Well, only three of us showed up for the first meeting, but we had a
good time anyway. I'd like to do something like this again, and
hopefully more of the dozen or so New Yorkers on the list will be able
to make it.

I arrived at Michael Gogins' lovely abode to find Tolve already there.
We discussed, in no particular order: 

The trials and tribulations of doing music for theater ... Tolve played
us some excerpts from his Dante project, composed with Cecilia and
Digital Performer, nicely inventive industialesque music;

Algorithmic composition ...  Michael played us several pieces he
composed with Silence, they're quite beautiful;

Java and other programming languages interfacing with Csound;

Why musicians can't make a living in new york;

The history of the musicians' union in NYC ... Tolve, it turns out,
knows a LOT about this first-hand;

Restaurants open after midnight;

The fact that everyone(?) uses some other language or interface to write
their csound scores (I pulled out a tape of an old piece that I _did_
write entirely in the standard score format, which serves to prove the
point-- it's short, sparse, unfinished, and nearly killed me just to get
that much done);

Electronic dance music;

Cecilia;

Lansky's Rt (I played a tape of my old cmix & Rt piece);

J. Cage;

Michael's plug-in opcode system, which we all thought sounded like it
should be in the distribution;

How to get in to the Screen Actors' Guild;

Russolo's strange wooden boxes, which Tolve claims are on record
somewhere;

Futurism and dadaism;

Why it's illegal to dance almost anywhere in New York City;

Tools and toys as a distraction from composition (a particular problem
of mine which, Michael assures me, happens to everyone at some time or
other);

and I forget what else. 

We also listened to an assortment of Michael's diverse record
collection, including a bit of Eric Lyon's stuff, which reminded me I
_must_ buy at least one of his CDs sometime soon.

Thanks for keeping me informed about these meetings.  It's unlikely 
I'll be able to attend many of these meetings, but if I can, I will.  
I've been using csound and its predecessors for over 35 years, and I 
have composed many pieces using its resources.

> Date:          Fri, 15 Jan 1999 05:35:57 -0500
> From:          Paul Winkler 
> Reply-to:      zarmzarm@erols.com
> To:            Csound mailing list 
> Subject:       NY Csounders meeting notes

> Well, only three of us showed up for the first meeting, but we had a
> good time anyway. I'd like to do something like this again, and
> hopefully more of the dozen or so New Yorkers on the list will be able
> to make it.
> 
> I arrived at Michael Gogins' lovely abode to find Tolve already there.
> We discussed, in no particular order: 
> 
> The trials and tribulations of doing music for theater ... Tolve played
> us some excerpts from his Dante project, composed with Cecilia and
> Digital Performer, nicely inventive industialesque music;
> 
> Algorithmic composition ...  Michael played us several pieces he
> composed with Silence, they're quite beautiful;
> 
> Java and other programming languages interfacing with Csound;
> 
> Why musicians can't make a living in new york;
> 
> The history of the musicians' union in NYC ... Tolve, it turns out,
> knows a LOT about this first-hand;
> 
> Restaurants open after midnight;
> 
> The fact that everyone(?) uses some other language or interface to write
> their csound scores (I pulled out a tape of an old piece that I _did_
> write entirely in the standard score format, which serves to prove the
> point-- it's short, sparse, unfinished, and nearly killed me just to get
> that much done);
> 
> Electronic dance music;
> 
> Cecilia;
> 
> Lansky's Rt (I played a tape of my old cmix & Rt piece);
> 
> J. Cage;
> 
> Michael's plug-in opcode system, which we all thought sounded like it
> should be in the distribution;
> 
> How to get in to the Screen Actors' Guild;
> 
> Russolo's strange wooden boxes, which Tolve claims are on record
> somewhere;
> 
> Futurism and dadaism;
> 
> Why it's illegal to dance almost anywhere in New York City;
> 
> Tools and toys as a distraction from composition (a particular problem
> of mine which, Michael assures me, happens to everyone at some time or
> other);
> 
> and I forget what else. 
> 
> We also listened to an assortment of Michael's diverse record
> collection, including a bit of Eric Lyon's stuff, which reminded me I
> _must_ buy at least one of his CDs sometime soon.
> 
> --PW