Re: bibio [long]


Subject: Re: bibio [long]
From: Andrew Czink (aczink@bc.sympatico.ca)
Date: Fri Oct 08 1999 - 20:02:43 EDT


    Dear Paschall,

    An enviable problem you have for sure. For audio CDs I'd like to suggest
earsay recordings. It's a fairly new record label started by myself and John
Oliver along with graphic designer Tanya Petreman. We currently have 7 CD
releases, 6 of which are exclusively ea featuring the work of Hildegard
Westerkamp, Damian Keller, Susan Frykberg, Giorgio Magnanensi, Rainer Burck, John
Oliver and myself. You can order online at http://www.earsay.com .
    The site has reviews and short clips (2 to 4 minutes on average) in both
RealAudio and mp3 formats. Go to the Soundshop section to get to the CDs. I hope
you like them and order them for your program.
    Cheers,

    Andrew

    Andrew Czink
    director
    earsay productions
     http://www.earsay.com

Paschall de Paor wrote:

> Hi,
>
> paschall de paor here. I run a music technology masters degree here at the
> University of Limerick, Ireland.
> I find myself in a great, though somewhat odd, position.
> Since the beginning of my course, I have ensured a reasonably high quality
> bibliography is in stock, in addition to a comprehensive audio and sample CD
> collection (and of course mustech equipment, though that is not at issue
> today).
>
> The odd position I find myself in stems from the workings of university
> budgets, esp. book budgets. They take a long time to come, and are taken
> away very soon thereafter. Anything unspent is lost forever (i.e., 'you only
> spent £5000 of £23000 last year, so you only get £5000 this year').
> So, upon arrival of this years budget (two months ago), I have steadily
> ordered books, CDs, back issues, etc. Our comprehensive collection has
> grown.
>
> So where is the problem ?
> My libarian informed me a couple of weeks ago that no-one was ordering, and
> as I have a reputation for ordering the weird and wonderful in quantity,
> could I increase my ordering rate. I duly obliged, as one does. I found
> myself digging deeply in my wish list (to the extent that Miroslav Vitous'
> Symphonic Orchestra sample CDs, @ 2600 UK £, was authorised!).
> I have just been informed that the book budget is being pulled next week,
> and anything unspent, well....
> So, I must get my remaining orders organised asap. However, and here is the
> 'problem', I am running out of items to order !!!
> I simply cannot think of anything else of relevance to my course. We seem to
> have everything. Now, I *never* expected to be in such a position - imagine,
> you have all the texts, CDs, etc. relevant to music technology, computer
> music, etc.
> I must be wrong - surely there is something else to get.
>
> So, I am asking the kind and experienced CEC list souls for help. Please
> send me your bibliographies, wish lists, audio CDs, etc. I will sift through
> whatever I receive, and hopefully we won't have it. If the list wishes, I
> will organise and re-post.
>
> Odd position indeed. If anyone can help, I will appreciate it. It would be
> such a shame to have this money re-allocated to some photocopying,
> headed-paper, or whatever administrative budget. Far better it is spent on
> electroacoustic music and music technology.
>
> As an indication, I have included my most recent order (there have been
> several).
>
> Hope you can help me
>
> regards
>
> paschall
>
> BTW, some of the more important texts are out of print, but I keep ordering
> in case I miss a re-print. Furthermore, due to time constraints, some of
> these are *probably* already here - no time to check, but just in case....
>
> >
> > - books
> >
> > The Csound Book: Richard Boulanger, The MIT Press; ISBN: 0262522616
> > (4 copies of Boulanger)
> > Reed, C.E. and Passin, T.B. OESignal Processing in C1, John Wiley, New
> > York,
> > 1992
> > Vaseghi, S. and Frayling-Cork, R. OERestoration of Old Gramaphone
> > Recordings1, Journal of the AES, 40:10, 1992
> >
> > Baroni, M., and L. Callegari, eds., 1984, OEMusical Grammars and Computer
> > Analysis1, Florence: L. Olschki
> > Piccialli, A. ed.,1992 Proceedings of the International Workshop on Models
> > and Representations of Musical Signals1, Universite di Napoli Federico II,
> > Dipartmento di Scienze Fisiche
> > SCHAFER, R. Murray, 1969. The New Soundscape: A Handbook for the Modern
> > Teacher. Toronto: Bernadol. ISBN: 0900938293.
> > Deutsch, Herbert A., OESynthesis: An Introduction to the History, Theory
> > and
> > Practice of Electronic Music1 Alfred Publishing Co., NY, 1976
> > Ernst David 1977 OEThe Evolution of Electronic Music1 Schirmer
> > Judd, Frederick C. 1961 OEElectronic Music and Musique Concrete1 Neville
> > Spearman, London
> > Mathews, Max V. and Miller, Joan E. OEThe Technology of Computer Music1,
> > MIT
> > Press 1969
> > Schrader, Barry OEIntroduction to Electro-acoustic music1 Prentice Hall
> > 1982
> > Schwartz, Elliot OEElectronic Music: A Listener1s Guide1 Praeger, NY, 1973
> > Sear, Walter OEA Guide to Electronic Music and Synthesizers1 Omnibus,
> > London
> > 1977
> > Bartlett, B. (1991) Stereo Microphone Techniques Focal Press
> > Manfred Clynes,ed., Music, Mind and Brain: The Neuropsychology of music
> > 1982
> > Plenum Press NY
> > UNESCO, 1970 OEMusic and Technology1 Paris:La Revue Musicale
> > Jansson, E. and J. Sundberg, eds. 1980, Sound generation in winds,
> > strings,
> > and computers. Pub. No. 29 Stockholm: Royal Swedish Academy of Music
> > Lincoln, Harry B., ed., The Computer and Music, Cornell University Press,
> > 1970
> >
> > Koenig, G. M. 1970, OEProject 1: A Programme for Musical Composition1
> > Electronic Music Reports 2. Utrecht: Institute of Sonology. Reprinted 1977
> > Amsterdam: Swets and Zeitlinger
> > Koenig, G. M. 1970, OEProject 2: A Programme for Musical Composition1
> > Electronic Music Reports 3. Utrecht: Institute of Sonology. Reprinted 1977
> > Amsterdam: Swets and Zeitlinger
> > Koenig, G. M., 1978 OEDescription of the Project 1 programme1 Utrecht:
> > Institute of Sonology
> > Smoliar, S. 1971 OEA Parallel processing model of musical structures1
> > AI-TR-242 Cambridge: Artificial Intelligence Laboratory, MIT
> > Helmholtz, H. 1954 On the sensations of tone as a physiological basis for
> > the theory of music Dover
> > Robson, E. 1981 Phonetic Music with Electronic Music, Primary Press
> > De Poli, G. et al, eds. 1991, Representation of Musical Signals, MIT Press
> > Chowning, J. and Eric Bristow, 1986, FM Theory and Applications,
> > Tokyo:Yamaha Music Foundation
> > Norman, K (issue ed) 1996, Contemporary Music Review: A Poetry of Reality:
> > Composing with Recorded Sound, 15, 1-2
> > Slawson, W. 1985, Sound Color, Berkeley, CA: University of California
> > Press
> > Burroughs, Lou, 1974, Microphones: Design and Application, NY: Sagamore
> > Publishing
> > Clifford, Martin 1977, Microphones: How they work and how to use them, Tab
> > Books
> > van Peer, Rene OEInterviews with sound artists taking part in the festival
> > ECHO: The Images of Sound II, (book with 13 interviews, in English), Het
> > Apollohuis Eindhoven, Tongelresestraat 81 Eindhoven, 5613 DB, Holland.
> > Tel:
> > 040 440393
> > Jones, A., 1995, Plunderphonics: Pataphysics & Pop Mechanics. An
> > Introduction to Musique Actuelle, Wembley: SAF Publishing
> > Slobada, J. (ed) 1988, Generative Processes in Music, OUP
> > Cogan, R. 1984, New Images of Musical Sound, MIT OR Harvard Univ. Press
> > McAdams, S. and E. Bigand (eds) 1993, Thinking in Sound: The Cognitive
> > Psychology of Human Audition, Clarendon Press, Oxford
> > Monelle, R. 1992 Linguistics and Semiotics in Music, Harwood Academic
> > Publishers
> > Vanderveer, N.J. 1979, Ecological Acoustics. Human Perception of
> > environmental sounds, Doctoral dissertation, Dissertation Abstracts
> > International, 40/09B, 4543, University Microfilms No. 80004002
> > Blauert, J. 1983 Spatial Hearing, MIT Press
> > Brinkman, A. 1990 Pascal programs for music research Univ. of Chicago
> > Press
> > Brun, H. 1977 Project Stardust, La Jolla: Lingua Press
> > Buchner, A. 1978 Mechanical Musical Instruments Westport:Greenwood Press
> > Buser, P. and M. Imbert 1992 Audition MIT Press
> > Roads, C. ed. 1989 The Music Machine, MIT Press
> > Chamberlin, H. 1985 Musical Applications of Microprocessors, 2nd ed,
> > Hayden
> > Books
> > Cohen, H. 1984 Quantifying Music, Dordrecht: D.Reidel
> > Desain, P. and H. Honing 1992 Music, mind and machine, Amsterdam: Thesis
> > Publishers
> > Deutsch D., ed., 1982, The Psychology of Music, Orlando:Academic Press
> > Dodge, C. 19??, Computer Music, New York:Schirmer 2nd ed
> > Douglas, A. 1968 The Electronic Musical Instrument Manual 5th ed, New
> > York:Pitman. first ed 1947
> > Douglas, A. 1973 Electronic Music Production, New York: Pitman
> > Dowling, W. and J. Harwood 1986 Music Cognition, Orlando:Academic Press
> > Eaton, M 1971 Bio Music, Kansa City:ORCUS Research
> > Read, O. and W. Welch 1976 From tin foil to stereo:Evolution of the
> > Phonograph, Indianapolis:
> > Howard Sams
> > Fletcher, N. and T. Rossing 1991 The Physics of Musical Instruments New
> > York:Springer-Verlag
> > Rhythm in Psychological, Linguistic, and Musical Processes, Springfield,
> > Illinois: Charles C. Thomas
> > Hoover, C. 1971 Music Machines - American Style, Washington
> > D.C.:Smithsonian
> > Institute Press
> > IMA, 1983, MIDI musical instrument digital interface specification 1.0,
> > Los
> > Angeles: International MIDI Association [plus all addenda]
> > Miller, D.C. 1935 Anecdotal History of the Science of Sound, New York:
> > MacMillan
> > Ord-Hume, A.W.J.G. 1973 Clockwork Music, New York:Crown Publishers
> > Ord-Hume, A.W.J.G. 1984 Pianola: The History of the Self-Playing Piano,
> > London:George Allen and Unwin
> > Penfold, R. 1991 Advanced MIDI user1s guide, Tonbridge:PC Publishing
> > Pope, S., ed., 1991, The Well-Tempered Object, MIT Press
> > Press, W., et. al, 1988, Numerical Recipes in C, CUP
> > Darter, T., ed., 1984, The Art of Electronic Music, New York: Quill
> > Roads, C. 1978, Composing Grammars, San Fransisco: International Computer
> > Music Association
> > Baroni, M. and L. Callegari, eds., 1984, Musical Grammars and Computer
> > Analysis, Florence:Olschki.
> > Rothstein, J. 1992, MIDI: A Comprehensive Introduction, Madison:A-R
> > Editions
> > Slobada, J. 1985, The Musical Mind, Clarendon Press
> > Tjepkema, S. 1981, A Bibliography of Computer Music, Iowa City: Univ of
> > Iowa
> > Press
> > Tyndall, J. 1875, Sound, 3rd ed., Akron:Werner
> > Weiss-Stauffacher, H. and R. Bruhin, 1976, The Marvelous World of Music
> > Machines, Tokyo: Kodansha International
> > Partch, Harry, 1974, Genesis of a Music, New York: Da Capo Press
> > Meyer, Jorgen OEAcoustics and the Performance of Music1 3920112563 ISBN
> > Schafer, R. Murray, 1967, Ear Cleaning, Toronto, Canada:BMI Canada
> > Trythall, Gilbert, 1973, Principles and Practice of Electronic Music, New
> > York: Grosset and Dunlap
> >
> > Composing Interactive Music: Techniques and Ideas using MAX (Todd Winkler)
> > [3 copies]
> > Interactive Music Systems (Robert Rowe:MIT Press:1992)
> > [3 copies]
> > The Evolution of Electronic Music (David Ernst:Schirmer Books:1977)
> > Introduction to Electro-Acoustic Music (Barry Schrader:Prentice-Hall:1982)
> > [comes up on library catalogue, but with NO COPIES]
> > The Tuning of the World:Toward a Theory of Soundscape Design (M.
> > Schafer:Univ. of Pennsylvania Press:1980)
> > Sketch of a New Aesthetic of Music (Ferruccio Busoni: Dover:1987 [1907])
> > Sound Structure in Music (Robert Erickson: Univ. Calif Press:1975)
> > [comes up on library catalogue, but with NO COPIES]
> > Elements of Computer Music (F. Richard Moore:Prentice-Hall:1990)
> > The Art of Noise (Luigi Russolo, trans Robert Filliou:Something Else
> > Press:1967[1967])
> > Sound Color (Wayne Slawson:Univ. Calif Press:1985)
> > The Musical Mind (J.Sloboda: OUP:1985)
> > Generative Processes in Music (J. Sloboda ed.:Clarendon Press:1988)
> > Formalized Music (Iannis Xenakis:Indiana Univ. Press:1971)
> > Arts-Sciences: Alloys (Iannis Xenakis:Pendragon:1985)
> > The Technology of Computer Music (Max Mathews:MIT Press:1969)
> > An Introductory Catalog of Computer Synthesized Sounds (J-C. Risset, Bell
> > Telephone Laboratories: 1970)
> > Electronic Music: A Listenerís Guide (Elliott Schwartz:Secker and
> > Warburg:1973)
> > Genesis of a Music (Harry Partch:Da Capo Press:1974)
> > The Digital Audio CD Resource Pack (Markus Erne:Focal:1998:0240515021)
> > [the above Erne pack is a lecturer pack, and not for general access]
> > The Art of Mixing:A Visual Guide to Recording, Engineering and Production
> > (David Gibson, George Peterson ed.:Mix Books:1997:0918371171)
> > Concert Sound:Tours, Techniques and Technology (David Trubitt ed.:1993)
> > Art of Record Production (Richard Burgess:Omnibus Press:1997:0711955522)
> > Repeated Takes:A Short History of Recording and its effects on Music
> > (Michael Chanan:Verso Books:1997:1859849172)
> > The Audio Pro Home Recording Course (Bill Gibson:Mix Books:1996, vol 1 -
> > 0918371104; 1997, vol 2 -0918371201)
> > Mix Reference Disc - Deluxe Edition (George Peterson:Mix Books:1997) w/CD
> > Sound Advice:The Musicians Guide to the Recording Studio (Wayne
> > Wadhams:Schirmer Books:1990:0028726944)How you can break into the music
> > business without breaking your heart, your dream or your bank balance (Marty
> > R. Garrett:Marty Garrett Entertainment:1996:1886191018)
> > An International History of the Recording Industry (Christopher
> > Moseley:Cassell Academic:1999:0304701734)
> > Auditory Perception:A New Analysis and Synthesis (Richard M.
> > Warren:Cambridge Univ. Press:1999:0521587832) [updated from 1982 version]
> > Stereo Microphone Techniques (Bruce Bartlett:Focal:1991:0240800761)
> > Practical Recording Techniques (Bruce Bartlett:Focal:1998:024080306x)
> > Composition, Performance, Reception (Wyndham Thomas:Ashgate
> > Publishing:1998:185928325x)
> > Any Sound you can Imagine:Making Music/Consuming Technology [music/culture]
> > (Paul Theberge:Wesleyan Univ. Press:1997:0819563099)
> > Electronic and Computer Music (Robert L. Wick:Greenwood
> > Press:1997:0313300763)
> > Music, Cognition, and Computerized Sound (Perry R. Cook:MIT
> > Press:1999:0262032562) [available end of April]
> > Computational Auditory Scene Analysis (David F. Rosenthal ed.:Lawrence
> > Erlbaum Assoc.:1998:0805822836)
> > Chowning. - FM theory and applications by musicians for musicians / Chowning
> > and Bristow. -
> > Yamaha Music Foundation, Japan, 1986. - 4636174828
> > Modern Recording Techniques (David Miles Huber, Robert E. Runstein:Focal,
> > 4th Ed.:1995:0240803086)
> > A Programmers Guide to Sound (Time Kientze:Addison-Wesley:1997:0201419726)
> > Digital Sound Processing for Music and Multimedia (Ross Kirk, Andy
> > Hunt:Butterworth-Heinemann:1999:0240515064)
> > Experiments in Musical Intelligence (David Cope:AR Editions:1996:0895793148)
> >
> >
> > Concert and Opera Halls: How they sound
> > Leo Beranek 1-56396-530-5 (1996)
> > The Science of Music
> > Robin Maconie 0-19-816648-6 (1997)
> > Musical Beginnings: Origins and Development of Musical Competence
> > Irene Deliege and John A. Sloboda (eds.) 0-19-852333-5
> > Performing Rites
> > Simon Frith 0-19-816332-0
> > Analyzing Rock Music
> > John Covach (ed) 0-19-510004-2
> > What a wonderful world: A Lifetime of Recordings
> > Bob Thiele 0-19-508629-5
> > Analysing Musical Multimedia
> > Nicholas Cook 0-19-816589-7
> > Auditory Display: Sonification, Audification, and Auditory Interfaces
> > Gregory Kramer (ed) Addison-Wesley 0-201-62603-9
> > Shaping Time: Music, the Brain, and Performance
> > David Epstein Schirmer Books 0-02-873320-7
> >
> >
> > Contemporary Music Review: vols 1/1, 1/2, 2/1, 2/2, 3, 4, 5, 6/1, 6/2,
> > 7/1,
> > 7/2 etc. (i.e., all back issues, from Harwood Academic Publishers)
> > [we have a couple of volumes of this in the library already)
> >
> > Back issues of MusicWorks: The Journal of Sound Exploration (incl.
> > cassettes
> > and CDs) [complete back issue set $375]: MusicWorks, 179 Richmond Street
> > West, Toronto, Ontario, Canada M5V 1V3
> >
> >
> > Audio Engineer1s Reference Book, Michael Talbot-Smith 1998
> > Acoustics in the built environment, 2dn ed, Duncan Templeton ed., 1997
> > BBC Engineering Guide to Acoustic Practice 2nd ed., Keith Rose, 1990
> > Master Handbook of Acoustics 3rd ed, Everest, 1994
> > Room Acoustics, 3rd ed, Heinrich Kuttruff, 1991
> > Principles and Applications of Room Acoustics (vols 1+2), Cremer, Muller &
> > Shultz, 1982
> > The Use of Microphones 4th ed, Alec Nisbett, 1993
> > Studio Monitoring Design, Philip Newell, 1995
> > High Performance Loudspeakers 5th ed., Martin Colloms, 1997
> > The Art of the Sound Effects Editor, Marvin Kerner, 1989
> > Sound Assistance, Michael Talbot-Smith, 1997
> > The Sound Studio 6th ed, Alec Nisbett, 1994
> > Trouble-shooting and Repairing Audio Equipment 3rd ed, Homer Davidson 1996
> > Theatre Sound, John Leonard, 1999
> > The Art of Digital Audio 2nd ed, John Watkinson, 1994
> > The Mini-disc, Sony Service Centre Belgium, 1996
> > DVD Demystified, Taylor, 1998
> >
> >
> > - audio CD
> > L1ivresse de la vitesse
> > Paul Dolden, Emprientes Digitales of DIFFUSION i MeDIA
> > IMED 9417/18 (double audio CD)
> > 1) Symphonic Orchestra: Miroslav Vitous, Master Set Discs 1-4 Akai format,
> > £2695
> > 2) Symphony of Voices (4 discs, Akai format)
> > 3) Supreme Beats: Percussion Library by Bashri Johnson, 4 discs, Akai
> > 4) Ultimate Piano Collection, Akai,
> > 5) Heart of Asia, Akai, 2 discs,
> > 6) Heart of Africa Volume 1, Akai,
> > 7) Heart of Africa Volume 2, Akai,
> > 8) Deepest India, Akai format,
> > 9) Bass Legends, Akai,
> > 10) Hans Zimmer Guitars v.2, £180,
> > 11) Bob Clearmountain Drums 1, Akai,c
> > 12) Bob Clearmountain Drums 2, Akai,
> > 13) Bob Clearmountain Percussion & Bass Guitat,
> > 14) Fingerstyles, Akai,
> > 15) Fret works, Akai,
> > 16) Voice Spectral II,
> > 17) Animal Trax, Audio CD, 10 discs,
> > 18) The Premiere Edition, Audio CD, 20 discs,c
> > 19) Wall of Vinyl
> > 20) Symphony of Voices : Spectrasonics (4 CD-ROM set
> > 21) Vocal Planet : Spectrasonics (3 CD-ROM set
> > 22) Distorted Reality Volume 1 : Spectrasonics (CD-Rom
> > 23) Distorted Reality Volume 2 : Spectrasonics (CD-Rom)
> > 24) Chemical Beats : ZERO-G (Double CD-ROM
> > 25) N.Y.Cutzí: ZERO-G (double audio)
> > 26) Raricussions : Universal Sound Bank (2 CD set [audio & CD-ROM
> > 27) Advanced Media Trax : Best Service Soundware Company (5 CD set,
> > 28) Advanced Media Trax - Sequencer Works: Best Service Soundware Company
> >
> > Tune 1000 MIDI Files - GM Format:
> >
> > TU138 SMFB Queen (140-120)
> > TU139 SMFB Deep Purple (140-140)
> > TU22 Nashville Numbers Vol 1 (140-150)
> > TU28 SMFB U2 (140-170)
> > TU55 SMFB Beach Boys (140-220)
> > TU59 Memphis Soul Vol. 1 (140-230)
> > TU6 SMFB Michael Jackson (140-240)
> > TU64 SFMB Barry Manilow (140-250)
> > TU66 SFMB Whitney Houston Vol. 1 (140-260)
> > TU69 SMFB Abba (140-290)
> > TU72 SMFB Carpenters (140-310)
> > Tu73 SMFB Annie Lennox & D. Stewart (140-320)
> > TU93 Jazz Standards Vol 1 (140-390)
> > TU95652 Christmas Party Vol. 1 (140-400)
> >
> > Labyrinth MIDI Files - GM Format:
> > LREAG1 Labyrinth GM Eagles Vol. 1 (140-580)
> > LRJZ1 Labyrinth GM Bigger Band Vol. 1 (140-610)
> >
> >
> > Hot-House MIDI files - GM Format:
> > VMF10 Music Hall Vol. 1 (140-670)
> > VMF4 Gospel Vol. 1 (140-680)
> > VMF5 Gospel Vol. 2 (140-690)
> > VMF7/8/9 Traditional Series Vols. 1/2/3 (140-700/710/720)
> >
> > Classical MIDI Files - GM Format:
> > CMF1 Classics 1 (140-730)
> > CMF2 Sacred Moments 1 (140-740)
> >
> > Roland MIDI Files - GS Format
> > RJL3005E Roland GS Science Fiction (140-910)
> > RJL4005E Roland GS John Williams (140-930)
> > RJL4008E Roland GS YES OEClose to the Edge1 (140-960)
> > RJS1008E Roland GS Christmas Songs (1401-000)
> >
> >
> > Keyfax Software MIDI files: www.keyfax.com
> > Vol. 10 Jazz
> > Guitar Grooves
> > Modular Madness



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