RULES
In order to encourage the creation of electro-acoustic music, Miso Music Portugal, the Portuguese section of the ISCM (International Society of Contemporary Music) and the Portuguese Federation of the CIME (Confed
This is a quick and dirty tutorial that shows exactly how to communicate between Max/MSP and SuperCollider 3 with Open Sound Control (OSC). This could be useful for a number of things. If you want to use SC3, but would like to be able to do video processing with Jitter, for instance. Or, if you want to write a patch in SC3, but design an interface for it in Max.
Learn more about OSC here:
http://www.cnmat.berkeley.edu/OpenSoundControl/
OSC is a pretty fundamental part of SC3, so you won’t need to add anything there, but you will need to install the OSC externals into Max/MSP. They’re available for Mac and Windows here:
http://www.cnmat.berkeley.edu/OpenSoundControl/Max/
Max/MSP => SC3
Now that you have the OSC externals installed, I’ll start by showing how to send a message from Max to SC3. First, in SC3, you’ll want to set up an OSCResponder:
OSCresponder(nil, '/goNOW', { : ... args :
args.postln;
}).add;
This particular OSCresponder responds on all ports because there’s no NetAddr specified. For now, that’s just easier than worrying about addresses and ports.
Then, in Max, set up a patch like this:
Clicking on the message box /goNOW 1 will send that message to SC3, and SC3 will do whatever you asked it to do in the OSCResponder.
If you’d like to specify a specific address and port that the OSCResponder will listen to, you have to set up a NetAddr in SC3:
a = NetAddr.new(“127.0.0.1”, 49155);
The IP address, 127.0.0.1, is just localhost, but any IP address can be specified. The port shown here, 49155, will not necessarily be 49155, and is the “read” port that is displayed in Max/MSP when you send a “tellmeeverything” message to the “otudp write” object. To find out what port number to use, go to Max, and create a message box with “tellmeeverything” in it, and link that to the left inlet of “otudp write”. Clicking on “tellmeeverything” will give you a bunch of stuff in the output box. Part of it will look like this:
You asked to write to internet host "127.0.0.1"
Writing to internet host 127.0.0.1
Writing to port 57120
This object reads from port 49155
Buffer sanity check passed
Buffers are 1024 bytes
The port number bolded above (49155) is the port number you want to use in the NetAddr statement. Why? I don’t know. It just seems to work.
So, that’s about all you need to know to send a message from Max/MSP to SC3. Now, how about the other direction?
SC3 => Max/MSP
First, define a server for the address and port that Max/MSP will be listening on:
max = Server(“aServer”, NetAddr(“localhost”, 8000));
Then, set a Max patch to listen on port 8000:
Then, send Max a message from SC3:
max.sendMsg(“one”, “two”);
That’s it. Enjoy!
Nothing new? Understanding newness in medieval and contemporary music
The Plainsong and Medieval Music Society (PMMS) and the Centre for Research in New Music (CeReNeM) invite abstracts for papers, and proposals for new works, for an exciting two-day conference at the University of Huddersfield from 2526 April 2009.
Since antiquity, writers and musicians have responded to innovation in ways that have sought to encourage it and condemn it in equal measure. From the commonly-encountered musical illustrations of the psalm Cantate Domino canticum novum (Sing unto the Lord a new song) in medieval manuscripts, to the terms used to theorise the music of the time both then and now (ars antiqua/nova, new song), the medieval mind was captivated by the possibilities of developing notations and musical styles. In the twentieth and twenty-first centuries, the term new music has come to serve as a catch-all for a proliferation of current musical practices, from the avant-garde to the popular. Yet composers of both ages have produced works that have blended old and new, and that were knowingly intertextual. Nothing new? Understanding newness in medieval and contemporary music offers musicologists and composers the opportunity to explore common ground between the medieval and digital ages, through a stimulating mixture of conference papers, lectures, performances and composition workshops. A composition competition, culminating in the workshop and performance of new works exploring concepts of newness, is being generously funded by the Plainsong and Medieval Music Society.
Call for Papers
Proposals are invited for papers on any element of medieval or contemporary music that deals with issues of newness (or oldness). Papers that deal with the use of medieval compositional techniques within contemporary musical styles, or that consider individual works, are particularly welcome. Other topics might include:
– New notations
– The new in Ars nova, the old in Ars antiqua
– New song
– Plainchant repertories
– The use of pre-existent materials in new contexts
– Sampling techniques
– Liturgies old and new
– The use of popular music in religious ritual
– Theorising newness in music
– Creating new ideas in the 21st century
– Reinventing the past in music
– Musical borrowing
– Old/new approaches to performing medieval music
– Copyright in contemporary music
– Innovation and originality
Papers should last 20 minutes, to allow time for questions. Proposals for themed sessions and roundtable discussions, especially those that include discussion of both eras, are encouraged. Please email all abstracts (200 words) to Dr Lisa Colton to arrive no later than 1 September 2008. Include details of any technical equipment that you will require for your presentation. Proposals will be selected, and the decision conveyed, by the end of December 2008.
Compositions: Call for works
Compositions based on the conference theme of newness are invited for a workshop and competition, for which a prize will be offered by the Plainsong and Medieval Music Society. Works can be of any duration. Instrumentation should include some or all of the following: piano, clarinet, saxophone, guitar / electric guitar, percussion, electronics. Composers are encouraged to write for open / indeterminate instrumentation. Compositions should be submitted no later than 12 January 2009, when they will be considered by a panel. A selection of pieces will be workshopped during the conference, and some will be performed in the conference concert, as part of a programme performed by edges ensemble. Applicants whose works have been selected by the panel for inclusion in the workshop or concert will be notified by the end of January 2009. The workshop will take place in St Pauls Hall, a converted Victorian church with a 3.5 second reverberation. Composers using electronics are welcome to discuss their technical requirements with Dr Pierre Alexandre Tremblay. Scores (three copies), one copy of any technical requirements and all relevant electronic parts/patches/plans, and a 200 word programme note that explains how the music engages with, or reflects, the theme of the conference, should be sent to Dr Bryn Harrison, Creative Arts Building, University of Huddersfield, Queensgate, Huddersfield HD1 3DH. Materials are submitted at the senders risk and will not be returned unless a suitable SAE is included.
edges ensemble is a flexible group of performers committed to exploring a variety of new musics, from entirely improvised music through to complex scores. Experimental classics are rehearsed alongside new works by undergraduate and postgraduate composers, as well as works by emerging composers from across the globe. Recent concerts have featured music by Fred Frith (performed with the composer as part of hcmf 2007) and English experimental composers, both concerts combining graphic and indeterminate scores with more fully notated pieces.
Proposals are welcome from musicians at any stage in their professional career, including postgraduate students. For further information and advice on your proposal, please email the conference organiser, Dr Lisa Colton ( l.m.colton@hud.ac.uk ). It is hoped that some of the conference papers will be suitable for publication as a volume of essays in the future.
There is nothing new under the sun but there are lots of old things we don’t know. (Ambrose Bierce, The Devils Dictionary, 1911)
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