From: malcolm@apple.com
Date: Fri, 18 Feb 94 17:30:27 PST
Subject: Hearing Music Hierarchically
Message-Id: <9402190130.AA14508@internal.apple.com>
This is the month to hear music at the CCRMA Hearing Seminar. Last week we
heard John Pinto talk about how infants hear music, and what changes to a
musical piece can they perceive. One of the questions that came up was,
just what makes a musical phrase? Attendees noted that usually a phrase
ended with downward pitch, voices tended to be an octave apart, and longer
notes were at the end of the phrase. But is there more?
That question, and more, will be discussed by Fred Lerdahl at the next
CCRMA Hearing Seminar. This is new material for me, so I'm hesitant to try
to explain Fred's work.... but that makes it all the more interesting!
NOTE: DIFFERENT TIME!!! We're going to combine this week's Hearing Seminar
with the CCRMA Graduate Seminar. The talk will be at 1:15 in the Ballroom
of the Knoll! Please be prompt so class can start on time.
Who: Fred Lerdahl - Columbia - Stanford Center for Advanced
Studies
What: Timbral Hierarchies and the Music of Poetry
When: **** 1:15 PM on Thursday Feb. 24 <<<<---- Note Different
Time
Where: CCRMA Ballroom (Main floor of the Knoll at Stanford)
Next week we'll be meeting again with the Graduate Seminar. Carol
Krumhansl will be talking about her work at 1:15PM on Thursday March 3.
See you at CCRMA!
-- Malcolm
From: lerdahl@casbs.Stanford.EDU (Fred Lerdahl)
To: malcolm@apple.com
Subject: Re: Talk/Abstract Request
Abstract
Timbral Hierarchies and the Music of Poetry
Fred Lerdahl
This talk reviews two related research projects conceived at IRCAM
over the past decade. Both are concerned with the musical structuring of
timbre through digital synthesis and transformation.
First, in an extension of concepts in Ray Jackendoff's and my
"A Generative Theory of Tonal Music," I explore the idea of organizing
timbral sequences hierarchically. Intuitions of timbral consonance and
dissonance enable the construction of timbral intervals, scales, and
arrays along various perceptual dimensions. Within a timbral space, it is
possible to project timbral transpositions, inversions, and prolongational
motions. These relationships are illustrated with taped examples using
the Chant sound-synthesis program.
Timbral hierarchies fit within a larger vision of timbral
organization based on the musical treatment of the sounds of language.
For this second project, I have cast the components of prosodic theory in
terms of generative music theory. Grouping, metrical, and prolongational
structures are then assigned by rule to lines of poetry. On the basis of
these structures, natural-sounding durations and contours for poetic lines
are derived. These ideas are illustrated conceptually (I have no
synthesized examples). Besides its theoretical and psychological interest,
the treatment of prosody in musical terms suggests a fresh compositional
method, the gradual transformation of the sounds of poetry into music
while preserving equivalent structures.
From: Stu Smith <stu@cs.uml.edu>
Date: Fri, 18 Feb 1994 15:56:07 -0500
Subject: ICAD '94 Update
Message-Id: <199402182056.AA29727@cs.uml.edu>
U P D A T E
- - - - - -
ICAD '94
International Conference on Auditory Display
Santa Fe, New Mexico
Dates: November 7-9, 1994
Sponsored by
Santa Fe Institute
EXTENSION OF PAPER SUBMISSION DEADLINE
The deadline for submission of papers to ICAD '94 has been extended
to May 15, 1994. All other important dates remain the same.
STUDENT PAPERS
ICAD '94 will devote one full session to student papers. Students are
invited to submit papers on any aspect of Auditory Display. These
papers should be 2-4 pages in length, and each paper will be allowed
10 minutes plus a brief question-and-answer period. Student authors
should submit three copies of their paper to the ICAD address below
by July 15, 1994. Student authors will be notified of the Review
Committee's decisions by September 1, 1994. In order to encourage
student participation in ICAD '94, students will be offered a
significant discount on the registration fee.
POSTERS AND DEMONSTRATIONS
ICAD '94 will also include informal sessions where preliminary
or speculative material and descriptions or demonstrations of
hardware and software may be presented. Send one copy of your
poster session paper or a description of your demonstration to
the address above by 15 July 1993.
+-------------------------------------------------------------+
| |
| IMPORTANT DATES |
| |
| Manuscript submission 15 May 1994 |
| |
| Notification of review decisions 15 Jul 1994 |
| |
| Student paper submission 15 Jul 1994 |
| |
| Poster/Demo proposal submission 15 Jul 1994 |
| |
| Notification of poster/demo decisions 1 Sep 1994 |
| |
| Notification of student paper decisions 1 Sep 1994 |
| |
| Camera-ready copy (all papers) 2 Dec 1994 |
| |
+-------------------------------------------------------------+
Send all submissions to:
ICAD
Santa Fe Institute
1660 Old Pecos Trail, Suite A
Santa Fe, NM 87051
For the latest complete details on ICAD '94, send a brief e-mail
request to
icad94@santafe.edu