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Page 39 ï~~COMPUTER MUSIC COURSES U AN EDUCATION EXPERIMI Sever Tipci, Robin Bargar, Ben C Computer Music School of Music, Univcr 2136 Music Bui 1114 West Nevada S treet, Urt ABSTRACT: In collaboration with the EDUC NATIONAL CENTER for SUPERCOMPUTIN of Music of the University of Illinois has offerc courses: "(Super)computer-assistcd Compositio Supercomputers". These courses show d that a s is conducive to cxncrimnaaion and srcatlv ben
Page 40 ï~~FR4CTALS and CHAOS (3 hrs.): The Mandelbrot and and Brian Evans; non-linear systems as a source of comr SCIENCE AND MUSIC (6 hrs.): The persistence of Nc possibility of mutual influences between Music and Sci simultaneity. Time asymme Quantum Mechanics, Schrodinger's cat ai try -- entropy and the arrow of time. Topics discussed in the Computer-assisted Composition cla week) range from a brief historic review and aesthetic consid program (Sever Tipei's MP1) [2,3] and also includes brief ir variants AIX FORTRAN. - for the IBM RTs of the Computer Music Pro Following is a summary of the course: BRIEF HISTORICAL OVERVIEW OF CAC (3 hrs.) A fl SA - -a - A a \aVa aÂ~\a40\ 1 e dm 1 A TAT a, aAnn %
Page 41 ï~~offers the best debugging facilities on this particular su the FORTRAN 8X standard with all its enhancements, languages like C. The second course, "Musical Applications On Sul people with proven programming abilities who want to work for which supercomputers are necessary. During i enrolled for both semesters because they felt they neede produce something of significance. Following is a brie ended up as full-fledged research topics. 1. Robin Bargar's MUSIC VISUALIZATION inclu sound synthesis and computer graphics, an environmer and images. The project is based on two premises: a) d both graphic and sound output, and b) the implementat The investigation was directed toward three areas: the u composed output; graphics as a representation of comp, expressive medium. Crossovers can be identified betw nrarnkino\ rAtkasthIrA (trnrn,~tnr tnrt"1\
Page 42 ï~~between the alphanumeric output of computer-assisted cor the commercially available SCORE written by Leland Sm selected from a number of alternatives cause it is able to unconventional notations found in contemporary music scc describing sonic events and produces input files for SCOR The program is capable of producing complex rhythmic di ties, which can be written in any metric pattern -- from 4/, 4. David Kelley has also designed a CELLULAR AUT( based on a musical paradigm whereby a group of individun mutual interaction. This model has one of its roots in the successive transformations of an initial set lead to statistic streamed to a unique harmonic of a rich tone allowing an a. inharmonicity. Musical events are specified as "I" cards, a file which is input to M4C (a C variant of 4BF, available