on jazz and, at the risk of flame,
> would suggest that they could even be useful to jump start a classical
> student. real utilitarian approach. perhaps because, in music geared
> towards improvisation, there is no time to debate for an entire class
> session exactly where the key changes. the first two quick reads will get
> your feet plenty wet. and for those of you interested in jazz, you might
> want to just stop there and listen to music. -perhaps the most important
> study technique for all styles.
>
> Improvising Jazz by Jerry Coker pub Prentice Hall (115 pgs)
>
> Composing for the Jazz Orchestra by William Russo pub University Chicago
> Press (a Phoenix Book) (90 pgs) -some of the notation a bit archaic but
> better in...
>
> Jazz Composition and Orchestration by William Russo pub University of
> Chicago Press 825 pgs
> great for that 4 tone line thickening progressive big band stuff.
>
> and since i hate all the other books i know, here are a few recommended to
> me long ago by a theory major with sloppy handwriting.
>
> Perspectives on Schoenberg & Stravinsky by Lowe & Buretz
>
> textbooks by Aldwell, Schacter (sp?)
> Voiceleading and Harmony, or maybe harmony and voiceleading vol 1 & 2.
>
> Beyond Orpheus by David Epstein MIT Press
>
> _?__ Theory by Peter Westercaard
>
> The Classic Style by Charles Rosen
>
> Counterpoint in Composition by Schacter - Joros?
>
> Perspectives in Music Theory edited by Ben Boretz and Edward Lowe.
>
> (would welcome corrected spellings, or additional info on any of the above)
>
> ok, i did use the following basic text in school. not too bad, though it
> seems the professor was always correcting it...
>
> Harmony by Walter Piston WW Norton & Company, New York.
>
> you could also obtain scores of actual compositions to look at.
>
> The Norton Scores an anthology for listening pub by Norton
>
> or call Carl Fisher in New York and request score of something that
> interests you:
> 212 677-1148 band orchestra chorus
> 212 677-0821 piano vocal instrumental
>
> just be sure not to actually follow any of the rules you learn.
>
> so you see, it has been clearly stated by some of the programmers on this
> list that studying programming is useless for understanding csound, from
> mathematicians that studying math is useless, and from musicians that music
> is useless.
>
> hmmm. anybody know any good books on french cooking?
>
> tolve
>
> >Hans Mikelson wrote:
> >>
> >> Hello,
> >>
> >> I think I'm beginning to move from the realm of sound experiments to the
> >> realm of sound composition so I suppose that it wouldn't hurt for me to
> >> learn something about composing. There is a good web site with composing
> >> information at:
> >>
> >> http://www-personal.umich.edu/~fields/gems/0.htm
> >>
> >> I thought the section on dramatic shape of a composition was good since with
> >> Csound you are often working with collections of sound rather than just
> >> musical notes.
> >>
> >> Can anyone reccomend some other sites?
> >>
> >> Bye,
> >> Hans Mikelson
> >
> >I don't think you should be looking for web sites at this stage; rather,
> >look for a conventional (human) music composition or theory tutor.
> >You're not going to learn about music theory and composition from a web
> >site! Try calling some local music stores, etc, for recomendations.
> >
> >Larry
> >
> >-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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From: David Schuyeteneer
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Subject: [Fwd: Resonance curves on filters]
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Download Cooledit Pro, a mighty sample editor with *lots* of functions
to manipulate
samples.....also there's a very good "Scientific Filter" section with
butterfilters etc all
with controls and and visual response curves ! It helped me a lot to
get the intuitive feel
for using filters etc in Csound without having the visual response.
CoolPro is great to do a last optimise of sounds made by Csound like
removing unaudible rumble (0-40Hz) to free up amplitude space for normalization.
I prefer the non-creative stuff (like optimising, calibrating and balancing)
doing in
a very visual environment like CoolEdit Pro or SoundForge.
David.
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Subject: Resonance curves on filters
From: Daniel Fattorini
To: csound@maths.ex.ac.uk
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Dear Users,
Does anyone know what the excact specifications are on the
butterbp,lp,hp,br and port,tone reson filters. Iam just interested to know
so that I can use them properly. Also is there thing that you can use as a
parametric e.q. with the normal freq, q, and db controls. It seems to me
that at present that you are limited to increments of 3db per filter.
Cheers,
Dan.
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Date: Sat, 16 May 1998 08:49:26 +0100
From: Richard Dobson
Organization: Composers Desktop project
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Wow! Is that true? No 32Khz srate? Surely any sampling rate is safe when simply
written to disk?
makes me glad I use a PC.. :-)
Richard Dobson
Kevin Gallagher wrote:
> On Macintosh at least (haven't tried on PC yet) the sample rate must be
> evenly divisible by 44100, in other words only 44100, 22050, and 11025
> will work. I know the tutorial at the beginning of the manual (or at
> least the version I have) specifies 20000 as sr, and that will crash you.
>
>
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From: Mike Berry
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On all PowerMacs 44.1kHz is the native sample rate of the default sound card.
Any other sample rate will be interpolated in some manner or other. CSound
should not be crashing with other sampling rates, though for anything you try
in real-time you should definitely use 44.1 or an even multiple (for speed
issues). There should be no problem writing any sample rate file.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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From: David Meckstroth
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I've had problems with text files that I've downloaded when they are
originally in DOS or UNIX formats. In BBEdit you can save them as Mac
files, which seems to solve the problems.
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For the HTML-to-Mac text issue, use the "Zap Gremlins" option in BBEdit to
get rid of hidden characters.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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Date: Fri, 15 May 1998 21:30:55 -0400
From: Jean Piche
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To: Rikeimu@worldnet.att.net, csound
Subject: Re: New to Csound, need help.
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RIKEIMU wrote:
>
> ----------
> > From: Jean Piche
> > To: Rikeimu@worldnet.att.net
> > Cc: csound@maths.ex.ac.uk
> > Subject: Re: New to Csound, need help.
> > Date: Friday, May 15, 1998 5:35 PM
> >
>
> I am using a PC platform.
> I downloaded the file csound_win(1).zip from,
> ftp://ftp.maths.bath.ac.uk/pub/dream/newest/.
> I downloaded the file Csmanual_48b1_ps(1).zip from,
> ftp://ftp.musique.umontreal.ca/pub/.
well, first off, you'll have to unzip the files (decompress them). Use a program
called zip for that.
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Sat, 16 May 1998 17:28:45 -0600 (MDT)
From: bruce quaglia
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Subject: Re: Composing
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On Sat, 16 May 1998, tolve wrote:
> Perspectives on Schoenberg & Stravinsky by Lowe & Buretz
That's Edward Cone and Ben Boretz.
>
> textbooks by Aldwell, Schacter (sp?)
> Voiceleading and Harmony, or maybe harmony and voiceleading vol 1 & 2.
Harmony and Voiceleading, (now in one larger volume); Aldwell &
Schacter.
> Beyond Orpheus by David Epstein MIT Press
Yes.
> _?__ Theory by Peter Westercaard
Tonal Theory. Peter Westergaard.
> The Classic Style by Charles Rosen
Classical Style.
> Counterpoint in Composition by Schacter - Joros?
Counterpoint in Composition by Salzer and Schacter.
> Perspectives in Music Theory edited by Ben Boretz and Edward Lowe.
again, it's Cone and Boretz.
> (would welcome corrected spellings, or additional info on any of the above)
You got it.
> ok, i did use the following basic text in school. not too bad, though it
> seems the professor was always correcting it...
>
> Harmony by Walter Piston WW Norton & Company, New York.
That's why your prof was alway correcting it, Piston's
Harmony is very outdated, inaccuarate (my modern standards)
and generally looked upon with disfavor.
> you could also obtain scores of actual compositions to look at.
A very good idea.
> just be sure not to actually follow any of the rules you learn.
A naive view to be sure. "Rules" are usually stylistic
constraints. If you're not writing tonal music then there's
no reason to bother with any of its stylistic constaints,
OTOH, you'll probably never write a coherrent phrase of any
kind of music if you don't bother with tonal music and its
restaints. The syntactical interaction of harmony, voice leading,
phrasing and form reach their pinnacle in western tonal music
and that's why disgruntled music students (apparently like Tolve)
are usually asked to study it.
>
> so you see, it has been clearly stated by some of the programmers on this
> list that studying programming is useless for understanding csound, from
> mathematicians that studying math is useless, and from musicians that music
> is useless.
If you want to write music then studying music is hardly useless.
If you want to "make noise" (Tolve's stated objective, not mine),
then yes it probably is beside the point. There are certain
compositional universals that for the most part transcend style
and media...studying composition (with someone who has some actual
mastery of these skills) may give you a leg up on writing music,
with or without Csound.
Bruce Quaglia
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Date: Sat, 16 May 1998 21:39:01 +0100
From: Richard Dobson
Organization: Composers Desktop project
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To: Josep M Comajuncosas
Cc: Carlton Wilkinson ,
Csound list
Subject: Re: Errors/typos in manual?
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There will be others with more complete and correct answers to this, but I do hit
this problem from time to time when loading text files created on unix systems -
each text editor I have handles things differently! Basically, the expected
end-of-line code (on disk) is two hex values, <0D><0A>, but some files have an
extra <0D> before these, which may get displayed as some arbitrary non-ASCII
symbol. It causes Csound on the PC to report endless syntax errors. In itself, it
would be relatively easy to fix, but I don't know what other weird codes are out
there, that also need to be checked for.
Richard Dobson
Josep M Comajuncosas wrote:
> I had the same problem under Windows. I use to open the HTML file in word and
> re-save it as and msDOS file. It works ok.
>
> > > 5) [MACINTOSH only] If you copy an example from the manual (using Explorer
> > > or Navigator) and you paste it in SimpleText or BBEdit, the Csound never
> > > likes it. It reports various errors. Any hint?
> > >
> > > Thanks for your help.
> > >
> > > Javier Ruiz
> >
> > --
> > Carlton Joseph Wilkinson
> > http://excaliber.net/alex/wilkwrks.htm
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From: rasmus ekman
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To: David Vincelli
Cc: csound@maths.ex.ac.uk
Subject: Re: ENVEXT.EXE ?
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David Vincelli wrote:
>
> The Csound manual mentions ENVEXT.EXE as a utility for extracting
> an envelope from a sound file. I can't find this file anywhere.
It used to be in csound_new.zip, but now seems not to.
> Also, where and how does it store an extracted envelope? Could I
> use the envelope within a function table or with an opcode?
As a text file, in the format: time, value.
You could have read the file with kread2 opcode if it had still been around
(where did it go?), but that would be kind of silly, since the opcode rms
can do the same task with no intermediate step.
Of course, for realtime, perhaps kread would have been faster?
Have an old version of envext in my Csound directory, so if you want it
I could mail it, it's just a few kB.
Regards,
re
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Date: Sat, 16 May 1998 08:44:15 +0100
From: Richard Dobson
Organization: Composers Desktop project
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To: Larry Troxler
Cc: Contribute Csound
Subject: Re: Fractals (off-topic), what to do with this list?
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This does seem a bit of an exaggeration to me (pace the fact I have been
contributing to the oblique posts myself!) - I see plenty of detailed Csound
posts in the current crop. I also don't think its entirely fair to say 'it has
nothing to do with Csound', because the posts are not typically about
politics, sex or religion, but around issues of creativity, the nature of the
art object, the past, present and future of the technology on which we depend,
and so on - all very relevant, to me anyway. Our motivations in persevering in
what can at times be an intractable and frustrating subject need frequent
injections of 'ingredient X' - whatever each of us deems that to be - and that
will inevitably find its way to the list, from time to time. I actually find
this the great pleasure and richness of the list - I get a real sense of the
personalities, enthusiasms and indeed prejudices who contribute, so that I do
indeed have a real impression of the Csound 'community' itself.
To echo a recent post, this is surely part of the ethnography of Csound.
Csound is the kernel underwriting all the posts to the list. It is in any case
impossible for anyone to scan all lists just in case the name Plato or Blaise
crops up; I would like to think that those who are interested in and
symapthetic towards such discussions will find their way here one way or
another!
Richard Dobson
Larry Troxler wrote:
> Wow, this csound list has got a lot of off-topic posts lately. I know, I
> probably contribute to some of them. I hate to complain about this, and
> I'm not, really, it's more of an observation.
>
> Should the name of this list be changed? What the new name would be, I'm
> not sure. It is certainly *not* a Csound list any more.
> In fact, it seems to be not even limited to software synthesis.
>
> This is not another complaint against c4tabs, in fact the "pencil"
> discourse was very intriguing, and I'm glad the antiporp decided to
> write in a conventional language this time.
>
> But it has nothing to do with csound.
>
> So what should be done with this list? Personally, most of the topics
> discussed here are of interest to me. But less than half of the messages
> are actually specific to csound. And i think that this may be true of
> many, if not most, readers, judging by the lack of complaints about
> non-csound posts.
>
> Should this list be somehow renamed to something more general?
>
> There are probably a lot of potential readers and contributers that are
> left out because they think this is a csound list, which it is not.
>
> Larry
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From: Hans Mikelson
To: csound@maths.ex.ac.uk
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Subject: Re: (CSound) newbie with Questions
Date: Sat, 16 May 1998 22:28:38 -0500
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Hi,
John Weeks wrote:
>I was recently working on a project trying to attach fractal graphics to
>musical compositions. A professor told me to look into CSound.
>I have downloaded and read about half of the CSound manual.
Not exactly a light read!
>I've got what may be an insane notion that Orchestra files can be
>compiled in a program that utilizes the values sent from a fractal
>iteration. I primarily code in C or C++.
I think what you are talking about is generating scores from a fractal
program. This is a good approach. The other approach is to use the
fractals as tone sources. For examples of the latter see my web page at:
http://www.werewolf.net/~hljmm/csound/
For examples of the former (not in Csound) visit the Fractal Music Project
home page at:
http://www-ks.rus.uni-stuttgart.de/people/schulz/fmusic/
>
>My questions are:
>1. Is there anything else that I need to start experimenting with
>CSound?
Sounds like you already have a good imagination. You will probably want to
look at some of the available examples to get you started. The "dream"
examples are good. The Amsterdam collection is good too. I already
mentioned my page. Also Dave Phillips has a good introduction.
> There are quite a few "players" out there, what might be the best
>combination?
Players? Do you mean sound players? Try Cool Edit if you want more than
what is built into your computer.
>2. In your experience is an "Orchestra creator" utilizing fractals a
>possibility or a fools errand?
Absolutely not a fools errand. I did some work like this with midi years
ago triggering midi events with different fractals like the Mandelbrot set.
You probably will want to set up some constraints. My old program used to
restrict the notes to chords or scales and then change chords or scales
periodically. It was good at creating ambient textures although the music
was not extremely interesting.
Another approach would be to use fractals in granular synthesis instead of
using random numbers. I recently did some experiments with this with a Perl
program I wrote although I haven't come up with anything worth bragging
about yet. If you want I can send it.
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for ; Fri, 15 May 1998 20:39:22 -0400 (EDT)
Date: Fri, 15 May 1998 20:39:22 -0400 (EDT)
From: Kevin Gallagher
To: csound@maths.ex.ac.uk
Subject: Re: Errors/typos in manual?
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On Fri, 15 May 1998, Javier Ruiz wrote:
> Hola desde Espa=F1a,
>=20
> 1) it seems that the examples provided for GEN01 are wrong in the manual
> (3.48b1.HTML)
>=20
> 2) the order of parameters for voice opcode could be wrong.
>=20
> The manual says:
>=20
> a1 voice kamp, kfreq, kphoneme, kform, kvibf, kvamp, ifn, ivfn
>=20
> but when kvamp=3D0.5 it reports an error: invalid ftable no. 0.50000
>=20
> 3) [MACINTOSH only] Copy does not work in Perf 3.47. Maybe those nice guy=
s
> at Mills want to add it.
>=20
> 4) Unfortunately, some of the new opcodes dont have any example. And mayb=
e
> it would be a good idea to give a suggested range for _each_ parameter.
>=20
> 5) [MACINTOSH only] If you copy an example from the manual (using Explore=
r
> or Navigator) and you paste it in SimpleText or BBEdit, the Csound never
> likes it. It reports various errors. Any hint?
>=20
> Thanks for your help.
>=20
>=20
> Javier Ruiz
>=20
>=20
>=20
>=20
On Macintosh at least (haven't tried on PC yet) the sample rate must be
evenly divisible by 44100, in other words only 44100, 22050, and 11025
will work. I know the tutorial at the beginning of the manual (or at
least the version I have) specifies 20000 as sr, and that will crash you.
Kevin Gallagher, kgallagh@astro.temple.edu
Web Address - http://astro.temple.edu/~kgallagh
|