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>Date: Tue, 14 Jan 2003 11:15:19 -0800
>Reply-To: Doug Keislar <[log in to unmask]>
>Sender: Computer music research community in Britain
>From: Doug Keislar <[log in to unmask]>
>
>
>Computer Music Journal 26(4), which recently appeared in print,
>is now available on the Web. The table of contents and a
>description are given below.
>
>The electronic version of the issue is available to both
>CMJ subscribers and non-subscribers by visiting
>http://mitpress.mit.edu/CMJ and clicking on the hyperlinks in the
>issue's table of contents. Access is free of charge to CMJ
>subscribers. (For details, see "Electronic Access" on the Web
>site.) Some of the material is available for free download by
>nonsubscribers as well, including Eric Lyon's panel discussion
>with Gareth Loy, Max Mathews, James McCartney, Miller Puckette,
>Barry Vercoe, and David Zicarelli.
>
>If you enjoy contests and wouldn't mind owning a few extra CMJ
>CDs, see the front-cover caption on page 1 (reproduced near the
>end of this message).
>
>Our thanks to all who contributed to this issue!
>
>--Douglas Keislar, Editor
>
>=================================================================
>Computer Music Journal, Volume 26, Number 4--Winter 2002
>
>Contents
>
>----------------------------------------------------
>About this Issue
>Letters
>Announcements
>News
>
>----------------------------------------------------
>Languages and Environments for Computer Music
>
>Dartmouth Symposium on the Future of Computer Music Software:
>A Panel Discussion
> Eric Lyon
>
>Max at 17
> Miller Puckette
>
>How I Learned to Love a Program That Does Nothing
> David Zicarelli
>
>The CARL System: Premises, History, and Fate
> Gareth Loy
>
>Rethinking the Computer Music Language: SuperCollider
> James McCartney
>
>Computer Music Languages, Kyma, and the Future
> Carla Scaletti
>
>----------------------------------------------------
>Reviews
>
>
>Events
>
>audible interfaces Festival in Berlin, Germany
> Christine Anderson
>
>
>Publications
>
>Eduardo Reck Miranda: Composing Music with Computers
> Robert Rowe
>
>Fred Lerdahl: Tonal Pitch Space
> Bruce Quaglia
>
>Rolf Inge God¿y & Harald J¿rgensen, editors: Musical Imagery
> Nico SchŸler
>
>David Cope: Virtual Music
> Michael Theodore
>
>
>Recordings
>
>Bill Alves: The Terrain of Possibilities
> Laurie Radford
>
>CCMIX Paris: Xenakis, UPIC, Continuum
> Olivia Mattis
>
>Cex: Oops! I did it again!
> Billy Gomberg
>
>Margaret Lancaster: Future Flute
> James Bohn
>
>JŸrgen BrŠuninger, Curator: Southern Cones: Music Out of
>Africa and South America
> Ian Whalley
>
>PEM: Electro-acoustic Music From The Netherlands 2000
> Ian Whalley
>
>Diane Thome: Bright Air/Brilliant Fire
> Mary Simoni
>
>Robert Scott Thompson: Shadow Gazing
> Laurie Radford
>
>
>Products
>
>PulsarGenerator Synthesis Software for Macintosh OS
> James Bohn
>
>Ableton Live Sequencing Instrument, Version 1.5
> Bill Perison
>
>
>----------------------------------------------------
>Products of Interest
>----------------------------------------------------
>CD Program Notes
>----------------------------------------------------
>Instructions to Contributors
>
>==============================================================
>
>About This Issue
>
>In October 2001, Dartmouth College in Hanover, New Hampshire, USA,
>hosted a symposium entitled "The Future of Music Software." The
>event's premise was that computer music languages (and related
>software) that have survived the test of time can provide lessons
>about the criteria for successful music software and hints about what
>directions such software might follow in the future. Accordingly, the
>roster of speakers at the symposium consisted of illustrious names in
>the development of computer music. These individuals are, in
>historical order of the listed software (not necessarily their
>earliest contributions): Max Mathews (the pioneer of digital sound
>synthesis for music and originator of the so-called "Music N"
>languages epitomized by Music V); Gareth Loy (key contributor to the
>CARL software suite from the Computer Audio Research Laboratory at the
>
>University of California, San Diego); Barry Vercoe (developer of
>Csound, the mostly widely promulgated Music N language); Miller
>Puckette (creator of Max, the graphical patching environment for
>real-time applications); David Zicarelli (developer of the commercial
>version of Max and its audio offshoot MSP); and James McCartney
>(author of the object-oriented synthesis language SuperCollider).
>
>This issue of Computer Music Journal offers some fascinating glimpses
>into the thinking of these software developers. The first article, a
>lightly edited transcription of a panel discussion among all the
>speakers at the symposium, touches upon a variety of topics, some
>arising from audience questions. Among other subjects, the panelists
>talk about software development processes, intellectual property, the
>influence of a language on music composed with it, and, more
>generally, the historical impact of technological advances upon music.
>
>The remaining articles consist of substantially expanded and updated
>versions of most of the participants' individual presentations. These
>in-depth articles reflect on each author's own work in the context of
>the symposium's topic. Although they are fully informative when read
>in isolation, the articles also shed light on comments the authors
>made during the panel discussion, and vice versa. Finally, we present
>in this issue an article on similar themes by Carla Scaletti, the
>developer of the Kyma composition and synthesis software, who was
>invited to speak at the symposium but was unable to attend.
>
>Our thanks go to Eric Lyon, the organizer of the Dartmouth symposium,
>for instigating and helping to coordinate this documentation of the
>participants' thinking, as well as for providing a raw transcript of
>the panel discussion and related material.
>
>The reviews in this issue cover concerts of electroacoustic music, a
>book on algorithmic composition, many compact discs, and some recent
>music software. We suggest that interested readers check the Journal's
>
>editorial Web site at
>http://mitpress2.mit.edu/e-journals/Computer-Music-Journal/Documents/reviews
>
>for additional reviews not published in the Journal itself. Published
>or not, reviews of events are often posted there in advance of the
>issue's publication.
>
>Following the Products section, we conclude with the program notes for
>
>this year's Computer Music Journal Sound Anthology compact disc,
>attached to the back cover of this issue. This CD, for which associate
>
>editor James Harley served as both curator and producer, contains
>compositions selected by Mr. Harley in conjunction with the theme of
>Volume 26, Number 1 (Spring 2002), "In Memoriam Iannis Xenakis," as
>well as sound examples to accompany other material published in Volume
>
>26.
>
>
>Front cover. Although rendered in a strange font and image-processed,
>these symbols represent actual program code written in one of the
>sound-synthesis languages described in this issue. (The first reader
>who correctly decodes the excerpt will receive four recent issues of
>the annual Computer Music Journal Sound Anthology CD. Contact
>[log in to unmask])
>
>Back cover. A screen image showing Kyma's graphical user interface.
>
>
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>Douglas Keislar
>Editor, Computer Music Journal (MIT Press)
>
>http://mitpress.mit.edu/Computer-Music-Journal/
>email: [log in to unmask]
>tel: 1-510-486-0141 x1
>Computer Music Journal, 2550 9th Street #207 B, Berkeley, CA 94710,
>USA
>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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