Re: copyright and translation


Subject: Re: copyright and translation
From: KEVIN AUSTIN (KAUSTIN@vax2.concordia.ca)
Date: Mon Feb 01 1999 - 05:47:41 EST


Thank you for your thoughts...

Alexandra wrote:

-- A spectrogram *in any case* is a sort of (derivative) abstraction
>(hence no copyright duties ...), which nevertheless can be much helpful
>getting an at-once overall view on a composition's structual course (if
>storage/processing capacity does allow ...) as well as on its spectral
>distribution.

? This sounds like a musical score which is an abstraction (hence the
original question).

[snip] ... and continued ...

> And regarding this, the notion of musical imagination is not that
>different of any music score reading, with the very difference, however,
>being that the score is prescriptive, yet the spectrogram descriptive ...

The musical score may be prescriptive to the performer, but descriptive
to the listener... ipso facto

Hugh Le Caine's 'Spectrogram' (a 16 channel control voltage source -- the
Coded Music System of 1952) in its 1959 reincarnation used a roll of
paper which went between a very bright light and a row of photocells. The
McGill model had space for 100 channels, although only 16 were installed.

The width of the _black_ (india ink) lines determined the amplitude of
the control voltage. The output voltages were also cross-patchable,
making it possibly an early version of the vocoder.

In this case, the 'score' could have looked like a very crude (16 band)
spectrogram. Istvan Anhalt's Electronic Composition III (Birds and Bells)
was composed from materials created by this instrument and a bank of 16
sinetone oscillators.

It seems LeCaine had wanted to provide a way to more easily assemble
works such as Stockhausen's Studie II, by 'drawing' the piece.

Best

Kevin
kaustin@vax2.concordia.ca

For more info on Le Caine, see "The Sackbut Blues", by Gayle Young. ISBN
0-660-12006-2.



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