These announcements have been collected from the Csound mailing list.
Well you may not want it, but v3.494 has been copied to teh servers. It is mainly a bug fix, but there is at least one new opcode. Release nites are on teh server as well. Better version for teh new year, I hope
Unofficial linux csound 126.96.36.199e available
The unofficial 188.8.131.52e distribution of linux csound is available from the AIMI server
in binary form (dynamically linked), binary form w/o X11 support (dynamically linked) and source form.
*THIS IS NOT THE OFFICIAL DISTRIBUTION*
The official distribution can be found at
The official 3.493 sources are of course the hard work of J.P.Fitch (email@example.com).
This distribution features a merged port of the official 3.493 sources, ALSA (i.e. free full-duplex and multiple cards) I/O drivers (by Fred Floberg), linux scheduler priority control (by Fred Floberg), improved MIDI out device control (by Dave Phillips and Paul Barton-Davis), initial support of the 'control' and 'cdisplay' opcodes under unix (no sliders yet, by Nicola Bernardini), and long option support (by Fred Floberg). Many others have contributed in useful comments and hints.
Thanks to all,
Re graphics: A picture is worth 10K words -- but only those to describe the picture. Hardly any sets of 10K words can be adequately described with pictures.
Conservatorio "S.Cecilia" Home Page
The Conservatorio "S.Cecilia" in Rome (Italy) has a Web Home Page at the URL
If you want to go directly to the Scuola di Musica Elettronica (Computer Music Studio) page (italian and english), the URL is
Comments and suggestions are welcome.
Riccardo Bianchini, Composer
Professor, Scuola di Musica Elettronica
Conservatorio "S.Cecilia", Roma (Italy)
The Csound Front Page
Dear Friends and Colleagues,
The Csound Book is coming (MIT Press tell me - June 4, 1999), but today the Csound FrontPage has arrived!
With preliminary input from the Csound Faq Team of Rasmus Ekman <firstname.lastname@example.org>, Marc Resibois <Marc.Resibois@ping.be> and tolve <email@example.com> plus the blessings and selected bits from Martin Dupras' Csound Page and the hundreds of hours of html design and programming plus much actual editing and authoring work of my most incredible and wonderful assistant - Jacob Joaquin, I proudly present to you
(I will brag even more about my assistant Jacob's work in Csound Sound Design, Csound Tutorial Design and HTML Design as we get closer to releasing the Csound Book. A number of you have gotten to see the CD-ROM he is building for the book at the recent ICMC and you can testify that he is building a truly beautiful complement to the Book itself.)
At Present, our Csound Front Page is just a first step, but hopefully each of you will find some part of it useful. Jacob and I intend to continue adding to it, developing it and most importantly... maintaining it. Your input and suggestions will be invaluable. Please contribute and tell your friends, colleagues, your societies and organizations that this is THE Csound Page to which they should be linked!
p.s. Thanks also to MIT Press for hosting the page and for their input into it's design and content.
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street - Boston, MA 02215-3693
Office Phone: (617) 747-2485 Office Fax: (617) 536-2257
HPKComposer version 1.2
Thanks to all of you that have try it and send their feedback, a new version is available for downloading at hplank.inetpc.com.
I am realy exciting by what Csound can produce, and when I think I am using only a part of it....
As usual the documentation is far from being complete. These new version can't read composition from the previous version (not enough time for developping this feature), but it should stay stable for a while. Please read the installation.html document before running HPKComposer
DirectCsound 2.11 available
A bug fixed version of DirectCsound is now available at:
The archive includes also a FAQ in html format
Perl module for Csound: Update
OK. After much helpful commentary from the list and much rumination, I've come to the conclusion that the hypothetical project was becoming too enormous.
I just wanted a swiss army knife: something that does several things fairly well, doesn't take long to learn, is small and manageable, and can be substituted for more powerful tools when necessary. When I looked at the list of things other people were hoping for, I felt like the swiss army knife had sprouted an internal combustion engine. Internal combustion engines are obviously very powerful things, but by the time I learn how to build one, I could have walked where I was going.
So I have decided, at least for now, to write tools to do what I want to be able to do NOW, using the methods I already understand and which seem appropriate to the task. This will disappoint some of the people who seem to have been hoping I would write a "Common Perl Music", but I just don't have the abilities for such an undertaking. However, Pscore will be licensed under the GPL, so you are free to take code or ideas from it and build your own perfect machine...
I'm putting a web page about the Pscore project at http://members.tripod.com/~slinkP/pw_linux/code.html This should be readable in text-only browsers (please let me know if it's not... I intend all my web pages to be browser-independent). The page will be up by Saturday, and will include a snapshot of my current code. The web site will be where all future information about Pscore will go. Any further questions or comments can be mailed to me directly. If a public forum is desired, this is probably still on-topic for the csound list... I don't anticipate this will be a hot topic very often.
Thanks everyone for your input,
3.491 pdf Manual
Now ready for download (complete manual or updated pages only).
Leonardo Music Journal Calls & Deadlines
Leonardo Music Journal
Call for Proposals
We invite proposals for the next two issues of the Leonardo Music Journal. The guidelines below are intended to create an identifiable focus for each issue, but should not be regarded as a limited set of assigned topics or as specific questions to be answered. They should serve instead as springboards for personally relevant writing, and are open to individual interpretation. Please contact the Leonardo Music Journal or Nicolas Collins, Editor-in-Chief, directly with proposals, suggestions or questions , at: firstname.lastname@example.org.
LMJ 9: Power and Responsibility: Politics, Identity and Technology in Music
In our contemporary saviness, we no longer think of music as the creation of solitary genius scribbling in a garret. We are far more likely to see it as a collaboration between individual ambitions and socio-economic constraints and inspirations. Composers themselves are likely to parse the responsibility for musical decisions out among numerous parties: a composer, pseudo-autonomous hardware and software, improvising musicians, variables of architectural space, or the interaction of an audience.
These issues converge on questions of identity and power politics: is the orchestra necessarily fascistic? Does electronic technology have an inherent sexual identity (is it all "boy's toys")? What is the difference between a Japanese composer writing for the piano and a German composer writing for the koto? Do composers in "young countries" (Australia) necessarily have less cultural baggage than those in older ones (Italy)? Are the virtues of democracy the same as those of music? And how do we deal with Mr. Gates?
In this issue of Leonardo, we want to examine how contemporary composers define their role within a network of shared responsibility. How do you allocate power? How do you justify its use? How do you define your musical and social communities, and how do you position yourself within them?
December 1, 1998: rough proposals, queries
January 15, 1999: submission of finished article
April 1: article returned with reviewer comments for revision
May 15: revised version due
LMJ 10: Southern Cones -- Music in Africa and South America
For the end of the millennium we want to shift the focus away from technological music's traditionally Eurocentric domain and concentrate instead on contributions to modern music coming out of Africa and South America. Access and attitudes towards technology shift radically with geography, causing both predictable and unexpected effects on the arts. We encourage writing by residents of these continents who work with technology and music (composers of "serious" and "pop" music, recording engineers and producers, studio musicians, concert promoters, musicologists, etc.), as well as persons of any citizenship for whom Southern cultures have been musically significant.