From: Kenny Tilton
Subject: So Happy To-ge-therrrrrrrrrr: Music and Lisp
Date:
Message-ID: <3FAAA9F7.1010505@nyc.rr.com>
The <groan> MuSIG of lisp-nyc held its second meeting on Tuesday, and it
was pretty amazing.
We were joined for the first time by Drew Krause, heavyweight CM/CSound
user:
http://www.wordecho.com/DrewKrause.html
our second honest-to-god musician/performer along with Howard Elmer who
has had fun with Symbolic Composer and other cool music software (more
below):
http://www.assemblage.org/
The rest of the group consisted of moi, Nick Maj who kinda got the whole
thing rolling, Bob Coyne who fills the sweet spot of knowing both Lisp
and Music (unlike moi), and young Ben, Howard's son.
I started slow just showing off my success in getting Common Music (CM)
to work with MIDI, CSound, and CLM (Common Lisp Music) backends. I
presented my covers of Jeopardy, a jingle on piano for two hands, and
two original works, one 15-second Tibetan Bowl meditation and the other
a four-second sekere rhythm. Everyone was terribly embarrassed for me.
Then Drew stepped in with (I think) Snd, a graphical tool for playing
with wave forms. Next Howard regaled us with an app that had the others'
mouths hanging open, the Random Music Machine:
http://www.robotsoftware.co.uk/
Nick was especially amazed because he has pretty exhaustively canvassed
the music software scene and this one had eluded him. It seems Howard
had work closely with the author for quite a while supplying RFEs.
We closed with Nick trotting out a photcopy of some pages from a hefty
tome detailing the Schillinger System of Musical Composition, which
looks like it will lend itself nicely to algorithmic music. Big emphasis
on rhythm, which apparently is a relatively underleveraged source of
Good Stuff in music composition.
Oh, somewhere in there I showed Bob Coyne and the others a couple of
Cello apps, one a goofy show-off-every widget, the other a graphical
object inspector. This came up because the lads started discussing
graphical interfaces to music composition software, with Nick especially
interested in seeing some supervisory tool developed which could pull
together different music/sound projects currently being developed in
isolation from each other and eventually orphaned. So a project may be
a-borning.
I took the Schillinger text and have implemented the first exercise in
Chapter Two, which shows how two different rhythms can be made to work
together to produce a resultant other rhythm. Well, I thought I did, but
I better look again. It was late and I think I cocked it up. But it
certainly lends itself to my new buddy, the loop macro.
Four hours, altogether, and I think everyone took something new away
from the session.
A note to lispnik social clubs everywhere: this all arose from my
Lisp-With-Kenny offer, and someone from a local Linux group responding.
This in turn resulted from a Linux God (Jay Sulzberger) blessing
lisp-nyc with advocacy back in the Land of the Free.
A note to non-NYers: at least one virtual member will be following along
as best he can from the lisp-nyc mailing list. Others are welcome. If
things get too crowded, we'll move to a lisp-nyc SIG list or even just
start a common-lisp.net project.
kenny
--
http://tilton-technology.com
Why Lisp? http://alu.cliki.net/RtL%20Highlight%20Film
Your Project Here! http://alu.cliki.net/Industry%20Application
You might be interested in:
http://www.music.columbia.edu/cmc/dorkbot/dorkbotnyc/
if you're in NY
Kenny Tilton <·······@nyc.rr.com> wrote in message news:<················@nyc.rr.com>...
> The <groan> MuSIG of lisp-nyc held its second meeting on Tuesday, and it
> was pretty amazing.
>
> We were joined for the first time by Drew Krause, heavyweight CM/CSound
> user:
>
> http://www.wordecho.com/DrewKrause.html
>
> our second honest-to-god musician/performer along with Howard Elmer who
> has had fun with Symbolic Composer and other cool music software (more
> below):
>
> http://www.assemblage.org/
>
> The rest of the group consisted of moi, Nick Maj who kinda got the whole
> thing rolling, Bob Coyne who fills the sweet spot of knowing both Lisp
> and Music (unlike moi), and young Ben, Howard's son.
>
> I started slow just showing off my success in getting Common Music (CM)
> to work with MIDI, CSound, and CLM (Common Lisp Music) backends. I
> presented my covers of Jeopardy, a jingle on piano for two hands, and
> two original works, one 15-second Tibetan Bowl meditation and the other
> a four-second sekere rhythm. Everyone was terribly embarrassed for me.
>
> Then Drew stepped in with (I think) Snd, a graphical tool for playing
> with wave forms. Next Howard regaled us with an app that had the others'
> mouths hanging open, the Random Music Machine:
> http://www.robotsoftware.co.uk/
>
> Nick was especially amazed because he has pretty exhaustively canvassed
> the music software scene and this one had eluded him. It seems Howard
> had work closely with the author for quite a while supplying RFEs.
>
> We closed with Nick trotting out a photcopy of some pages from a hefty
> tome detailing the Schillinger System of Musical Composition, which
> looks like it will lend itself nicely to algorithmic music. Big emphasis
> on rhythm, which apparently is a relatively underleveraged source of
> Good Stuff in music composition.
>
> Oh, somewhere in there I showed Bob Coyne and the others a couple of
> Cello apps, one a goofy show-off-every widget, the other a graphical
> object inspector. This came up because the lads started discussing
> graphical interfaces to music composition software, with Nick especially
> interested in seeing some supervisory tool developed which could pull
> together different music/sound projects currently being developed in
> isolation from each other and eventually orphaned. So a project may be
> a-borning.
>
> I took the Schillinger text and have implemented the first exercise in
> Chapter Two, which shows how two different rhythms can be made to work
> together to produce a resultant other rhythm. Well, I thought I did, but
> I better look again. It was late and I think I cocked it up. But it
> certainly lends itself to my new buddy, the loop macro.
>
> Four hours, altogether, and I think everyone took something new away
> from the session.
>
> A note to lispnik social clubs everywhere: this all arose from my
> Lisp-With-Kenny offer, and someone from a local Linux group responding.
> This in turn resulted from a Linux God (Jay Sulzberger) blessing
> lisp-nyc with advocacy back in the Land of the Free.
>
> A note to non-NYers: at least one virtual member will be following along
> as best he can from the lisp-nyc mailing list. Others are welcome. If
> things get too crowded, we'll move to a lisp-nyc SIG list or even just
> start a common-lisp.net project.
>
> kenny
Looks interesting. Thanks.
n++k wrote:
> You might be interested in:
>
> http://www.music.columbia.edu/cmc/dorkbot/dorkbotnyc/
>
> if you're in NY
>
> Kenny Tilton <·······@nyc.rr.com> wrote in message news:<················@nyc.rr.com>...
> > The <groan> MuSIG of lisp-nyc held its second meeting on Tuesday, and it
> > was pretty amazing.
> >
> > We were joined for the first time by Drew Krause, heavyweight CM/CSound
> > user:
> >
> > http://www.wordecho.com/DrewKrause.html
> >
> > our second honest-to-god musician/performer along with Howard Elmer who
> > has had fun with Symbolic Composer and other cool music software (more
> > below):
> >
> > http://www.assemblage.org/
> >
> > The rest of the group consisted of moi, Nick Maj who kinda got the whole
> > thing rolling, Bob Coyne who fills the sweet spot of knowing both Lisp
> > and Music (unlike moi), and young Ben, Howard's son.
> >
> > I started slow just showing off my success in getting Common Music (CM)
> > to work with MIDI, CSound, and CLM (Common Lisp Music) backends. I
> > presented my covers of Jeopardy, a jingle on piano for two hands, and
> > two original works, one 15-second Tibetan Bowl meditation and the other
> > a four-second sekere rhythm. Everyone was terribly embarrassed for me.
> >
> > Then Drew stepped in with (I think) Snd, a graphical tool for playing
> > with wave forms. Next Howard regaled us with an app that had the others'
> > mouths hanging open, the Random Music Machine:
> > http://www.robotsoftware.co.uk/
> >
> > Nick was especially amazed because he has pretty exhaustively canvassed
> > the music software scene and this one had eluded him. It seems Howard
> > had work closely with the author for quite a while supplying RFEs.
> >
> > We closed with Nick trotting out a photcopy of some pages from a hefty
> > tome detailing the Schillinger System of Musical Composition, which
> > looks like it will lend itself nicely to algorithmic music. Big emphasis
> > on rhythm, which apparently is a relatively underleveraged source of
> > Good Stuff in music composition.
> >
> > Oh, somewhere in there I showed Bob Coyne and the others a couple of
> > Cello apps, one a goofy show-off-every widget, the other a graphical
> > object inspector. This came up because the lads started discussing
> > graphical interfaces to music composition software, with Nick especially
> > interested in seeing some supervisory tool developed which could pull
> > together different music/sound projects currently being developed in
> > isolation from each other and eventually orphaned. So a project may be
> > a-borning.
> >
> > I took the Schillinger text and have implemented the first exercise in
> > Chapter Two, which shows how two different rhythms can be made to work
> > together to produce a resultant other rhythm. Well, I thought I did, but
> > I better look again. It was late and I think I cocked it up. But it
> > certainly lends itself to my new buddy, the loop macro.
> >
> > Four hours, altogether, and I think everyone took something new away
> > from the session.
> >
> > A note to lispnik social clubs everywhere: this all arose from my
> > Lisp-With-Kenny offer, and someone from a local Linux group responding.
> > This in turn resulted from a Linux God (Jay Sulzberger) blessing
> > lisp-nyc with advocacy back in the Land of the Free.
> >
> > A note to non-NYers: at least one virtual member will be following along
> > as best he can from the lisp-nyc mailing list. Others are welcome. If
> > things get too crowded, we'll move to a lisp-nyc SIG list or even just
> > start a common-lisp.net project.
> >
> > kenny
Kenny Tilton <·······@nyc.rr.com> writes:
> Then Drew stepped in with (I think) Snd, a graphical tool for playing
> with wave forms.
actually snd is not a necessarilly a graphical tool it can be run as a
repl, and it accepts scheme language to process audio files. If you
look at it carefully you might find it to be the emacs of sound
editors.
Immanuel