| Yo, Karl, now that ahm home, hyar tiz (in the fine tradition of notes,
this is reprinted without permission). From the April 1990 issue of
COMPUTER, published by the IEEE Computer Society, p. 27:
"Computer Generated Music" has been selected as the theme for the
July 1991 issue. Applications of computer techniques to music are as
old as modern computer science and were foreseen by Ada Lovelace a
century ago. The emphasis of the contributions sought here, however,
should be on pleasurable outputs. [must've already heard from John Cage
-- oooh, ow, sorry ... -Steve] While theoretical studies in musicology
or new techniques for the synthesis of sound have great scientific
relevance, both from a computational and from a musical standpoint
[must've already heard from Tom Janzen -- oooh, ow, sorry Tom ;^)
--Steve], they are too often reserved for specialists [$peciali$t$?]
and have little appeal to the general, unsophisticated public [i.e. --
it ain't ROCK and ROLL!]. Computer music has reached the point where
it no longer has to be relegated to acoustic labs and research centers,
but produces a musical quality that can be appreciated by everyone
and which evokes feelings and sensitivities like more conventional
types of music.
While any submission can be accepted in principle, those projects whose
results can be heard and which exhibit a certain sensuality will be
preferred. The manuscripts should describe highly original projects,
contain at least one chapter explaining the goals and the techniques
used, and include one equally important section describing the audio
results and discussion possible shortcomings or improvements [Howzabout
a Commusic tape with liner notes?].
The issue will be devoted to examining the driving forces in the field
from a computational standpoint, assessing the limits of computer music
in the general field of music, and discussing future desireable
directions. We are currently considering having musical outputs from
computers, synthesizers, etc., made available and published with an
audio cassette enclosed with the magazine.
All areas of computer music will be considered, such as but not limited
to:
Algorithms for composition, harmonization, them improvisation.
Tools for analytical and musicological studies and for playing.
Novel sound synthesis techniques to overcome sound dryness and
software to model perception.
Use of digital electronics and MIDI for artistic purposes.
Manuscripts should be no more than 32 typewritten, double-spaced pages
long, including all figures and references. Articles must not have
been previously published or submitted elsewhere, although portions may
have been published in conferences and audio results may have been
played in lectures.
Each manuscript should have a cover page that includes the title of the
article, full name(s), complete postal and electronic address(es),
telephone number(s), a 300-word abstract, and a list of keywords,
especially for music, that identify the central issues of the
manuscript's content. The final manuscript should have approximately
7,500 words and no more than 12 references.
The abstract is due by August 30, 1990, and four copies of the full
manuscript and four audio cassettes are due by October 30, 1990.
Notification of acceptance is set no later than December 31, 1990 and
the final version of the manuscript is due no later than March 30,
1991.
Submissions should be sent to Denis Baggi, Istituto Dalle Molle per
Studi sull' Intelligenza Artificiale, Corso Elvezia 36, 6900 Lugano,
Switzerland, phone 41 (91) 56 15 78, Europe e-mail
denis%[email protected], US e-mail [email protected]
If you are willing to review articles, please send a note to Denis
Baggi or Bruce Shriver, editor-in-chief of COMPUTER, with a list of
your technical interests and qualifications. Shriver's address is
Bruce D. Shriver, University of South-western Louisiana, PO Drawer
42730, Lafayette, LA 70504-2730, phone (318) 231-5811, fax (318)
265-5472, Internet [email protected]
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