From pmadsen at fullerton.edu Sun Jan 3 04:34:12 2010 From: pmadsen at fullerton.edu (Pamela Madsen) Date: Sun Jan 3 04:34:39 2010 Subject: [Emsan-l] WEALR: World Electro-Acoustic Listening Room Project Message-ID: <7653B63F-8A6A-4B10-85F2-C99380701234@fullerton.edu> Hi Marc, Do pass this call on--WEALR has changed to an inclusive focus--so would love to hear works from all over the world! best, Pam Madsen www.pamelamadsen.com Cal State Fullerton 9th Annual New Music Festival: The Pianist in the 21st Century, March 7-13th, 2010 WORLD ELECTRO-ACOUSTIC LISTENING ROOM PROJECT (WEALR) CALL FOR ELECTRO-ACOUSTIC WORKS: FEATURING WORKS FOR CD PLAYBACK, VIDEO AND ELECTRONICS, OR LIVE PERFORMANCE WITH ELECTRONICS Postmark Deadline: January 10th, 2010 Cal State Fullerton 9th Annual New Music Festival: The Pianist in the 21st Century, March 7-13th, 2010 announces the NEW Call for electro-acoustic works by composers throughout the world. Maximum length of proposed work: 12 minutes Formerly, the International Women?s Electro-acoustic Listening Room Project we have now moved to an inclusive format and invite submissions from all composers throughout the world. The International World Electro-acoustic Listening Room Project features day-long playback of works in electro-acoustic music, video and electronics, live electroacoustic performances, lecture demonstrations of electro-acoustic music and lecture/panel/discussions on new music. This year?s festival will focus on the pianist in the 21st century so works that feature on any aspect of the piano, or works for piano and electronics are especially welcomed. 1) Proposal for CD playback of work for listening room: Submit proposed CD recording of electronic/electro-acoustic work, or link to upload recording of your proposed work. Two-channel, stereo playback only 2) NEW! Proposal of DVD playback of work with video and electronics. Submit proposed DVD of video/electronics. 3) NEW! Proposal for live performance of electro-acoustic work for piano and electronics. Submit recording and score of work. Works may be: 1) considered for performance by festival, CSUF faculty or student pianists, or you may propose 2) that your own work be performed by your own proposed pianist, or 3) you may propose that your work be performed by yourself as a pianist/composer. For all proposals include: title of work, name of composer, length of work, program notes, short bio, link to download work (if available). Please also include all contact information: email, mailing address, website (if available). Incomplete submissions will not be considered. Please submit all proposal information by email to: pmadsen@fullerton.edu Please send CD or DVD by regular mail to: Dr. Pamela Madsen, Music Department, Cal State Fullerton, P.O. Box 6850, Fullerton, CA 92834-6850 The World Electro-Acoustic Listening Room Project is part of the 9th Annual New Music Festival March 7-13hth, 2010 at Cal State Fullerton features ?The Pianist in the 21st Century? with performances of ?American Classics? by John Cage, Elliott Carter, Morton Feldman, Frederic Rzewski and others. The festival will feature works by composer/pianist in residence Frederic Rzewski plus works from American Women Composers : Augusta Read Thomas, Amy Williams (composer/pianist), Pamela Madsen (composer/pianist), and Carolyn Yarnell (composer), performed by world renowned pianists specializing in contemporary music: Frederic Rzewski, Ursula Oppens, Gloria Cheng, The Exploding Piano of Kathleen Supove and the Bugallo-Williams Piano Duo. The World Electroacoustic Listening Room Project (WEALR) will be featured on the Annual Composer-Performer Symposium on Saturday, March 13th. For more information contact: pmadsen@fullerton.edu or go to http://faculty.fullerton.edu/pmadsen -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20100103/faa83f5f/attachment.html From abureaud at gmail.com Mon Jan 4 04:02:54 2010 From: abureaud at gmail.com (Annick Bureaud) Date: Mon Jan 4 04:16:15 2010 Subject: [Emsan-l] LEA Interns Call Message-ID: <5a907a5a1001040302q215000b1ra13ed324a02ac507@mail.gmail.com> ******* JOB ANNOUNCEMENT Istanbul December-30-2009 SUBJECT Editorial Interns LEA Internship Opportunities LEA: Leonardo Electronic Almanac is looking for two skilled and enthusiastic recent graduates to join our team. LEA is the international leading publication in art, science and technology part of Leonardo, ISAST and MIT Press family. We commission new work, produce online and offline exhibitions, publish magazines and special issues as full color PDFs and for Print on Demand. We are also going to be present on Kindle and Tablet. Sales & Marketing Internship We are looking for an intern to work with our Sales & Marketing Manager to assist in the planning, production and delivery of LEA marketing activities. This will include assisting in the organization and delivery of sales and marketing events, collating online and offline marketing materials, data collection and database management and contacting advertisers. The job will also include contributing to fundraising activities. The candidate should be a graduate or post-graduate interested in arts management and business management or someone interested in working with an international art and science organization. Project Internship We are looking for an intern to work with our Head of Projects to assist in the planning, production and delivery of LEA projects. These may take the form of commissions, exhibitions, research, education events, talks and special audience development projects. The suitable candidate should have some knowledge and interest in contemporary art, curatorial studies and the interactions between art, science and technology. An interest in supporting the management of research projects would be welcome. Both interns will gain practical experience of working within an internationally renowned art organizations and the opportunity to develop transferable skills while working in a stimulating and creative environment. Please note that these are unpaid positions starting in January 2010, working 2-3 days a week for a 6-month period minimum. The work can be done remotely and international candidates are encouraged to apply. Deadline for applications: January 25, 2009 at 5pm. Interviews will take place via skype in the week beginning February 22, 2010. Please send a one page cover letter, a one page statement of purpose and a curriculum vitae to: info@leoalmanac.org For further information please contact Ozden Sahin at ozden.sahin@leoalmanac.org and specify which internship you are interested in. LEA: Leonardo Electronic Almanac is a publication based in Istanbul, Turkey. The Editor in Chief, Lanfranco Aceti, and the Co-editor, Paul Brown, commission new art, science and technology projects, produce exhibitions and publications, and initiate research and education programs. _______________________________________________ Olatnewsf mailing list Olatnewsf@mit.edu http://mailman.mit.edu/mailman/listinfo/olatnewsf -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20100104/6a1385e7/attachment.html From marc.battier at paris-sorbonne.fr Wed Jan 6 06:16:47 2010 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Wed Jan 6 06:17:01 2010 Subject: [Emsan-l] EMSAN database structure proposal Message-ID: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> Hello, Following the Octobre 28 Beijing meeting where this has been discussed, here is a draft for the EMSAN database structure. This draft is already put to use by Prof. Huang in Taiwan, but please send you remarks and comments to the list. Best wishes, Marc Battier -------------- next part -------------- A non-text attachment was scrubbed... Name: LOG_EMSAN DB FIELDS3.pdf Type: application/pdf Size: 59214 bytes Desc: not available Url : http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20100106/0ce2d106/LOG_EMSANDBFIELDS3.pdf From kevin.austin at videotron.ca Wed Jan 6 09:14:40 2010 From: kevin.austin at videotron.ca (Kevin Austin) Date: Wed Jan 6 09:14:47 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> Message-ID: Thank you. My experience in doing this is that there are a number of things to seriously consider. In building a database for ea compositions in 1984, we grappled with the issue of whether the files would be able to be read in 50 years. They could not be read 15 years later when they had been formatted in a non-standard fashion. The files that were entered as basic text(s) were easily converted to newer formats. Two of the most annoying issues were: date, duration. These are of particular importance as these will be among the primary fields for searching and sorting. You may want to set the date field to: yyyy / mm / dd This is more easily sorted when done in a text field (such as a table in Word). For the duration of the work, you may wish to consider the format of 00 : 00 : 00 (h : m : s) or 00:00:00.000 (h:m:s.000) This is a common format in some software, and avoids the use of the non-standard quotation marks X: 5'19"; Y: 4'38"; Z: 3'53" which have two Unicode codes (U+0027 (39) and U+0022 (34)), and (U+2018 (8216), U+2019 (8217) and U+201C (8220), U+201D (8221)). This is a kind of complexity that in my experience, you may wish to avoid. Best wishes for the western New year. Kevin On 2010, Jan 6, at 8:16 AM, Battier Marc wrote: > Hello, > > Following the Octobre 28 Beijing meeting where this has been discussed, here is a draft for the EMSAN database structure. This draft is already put to use by Prof. Huang in Taiwan, but please send you remarks and comments to the list. > > Best wishes, > > Marc Battier > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l From kfields at ucalgary.ca Wed Jan 6 12:12:22 2010 From: kfields at ucalgary.ca (Ken Fields) Date: Wed Jan 6 12:12:28 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> Message-ID: <404CA42D-65D5-4312-B192-42C74886BFF0@ucalgary.ca> Hi, It would be best if Prof Huang worked within the methods indicated by the music ontology group: http://musicontology.com/ All of your fields can be mapped to the ontology. I don't know if Huang is using XML and/or RDF. Best, Ken On 2010-01-06, at 6:16 AM, Battier Marc wrote: > Hello, > > Following the Octobre 28 Beijing meeting where this has been discussed, here is a draft for the EMSAN database structure. This draft is already put to use by Prof. Huang in Taiwan, but please send you remarks and comments to the list. > > Best wishes, > > Marc Battier > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l From marc.battier at paris-sorbonne.fr Wed Jan 6 15:11:04 2010 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Wed Jan 6 15:11:14 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> Message-ID: Le 6 janv. 2010 ? 17:14, Kevin Austin a ?crit : > > > For the duration of the work, you may wish to consider the format of > > 00 : 00 : 00 (h : m : s) > > or > > 00:00:00.000 (h:m:s.000) > > This is a common format in some software, and avoids the use of the non-standard quotation marks > X: 5'19"; Y: 4'38"; Z: 3'53" > which have two Unicode codes (U+0027 (39) and U+0022 (34)), and (U+2018 (8216), U+2019 (8217) and U+201C (8220), U+201D (8221)). > > This is a kind of complexity that in my experience, you may wish to avoid. Absolutely. Thanks Kevin. It would then be expressed as: X: 00:05:19, but it would probably be easy to convert it back to 5'19" in some user display format. So it brings the question of data specification as separate from data display, which shouldn't really be a problem. Any further thoughts on that? Marc > From marc.battier at paris-sorbonne.fr Wed Jan 6 15:03:39 2010 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Wed Jan 6 15:26:24 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <404CA42D-65D5-4312-B192-42C74886BFF0@ucalgary.ca> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> <404CA42D-65D5-4312-B192-42C74886BFF0@ucalgary.ca> Message-ID: <366485CE-99E1-4E3C-B7D3-7C79322FABED@paris-sorbonne.fr> XML can be used to input data. There's a specific internal format in the sample database being used right now (as discussed in Beijing). There should be a presentationn of the results sometimes this year, probably at the next Beijing EMSAN Day in October. The good thing about the structure draft being circulated, though, is that's it's concerned with the 'what' (the musicological metadata) rather than the 'how' (how will it be represented and accessed). Best, Marc Le 6 janv. 2010 ? 20:12, Ken Fields a ?crit : > Hi, > It would be best if Prof Huang worked within the methods indicated by the music ontology group: > http://musicontology.com/ > All of your fields can be mapped to the ontology. > I don't know if Huang is using XML and/or RDF. > > Best, > Ken > > > On 2010-01-06, at 6:16 AM, Battier Marc wrote: > >> Hello, >> >> Following the Octobre 28 Beijing meeting where this has been discussed, here is a draft for the EMSAN database structure. This draft is already put to use by Prof. Huang in Taiwan, but please send you remarks and comments to the list. >> >> Best wishes, >> >> Marc Battier >> >> _______________________________________________ >> This message was sent to all subscribers of emsan-L >> To unsubscribe, see instructions at: >> http://www.ucalgary.ca/it/email/mailman >> >> E-mail: emsan-L@mailman.ucalgary.ca >> Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l From kevin.austin at videotron.ca Wed Jan 6 20:07:02 2010 From: kevin.austin at videotron.ca (Kevin Austin) Date: Wed Jan 6 20:07:10 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> Message-ID: Thank you. I have come up with a number of questions, and suggestions. The first is the division of the identification field and production data into more, specific areas. [I] Identification needs to identify the work -- the 'metric' aspects of the piece. Technical aspects of presentation. Studio, hardware, software etc [II] Program Notes and Destination are personal (psychometric) comments by the composer. [III] First performance (or publication data) is historical in nature. [IV] Critical commentary; classification; style / type etc ... [What I call the 'value added' portion, or the 'intellectual properties' eg, "high acousmatic", "soundscape", "glitch", IDM, industrial, concrete, installation etc ...] It is not clear to me how to enter a work that may have two or more composers. Will there be a second database (relational database) for contact information? In the "title of work" field, will alphabetization take place with or without articles, eg, is the piece "The Moon", under 'T', 'M' or both. How is a title such as " ... and more later ..." alphabetized? Duration is probably the next field, and this would either be "fixed", "approximate", "variable" or "open". "First performance" [which should be lower in the list] may need to be extended to allow for date of broadcast, publication on CD, appearance on the web (MySpace or YouTube), or situations where the work is 'performed' and live streamed. I would like to consider a "type" field as well. Simple "types" being: live, mixed, fixed media. There would also be a first subset of 'multi-media', and then Instrumental Data and Electroacoustic Data. The database should avoid links. The data should be imported into the database, or a gloss should be presented. There are already millions of dead links on the web. Diffusion Data is a translation from ? Perhaps Publication / Distribution is a better term here. Currently more than 98% of ea work is unpublished but may be available on CD-R, in archives, on web-based juke boxes, MySpace, YouTube etc. Kevin On 2010, Jan 6, at 8:16 AM, Battier Marc wrote: > Hello, > > Following the Octobre 28 Beijing meeting where this has been discussed, here is a draft for the EMSAN database structure. This draft is already put to use by Prof. Huang in Taiwan, but please send you remarks and comments to the list. > > Best wishes, > > Marc Battier > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l From kevin.austin at videotron.ca Wed Jan 6 20:16:38 2010 From: kevin.austin at videotron.ca (Kevin Austin) Date: Wed Jan 6 20:16:46 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <404CA42D-65D5-4312-B192-42C74886BFF0@ucalgary.ca> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> <404CA42D-65D5-4312-B192-42C74886BFF0@ucalgary.ca> Message-ID: <144ECE32-5944-45C1-A0F8-30F4BB47D80E@videotron.ca> I am not sure that the site cited can be trusted. I followed several links from within it and quickly hit dead links. The http://wiki.musicontology.com/index.php/Examples site seems to be from another planet. As this is not a unique project, perhaps there are larger existing projects that could be used as models so that the fields correspond to existing database structures. Kevin On 2010, Jan 6, at 2:12 PM, Ken Fields wrote: > Hi, > It would be best if Prof Huang worked within the methods indicated by the music ontology group: > http://musicontology.com/ > All of your fields can be mapped to the ontology. > I don't know if Huang is using XML and/or RDF. > > Best, > Ken > > > On 2010-01-06, at 6:16 AM, Battier Marc wrote: > >> Hello, >> >> Following the Octobre 28 Beijing meeting where this has been discussed, here is a draft for the EMSAN database structure. This draft is already put to use by Prof. Huang in Taiwan, but please send you remarks and comments to the list. >> >> Best wishes, >> >> Marc Battier >> >> _______________________________________________ >> This message was sent to all subscribers of emsan-L >> To unsubscribe, see instructions at: >> http://www.ucalgary.ca/it/email/mailman >> >> E-mail: emsan-L@mailman.ucalgary.ca >> Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l From kfields at ucalgary.ca Thu Jan 7 00:53:08 2010 From: kfields at ucalgary.ca (Ken Fields) Date: Thu Jan 7 00:53:19 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <144ECE32-5944-45C1-A0F8-30F4BB47D80E@videotron.ca> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> <404CA42D-65D5-4312-B192-42C74886BFF0@ucalgary.ca> <144ECE32-5944-45C1-A0F8-30F4BB47D80E@videotron.ca> Message-ID: <4860C304-42AF-4E12-B249-EE67B597AA65@ucalgary.ca> Hi Kevin, Though there wiki got spammed, I'm confident of their research. The question is if Prof Huang is up for the task. On the other hand, there's no reason this project must pursue cutting edge database stuff. Not critical. ken On 2010-01-06, at 8:16 PM, Kevin Austin wrote: > > I am not sure that the site cited can be trusted. I followed several links from within it and quickly hit dead links. The http://wiki.musicontology.com/index.php/Examples site seems to be from another planet. > > As this is not a unique project, perhaps there are larger existing projects that could be used as models so that the fields correspond to existing database structures. > > > > Kevin > > > > On 2010, Jan 6, at 2:12 PM, Ken Fields wrote: > >> Hi, >> It would be best if Prof Huang worked within the methods indicated by the music ontology group: >> http://musicontology.com/ >> All of your fields can be mapped to the ontology. >> I don't know if Huang is using XML and/or RDF. >> >> Best, >> Ken >> >> >> On 2010-01-06, at 6:16 AM, Battier Marc wrote: >> >>> Hello, >>> >>> Following the Octobre 28 Beijing meeting where this has been discussed, here is a draft for the EMSAN database structure. This draft is already put to use by Prof. Huang in Taiwan, but please send you remarks and comments to the list. >>> >>> Best wishes, >>> >>> Marc Battier >>> >>> _______________________________________________ >>> This message was sent to all subscribers of emsan-L >>> To unsubscribe, see instructions at: >>> http://www.ucalgary.ca/it/email/mailman >>> >>> E-mail: emsan-L@mailman.ucalgary.ca >>> Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l >> >> _______________________________________________ >> This message was sent to all subscribers of emsan-L >> To unsubscribe, see instructions at: >> http://www.ucalgary.ca/it/email/mailman >> >> E-mail: emsan-L@mailman.ucalgary.ca >> Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l > > From kevin.austin at videotron.ca Thu Jan 7 05:20:01 2010 From: kevin.austin at videotron.ca (Kevin Austin) Date: Thu Jan 7 05:20:13 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <4860C304-42AF-4E12-B249-EE67B597AA65@ucalgary.ca> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> <404CA42D-65D5-4312-B192-42C74886BFF0@ucalgary.ca> <144ECE32-5944-45C1-A0F8-30F4BB47D80E@videotron.ca> <4860C304-42AF-4E12-B249-EE67B597AA65@ucalgary.ca> Message-ID: <20392416-F8B0-4D58-90AF-40320684E591@videotron.ca> Hmmm ... If time and other resources are to be invested in an important project, it is my experience that it is best to bring it to as high a standard as possible. While one never knows the directions that things will go in the future, if it is possible to have solid core values in the design and structure, then there is a good possibility of some survival, if not in the original form, at least in a form which can be transported to another platform. This also means that the structure needs to avoid the creation of ambiguity, or exceptions, and also to avoid creating systemic biases to certain kinds of work. The design, in my experience, needs to look forwards as well as backwards which, as you have pointed out, means employing field and format structures (and relationships) which are already in use in other music databases. It seems to me that the way to do this is to find a database that has many / most / all of the properties that one needs, and then to adapt this to the specifics of one for electroacoustics. As has been found by many who have attempted this, two of the linger term issues are: boundary limits, and sustainability. The boundary issue can be summarized with the question: "I have created 20 pieces in GarageBand. Do they get listed in the database?" Is 'membership in the community' self-defining or imposed from? And how to handle the issue of composers _not_ wanting their work included. Sustainability is in two forms: (1) continuing to get contributions to the database; (2) having a location where the work will remain for the foreseeable future. Number one is a systemic issue, for if composers, artists and researchers see the database having little value, it will not be used, and die. Number two is a more vexing one. In the past couple of years I have seen 'established' associations (and their collections of information) 'disappear'. Think SAN, BOURGES, but I have personal experience of two others. I know of a studio collection that was digitized, cataloged, databased and put in a library. When the initiator left the institution, the collection disappeared from availability, and then when the library system changed, the database was no longer accessible. My suggestion here is to aim for a robust and sustainable form and structure which means adopting and adapting existing forms rather than inventing anew. Kevin On 2010, Jan 7, at 2:53 AM, Ken Fields wrote: > Hi Kevin, > Though there wiki got spammed, I'm confident of their research. The question is if Prof Huang is up for the task. On the other hand, there's no reason this project must pursue cutting edge database stuff. Not critical. > > ken > > > > On 2010-01-06, at 8:16 PM, Kevin Austin wrote: > >> >> I am not sure that the site cited can be trusted. I followed several links from within it and quickly hit dead links. The http://wiki.musicontology.com/index.php/Examples site seems to be from another planet. >> >> As this is not a unique project, perhaps there are larger existing projects that could be used as models so that the fields correspond to existing database structures. >> >> >> >> Kevin From lonce.wyse at nus.edu.sg Sun Jan 10 09:05:25 2010 From: lonce.wyse at nus.edu.sg (lonce wyse) Date: Sun Jan 10 09:05:38 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> Message-ID: <4B49FAC5.9090904@nus.edu.sg> Gentlemen, I can't help thinking of the some of the other performance contexts that people have producing music in. A significant proportion of sonic artwork these days does not have a fixed duration. Either it varies, or is "infinite" (running continuously as an installation, for example). This also leads to related issues about work that exists in the context of dance, video, the web, or installations with other kinds of objects and processes. I know it seems to open a Pandora's box, but it might be beneficial to identify some of these as categories rather than lump everything in to a free-text "other" field. An audience-interactive sound sculpture is such a different beast from a 64-channel work diffused in a concert hall and again from a Pauline Oliveros type of performers=listeners meditation. It seems like the structure of the database could and should reflect some of the basic paradigms composers are working in regularly now. Best, - lonce Battier Marc wrote: > Le 6 janv. 2010 ? 17:14, Kevin Austin a ?crit : > > >> For the duration of the work, you may wish to consider the format of >> >> 00 : 00 : 00 (h : m : s) >> >> or >> >> 00:00:00.000 (h:m:s.000) >> >> This is a common format in some software, and avoids the use of the non-standard quotation marks >> X: 5'19"; Y: 4'38"; Z: 3'53" >> which have two Unicode codes (U+0027 (39) and U+0022 (34)), and (U+2018 (8216), U+2019 (8217) and U+201C (8220), U+201D (8221)). >> >> This is a kind of complexity that in my experience, you may wish to avoid. >> > Absolutely. Thanks Kevin. It would then be expressed as: X: 00:05:19, but it would probably be easy to convert it back to 5'19" in some user display format. So it brings the question of data specification as separate from data display, which shouldn't really be a problem. > > Any further thoughts on that? > > Marc > > > > > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l > ------------------------------------------------------------------------ > > > Internal Virus Database is out of date. > Checked by AVG - www.avg.com > Version: 8.5.339 / Virus Database: 270.12.62/2168 - Release Date: 06/10/09 18:30:00 > > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20100111/2468c5ec/attachment.html From kfields at ucalgary.ca Sun Jan 10 12:27:11 2010 From: kfields at ucalgary.ca (Ken Fields) Date: Sun Jan 10 12:27:26 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <4B49FAC5.9090904@nus.edu.sg> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> <4B49FAC5.9090904@nus.edu.sg> Message-ID: <3162B23D-8F0B-4C07-9567-17380DB5F591@ucalgary.ca> Hi Lonce, I think the issue might be for us to work with Leigh and EARS on that stuff (folksonomies and ontologies), while the EMSAN database should make a best effort for now. Ken On 2010-01-10, at 9:05 AM, lonce wyse wrote: > > Gentlemen, > > I can't help thinking of the some of the other performance contexts that people have producing music in. > A significant proportion of sonic artwork these days does not have a fixed duration. Either it varies, or is "infinite" (running continuously as an installation, for example). > This also leads to related issues about work that exists in the context of dance, video, the web, or installations with other kinds of objects and processes. I know it seems to open a Pandora's box, but it might be beneficial to identify some of these as categories rather than lump everything in to a free-text "other" field. An audience-interactive sound sculpture is such a different beast from a 64-channel work diffused in a concert hall and again from a Pauline Oliveros type of performers=listeners meditation. It seems like the structure of the database could and should reflect some of the basic paradigms composers are working in regularly now. > > Best, > - lonce > > Battier Marc wrote: >> >> Le 6 janv. 2010 ? 17:14, Kevin Austin a ?crit : >> >> >>> For the duration of the work, you may wish to consider the format of >>> >>> 00 : 00 : 00 (h : m : s) >>> >>> or >>> >>> 00:00:00.000 (h:m:s.000) >>> >>> This is a common format in some software, and avoids the use of the non-standard quotation marks >>> X: 5'19"; Y: 4'38"; Z: 3'53" >>> which have two Unicode codes (U+0027 (39) and U+0022 (34)), and (U+2018 (8216), U+2019 (8217) and U+201C (8220), U+201D (8221)). >>> >>> This is a kind of complexity that in my experience, you may wish to avoid. >>> >> Absolutely. Thanks Kevin. It would then be expressed as: X: 00:05:19, but it would probably be easy to convert it back to 5'19" in some user display format. So it brings the question of data specification as separate from data display, which shouldn't really be a problem. >> >> Any further thoughts on that? >> >> Marc >> >> >> >> >> >> _______________________________________________ >> This message was sent to all subscribers of emsan-L >> To unsubscribe, see instructions at: >> http://www.ucalgary.ca/it/email/mailman >> >> E-mail: emsan-L@mailman.ucalgary.ca >> Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l >> >> >> Internal Virus Database is out of date. >> Checked by AVG - www.avg.com >> Version: 8.5.339 / Virus Database: 270.12.62/2168 - Release Date: 06/10/09 18:30:00 >> >> > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20100110/81f350c9/attachment.html From kevin.austin at videotron.ca Sun Jan 10 12:49:31 2010 From: kevin.austin at videotron.ca (Kevin Austin) Date: Sun Jan 10 12:49:39 2010 Subject: [Emsan-l] EMSAN database structure proposal In-Reply-To: <3162B23D-8F0B-4C07-9567-17380DB5F591@ucalgary.ca> References: <1DCC2875-F211-4CF6-8BE1-4B2CF2C82ED7@paris-sorbonne.fr> <4B49FAC5.9090904@nus.edu.sg> <3162B23D-8F0B-4C07-9567-17380DB5F591@ucalgary.ca> Message-ID: <6ABA22C3-3678-47E2-AC3C-499C12915C84@videotron.ca> It seems to me that the question(s) here are the "how" and the "what". Please see my posting of Jan 06 for an outline. Kevin On 2010, Jan 10, at 2:27 PM, Ken Fields wrote: > Hi Lonce, > I think the issue might be for us to work with Leigh and EARS on that stuff (folksonomies and ontologies), > while the EMSAN database should make a best effort for now. > > Ken > > > > On 2010-01-10, at 9:05 AM, lonce wyse wrote: > >> >> Gentlemen, >> >> I can't help thinking of the some of the other performance contexts that people have producing music in. >> A significant proportion of sonic artwork these days does not have a fixed duration. Either it varies, or is "infinite" (running continuously as an installation, for example). >> This also leads to related issues about work that exists in the context of dance, video, the web, or installations with other kinds of objects and processes. I know it seems to open a Pandora's box, but it might be beneficial to identify some of these as categories rather than lump everything in to a free-text "other" field. An audience-interactive sound sculpture is such a different beast from a 64-channel work diffused in a concert hall and again from a Pauline Oliveros type of performers=listeners meditation. It seems like the structure of the database could and should reflect some of the basic paradigms composers are working in regularly now. >> >> Best, >> - lonce >> >> Battier Marc wrote: >>> >>> Le 6 janv. 2010 ? 17:14, Kevin Austin a ?crit : >>> >>> >>>> For the duration of the work, you may wish to consider the format of >>>> >>>> 00 : 00 : 00 (h : m : s) >>>> >>>> or >>>> >>>> 00:00:00.000 (h:m:s.000) >>>> >>>> This is a common format in some software, and avoids the use of the non-standard quotation marks >>>> X: 5'19"; Y: 4'38"; Z: 3'53" >>>> which have two Unicode codes (U+0027 (39) and U+0022 (34)), and (U+2018 (8216), U+2019 (8217) and U+201C (8220), U+201D (8221)). >>>> >>>> This is a kind of complexity that in my experience, you may wish to avoid. >>>> >>> Absolutely. Thanks Kevin. It would then be expressed as: X: 00:05:19, but it would probably be easy to convert it back to 5'19" in some user display format. So it brings the question of data specification as separate from data display, which shouldn't really be a problem. >>> >>> Any further thoughts on that? >>> >>> Marc >>> >>> From marc.battier at paris-sorbonne.fr Wed Jan 13 01:16:08 2010 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Wed Jan 13 01:16:16 2010 Subject: [Emsan-l] Call for works for Computer Music Journal DVD 2010 Message-ID: <8065A37F-2E92-40A0-89BE-66F2594765A0@paris-sorbonne.fr> ::: Please distribute appropriately ::: CMJ DVD 2010 MIT Press' Computer Music Journal is seeking submissions of recent computer music works from the Austral-Asian region (Australia, New Zealand, Singapore, Indonesia and Malaysia) for inclusion on this year's annual DVD. This is published with the fourth and final issue at the end of the year. Video works are especially encouraged, but audio-only works are also welcome, as are videos of performances (with good-quality audio). Works may be audio files only, video, videos of performances and so on. Works may have been presented or published elsewhere, but in the latter case, documentation must be provided granting CMJ the nonexclusive right to publish. One work may be submitted per composer. Please include: Full quality renditions of your work: - If multi-channel audio, up to 5.1 channels, include the mono files and clear labeling of speaker distribution, 16-bit, 48-kHz (44.1 kHz also acceptable); - if video work, include a minimally compressed .mov file (4:3 NTSC). In addition, please include a text file with program note and bio (500 word maximum for each), and, optionally, a *minimum* 300-dpi b/w digital photo of the composer(s), TIFF files are best. Duration: Pieces under 10 minutes in duration are preferred. Because of DVD production requirements and publishing lead times, works must be received no later than Friday 2nd April 2010. Please send your work to: Paul Doornbusch - CMJ DVD Curator Counter Delivery c/o - Melbourne A'Beckett Street Post Office Ground Level 410 Elizabeth Street Melbourne VIC 3000 AUSTRALIA From kfields at ucalgary.ca Wed Jan 13 01:30:15 2010 From: kfields at ucalgary.ca (Ken Fields) Date: Wed Jan 13 01:30:23 2010 Subject: [Emsan-l] example good database Message-ID: <0A8121CD-DD21-48A5-9828-11CBF6348DE1@ucalgary.ca> Hi, A nice example of a well made archive: http://macke.informatik.uni-bremen.de/compartdb/d/browse Ken From marc.battier at paris-sorbonne.fr Wed Jan 13 06:16:43 2010 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Wed Jan 13 06:17:37 2010 Subject: [Emsan-l] example good database In-Reply-To: <0A8121CD-DD21-48A5-9828-11CBF6348DE1@ucalgary.ca> References: <0A8121CD-DD21-48A5-9828-11CBF6348DE1@ucalgary.ca> Message-ID: Nice site and interesting list of keywords. Marc Le 13 janv. 2010 ? 09:30, Ken Fields a ?crit : > Hi, > A nice example of a well made archive: > http://macke.informatik.uni-bremen.de/compartdb/d/browse > > Ken > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l From kevin.austin at videotron.ca Wed Jan 13 10:14:00 2010 From: kevin.austin at videotron.ca (Kevin Austin) Date: Wed Jan 13 10:19:37 2010 Subject: [Emsan-l] example good database In-Reply-To: References: <0A8121CD-DD21-48A5-9828-11CBF6348DE1@ucalgary.ca> Message-ID: The keywords provide the 'value added' in a database, glossary or on-line jukebox, as it is the ability to search the pieces that is (also) very important. A generalized taxonomy is a good place to start, with issue of boundary and genre not being overly major for most of the repertoire, at high levels (eg fixed media, mixed, live are easy ones). The interest is in (machine) sorting Takemitsu's "Ai", from Berio's "Visage". Kevin On 2010, Jan 13, at 8:16 AM, Battier Marc wrote: > Nice site and interesting list of keywords. > > > Marc > > > Le 13 janv. 2010 ? 09:30, Ken Fields a ?crit : > >> Hi, >> A nice example of a well made archive: >> http://macke.informatik.uni-bremen.de/compartdb/d/browse >> >> Ken >> _______________________________________________ >> This message was sent to all subscribers of emsan-L >> To unsubscribe, see instructions at: >> http://www.ucalgary.ca/it/email/mailman >> >> E-mail: emsan-L@mailman.ucalgary.ca >> Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l > > > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l From kevin.austin at videotron.ca Fri Jan 22 07:25:24 2010 From: kevin.austin at videotron.ca (Kevin Austin) Date: Fri Jan 22 07:25:35 2010 Subject: [Emsan-l] Fwd: [...] family name conventions References: Message-ID: Database related: Begin forwarded message: > From: CEC jef chippewa > Date: 2010 January 22 9:13:12 AM EST > To: cec-conference@concordia.ca > Subject: [...] family name conventions > Reply-To: cec-conference@concordia.ca > > > ... of interest to people researching composers, a post about naming conventions. anyone able to comment on asian names and differences between different asian countries? i know often japanese say their family name first (also when writing?) and that chinese living in the west often take on american-ish names. > > i have long preferred to use "family" and "given" name for clarity, but is the idea of "first" and "last" names a regional thing? are they referred to differently outside of canada, western europe and USA? > > >> CORDIO is the last name. CARLO is the first name and MARIA is the middle name (sometimes one says that we have several first names). >> >> It is not unusual for people in latin-language-group countries to have both two or even more middle names, just so you know. Maria (or Marie in French) is a very common middle name (also for men!). >> >> In everyday interpellation (and if you're on informal terms with them, of course), you would call people by their first name (in this case Carlo), although the official name would be Carlo Maria CORDIO. >> >> In Scandinavia, however, it is more common to use both first name and middle name in everyday use, than only first name. Scandinavian often have 2 last names, although officially one of those is considered a middle name (unless hyphenated, then they are considered one last name). (which is a problem for me having "von Zzz" as a last name, here in Scandinavia, von is now my second middle name, and I'm listed in the telephone catalogue as Zzz, Xxx Y Von (Yyy being my not-used middle name). >> >> In many Eastern European countries, the convention is to give your last name first: JANICKI Krzysztof Pavlovich (Pavlovich being the middle name... ficticious name, by the way...) > > -- > > Communaut? ?lectroacoustique canadienne (CEC) Canadian Electroacoustic Community > Cache 2007/2008 now available!! http://www.electrocd.com/en/boutique/cecpep > eContact! 11.4 -- Toronto EA Symposium 2009 http://electroacoustic.ca/econtact/11_4 > http://econtact.ca | http://sonus.ca | http://electroacoustic.ca/jttp/2009 > Kevin