Merge pull request #13 from s-e-a-m/finalrev

Finalrev

paper/LAC-20-SEAM.bib

@@ -118,6 +118,13 @@ @book{lais69
   publisher={Material Press}
 }
 
+@book{pbdod85,
+  author={Pierre Boulez},
+  year={1985},
+  title={Dialogue de l'ombre double},
+  publisher={Universal Edition}
+}
+
 @book{nlre87,
   author={Nono, Luigi},
   year={2016},
@@ -129,5 +136,5 @@ @book{lmml91
   author={Lupone, Michelangelo},
   year={1991},
   title={Mobile Locale},
-  publisher={CRM - Centro Ricerche Musicali}
+  publisher={Musica Verticale}
 }

paper/LAC-20-SEAM.tex

@@ -346,10 +346,12 @@ \section{Neatly Layering}
 % \emph{Risonanze Erranti} (mentioned later in this article), in which half of the
 % ensemble not to consist in traditional acoustical instruments, but in
 % \emph{Live Electronics Instruments}, dated the '80s and not fully described and
-% neither sustained through the years? Some people have memories of those
-% disappeared instruments from musical daily doing and, after all, they have
-% directly worked with Nono and can accurately describe and share what happened
-% and what can today happen.
+% neither sustained through the years?
+
+Some people have memories of those disappeared instruments from musical daily
+doing and, after all, they have directly worked with Nono and can accurately
+describe and share what happened and what can today happen. After all, who is
+actually working on their tradition, maintaining thinks on their thought?
 
 \begin{quote}
 In the classical music context, a musical interpretation requires the ability to
@@ -368,14 +370,15 @@ \section{Neatly Layering}
 musical problems to solve. During that well-studied interaction learning the art
 of entertainment, where the industry is god, and \emph{God is a DJ}, meanwhile,
 it grows also a repertoire of music that we must consider the core of the actual
-musical thinking and conception, that will disappear in a few years if not
-\emph{sustained}. Not the written papers, neither the recordings of that
-repertoire. We have archives with \emph{clouds} for that, and some \emph{machines}
-to manage and take care of that, maybe. But it will disappear the practice, the
-interpretation, the sensibility and the musical thinking itself from roots of
-musical comprehension, which are at the same time the roof of composing, the
-inspiring starry sky. And there will be no place to store these human-related
-aspects. If there are clouds, they are grey and full of rain.
+musical thinking and conception, a line, a connection with the past that will
+disappear in a few years if not \emph{sustained}. Not the written papers, neither
+the recordings of that repertoire. We have archives with \emph{clouds} for that,
+and some \emph{machines} to manage and take care of that, maybe. But it will
+disappear the practice, the interpretation, the sensibility and the musical
+thinking itself from roots of musical comprehension, which are at the same time
+the roof of composing, the inspiring starry sky. And there will be no place to
+store these human-related aspects. If there are clouds, they are grey and full
+of rain.
 
 Here are the focal points. What will become the electroacoustic music repertoire
 if not the one played in the concert hall? Why we do concentrate too many
@@ -386,7 +389,7 @@ \section{Neatly Layering}
 %-------------------------------------------------------------------------------
 %-------------------------------------------------------------------------------
 
-\section{The Seam Community}
+\section{The \emph{SEAM} Community}
 \label{sec:seam}
 
 From seam meaning:
@@ -412,18 +415,19 @@ \section{The Seam Community}
 
 To prevent catastrophic regression of musical thinking we must consider that
 there are few dogmatic concepts to build, re-build and sustain an
-\emph{electroacoustic repertoire}:
+electroacoustic repertoire: open and be open, don't repeat
+yourself, think and act as community.
 
-\begin{enumerate}
-  \item Open and Be Open
-  \item Don't Repeat Yourself
-  \item Think and Act as Community
-\end{enumerate}
+% \begin{enumerate}
+%   \item Open and Be Open
+%   \item Don't Repeat Yourself
+%   \item Think and Act as Community
+% \end{enumerate}
 
-\textbf{SEAM is an Open, DRY, Community.} People inside SEAM will share their
+\emph{SEAM} is an Open, DRY, Community. People inside \emph{SEAM} will share their
 knowledge to weld words, papers and literature with meaning.
 
-These are the SEAM organisation coordinates:
+These are the \emph{SEAM} organisation coordinates:
 \begin{itemize}
 \item \url{http://s-e-a-m.github.io}
 \item \url{http://seam-world.slack.com}
@@ -432,18 +436,18 @@ \section{The Seam Community}
 There are notably predecessors of this kind of initiative, with more personal
 oriented use, some of them has inspired this project, like the Miller Puckette's
 repository\footnote{\url{http://msp.ucsd.edu/pdrp/latest/files/}}. We hope the
-public domain community profile of SEAM can include some of those precious
+public domain community profile of \emph{SEAM} can include some of those precious
 wizards contributes, in a more community sense, to avoid the misunderstanding
 of literature. An only-tech reading can bring to wrong interpretations even for
 great tech minds. That's how Puckette \cite{mp01} resolve a crucial description
-of the \emph{Dialogue}:
+of the \emph{Dialogue} \cite{pbdod85}:
 
 \begin{quote}
 This piece in its published form is performed by one clarinetist accompanied by
 a tape of the same clarinetist.
 \end{quote}
 
-It is not accompanied, it is a dialogue.
+It is not accompanied, it is a \emph{dialogue}.
 
 %-------------------------------------------------------------------------------
 
@@ -532,7 +536,7 @@ \subsection{SEAM Instruments}
 
 %-------------------------------------------------------------------------------
 
-\subsection{SEAM Topology}
+\subsection{\emph{SEAM} Topology}
 
 Referring to the electroacoustic music literature, where the substantial
 difference with the acoustical one is an inevitable continuously changing of the
@@ -546,7 +550,8 @@ \subsection{SEAM Topology}
 \begin{description}
   \item[The undocumented] where composers use only word description to generate
   environment and circumstances;
-  \item[The \emph{hole-word}] where the score has deep technical documentation
+  \item[The \emph{hole-word}]\footnote{in stud poker a card which has been dealt
+  face down.} where the score has deep technical documentation
   but listing names of undocumented instruments. Without musicological
   methodologies, frequently with names without a specific meaning;
   \item[The porting] where informatics translations between languages or
@@ -573,7 +578,7 @@ \section{Write the undocumented}
 many composers until now never documented their works with specific usages of the
 technologies at their disposal. There are tons of scores that implicitly involves
 particular amplification, or complex electroacoustic staging, only by words
-description.
+description that needs deep comprehension.
 
 %-------------------------------------------------------------------------------
 
@@ -773,7 +778,7 @@ \subsection{1989, \emph{Risonanze Erranti}, Luigi Nono}
 \end{quote}
 
 Words can define and reduce some issues to integrate diagrams and musical notation
-where they are lacunose or obscure. Reading a musical score unknowing the mental
+where they are inconsistency or obscure. Reading a musical score unknowing the mental
 state of the composer that brought it to the world is a daily committed crime. A
 composer poetics is inevitably invoked into the work he is producing and in his
 musical practice and research. Even when there are knowledge and structured
@@ -828,7 +833,8 @@ \subsection{1989, \emph{Risonanze Erranti}, Luigi Nono}
 in the Studio as we were gnostics: with immediate intuition, mediate intuition,
 instrumentation and research. It has been the knowledge of the Dutch philosopher
 Brouwer to introduce me [\dots] the necessity of the “perception of the mutation”.
-We are living in an era of continuous mutations, transformations and fragmentations.}.
+We are living in an era of continuous mutations, transformations and fragmentations.
+(translated by G. Silvi and D. Tedesco)}.
 \end{quote}
 
 If there is something that must be sustained is exactly that musical behaviour.
@@ -870,7 +876,8 @@ \subsection{1989, \emph{Risonanze Erranti}, Luigi Nono}
 as a locomotive on a railway, which it become unstoppable. The computer is not a
 delegated intelligence. No, the computer is the means that obliges you to learn
 new types of knowledge, [\ldots] we verify continuously the acoustics and we
-insert changes in what I have written and thought.}.
+insert changes in what I have written and thought. (translated by G. Silvi and
+D. Tedesco)}.
 \end{quote}
 
 Musical score thinking and annotating procedure to obtain a musical match, like
@@ -902,7 +909,7 @@ \section{Porting}
 of music lost in the past for technological issues, into a new possibility of
 music playing.
 
-%--------------------------------------------------------------------------------------------------------------------------------------
+%-------------------------------------------------------------------------------
 \begin{figure}[ht]
 \centerline{\includegraphics[width=.45\textwidth]{img/lmfly10}}
 \caption{\label{ml-fly10}{\it \emph{FLY10} Module Diagram. The modules are
@@ -921,9 +928,9 @@ \subsection{1991, \emph{Mobile Locale}, Michelangelo Lupone}
 interpret his music, with his unavoidable sensibility at disposal of better
 comprehension of the music score. Close to this, the fascinating possibility to
 revive a beautiful work, \emph{Mobile Locale}, stuck by technical problems that
-obscured its musical value. The work was conceived around a technology born from
-the same Lupone's musical thinking, at CRM\footnote{\url{http://www.crm-music.it/}}
-(Music Research Centre, in Rome), the \emph{System Fly} \cite{ml85}.
+obscured its musical value. The work is for percussion and live electronics with
+fixed media and was conceived around a technology born at CRM\footnote{\url{http://www.crm-music.it/}}
+(Centro Ricerche Musicali, in Rome), the \emph{System Fly} \cite{ml85}.
 
 %The Fly 30 system was conceived by Lupone and developed by a CRM Research Team
 %about five years after Lupone's Fly 10.
@@ -942,9 +949,9 @@ \subsection{1991, \emph{Mobile Locale}, Michelangelo Lupone}
 and the \emph{Fly 30}, was oriented on real-time musical interaction as, during
 those years, was pioneered by the institutionalized research labs. At the same
 CIM\footnote{\url{http://www.aimi-musica.org/?page_id=13}} event in which Lupone
-described the System Fly \cite{ml85},  Sylviane Sapir and Alvise Vidolin
+described the System Fly \cite{ml85}, Sylviane Sapir and Alvise Vidolin
 \cite{savi85} portray, with inspiring words, the real-time \emph{Prometeo}
-production
+production.
 
 \begin{quote}
 Con l'avvento dei sistemi informatici in tempo reale è diventato possibile
@@ -953,32 +960,28 @@ \subsection{1991, \emph{Mobile Locale}, Michelangelo Lupone}
 laboratori e concepire delle composizioni che prevedessero una esecuzione dal
 vivo sia autonoma sia integrata con altri strumenti tradizionali e
 non\footnote{With the appearance of real-time informatics systems, it has become
-possible to re-put the gesture and the sound in direct correspondence, recreating
+possible to put the gesture and the sound in direct correspondence, recreating
 the action-sound-listening-action feed-back and, consequently, bringing the
 computers out of the laboratories and conceiving compositions that provided for a
 live performance both autonomous and integrated with other traditional and
-non-traditional instruments.}.
+non-traditional instruments. (translated by G. Silvi and D. Tedesco)}.
 \end{quote}
 
 Knowing the structure of \emph{Fly 10}, shown in figure \ref{ml-fly10}, and its
 procedure to generate sound at the electric stadium is fundamental to understanding
-some of the composer tunings of algorithms,  simultaneously to balance the new
-real-time processing made by the porting mixed with the original tape sound made
-with the \emph{Fly 10} system. The 1991 state of the art of the \emph{System Fly
-30} structure had $16Bit$ ADC/DAC with a sample rate up to $96KHz$. For the
-release of Mobile Locale, the label \emph{Edipan} mastered the tape with upsampling
-to $16Bit$ at $48KHz$. The sounds generated with today real-time architecture
-could be in high resolution and at higher sampling frequencies. Discussing with
-Lupone all those historical data and the new procedure, underlined the necessity
-to have a set of filters, similar to those at the end of \emph{Fly} systems, to
-search a timbral balancing during the staging.
-
-The entire electronics, both tape and live, was conceived as a shadow of the
+some of the composer tunings of algorithms, simultaneously to balance the new
+real-time processing made by the porting. Mobile Locale was published by \emph{Musica
+Verticale}, the tape was produced with a \emph{Fly 10} and lately mastered at
+$16Bit$ $48KHz$ by Piero Schiavoni at \emph{Edipan Studios}. %The 1991 state of
+%the art of the \emph{System Fly 30} structure had $16Bit$ ADC/DAC with a sample
+%rate up to $96KHz$.
+The sounds generated with today real-time architecture could be in high resolution
+and at higher sampling frequencies. Discussing with Lupone all those historical
+data and the new procedure, underlined the necessity to have a set of filters,
+similar to those at the end of \emph{Fly} systems, to search a timbral balancing
+during the staging. The entire electronics, both tape and live, was conceived as a shadow of the
 acoustic percussions and amplification of them. So there are three levels of
-musical matter on stage: the acoustic (a complex set of percussions), the
-electroacoustic (sound reinforcement, early reflections simulation and tape),
-the live electronics (real-time processes based on three different delay lines
-usages).
+musical matter on stage: the acoustic, the electroacoustic, the live electronics.
 
 \begin{figure}[ht]
 \centerline{\includegraphics[width=.45\textwidth]{img/1-comp}}
@@ -1176,7 +1179,8 @@ \section{Conclusions}
 \begin{quote}
 La musica non è solo composizione. Non è artigianato, non è un mestiere. La
 musica è pensiero \cite{nono85}\footnote{Music is not only about composing.
-It's not artisanship, neither only a craft. Music is the thought.}.
+It's not artisanship, neither only a craft. Music is the thought. (translated by
+G. Silvi and D. Tedesco)}.
 \end{quote}
 %\section{Acknowledgments}
 %