The archives of the Columbia-Princeton Electronic Music Center document the development of electronic music from the 1950s onward. They contain thousands of tapes and recordings of pioneering composers' experiments with tape manipulation and early synthesizers. The archives also preserve recordings of the New York Composers' Forum concerts that featured discussions with composers and premiered many unpublished works. Efforts are underway to preserve and digitize the historically significant collection.
Archives of the Columbia-Princeton Electronic Music CenterNick Patterson
An overview of materials in the archives of the former Columbia-Princeton Electronic Music Center (now the Computer Music Center at Columbia).
Sorry, audio examples not included in this version. Please feel free to contact me with any questions or comments. /Nick Patterson
A Student Guide to the NYPL Jerome Robbins Dance DivisionKatya Schapiro
A student guide to using the NYPL's Jerome Robbins Dance Division collection. Created as a presentation to Barnard College faculty, staff, and students April 13, 2011. (Not affiliated in any way with Barnard College or the New York Public Library)
Finding a Path Through the Juke Box: The Playlist TutorialBen Fields
The simple playlist, in its many forms – from the radio show, to the album, to the mixtape has long been a part of how people discover, listen to and share music. As the world of online music grows, the playlist is once again becoming a central tool to help listeners successfully experience music. Further, the playlist is increasingly a vehicle for recommendation and discovery of new or unknown music. More and more, commercial music services such as Pandora, Last.fm, iTunes and Spotify rely on the playlist to improve the listening experience. In this tutorial we look at the state of the art in playlisting. We present a brief history of the playlist, provide an overview of the different types of playlists and take an in-depth look at the state-of-the-art in automatic playlist generation including commercial and academic systems. We explore methods of evaluating playlists and ways that MIR techniques can be used to improve playlists. Our tutorial concludes with a discussion of what the future may hold for playlists and playlist generation/construction.
Presented on August 9, 2010 at the International Conference on Music Information Retrieval in Utrecht, The Netherlands.
pdf available : http://benfields.net/playlist_ismir_2010.pdf
Archives of the Columbia-Princeton Electronic Music CenterNick Patterson
An overview of materials in the archives of the former Columbia-Princeton Electronic Music Center (now the Computer Music Center at Columbia).
Sorry, audio examples not included in this version. Please feel free to contact me with any questions or comments. /Nick Patterson
A Student Guide to the NYPL Jerome Robbins Dance DivisionKatya Schapiro
A student guide to using the NYPL's Jerome Robbins Dance Division collection. Created as a presentation to Barnard College faculty, staff, and students April 13, 2011. (Not affiliated in any way with Barnard College or the New York Public Library)
Finding a Path Through the Juke Box: The Playlist TutorialBen Fields
The simple playlist, in its many forms – from the radio show, to the album, to the mixtape has long been a part of how people discover, listen to and share music. As the world of online music grows, the playlist is once again becoming a central tool to help listeners successfully experience music. Further, the playlist is increasingly a vehicle for recommendation and discovery of new or unknown music. More and more, commercial music services such as Pandora, Last.fm, iTunes and Spotify rely on the playlist to improve the listening experience. In this tutorial we look at the state of the art in playlisting. We present a brief history of the playlist, provide an overview of the different types of playlists and take an in-depth look at the state-of-the-art in automatic playlist generation including commercial and academic systems. We explore methods of evaluating playlists and ways that MIR techniques can be used to improve playlists. Our tutorial concludes with a discussion of what the future may hold for playlists and playlist generation/construction.
Presented on August 9, 2010 at the International Conference on Music Information Retrieval in Utrecht, The Netherlands.
pdf available : http://benfields.net/playlist_ismir_2010.pdf
Le Windows Runtime 8.1, propose plus de 5000 nouvelles APIs. Dans cette session nous vous proposons de faire un rapide tour d’horizon de certaines, agrémenté de démos et de codes.
Speakers : Eric Vernié (Microsoft), Sébastien Pertus (Microsoft), Loic Rebours (Avanade)
I have created a timeline of the history of music from the 1960's to current day looking at how genre has changed in popularity and how the music videos have changed.
Le Windows Runtime 8.1, propose plus de 5000 nouvelles APIs. Dans cette session nous vous proposons de faire un rapide tour d’horizon de certaines, agrémenté de démos et de codes.
Speakers : Eric Vernié (Microsoft), Sébastien Pertus (Microsoft), Loic Rebours (Avanade)
I have created a timeline of the history of music from the 1960's to current day looking at how genre has changed in popularity and how the music videos have changed.
a quick powerpoint covering the development and evolution of the pop rock genre that has developed from the early 50's looking at some of the most iconic stars that are played around our country.
The Baroque Period of Western Music History circa 1600 to 1750 AD. It may derive from the word barroco in Portuguese meaning “irregular shape.” Originally used in a derogatory fashion to describe artistic trends of this time period, baroque has come to broadly refer to the century and a half beginning in 1600.
▶️ YouTube: https://www.youtube.com/c/JoynulAbadinRasel
☕ Buy me a Coffee: https://www.buymeacoffee.com/JoynulAbadinR
How have technologies changed music and how have they changed the listener? - Sonya Sokolova, the publisher of www.Zvuki.ru, observes the music industry from 1900 to nowadays.
In this lecture you will learn:
- Why electronic musicians love gray;
- How the production of music and its distribution have changed over 100 years;
- Why the majority of great inventions came to us so late;
- Who was the first to create music from the trash and what Doctor Who has to do with it;
- How Russian and British monarchs created a fashion for gramophones;
- How many years it took to fit the orchestra in the garage;
- Why in 2020 musicians have more sources of income, but less money
The Europeana Music Collections presented at EVA/MINERVA 2015 http://www.digital-heritage.org.il/program2015.html on 2015-11-09
These slides supported a presentation of the Europeana Music Collections, built on the Europeana platform, as part of a session on making audio-visual collections from libraries, archives and museums more available online.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...
Archives of the Columbia-Princeton Electronic Music Center (@ Pratt)
1. Archives
of the
Columbia-Princeton
Electronic Music Center
(CPEMC)
Nick Patterson
Columbia University
2. Some History
• Composers Vladimir Ussachevsky and Otto
Luening
• Both working at Columbia and Barnard during
the mid-1940s
• Interests in electronic music via the tape
recorder began in early 1950s
3. Some History
• Music Dept. acquires an Ampex 400 reel-to-reel
tape recorder in ca. 1951, and WKCR gets
Magnachord recorder
• Ussachevsky and Luening both begin
experimenting with musical applications of tape
recorder
4. Early tape recorder experiments
• Experiments involved manipulating pitch,speed, and
tape direction of recorded material on tape, and using
tape echo
• Engineer Peter Mauzey assisted in getting these effects
• Here is an example of early experiments by
Ussachevsky for “Sonic Countours”
7. “The tape recorder was put in my charge,
and one day I suddenly realized that it
could be treated as an instrument of
sound transformation.” - Ussachevsky
8. Some More History…
• During the 1950s, Luening and Ussachevsky
continue to develop the musical use of the tape
recorder,
• In 1952, Ussachevsky presents “experiments” at
a concert at Columbia, and at a concert at
MoMA, the “first public concert of tape recorder
music in the United States” (Luening)
9. Some More History…
• During the 1950s, Luening and Ussachevsky
continue developing works incorporating tape
recorder, such as the “Rhapsodic Variations” for
tape recorder and orchestra (1954), premiered
by the Louisville Symphony Orchestra
• Unusual in that they collaborated as joint
composers
10. Birth of the CPEMC
• After a decade of experimentation with
electronics, in various locations at Columbia, a
plan was proposed for a center for electronic
music
• Funding was obtained from the Rockefeller
Foundation, for a joint center with Princeton, and
the CPEMC was established in 1959, in Prentis
Hall on W.125th St.
11. Formal incorporation
• In 1959, the CPEMC was formally
incorporated, assisted by a grant from the
Rockefeller Foundation.
• Ussachevsky’s notes indicate a grant of
$175,000.
• Ussachevsky, Luening, Babbitt, and Sessions
(all composers)formed the Committee of
Direction (Ussachevsky as chair).
12. In notes, Ussachevsky described
the Center’s aims:
“… a certain amount of research in sound
synthesis and some analytical studies will
proceed, parallel to the composers’
creative work.”
He goes on to mention work in musical acoustics, and
supplementing studies in psychology, psychoacoustics,
speech and electrical engineering
13. The RCA MKII Synthesizer
• This “state-of-the-art”, room-sized
synthesizer was the second model built by
RCA, based on work by H.F. Olson and
Herbert Belar (the earlier model was at
Princeton)
• It formed the centerpiece of the newly-
established Center
14. The RCA MKII Synthesizer
• Olson and Belar’s 1955 paper in the
Journal of the Acoustical Society of
America, v.27, no.3 provided an
interesting engineer’s perspective on
sound:
15. “The tones produced by bells… glockenspiel, and
xylophone are objectionable for two fundamental
reasons: first, because the strike tones are disagreeable
and, second, because the overtones are not harmonics”
or…
“… the bow scratch which has always been objectionable
in the violin…”
or…
“The objectionable noise of the hammer striking the string
together with mechanical rattle of the piano does not
exist in the tones produced by the electronic system.”
16. The RCA MKII Synthesizer
Babbitt, Peter Mauzey (engineer), and Ussachevsky
17. The RCA MKII Synthesizer
Note the keypads for punching the paper rolls
which drove the synthesizer
19. … but, “any sound that may be imagined
by the human mind” for RCA apparently
meant this:
20. … Milton Babbitt, however, had other
ideas… such as “Philomel” (1964):
21. … He could do this, because he’s a card-
carrying member of the Audio Engineering
Society…
22. The RCA MKII Synthesizer was
used mostly by Babbitt but also
by composer Charles Wuorinen,
for his 1970 Pulitzer-prize
winning composition “Time’s
Encomium”
23. Some other notable pieces
realized at the Center (but not
using the RCA MarkII) included:
• Mario Davidovksy’s “Synchronisms No.5” (1969)
• Charles Dodge’s “Earth’s Magnetic Field” (1970)
• (an early example of computer music)
24. Some later milestones
• Renamed Columbia University
Electronic Music Center in 1980 (Mario
Davidovsky, director)
• Renamed Columbia University
Computer Music Center in 1994 (Brad
Garton, director)
• Center is still active and well-represented
in the New York and international music
scenes
27. The Archives contain:
• 4,859 reel-to-reel tapes (ca. 55% 10” and 45%
7” reels)
• 700 recordings in other formats (DATs,
phonorecords, CDs, etc.)
• ca. 72 linear feet of printed documents,
manuscripts, and ephemera
• I conducted a rough survey and inventory to
obtain the best estimate I could, within time
constraints
28. The content?
• Full works by composers working at the Center
from 1950s to present
• Work tapes (source material, manipulated
recordings, loops, etc.)
• Some music manuscripts of full scores, and
sketches and work notes
• Technical documentation relating to the RCA
MKII and other studio equipment
• Photos, slides, and ephemera
44. But wait, there’s more…
• Recordings of the New York Composers’
Forum concerts, from ca. 1951 through the late
1970’s
• These continue the Composers’ Forum
concerts begun under the WPA Federal Music
Project in the 1930s, by Ashley Pettis, which
went on hiatus during WWII, but was revived
by Columbia and the NYPL in ca. 1947
45. Composers’ Forum concerts
(1951 – ca. 1975)
• One interesting feature, present in the
original series, is the inclusion of question
and answer sessions with the featured
composers
• Virgil Thomson served as moderator for
several of these
• NYPL has program notes for many of the
concerts …
• … but I believe Columbia has the only copies
of the original reels
46. Composers’ Forum concerts
(1951 – ca. 1975)
• Several of the works preserved are not found
in WorldCat, including for example works by
under-represented female composers of that
period, such as Julia Perry and Marion Bauer
• Here’s an excerpt from Marion Bauer’s “4
Moods for piano”
47. Here’s one example of a reel, which contains a discussion by
composers Luigi Dallapiccola and Chou Wen Chung, from
1957
52. Composers’ Forum concerts
• Some audio examples:
• Joan Tower, “Opa Eboni” – Discussion
period – Harvey Sollberger, moderator
53. Composers’ Forum concerts
• Composers Forum content identified as
a finite area, on which to start
preservation (funding + practical
constraints)
• 30 concert dates initially selected for
digitization
• Grants from ARSC and NY State
54. Composers’ Forum concerts
• Phase I: 30 concerts digitized (by
George Blood Audio)
• Cataloged and made available in our
OPAC (CLIO)
• Full-quality audio files installed on 5
local workstations in Music & Arts
Library
55. Composers’ Forum concerts
• Phase II: remainder of concerts
digitized
• awaiting cataloging
• we continue to look for a streaming
solution
• barriers are internal tech issues and
resources
• researchers already using materials
56. What’s happening with the
archives?
• Storage in the poorly controlled environment has
taken its toll
• The collection has now been deeded to the Libraries
• Physical transfer to Offsite storage
• Preservation and re-formatting urgently needed
• Grants to pay for this all (Grammy? Other?)
• Continue to seek streaming access (but very likely
limited to Columbia)
57. Summary
The archives of the Center is an important
collection of materials which provide insight into
the development of tape, electronic, and
computer music in the United States and
internationally; it documents the work of several
important composers, and contains many unique
original recordings, including the New York
Composers’ Forum concerts from ca. 1951-late
1970’s
58. Summary
The Composers’ Forum recordings feature
question & answer sessions with the composers,
some moderated by Virgil Thomson and other
noted composers. Some of the performers are
also notable. Even with very limited access and
lack of arrangement, this collection has already
been visited by researchers, and improved
access and preservation would no doubt attract
the interest of future researchers.