Exactly, in a great performance there are several types of unquantizable (as of yet) thought processes,
'Singing' - the act of making a melody soar, weep, scream, yell, a quasi vocalization of a pitch sequence into speech like curves at times.
'Balancing' - creating a commentary between musical streams so that a conversational melodicism can be intelligible. (One of the goals of the great living American composer, Elliott Carter).
'Staging' - the art of pulling back, either temporally or dynamics wise - setting the stage for a new section that may or may not expose continuities between the pre-existing sections.
Etc... a great performer creates his or her own types of musical thought processes and these might not even be nameable or describable by the performer.
The belief that these can be simulated as an abstraction is delusional at this point. One would have to believe the composer could 'understand' music interprative nuances; be able to do its own Turing test, before one can say, this automated process replicates a symbolic language of temporal musical expression.
The great emotional AI researcher, (and coiner of the term 'cyborg') Manfred Clynes has written a system that attempts to find a musical footprint behind a composer's musical style. SuperConductor is his musical realization system. I've used it and it is spookily brilliant. But it simulates a hyper-performer, a composer/performer that is virtually expressive, not one particular human.
Check out the Hippo Family Club! No kidding... they're a radical group from Japan who learn 11-17 languages simultaneously. Their books on FFT and Quantum Mechanics are outstanding also.
The real deal is SMDL - Standard Music Description Language, an SGML based language under dev now since forever. This is a closed and proprietary XML system from a group that has spammed me for years.
More info - http://xml.coverpages.org/smdlover.html
Calling the Ricordare system Music XML is like calling ALICE AIML.
Several approaches are in development. I used to work (until a month ago) for ACTV (www.actv.com), now part of OPTV (www.optv.com) who had a deal with TIVO to provide patented services which would have privileged certain ad providers so that their ads could not be skipped.
Besides this radical solution other changes could be:
1. Bugs - ad strips shown continuously on top of TV content. You may have noticed the Zenith HDTV ad strip at the bottom of every Enterprise episode in the first 15 secs.
2. Compelling interactive ad content. Advertisers are hoping that by making ads interactive and fun - think of the Orbitz dump the fool popup ad - users will stop the FF'ing and play. Interactive ads provide deeper brand awareness studies show.
3. Targeted ads. Digital settop boxes know where you live and thus they know your demographic. ACTV has developed ads which by multi-plexing their video stream are simultaneously targeted to their demographic. TIVO (see ACTV press releases) was working with ACTV to allow for these targeting and privileging to occur.
4. Old-fashioned ads within the shows. Some shows will be merely ad vehicles.
Don't think for a second that ads are going away from TV. The future will mean more ads, more annoying ads and more choices. But advertising IS television.
There is this dominant misconception in the experimental music community which equates advancement in interactivity with branching. There is the implication that people want to follow potential branches down certain paths in a musical piece, like they do in a game. When I studied music, one of my teacher, Elliott Carter remarked on this problem that in music there was a 'best branch' and that branch should be the composition.
I don't believe that people get anything out of explorable musical branching. They miss the powerful attitudes and completeness of the gestalt of the combination performance and composition statement.
This type of research also mistakenly equates play and exploration with the acquisition of musical knowledge. Playing with layers of music, turning off and on beat patterns, minimalist chord patterns (pretty much what these squishy toys do, btw) does not teach one how to compose. It may teach them to listen, but not in the same way that something like the Suzuki method does. There are plenty of stupid Flash toys on the web which allow you to make music like this. What do you garner from this play?
To me, this all rings of rationalizing the computing experience as an art education experience by re-thinking musical education in such a radical way that music itself is re-evaluated (to my thinking mis-evaluated).
And this is research for self-promotion. You'd be amazed how often this guy, Machover gets in the press with these toys and his Hyper-Instruments. Sure, they're fun to play with, but give a kid a drum set and a few lessons and (s)he'll really learn something. Music.
I've got the IRiver MP3 CD player and it's nice but it would be way nicer with OGG support. They've got upgradeable firmware and they mention OGG support in their docs... but it never comes thru!
When Mary Lou (real first name) talks you into driving to her house at lunch in high school and takes you up to her parents bed room and drags you onto the bed you do NOT get up and start playing the piano...
"So, what about the electronic music hobbyist (or even the professional) who is waiting for a linux answer to Cubase, Reason, Acid, Samplitude, or Logic? Something that runs on our favorite platform, perhaps retailing for a couple hundred bucks?
The deal is, such applications are not available for ANY price, and no such thing appears to be coming down the pipe."
That is unfortunately the state of many applications on Linux. 3D or video production is maybe a little luckier (but not by much), but the choice for professional or semi-professional content dev on Linux right now for the typical content producer is in an awkward state.
Java music applications would probably be the easiest to support commercially at this point.
FWIW, you can do anything you can imagine on this distro. You could wire up KeyKit to Csound and drive digital audio, realtime mixing and post-processing in ways that the apps you listed can't even imagine. But this is a job typically interesting only to someone who has a little imagination and an urge to explore
Pity that that isn't the semi-pro/pro computer musician today.
There are types of sound design, sound control, and sound synthesis, resynthesis capabilities in this package that nobody has fully explored.
Pity that the contemporary musician in synthesis is primarily concerned with sounding like everybody else and working like everybody else.
And you know what, all this power to express yourself musically is free.
Amazing what can't be done today isn't it. Totally amazing.
Ha... these packages are from the creators of the the heart of every technology used by modern studios. The names who developed the software in this list are the same group of university folks that developed the tech behind FM and Physical-Modelling. And who are developing in universities the new music technologies.
Csound among the other packages allows for live MIDI processing and its codebase has inspired most VST plugins.
This is an appropriate Linux package for the university that distributed it. It may not be a package that would be useful for the typical electronic music hobbyist who wants a free Acid or Fruity Loops. Not the announcement many might think... but it is very cool and significant for the hard core Linux computer musician.
Isn't that the Linux way? Support the hard core musician, (in this case the contemporary academic computer musician) and then add the cool interfaces for the hobbyists and the semi-pro specialists later.
Maybe you're a bit naive about the history of computer music and who actually invented the tech behind music tech?
Slashdot Mirror
Exactly, in a great performance there are several types of unquantizable (as of yet) thought processes,
'Singing' - the act of making a melody soar, weep, scream, yell, a quasi vocalization of a pitch sequence into speech like curves at times.
'Balancing' - creating a commentary between musical streams so that a conversational melodicism can be intelligible. (One of the goals of the great living American composer, Elliott Carter).
'Staging' - the art of pulling back, either temporally or dynamics wise - setting the stage for a new section that may or may not expose continuities between the pre-existing sections.
Etc... a great performer creates his or her own types of musical thought processes and these might not even be nameable or describable by the performer.
The belief that these can be simulated as an abstraction is delusional at this point. One would have to believe the composer could 'understand' music interprative nuances; be able to do its own Turing test, before one can say, this automated process replicates a symbolic language of temporal musical expression.
The great emotional AI researcher, (and coiner of the term 'cyborg') Manfred Clynes has written a system that attempts to find a musical footprint behind a composer's musical style. SuperConductor
is his musical realization system. I've used it and it is spookily brilliant. But it simulates a hyper-performer, a composer/performer that is virtually expressive, not one particular human.
Philips DVP642 DivX-Certified Progressive - great player great price - plays everything on the torrent net. Only $60.
They're just kissing ass. Yeah Betamax all over it. Next.
Check out the Hippo Family Club! No kidding... they're a radical group from Japan who learn 11-17 languages simultaneously. Their books on FFT and Quantum Mechanics are outstanding also.
Transnational College of LEX - Hippo Family Club
It'd be fairly easy to write a Csound script to do it, but you'd have to convert it to WAV or AIFF beforehand (not hard).
You could post to the Csound list about how to do it. Would be about 10 lines of code or less, I'd bet.
http://csounds.com/
Settop box.
'nuff said...
The real deal is SMDL - Standard Music Description Language, an SGML based language under dev now since forever. This is a closed and proprietary XML system from a group that has spammed me for years.
More info - http://xml.coverpages.org/smdlover.html
Calling the Ricordare system Music XML is like calling ALICE AIML.
http://alice.sunlitsurf.com/alice/aiml.html
Several approaches are in development. I used to work (until a month ago) for ACTV (www.actv.com), now part of OPTV (www.optv.com) who had a deal with TIVO to provide patented services which would have privileged certain ad providers so that their ads could not be skipped.
Besides this radical solution other changes could be:
1. Bugs - ad strips shown continuously on top of TV content. You may have noticed the Zenith HDTV ad strip at the bottom of every Enterprise episode in the first 15 secs.
2. Compelling interactive ad content. Advertisers are hoping that by making ads interactive and fun - think of the Orbitz dump the fool popup ad - users will stop the FF'ing and play. Interactive ads provide deeper brand awareness studies show.
3. Targeted ads. Digital settop boxes know where you live and thus they know your demographic. ACTV has developed ads which by multi-plexing their video stream are simultaneously targeted to their demographic. TIVO (see ACTV press releases) was working with ACTV to allow for these targeting and privileging to occur.
4. Old-fashioned ads within the shows. Some shows will be merely ad vehicles.
Don't think for a second that ads are going away from TV. The future will mean more ads, more annoying ads and more choices. But advertising IS television.
jeff
http://jeffharrington.org
The MIT Hype-Musical hype machine is coming soon to your neighborhood.
Right, the Karplus-Strong algorithm which is the basis for plucked sound synthesis was discovered in the 70's.
Amp simulation is basic filter with feedback. This is old stuff...
There is this dominant misconception in the experimental music community which equates advancement in interactivity with branching. There is the implication that people want to follow potential branches down certain paths in a musical piece, like they do in a game. When I studied music, one of my teacher, Elliott Carter remarked on this problem that in music there was a 'best branch' and that branch should be the composition.
I don't believe that people get anything out of explorable musical branching. They miss the powerful attitudes and completeness of the gestalt of the combination performance and composition statement.
This type of research also mistakenly equates play and exploration with the acquisition of musical knowledge. Playing with layers of music, turning off and on beat patterns, minimalist chord patterns (pretty much what these squishy toys do, btw) does not teach one how to compose. It may teach them to listen, but not in the same way that something like the Suzuki method does. There are plenty of stupid Flash toys on the web which allow you to make music like this. What do you garner from this play?
To me, this all rings of rationalizing the computing experience as an art education experience by re-thinking musical education in such a radical way that music itself is re-evaluated (to my thinking mis-evaluated).
And this is research for self-promotion. You'd be amazed how often this guy, Machover gets in the press with these toys and his Hyper-Instruments. Sure, they're fun to play with, but give a kid a drum set and a few lessons and (s)he'll really learn something. Music.
I wrote the first web chatterbot! Dr. Wilhelm Werner Webowitz. I should get some of his 'tupid dough!
Dr. Webowitz - Perl Eliza early 1995
Chatter bot beauty contest hilarious...
I've got the IRiver MP3 CD player and it's nice but it would be way nicer with OGG support. They've got upgradeable firmware and they mention OGG support in their docs... but it never comes thru!
When Mary Lou (real first name) talks you into driving to her house at lunch in high school and takes you up to her parents bed room and drags you onto the bed you do NOT get up and start playing the piano...
What an idiot!
That and sell the options. Ouch...
"So, what about the electronic music hobbyist (or even the professional) who is waiting for a linux answer to Cubase, Reason, Acid, Samplitude, or Logic? Something that runs on
our favorite platform, perhaps retailing for a couple hundred
bucks?
The deal is, such applications are not available for ANY price, and no such thing appears to be coming down the pipe."
That is unfortunately the state of many applications on Linux. 3D or video production is maybe a little luckier (but not by much), but the choice for professional or semi-professional content dev on Linux right now for the typical content producer is in an awkward state.
Java music applications would probably be the easiest to support commercially at this point.
FWIW, you can do anything you can imagine on this distro. You could wire up KeyKit to Csound and drive digital audio, realtime mixing and post-processing in ways that the apps you listed can't even imagine. But this is a job typically interesting only to someone who has a little imagination and an urge to explore
Pity that that isn't the semi-pro/pro computer musician today.
There are types of sound design, sound control, and sound synthesis, resynthesis capabilities in this package that nobody has fully explored.
Pity that the contemporary musician in synthesis is primarily concerned with sounding like everybody else and working like everybody else.
And you know what, all this power to express yourself musically is free.
Amazing what can't be done today isn't it. Totally amazing.
Ha... these packages are from the creators of the the heart of every technology used by modern studios. The names who developed the software in this list are the same group of university folks that developed the tech behind FM and Physical-Modelling. And who are developing in universities the new music technologies.
Csound among the other packages allows for live MIDI processing and its codebase has inspired most VST plugins.
This is an appropriate Linux package for the university that distributed it. It may not be a package that would be useful for the typical electronic music hobbyist who wants a free Acid or Fruity Loops. Not the announcement many might think... but it is very cool and significant for the hard core Linux computer musician.
Isn't that the Linux way? Support the hard core musician, (in this case the contemporary academic computer musician) and then add the cool interfaces for the hobbyists and the semi-pro specialists later.
Maybe you're a bit naive about the history of computer music and who actually invented the tech behind music tech?