May 2008 - chuck-users - lists.cs.princeton.edu

Bay Area Computer Music Technology Group @ UCSC with David Cope and Peter Elsea - Sunday May 11
by Noah Thorp 09 May '08

09 May '08

Bay Area Computer Music Technology Group (BArCMuT) Sunday afternoon presentations by David Cope and Peter Elsea Sunday, May 11, 2008 at 1:00 PM Music Building @ University of California, Santa Cruz, CA 95064 RSVP: http://electronicmusic.meetup.com/152/calendar/7516169/ Thank you to David Cope and Peter Elsea for hosting the Bay Area Computer Music Technology Group (BArCMuT) for a Sunday afternoon at University of Santa Cruz! This Sunday's presentations: - David Cope will discuss and demonstrate his work with his computer program Experiments in Musical Intelligence. This will include a world premiere of a work by Emmy-Bach never before heard. - Peter Elsea will give a tour of the facilities and a presentation on recent work using Max/MSP for algorithmic composition with visualizations. If you are not familiar with David Cope's work, it represents a landmark moment in computer creativity (similar to Kurzweil's AARON application in the visual sphere). Cope's Experiments in Musical Intelligence set the bar for generative music by analyzing scores and writing new pieces in the style of the composer analyzed. If the turing test was a musical one, experiments in musical intelligence would be likely to pass the test. Those who encounter this work are often excited or even frightened by its implications. I encourage you to come and engage in this important work directly. You can listen to realizations of Cope's experiments in musical intelligence scores here (listen to "After Bach", "After Beethoven", etc. - there might be a lag before playing): http://arts.ucsc.edu/faculty/cope/mp3page.htm Peter Elsea's presentations will give us a window into this frequent computer music community contributor's latest works. It will be exciting to see his new approaches to visualization and algorithmic composition and also get a sense of the UCSC studios he stewards. All the best, Noah Thorp Organizer Bay Area Computer Music Technology Group (BArCMuT) DIRECTIONS UCSC is not very google maps friendly. Here is the lat/lon location of the music building: http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=1044280959749593153… Here are the directions from UCSC: http://maps.ucsc.edu/cdmusic.html There will be a machine dispensing parking permits for $2. The music center is the concrete complex at the far end of the parking lot. Go all the way to the plaza overlooking the bay, and look left for the building entrance. There will be signs to the proper room. BIOS DAVID COPE ( http://arts.ucsc.edu/faculty/cope/index.html ), Professor Emeritus of Music at UC Santa Cruz, teaches in the annual Workshop in Algorithmic Computer Music (WACM) held in June-July at UC Santa Cruz. Cope's books on modern music include New Directions in Music (seventh edition), Techniques of the Contemporary Composer, and New Music Notation. His books on the intersection of music and computer science include Computers and Musical Style, Experiments in Musical Intelligence, The Algorithmic Composer, Virtual Music, Computer Models of Musical Creativity, and Hidden Structure (available through most online book sellers) and describe the computer program Experiments in Musical Intelligence which he created in 1981. Recordings of his music appear on Centaur, Smithsonian Folkways, Opus One, and Vienna Modern Masters and include a wide diversity of works, from large ensembles to soloists with electronic and computer-generated tape. PETER ELSEA ( http://arts.ucsc.edu/EMS/Music/PQE/More_PQE.html ) is the director of the UCSC Electronic Music Program. He is known world-wide for his "Lobjects" software for the Max/MSP music programming environment, and his tutorials for that language are in use at most major electronic music institutions. Google reports more than 1000 links to his internet articles on music technology, which have been on line since 1994. In addition to his work in composition and synthesis, he has been for some years exploring the combination of sound and light using high speed computers. Part of his visual collaboration with Mesut Ozgen, "New Dimensions in Classical Guitar" (seen at UCSC in 2004) was recently presented in Istanbul.

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OSC reception not working
by Sciss 05 May '08

05 May '08

hi, i'm trying to send an OSC message from SuperCollider to chuck, which doesn't work. no matter what i do, the OscEvent seems never to be decoded... ChucK: OscRecv recv; 6449 => recv.port; recv.listen(); recv.event( "/test, i" ) @=> OscEvent oe; spork ~ pollOscEvent(); fun void pollOscEvent() { while ( true ) { oe => now; while( oe.nextMsg() ) { <<< "LALA" >>>; <<< oe.getInt() >>>; } } } SC: NetAddr( "127.0.0.1", 6449 ).sendMsg( "/test", 33 ); what am i doing wrong? i tried other ports without success... thanks, -sciss-

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recording
by joerg piringer 05 May '08

05 May '08

hi list, sorry if this has been asked before (i didn't read the list closely the last months): is it possible that recording from dac is broken with the latest chuck version (or miniaudicle) on winXP? i always get silent wavs or even unreadable. best joerg -- http://joerg.piringer.net http://www.transacoustic-research.com http://www.iftaf.org http://www.vegetableorchestra.org/

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Create your own scratch pad!
by Martin Ahnelöv 04 May '08

04 May '08

<http://www.metacafe.com/watch/849223/how_to_make_your_own_scratchpad/> cheers, Gasten

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audio source in linux
by AlgoMantra 03 May '08

03 May '08

Apologies if I sound bloody ignorant in this: I gather that most linux-based audio programming systems would be playing with some basic interface provided by the system. I wonder for instance if some basic sounds can be produced using the shell or some kind of very rudimentary program that instructs the sound card to, say, produce a square or sine wave. As it is a stream of numbers, I wonder what is that underlying process which converts it to sound? If I'm not wrong, both pure data and ChucK would be using this same underlying system in Linux. Can anyone elucidate with an example? I'm just trying to look beneath the surface here... ------- -.- 1/f ))) --. ------- ... http://www.algomantra.com

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[OT] May Day Fun: CD release from PGT
by Brad Garton 01 May '08

01 May '08

Hey chucksters -- Pardon the spam, but there *is* some chuck-ing going on 'behind the scenes/sounds' in this one (using [chuck~], of course!): ---------------------------- PGT: "Temporary Habitations" Crown (29:02) Minuit (17:09) Dome (24:55) The first CD release by PGT, a trio composed of Terry Pender (mandolin), Brad Garton (laptop), and Gregory Taylor (laptop) is an intimate snapshot of the improvising ensemble - three pieces that take their names from referential scraps of the place names where they were recorded around the time of the trio's various recent public performances. This set of nomadic documents can be thought of as a live recording made in a single, moveable location - homes away from home, where friends meet in interchangeable rooms to pursue the pleasure of playing together while awaiting the opportunity to play for others. In the quiet of those convivial mornings, afternoons, and evenings, new timbres and timescales emerge as PGT take the opportunity to try new things away from the distractions and expectational inertia of the club or concert hall. website/order on-line: http://music.columbia.edu/~brad/PGT/Temporary_Habitations/ additional info/mp3-recording links: http://music.columbia.edu/~brad/PGT/ Loochtone Recordings :: 602 Russell Street :: Madison, WI 53704 ---------------------------- who we are: Terry Pender (http://music.columbia.edu/~mando) is a composer and musician whose interests range from contemporary multimedia-based works to Irish music and the mandolin. His works have been performed worldwide, including Japan, China, and Greece, as well as across the United States. He has composed for NPR, national network television, and the Whitney Museum of American Art. Lately he has been creating sound designs for large scale public art works with the Open Ended Group. He was the editor of "Mandolin Quarterly", an internationally distributed magazine, and his music is published by NL Publications, Inc. He is an Adjunct Assistant Professor of Music and the Associate Director of the Computer Music Center at Columbia University. Brad Garton (http://music.columbia.edu/~brad) received his BS in pharmacology from Purdue University, where he also worked towards an MS in psychoacoustics. He eventually entered the graduate music composition program at Princeton University (studying primarily with Paul Lansky and J. K. Randall), where he was awarded PhD in music composition. He is currently a professor on the faculty of Columbia University, where he also serves as Director of the Computer Music Center. He is an active composer and music software developer, and has worked as consultant on the design and installation of computer music facilities throughout the world. Gregory Taylor (http://www.rtqe.net/) was trained initially as a visual artist, He has studied central Javanese gamelan and electroacoustic music in the U.S. and the Netherlands, written for publications such as Wired, Array, and Option, and hosted a radio program of contemporary audio since 1986 (http://www.rtqe.net). In addition to his work with PGT, he has released solo recordings on c74, Palace of Lights and Stasisfield, performed and recorded as The Desert Fathers with quartertone trumpeter Jeff Kaiser, and remixed artists such as Scott Fields, Kim Cascone, and BMB.con. He currently labors on behalf of the new media software company Cycling '74.

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