| On Mon, 6 Oct 1997, Garth Paine wrote:
> I thought this may be of interest to you
Thanks, Garth!
mike
______________________________________________________________________________
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Date: Mon, 6 Oct 1997 08:57:32 -0400 (EDT)
From: Michael Rosenstark
To: Garth Paine
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Subject: Re: Sonic Residues - Call for Works
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On Mon, 6 Oct 1997, Garth Paine wrote:
> I thought this may be of interest to you
Thanks, Garth!
mike
______________________________________________________________________________
Michael Rosenstark * rosensta@planet.net * 973-PIG-LARD (973-744-5273)
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From: Organised Sound
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Date: Mon, 6 Oct 1997 15:59:26 +0100
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To: algo-comp@heinous.music.uiowa.edu, barry_truax@sfu.ca,
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Jonathas@dsif.fee.unicamp.br, dalfarra@clacso.edu.ar,
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Subject: Call for Papers
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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
ORGANISED SOUND
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
An International Journal of Music and Technology
------------------------------------------------------------------
Volume 3, Number 1. Issue thematic title: MICROSTRUCTURE AND MACROSTRUCTU=
RE.
Date of Publication: April 1998.
Publishers: Cambridge University Press.
------------------------------------------------------------------
Articles to be considered for publication in the named issue are now invi=
ted.
Microstructure and Macrostructure
It may be argued that two issues are essential for the achievement of
meaning in a work of music. On the one hand, the overall coherence of a
piece depends on the articulation of its structure. On the other, this
structure is realised through its discourse, which is dependent on the
articulation of the actual sounds; inflections, accents, local changes in=
tempo, etc. may alter the meaning of a passage significantly. While this =
is
true of most music, it acquires additional significance for the composer =
in
the electroacoustic domain since s/he becomes responsible for the inner
attributes of timbre. It is therefore not surprising that the structure o=
f
a significant number of electroacoustic works is, in one way or another,
abstracted from the characteristics of its materials. The important
relationship between small temporal units - such as motives and phrases -=
and overall form of a piece is extended to encompass the inner mechanisms=
of the constituents of those units: the sounds themselves. Furthermore,
changes in the conception of the world, such as the idea of
self-similarity, with its projection of structure from the microscopic to=
the macroscopic, has also had an effect on the way musicians think.
However, the questions remaining unanswered are numerous. Can there be
structure which unifies a work at different temporal levels? Can this
unification include timbre so that the inner characteristics of its sound=
s
affect the structure of a piece? Will time be completely absorbed by timb=
re
to an extent which includes the overall temporal span of a work - emulati=
ng
the integration of space and time in the theory relativity? Is it possibl=
e
to pre-program this type of cross-dimensional unity? If so, how?
Articles which attempt to answer or re-formulate these and related
questions are invited. For example, they may consist of the following:
=B7 direct discussion of the aesthetic issues raised above.
=B7 compositional techniques specially devised for the integration of
structure at different levels.
=B7 analytical methodology with a particular emphasis on the
relationship between structure and sonic material.
=B7 hardware/software tools designed to integrate micro-structure and
macro-structure.
Contributors are encouraged to propose sound examples which may be includ=
ed
in the annual CD to be released with Volume 3, Number 3. The editors will=
particularly welcome submissions from student contributors.
TIMETABLE for SUBMISSIONS
Articles and other material for the editors=92 consideration should be
submitted by December 31st, 1997. If submitted in hard copy, four copies
should be posted to:
The Editors,
Organised Sound
Department of Music
University of York,
Heslington
York YO1 5DD
UK
Email submissions are encouraged and should be mailed to:
os@cage.york.ac.uk
Full details of submission requirements can be found at:
http://www.cup.cam.ac.uk/Journals/JNLSCAT/oso/osoIFC.html
Co-Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton
Guest Editor for Volume 3, Number 1: Rajmil Fischman
Corresponding Editors:
Lelio Camilieri, Daniel Oppenheim, Miller Puckette, Barry Truax,
David Worrall.
International Editorial Advisory Board:
Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
Francis Dhomont, Simon Emmerson, Rajmil Fischman, Takayuki Rai,
Jean-Claude Risset, Francis Rumsey, John Rimmer, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu, Trevor Wishart,
Scott Wyatt,Iannis Xenakis.
Rajmil Fischman
Keele University
Music Department
Keele Staffs.
ST5 5BG
UK
Tel: +44(1782)583297
Faxl: +44(1782)583295
Email address: r.a.fischman@cc.keele.ac.uk
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From: Organised Sound
Message-Id: <9710061559.ZM19217@cage.york.ac.uk>
Date: Mon, 6 Oct 1997 15:59:26 +0100
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To: algo-comp@heinous.music.uiowa.edu, barry_truax@sfu.ca,
csound@noether.ex.AC.UK, David.Worrall@anu.edu.au, music@watson.ibm.com,
emusic-l@american.edu, icma@umich.edu, lelioc@risc.idg.fi.cnr.it,
msp@muttley.ucsd.edu, Music-Research@comlab.ox.ac.uk,
pcsound@maths.bath.ac.uk, smallmusic@xcf.berkeley.edu, SOUND@acm.org,
synth-l@american.edu, brit-comp-music@mailbase.ac.uk,
Pdibley@brookes.ac.uk, samantha@sonicart.demon.co.uk, EMF@emf.org,
cec@vax2.concordia.ca, piotr@connect.ab.ca, dgang@cs.huji.ac.il,
uri@violin.technion.ac.il, caesar@acd.ufrj.br, antunez@guarany.cdp.unb.br,
Jonathas@dsif.fee.unicamp.br, dalfarra@clacso.edu.ar,
r.a.fischman@cc.kl.ac.uk, os@cage.york.ac.uk
Subject: Call for Papers
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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
ORGANISED SOUND
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
An International Journal of Music and Technology
------------------------------------------------------------------
Volume 3, Number 1. Issue thematic title: MICROSTRUCTURE AND MACROSTRUCTU=
RE.
Date of Publication: April 1998.
Publishers: Cambridge University Press.
------------------------------------------------------------------
Articles to be considered for publication in the named issue are now invi=
ted.
Microstructure and Macrostructure
It may be argued that two issues are essential for the achievement of
meaning in a work of music. On the one hand, the overall coherence of a
piece depends on the articulation of its structure. On the other, this
structure is realised through its discourse, which is dependent on the
articulation of the actual sounds; inflections, accents, local changes in=
tempo, etc. may alter the meaning of a passage significantly. While this =
is
true of most music, it acquires additional significance for the composer =
in
the electroacoustic domain since s/he becomes responsible for the inner
attributes of timbre. It is therefore not surprising that the structure o=
f
a significant number of electroacoustic works is, in one way or another,
abstracted from the characteristics of its materials. The important
relationship between small temporal units - such as motives and phrases -=
and overall form of a piece is extended to encompass the inner mechanisms=
of the constituents of those units: the sounds themselves. Furthermore,
changes in the conception of the world, such as the idea of
self-similarity, with its projection of structure from the microscopic to=
the macroscopic, has also had an effect on the way musicians think.
However, the questions remaining unanswered are numerous. Can there be
structure which unifies a work at different temporal levels? Can this
unification include timbre so that the inner characteristics of its sound=
s
affect the structure of a piece? Will time be completely absorbed by timb=
re
to an extent which includes the overall temporal span of a work - emulati=
ng
the integration of space and time in the theory relativity? Is it possibl=
e
to pre-program this type of cross-dimensional unity? If so, how?
Articles which attempt to answer or re-formulate these and related
questions are invited. For example, they may consist of the following:
=B7 direct discussion of the aesthetic issues raised above.
=B7 compositional techniques specially devised for the integration of
structure at different levels.
=B7 analytical methodology with a particular emphasis on the
relationship between structure and sonic material.
=B7 hardware/software tools designed to integrate micro-structure and
macro-structure.
Contributors are encouraged to propose sound examples which may be includ=
ed
in the annual CD to be released with Volume 3, Number 3. The editors will=
particularly welcome submissions from student contributors.
TIMETABLE for SUBMISSIONS
Articles and other material for the editors=92 consideration should be
submitted by December 31st, 1997. If submitted in hard copy, four copies
should be posted to:
The Editors,
Organised Sound
Department of Music
University of York,
Heslington
York YO1 5DD
UK
Email submissions are encouraged and should be mailed to:
os@cage.york.ac.uk
Full details of submission requirements can be found at:
http://www.cup.cam.ac.uk/Journals/JNLSCAT/oso/osoIFC.html
Co-Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton
Guest Editor for Volume 3, Number 1: Rajmil Fischman
Corresponding Editors:
Lelio Camilieri, Daniel Oppenheim, Miller Puckette, Barry Truax,
David Worrall.
International Editorial Advisory Board:
Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
Francis Dhomont, Simon Emmerson, Rajmil Fischman, Takayuki Rai,
Jean-Claude Risset, Francis Rumsey, John Rimmer, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu, Trevor Wishart,
Scott Wyatt,Iannis Xenakis.
Rajmil Fischman
Keele University
Music Department
Keele Staffs.
ST5 5BG
UK
Tel: +44(1782)583297
Faxl: +44(1782)583295
Email address: r.a.fischman@cc.keele.ac.uk
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From: Organised Sound
Message-Id: <9710061559.ZM19217@cage.york.ac.uk>
Date: Mon, 6 Oct 1997 15:59:26 +0100
X-Mailer: Z-Mail (3.2.1 6apr95 MediaMail)
To: algo-comp@serial.music.uiowa.edu, barry_truax@sfu.ca,
csound@noether.ex.AC.UK, David.Worrall@anu.edu.au, music@watson.ibm.com,
emusic-l@american.edu, icma@umich.edu, lelioc@risc.idg.fi.cnr.it,
msp@muttley.ucsd.edu, Music-Research@comlab.ox.ac.uk,
pcsound@maths.bath.ac.uk, smallmusic@xcf.berkeley.edu, SOUND@acm.org,
synth-l@american.edu, brit-comp-music@mailbase.ac.uk,
Pdibley@brookes.ac.uk, samantha@sonicart.demon.co.uk, EMF@emf.org,
cec@vax2.concordia.ca, piotr@connect.ab.ca, dgang@cs.huji.ac.il,
uri@violin.technion.ac.il, caesar@acd.ufrj.br, antunez@guarany.cdp.unb.br,
Jonathas@dsif.fee.unicamp.br, dalfarra@clacso.edu.ar,
r.a.fischman@cc.kl.ac.uk, os@cage.york.ac.uk
Subject: Call for Papers
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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
ORGANISED SOUND
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
An International Journal of Music and Technology
------------------------------------------------------------------
Volume 3, Number 1. Issue thematic title: MICROSTRUCTURE AND MACROSTRUCTU=
RE.
Date of Publication: April 1998.
Publishers: Cambridge University Press.
------------------------------------------------------------------
Articles to be considered for publication in the named issue are now invi=
ted.
Microstructure and Macrostructure
It may be argued that two issues are essential for the achievement of
meaning in a work of music. On the one hand, the overall coherence of a
piece depends on the articulation of its structure. On the other, this
structure is realised through its discourse, which is dependent on the
articulation of the actual sounds; inflections, accents, local changes in=
tempo, etc. may alter the meaning of a passage significantly. While this =
is
true of most music, it acquires additional significance for the composer =
in
the electroacoustic domain since s/he becomes responsible for the inner
attributes of timbre. It is therefore not surprising that the structure o=
f
a significant number of electroacoustic works is, in one way or another,
abstracted from the characteristics of its materials. The important
relationship between small temporal units - such as motives and phrases -=
and overall form of a piece is extended to encompass the inner mechanisms=
of the constituents of those units: the sounds themselves. Furthermore,
changes in the conception of the world, such as the idea of
self-similarity, with its projection of structure from the microscopic to=
the macroscopic, has also had an effect on the way musicians think.
However, the questions remaining unanswered are numerous. Can there be
structure which unifies a work at different temporal levels? Can this
unification include timbre so that the inner characteristics of its sound=
s
affect the structure of a piece? Will time be completely absorbed by timb=
re
to an extent which includes the overall temporal span of a work - emulati=
ng
the integration of space and time in the theory relativity? Is it possibl=
e
to pre-program this type of cross-dimensional unity? If so, how?
Articles which attempt to answer or re-formulate these and related
questions are invited. For example, they may consist of the following:
=B7 direct discussion of the aesthetic issues raised above.
=B7 compositional techniques specially devised for the integration of
structure at different levels.
=B7 analytical methodology with a particular emphasis on the
relationship between structure and sonic material.
=B7 hardware/software tools designed to integrate micro-structure and
macro-structure.
Contributors are encouraged to propose sound examples which may be includ=
ed
in the annual CD to be released with Volume 3, Number 3. The editors will=
particularly welcome submissions from student contributors.
TIMETABLE for SUBMISSIONS
Articles and other material for the editors=92 consideration should be
submitted by December 31st, 1997. If submitted in hard copy, four copies
should be posted to:
The Editors,
Organised Sound
Department of Music
University of York,
Heslington
York YO1 5DD
UK
Email submissions are encouraged and should be mailed to:
os@cage.york.ac.uk
Full details of submission requirements can be found at:
http://www.cup.cam.ac.uk/Journals/JNLSCAT/oso/osoIFC.html
Co-Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton
Guest Editor for Volume 3, Number 1: Rajmil Fischman
Corresponding Editors:
Lelio Camilieri, Daniel Oppenheim, Miller Puckette, Barry Truax,
David Worrall.
International Editorial Advisory Board:
Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
Francis Dhomont, Simon Emmerson, Rajmil Fischman, Takayuki Rai,
Jean-Claude Risset, Francis Rumsey, John Rimmer, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu, Trevor Wishart,
Scott Wyatt,Iannis Xenakis.
Rajmil Fischman
Keele University
Music Department
Keele Staffs.
ST5 5BG
UK
Tel: +44(1782)583297
Faxl: +44(1782)583295
Email address: r.a.fischman@cc.keele.ac.uk
--PART-BOUNDARY=.19710061559.ZM19217.york.ac.uk--
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