Musical Discipline For the Guitar Player

One of my favorite topics that I am most passionate about is the universal connection between music. At first, most can't distinguish it, but if you go in search of musical knowing - you will soon be able to hear all the similarities.

It truly cracks me up just how limited in thinking some musicians can be. Though I tend to play a lot of heavy metal guitar, my favorite style of music is actually Bossa Nova, which at first doesn't sound anything like heavy metal. Yet they both have two things in common. One, they are both very rhythmic, and two, they are both very melodic in structure.

By devouring every style of music imaginable, you reach a point where you can not only appreciate other styles of music, but you can also pin-point the similarities.

Why is this important?

Its important, because no matter what kind of a guitarist you claim to be, at the end of the day you're in search of originality. Isn't that one of our main goals as a species?

One of the gateways to this kind of originality in music is musical phrasing, and if you truly wish to become endlessly diverse in your own phrasing, then you would be wise to listen to as much music as possible.

When it comes to any form of heavy metal music, I sense a strong connection between Latin music and metal. I also hear this connection in other styles of music that contain a lot of rhythm, like the movements native to Africa or even Romania.

If this is true, then it should come as no surprise that their is a very experimental and underground guitarist by the name of Cynthia Witthoft, who is Romanian and brings these same sounds to her virtuoso style.

So how do we get their?

Yes, that is always the big question. How do we become musically tolerant? Well the answer is really a no-brainer. Becoming a sponge for music means to become extremely disciplined.

There are two big mistakes that most guitarists and musicians make, that reverse the progress of musical understanding.

One of the worst things that you could ever do is to claim ownership of a style. When I say ownership, I mean making the statement that you are a blues guitarist, classical guitarist, punk guitarist, etc.

This is not necessary. You may be naturally attracted to a specific genre of  music, but that is likely to change, as we are creatures of habit, and that habit is mental evolution. Those who fight this kind of progress tend to be

the kinds of people who start wars, as they lack the real fire that lies in the human heart.

Embrace everything

The other big mistake is the one that comes about upon first hearing an unfamiliar style of music. Guitarists will naturally say "I don't like it", and then never explore it again. Believe me, when something new comes in to your life - there is a reason for it.

The first time that I ever heard any authentic Jazz music, was when I first heard the album Cookin' with the Miles Davis Quintet. I couldn't wrap my mind around it, and that bothered me. I didn't get it at first and so I also didn't particularly like it when I first heard it. Still yet, I didn't give up on listening to it. After a short while, I was able to fully understand what was going on in the music, by the process of familiarity, but that familiarity could have only come about by me making the effort.

It was one of the best things that I ever did, because I was soon listening to all sorts of Jazz music. This led me to Bossa Nova. It also beckoned me to listen to Rocka Billy, because Rocka Billy can also sport a lot of the same

chords and chord structures that are used in Jazz music.

When I started listening to Rocka Billy, I fell in love with it and decided that I wanted to start a Rocka Billy band. I stuck with it for two years, and eventually decided that it wasn't for me, but when I went back to virtuoso metal, I had a whole arsenal of sophisticated techniques that frequent the Rocka Billy scene. I also came back with an amazing collection of rhythmic ideas from studying Bossa Nova.

The once unseen gift that I now recognize was the gift of creativity.

If you want to do something truly amazing for your playing, then stick with your love of a genre of music, but pick a second and obscure style to also study along with it.

Keep changing that style out for a new one. Learn to become a man or woman of all seasons, and fill your library with all sorts of music.

There is ignorance in all styles of music. I have encountered plenty of Jazz musicians who refuse to listen to anything but Jazz music. I find this to be very sad, because they are not giving enough oxygen to their creativity.

You won't be surprised to know that many guitar virtuosos play in a genre of preference, but you may be surprised to know that these same virtuosos listen to and play everything.

Guitarists will turn around and ask "how do these guys come up with this stuff?", wishing that they too could be this creative, and yet the answer is right in front of them.  The secret? music is music.

Tennyson Williams has been studying guitar for eight years, sixteen hours a day, and has studied many styles of music. He has played in bands, that encompassed a wide range of music. It wasn't until after eight years of piano lessons, that he made the decision to become a self-taught musician, but the journey has been well worth it for the guitarist. His sole passion is to share with others, his endless knowledge of music, in order to make their musical dreams a reality. He has recently written a guitar instructional book called The Essential Guide To Guitar Virtuosity that can be found at GuitarSpeedSecret.com

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Musical Theory - Do I Need to Know It?

Aside from the academic study of music theory, which explores the theories surrounding music issues, such as whether or not a piece of music fits into one category or another, music theory is really the nuts and bolts of music.

It's the way that music is composed, and performed. Whether you are thinking about musical harmony, the way a concerto is orchestrated, and even the simple basics of how to read music, then you're thinking about aspects of musical theory.

The first question that many people just starting out on their music journey often ask is "Do I really need to know this stuff?" The answer depends on what you want to do with your music. There are many successful recording artists who can't read music never mind distinguish a symphony from a sonata. This implies that you don't need to have any knowledge of music theory in order to be a successful musician.

However musicians who can do this to a great level are few and far between. Even if you are pitch perfect and can compose and play a piece of music entirely from memory, you can't easily share this music with others unless they have similar skills.

Music theory allows musicians from all backgrounds to come together on a level playing field. Each of them understand the piece of music in front them. They know what key it is to be played in - vital if they want to create harmonies. They know what time it's in so that they can get the beat right. The composer will have noted on the music manuscript how the piece is to be played - terminology that means slowly, softly, "with gusto" and so on.

Those who compose understand the common music forms and by understanding the range of each instrument are able to combine different combinations of instruments playing harmoniously together. They know the instruments to work with for the kind of music they are composing, and can compose both melody and base lines that sound right whether played independently or together.

If you have a good ear for music and know the fundamentals of how your musical instrument works, then you may have no use for music theory. On the other hand, if you want to compose music that you'd like to share with other musicians, if you want to play with other musicians in an orchestra or band, or if you want to be able to play a piece of music that someone else has composed and you haven't heard played, then some basic understanding of music theory is required.

Imagine that you can look at any music score and instantly be able to sight-read it, which means you could sit down with your instrument and by reading and understanding the notations made by the composer you are able to play that piece of music in the way that the composer intended. With little more than a basic knowledge of music theory, such as being able to read music and understand some simple, common musical terms, you could do that. Even if that's not a skill you would use often, as a musician, isn't it a skill you'd like to have?

A free email newsletter on exciting piano chords and chord progressions from Duane Shinn is available free at Exciting Piano Chords & Chord Progressions!

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Soca and Jamoo - Totally Original Musical Styles

Soca music is a dynamic mix of Calypso and Indian music. Soca rhythm and beats are hit out on a bunch of different Indian rhythm instruments like the dholak, tabla and dhantal. It is most popular in the Caribbean, but also has fans around the world.

Garfield Blackman, more popularly known as Lord Shorty and Ras Shorty I, was the innovator of Soca music. When Shorty was a kid he always heard Calypso or Indian music being played around him. He created Soca music by combining Calypso and Indian music together-- and added lots of beats toit with a bunch of Indian rhythm instruments. Lord Shorty first called this new musical style Solca, representing the true "Soul of Calypso." Solca became popularly known as Soca. Lord Shorty wanted Soca "to uplift people's spirits".

Soca spread around the world like a hurricane after several hits by Soca performer Arrow, including Hot Hot Hot.

Soca numbers by several other performers are also very popular. Soca continues to evolve into new musical forms.

Jamoo

Jamoo is a mix of reggae and gospel, with a modest following . It was pioneered by Lord Shorty after he quit performing Soca. Jamoo spreads a message of goodness and spirituality, as Lord Shorty had originally intended Soca to do. But Lord Shorty came to feel Soca performers were spreading bad messages in sharp contrast to its original purpose: "to uplift the spirits of the people."

A Little Bit About Shorty and His Childhood

Garfield Blackman, who would become most widely known to the world as Lord Shorty then as Ras Shorty I, an extraordinary Calypso singer and composer who invented Soca Music and Jamoo Music, was born in Trinidad on October 6, 1941. During his childhood in Trinidad, Shorty was exposed to a sea of music: Caribbean Calypso music, West African Music, and East Indian music. As a young child Shorty "was inspired by his older brother George, who played the mouth organ, and he was so talented that he soon mastered the organ and the guitar," a cousin recalls. Garfield Blackman aka Lord Shorty aka Ras Short I started singing Calypso songs before he was seven.

Adam F. enjoys creative pursuits and is highly appreciative of artists. He has established Music-Access.com, an independent venue for musicians (and alternative to MySpace owned by Rupert Murdoch who owns Fox News). Music-Access.com is about music access. At Music-Access.com, musicians, singers and music lovers may network, put of profiles, enjoy articles, share events, and even take advantage of features on the site to make money. Artists may sign up at http://www.music-access.com/music/social_music_register.php

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Entertainment - Musical Entertainment In All Settings And All Cultures

There are very few people who can honestly say they don't like to listen to music. No matter what type of music you like, the availability of the internet means you can buy or listen to the music that fits your style. There are so many web sites that have music links or musical downloads that you can listen to.

Those people who like cultural selections from Brazil, for example can type in the word Brazil dance or Brazil music in the YouTube search field and watch many pieces that fit that category. You can choose Indian music if you prefer or music from almost any culture in the world, you can find examples on the internet. It's interesting to see how dance and music sequences are treated in various cultures.

Some pieces of music you listen to are hard to enjoy without wanting to dance. Some of the joyous Irish pieces for example would be hard to listen to and remain in a melancholy mood. Still one wonders how there can be so much energy during the music and dance known as Celtic or Irish.

Straight instrumental music is popular in many cultures. You can listen to everything from symphonies to classical guitar music. On the lighter side, there are music pieces that feature one man bands or novelty instruments such as the kazoo. At the other end of the spectrum is the big bands and rock and roll groups.

Music is used not only for entertainment, but has been shown to have physical and psychological impact on a person as well. Music in a minor key, for example will often sound sad or mournful, while some chords are almost a signature sound for various rock groups. Because different musical scales are used by different cultures, you can often feel a different atmosphere or personality reflected when you listen to music from China as compared to music from Ireland.

Whatever your country of origin or whatever type of music you prefer to listen to, you can now find examples in recordings. Everything from drum solos to full symphonic orchestra now can be found and purchased. What's more there are many ways in which you can listen. Radio and music videos are obvious choices, but you can also listen to your favorite pieces with an MP3 player. Many mobile phones today allow you to download and play your favorite music pieces.

Probably the most complete experience in music enjoyment no matter what your favorite music type is, is to attend a concert. You can sit back in a comfortable seat in a concert hall and enjoy the full sound of a top symphonic orchestra where the sounds of the various instruments are carefully tuned and balanced so that you can pick up the emotion of the music.

Alternatively, you can attend a soul thumping rock concert where you feel the bass reverberating in your back teeth. The lights and energy of the audience adds to the total experience so that more than one sense is involved than hearing.

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Musical Instruments: Discover Your Love For Music

Robert Fripp once quipped "Music is the wine that fills the cup of silence". So true indeed, music can heal, for it can turn melancholy into joy. Such is the magic of music. Music flows through musical instruments that are source of rhythm. Modern times and commercialization of music have opened up many avenues for music to grow which cross boundaries and even continents. Everyone one amongst us likes Kenny G playing his clarinet and Vanessa Mae her Violin.

Internet Marketing has lent new tactics of marketing of products in every vertical of life, including music. This is better for both the consumer and for the retailers as it becomes easier for the user to choose various musical instruments from a particular music instrument store that befits their liking. They can buy it in a cheaper price as compared to the high street price. This hobby (and passion for many) is a great stress buster and makes you feel blessed when you acquire special talent of playing instrument. Music Instruments and their types are numerous like Piano, Guitar, Clarinet, Keyboard that can be bought according to their sizes and designs.

Many times, an enthusiast of music feels that since he is not skillful to play a particular instrument properly. One must try to learn to play musical instruments in order to learn the finest intricacies of music. For that purpose, it becomes crucial to decide upon the best musical instrument that should be carefully chosen after looking at the details while buying it in a particular music instrument store.

Whether it is Guitar, Piano, Violin, keyboard or any other Musical instruments, what really matters are music and the magic. Discover your flair for music and buy a musical instrument that will make you fall in love with music.

Adam Jaylin advises that you visit xpert4u.co.uk to know more about Mobile Phones and online Entertainment.

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Musical Guide - What Makes A Musical?

In this article we're going to try to explain just what it is that makes a musical a musical and go over the more technical aspects of the form.

By technical definition, musical theater is a form of theater that combines music, songs, dancing and spoken dialogue. It is actually closely related to opera, while purposely avoiding many of the conventions of opera in order to have a more general appeal.

The musical components of a musical is called the score. The sung lines are called lyrics as opposed to plain spoken dialogue which is simply called dialogue. Usually the person writing the lyrics to the musical is not the same person who has written the actual story. An example of this would be "Wicked" where the songs were written by Stephen Schwartz, the script by Winnie Holzman and the book that it came from by Gregory Maguire. This is not uncommon in musical theater.

A musical can be anywhere from a few minutes to a few hours long. The average running time for a modern musical is about two and a half hours with an intermission about half way through the play. Some musicals however do run straight through if they aren't too long. The intermissions, when they are present, are about ten to fifteen minutes long. An average musical will have about twenty to thirty songs. Some will be very short pieces and others can be quite long. Most musicals usually start with an overture which highlights several of the songs that will be heard throughout the play and set the mood for what is about to come. Some musicals, like "Tommy" can be sung through from beginning to end, which can really blur the fine line between a musical and an opera. As a matter of fact, Tommy is actually considered a rock opera more than it is considered a musical.

Usually the highlights and most dramatic moments of a musical are done in song. The reason is because these are the moments that the creators want you to remember the most and it is much easier to remember a well done three or four minute song than it is to remember three or four minutes of spoken dialogue. If the emotion that needs to be conveyed is too strong even for song then in those cases dance is added to or even put in place of singing. A perfect example of this is the fight scene in "West Side Story" which was done entirely in dance.

Finding a balance between spoken dialogue and song is not easy. On top of that the writers must be careful to write songs for each character that actually fits the character. For example, a character who is an evil villain is not going to sing songs about being happy and in love.

Also, it is difficult to establish the drama in a musical because a five minute song has fewer words in it than five minutes of spoken dialogue. When an hour and a half of your musical is actual music, this makes it very important that the writers make very good use of the lyrics for each song as this will be the vehicle for telling most of the story.

Musical theater is a truly unique and wonderful form of entertainment. If you haven't had the pleasure of going to see a modern day musical or even a revival of an old musical, you owe it to yourself to do so. It is an experience you will not soon forget.

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Michael Russell
Your Independent guide to Music
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The Musical Play Dates Guide

Kids absolutely love music, and they love to play games set to music! Nothing can quickly grab or hold their attention more easily than music. It is a strong catalyst for learning, creativity and development of language, movement and social skills. It has the power to captivate and charm young imaginations, giving children the wings to explore the world that surrounds them and delight the senses.

Musical play dates offer parents the opportunity to share in their child's discovery of the music and singing, social skills and help them begin to grow a circle of friends. You can have a lot of fun when a play date incorporates the world of music! Here is our musical play date guide to turn your play date into a number one hit!

The Hokey Pokey

I'm sure you remember the song... "You put your right foot in, you put your right foot out..." a favorite of every child. The Hokey Pokey is one of several circle dances. It is a great song to teach your child their right from their left, teach body parts and body movement. For younger children, you can use colored stickers on their hands to identify which is their left or right.

Animal Walk Parade

While playing music, have the children dance and walk the way their favorite animal would. Include all kinds of animals, such as a bird, snake, bear, etc.

Music & Motion

This is a fun activity to have children experience movement as it relates to the music or rhythm they hear. Simply instruct each child to physically move how the music makes them feel. You'll soon see them tiptoeing or swaying to soft music, marching to the beat of a parade song, run for fast music, hop and bounce for music that makes them feel happy, or stomp their feet to the rhythms they hear.

Toot! Toot!

This fun song activity will help your child learn to listen. Take a fun song the kids are very familiar with, such as Jack & Jill, Humpty Dumpty, This Old Man, or Old MacDonald had a Farm. Sing the song to your child, but substitute wrong words or names in obvious places. For example, perhaps instead of a farm, Old MacDonald had a dog or maybe Jack and Jill went up the tree. When your child hears the wrong words have them sing "Toot-Toot!"

Musical Hugs

This puts a twist to the musical chairs game, but in this case, no one looses! It's a great ice breaker for play dates. Simply round up some of your favorite kids CD's. Instruct each child to dance and move to the music. When it stops, the children have to stop dancing and hug a friend. As the children become more acquainted, you'll soon find 2 - 3 kids hugging each other in a group. End the session in one big group hug!

Pass the Bear

Another good ice breaker and helps children learn each other's names. Have the kids sit in a circle. Hand a stuffed bear to one of the children to start the game and sing this song to the tune of Row-Row-Row Your Boat: "My friend (child's name) has the bear--- hug him with great care! Pass him on to my friend (next child's name) because we like to share!" On the word "share," instruct the child to give the bear to the next child named. Repeat for each child.

Freeze Dance

A twist on the Red Light, Green Light game. Instruct the children that when the music plays, they can dance, jump, hop and move about. When the music stops, they have to freeze in whatever pose they are in when the music stops playing--- still as a statute (you may need to demonstrate to younger kids). Instead of holding a pose, you can also have everyone drop to the floor and sit until the music starts again.

What Music Looks Like

This activity incorporates both the world of music and art. Pick 2 - 5 songs---- anything from funny songs to classical or slow music (make it a mix). A couple of our original songs are great for this activity, such as A Sweet Little Silly Song or the City Zoo. Hand each child enough sheets of paper for each song, and some crayons. Instruct them to draw what the music of each song sounds like to them--- what they hear and feel. You'll see some creative art. At the end of the game, have each child pick their favorite picture, and hold it up for all to see.

Follow Me!

A musical version of follow the leader will get the kids moving! While the music plays, the leader leads the group around. When it stops, the leader goes to the end of the line and the next child leads. Usually best to have an adult start. As you lead the children, wiggle your arms, turn in circles, flap your arms, hop, squat like a duck, fly like an airplane--- demonstrate lots of different movements to give the kids ideas when they lead.

A-B-C & 1-2-3 Dancing

This is the perfect game for toddlers starting to learn their letters or numbers. It is best done in a large family or recreation room. Use masking tape to make the shapes of the letters or numbers the children are working on learning. Make it as large as possible. Turn on some fun kids music and have your toddlers dance around. When the music stops, have them go to the letter or number you call out.

Great Balls of Fire!

A twist on the old game, hot potato--- instead of a potato, we use colored flashing light balls. This one is fun on rainy or snowy day with the lights dimmed. Hand each child except one, a flashing light ball. Have the children sit in a circle. As the music plays, the children pass the lights around the circle until the music stops. When the music stops, the boy or girl not holding a light sits in the middle now out of the game. Remove a ball from the circle and continue the game. Be sure to let each child leave with a light ball when they go home!

Copyright 2010 All Rights Reserved (c)

About the Author
Catherine currently resides in Oregon, and is the owner, songwriter and main vocalist for the music production company, Pitter Patter Productions. The company has been producing its own line of original award-winning music for children since 1992, specializing in lullabies and music for toddlers and preschoolers. MP3 downloads of our songs and albums are available at Amazon.com, CD Baby and iTunes. CD's are available at: http://www.pitterpatterproductions.com

Parents: Receive a FREE sampler album download when subscribing to our e-magazine, Parent Patter Magazine. The sampler album includes songs from all of our current and soon to be released albums.

Subscribe at: http://www.pitterpatterproductions.com/ParentPatter.html

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World Musical Instruments - Exploring Musical Inclinations From Some Countries Around the Globe

Music is a part of our everyday lives; simply, it is a part of human nature. This is manifested by how people cater to music artists, how we fawn over the latest songs that we feel we can relate to, and how humming to the tune of our song inclination is a common sight. Indeed, music is everywhere, even before technology allowed us to make music faster and to reach people with more speed. Its prevalence today is perhaps the same as its prevalence in the past, in the sense of its pervasiveness amongst people.

When we feel happy, when we feel sad, when we feel lonely, when we feel angry, there is a kind of music, a kind of tone, a kind of song that will fit whatever we are feeling, what with the number of musical compositions we have been exposed to since our birth. Music is a creation, a production. If food needs ingredients to come to life, then musics ingredients lie in the musical instruments that bring it to life.

They say music is a universal language, because it does not matter if one can not understand he music; the flow of music may very well be enough. Almost every country, and all countries I know of, produces music. This music may serve to cater to people in that country only, or to serve a more international purpose. However it is aimed to do, the music from one country can always be heard by a person from another country if he wishes to. This is why music and musical instruments is universal, and why it is interesting to know the extent of its universality.

Musical instruments: what they are and what some countries prefer

What are musical instruments?

These are those that give off sound, and thus generate music. It is made to generate music by the one holding or owning it, such as the musician or the player making use of it. The musician or the player can then produce sound effects to his satisfaction, using these types of instruments.

World musical instruments: showing the preference of two countries

Music encompasses the globe, and so do these types of instruments, for they pave way to the production of music. There are various kinds of musical instruments to suit ones purpose of a sound effect, and these include string instruments, wind instruments, percussion instruments, electronic instruments and friction instruments.

China's popular musical instruments

Almost every country has its own preference for music and thus for musical instruments, and China is no different. The musical instruments that are traditionally popular in China are made of materials that include stone, silk, gourd, metal, bamboo and wood. Wind and string instruments are very popular in China. An example of the latter is what they call an Erhu, which is a string instruments that is described as a two-stringed fiddle. An example of the latter is called the Dizi, which is a simple wind instrument made of bamboo. It is popular because it costs less than other types of these instruments and is fairly easy to learn.

Africa's popular musical instruments

In Africa, these are used to create music that has ritualistic value to them. They are used to create music for social and ceremonial functions. Percussion instruments and drums are considered to be the most popular types of musical instruments in Africa. Specifically, one of the most popular musical instruments in Africa is called the Mbira, a thumb piano that can be used in different ways by different cultures in Africa to serve a variety of purposes.

You may not have played a musical instrument in your life, nor be interested in doing so, but I am sure you have heard music being played and appreciated it. As music is a very pervasive aspect in our lives, it is always good to know whatever we can about it.

Matthew Stanton writes an article about World Musical Instruments which are unique in itself and have a distinctive sound. Simply visit this website at http://www.yourworldinstruments.com/

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Four Large Must Have Musical Boxes for Music Box and Antique Collectors

Large musical boxes have been in existence since the 1820's. For the music box and antique collector, there are four large musical boxes which are particularly unique and "a must have" for any collection. They are the mandolin music box, piccolo music box, orchestra music box, and the rare revolver music box.

Mandolin Music Boxes

Mandolin music boxes are strung with four strings, which are the same as those of a violin. The resulting sound is one of romance with the notes drifting softly in the air. These music boxes typically are not difficult to find since a large number were made. Finding a music box such as this would be a special addition to the music box and antique collector of inlaid music boxes, ballerina music boxes, musical jewelry boxes, and more.

Piccolo Music Box

While piccolo music boxes are an octave higher than most music boxes, if the music box and antique collector can withstand its rather shrill notes, it too can be a collectors jewel. Since some of these music boxes were made with a harmony arrangement that accompanied the high pitched notes, the sound becomes much more pleasing.

Orchestra Music Box

This music box is unique and has everything. The music box is an interchangeable one with bells, drums, and organ. Some even have dancing dolls inside which move in time to the music. It would be a fun music box to have for any antique or music box collector.

Revolver Music Box

The revolver music box is quite rare. It is much more unique and impressive than some of the ballerina music boxes, musical jewelry boxes, and wooden keepsake boxes seen today. David Tallis in ?Music Boxes: A Guide for Collectors states: "Perhaps the most impressive piece of machinery in the musical box field is the Revolver Music box. Invented by Amedee Paillard at St Croix in 1870, it consisted of a set of cylinders fixed on a rotating shaft so that any one could be brought into contact with the comb at time. There are three illustrations of revolver boxes in Nicole Graham Webb's book, one being a fine mandolin box by Nicole Freres. It has six cylinders, each playing six airs; a repertoire of 36 airs without table or drawers. However, they were so difficult to make that very few are to be found."

For the music box and antique collector, the mandolin music box, piccolo music box, orchestra music box, and revolver music box would be excellent collectible items. Why not add then to your collection today?

Copyright 2006 Monique Hawkins

Established in May of 2005, http://www.My-Music-Box.com is a music box gift store specializing in products such as inlaid ballerina music boxes for ballerina rooms décor, whimsical carousel music boxes, and musical jewelry boxes. The company provides interesting information for music lovers of all ages. Owner Monique Hawkins is also the author of the blog "What You Never Knew About Music" http://whatyouneverknewaboutmusic.blogspot.com, and owner of the eBay store "Monique's Music Box" at: http://stores.ebay.com/moniquesmusicbox/ Monique can be contacted at (540) 858-2885.

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Four Must Have Musical Art Objects for the Music Box and Antique Collector

There are other lovely pieces of musical art objects in addition to ballerina music boxes, music figurines, wooden jewelry boxes, and other types of music boxes and antiques that the music box and antique collector can look for. These are the musical seal, musical watches, early carillon and automaton boxes, and musical watches with singing birds and barking dogs.

Musical Seals

The musical seal is a piece of musical jewelry. The musical movement typically is one with eight notes; therefore, only very simple tunes can be played on them. They also are always made of gold and decorated with enamel and hard stones.

Because musical seals are expensive, the music box and antique collector needs to be very careful they are not purchasing a fake imitation. David Tallis in "Music Boxes: A Guide for Collectors" has this to say: "If you have any doubts about buying a musical seal, look very carefully at the stop-start slide. If the seal is a fake, you can usually see that the hole for the slide cover is cut rather crudely in the gold."

Musical Watches

Musical watches were made for those who loved "show off" accessories in the regency period. The maker of the first musical watch was Philippe Sameul Meylan, who made the watch with a radial disc type movement. The music played by most watches is Swiss traditional tunes such as "Ranz des Vaches". There also are some which play the national anthems of France and England.

Musical watches were made by a number of people such as Le Roy of Paris, Henri Capt of Geneva, and Jean Antoine Lepine of Paris to name a few.

Some musical watches are difficult and expensive to repair. Therefore, the music box and antique collector need to inspect a watch carefully before it is purchased to ensure it is in good working order and not of inferior quality.

Early Carillon and Automaton

A valuable prize for music box and antique collector would be to find a music box, which plays on bells instead of steel teeth. Finding such a box as this would be a rare find. David Tallis states: "Very few boxes appear on the open market and one of the most recent, an enameled gold box containing a carillon musical movement, fetched several thousands pounds in the salesrooms".

Watches with Singing Birds and Barking Dogs

The rarest of most musical art is the musical watch with either a singing bird or barking dog. The singing bird has the mechanisms of the singing bird in addition to normal watch functions. When a special lever is pressed, a bird appears out of the watches side and on its back all the while singing a song.

The barking dog musical watch has an animated dog which barks and is displayed when the watch hours change. This musical watch is quite rare and would be a great addition for the collection of the music box and antique collector.

For the music box and antique collector, there are other interesting and unique pieces of musical art, which can be found in addition to ballerina music boxes, music figurines, and wooden jewelry boxes. Why not expand your collection today?

Copyright 2006 Monique Hawkins

Established in May of 2005, http://www.My-Music-Box.com is a music box gift store specializing in products such as inlaid ballerina music boxes for ballerina rooms décor, whimsical carousel music boxes, and musical jewelry boxes. The company provides interesting information for music lovers of all ages. Owner Monique Hawkins is also the author of the blog "What You Never Knew About Music" http://whatyouneverknewaboutmusic.blogspot.com, and owner of the eBay store "Monique's Music Box" at: http://stores.ebay.com/Moniques-Music-Box Monique can be contacted at (540) 858-2885.

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Between The Idea And Work - Course Of Musical Data Processing

If musical data processing is essential us so much today, it is that it gradually created tools which are radically modifying the manner of thinking the music. However, its history is short. It merges with the development of numerical technologies: computers, initially, accompanied by creation by the languages symbolic intended for the programming, then with a whole troop of inventions in numerical technology. Enough early in its history, data processing will be shown sufficiently ripe to accommodate concerns of all kinds, energy of accountancy to scientific research, while passing naturally by what interests us, artistic creation.

And it is undoubtedly there that it is necessary to distinguish what arises from data processing itself, and what belongs rather to the broader world of numerical technology. The music amply draws from these two fields its new resources. However, since the field of the sound is converted today into audio numerical, the distinction is essential. Musical data processing is born from the meeting of the musical concerns and the environment resulting from numerical technologies and the specificity of the computer, on the one hand, and of the scientific fields which clarify its research topics. If the musical composition appears there in good place, practically all the other activities of the music are found there. And musical research partly covers the ground cleared by data processing, acoustics, the treatment of the signal, even cognitive psychology: thus musical data processing is at the center of several musical, scientific and technical fields.

But it is the recourse to the specific contributions of the data processing which characterizes its step. New conceptual tools are unceasingly provided by the artificial intelligence, which are concretized by languages such as Lisp or Prolog. They are put at once at the musicologist assistance or abstracting service to the composition. Research in systems real time and on the interfaces interactive makes it possible to conceive new connections between the instrumentalist and the electronic universe.

Great stages of musical data processing

With the origin of musical data processing, one finds two types of activities, independent one of the other. If these activities prudent today, it is in another manner that the original vision which caused their birth could enable to foresee. These two types of activities are: the musical composition, and production of the sound. In both cases, the manufacture of the desired result is ensured by the computer. These two types of activities are appreciably contemporary. The first serious tests of musical composition per computer go back to 1956: it is on this date that Lejaren Hiller calculated a partition using rules encodes in the form of algorithms on the computer Illiac I of the university of Illinois. It is about Illiac Suite for String Quartet, whose three movements are carried out this year by the string quartet WQXR. In a famous structure, published in 1959 and which supports the title of "Experimental Music-Composition with year Electronic Computer", Lejaren Hiller explains in detail the procedures that it applied to the Illiac computer in order to produce the partition of his string quartet.

To locate this period, it is as into 1956 as John McCarthy forged the term of artificial intelligence. One year later, max Mathews, researcher at the laboratories of the Bell Telephone, in the New Jersey, a first numerical programmer of synthesis of the sound for the computer IBM 704 writes. Known today under the name of Music I, it is the first of a great family of acoustic compilers; a psychologist, Newman Guttman, generates first a one 15 seconds duration study, In the Silver Scale. It is as into 1957 as the four movements of the Continuation Illiac for String Quartet of Lejaren Hiller are published; the same year is born the primitive version from the famous language of FORTRAN program (FORmula TRANslator). Let us note that during the creation of the work of Hiller by the string quartet WQXR, it is max Mathews which organized a recording, which gave place, thereafter, with the publication of this recording in a disc carried out in 1960 by the Bell Laboratories, and entitled Music from Mathematics: even if the ways traced by these two inventors are independent, it is not known as that they did not cross...

From these two almost contemporary events, the development will continue, gradually, in the traced directions: the composition and production of the sound. We will see low the courses of them. But a third way is not long in appearing: it is born from the same observation that had made Hiller: the computer is above all, at that time, a formidable calculating machine. Moreover, the English term of selected computer indicated, before the appearance of these machines, the employees charged to operate calculations. But at the same time, with a bit of fear, one spoke readily at the time of electronic brains. An artist could not approach the computer not without a certain emotion, which explains without any doubt the attraction sometimes terrifying that data processing will exert on the artists of the following decades. But they are two scientists who are at the origin of these experiments: Hiller practiced chemistry, while Mathews was an already famous researcher. It is undoubtedly what explains remarkable methodologies that they reflect in place, each one on their side, and with completely independent aims.

With the Bell laboratories, max Mathews, on his side, written in 1957 a first numerical programmed of synthesis of the sound for the computer IBM 704, equipped with 4096 words of memory. Known today under the name of Music I, it is the first of a great family. The program Music III (1960) introduced the concept of instrument modular. The model imagined by max Mathews is inspired more than one equipment of laboratory or an electronic studio of music that by an acoustic stringed-instrument trade. The program offers a range of independent modules (Unit Generators), in charge each one of an elementary function: oscillator with form of programmable wave, adder of signals, multiplier, generator of envelopes and random signals, etc... The musician builds a "instrument" by connecting a selection of modules between them. The signals produced by the oscillators or the generators are led towards other modules there to be modified or mixed. Several instruments can be joined together within a "orchestra", each instrument having its own identity. Contrary to what occurs in the material universe, it there not of limit to the number of modules usable simultaneously, except perhaps the memory of the computer. The result of the placement of the instrument is the progressive calculation of the sound in the form of a sequence of numbers which, put end to end, represent a complex sound wave. These numbers are called "samples". Today, the number of samples representing one second of its was established to 44 100 per channel for the applications general public, and to 48 000 for the professional field.

Because of relative slowness of the machines and design weight to be carried out, time put to generate the sound wave is quite higher than the duration of the sounds; the operation of these programs is known as "in differed time". With the origin, the sound waves calculated in numerical form were stored on a numerical tape progressively proceeding end of an arithmetic unit of samples. This mode of production of the sound is called "direct synthesis". Thus creates for itself a "file of sound"; once completed, the musician calls upon a second program, charged reading the file of sound in real time and with sending the samples towards a digital-to-analog converter, which is connected to an amplifier and loudspeakers.

To activate the orchestra, the musician must write a "partition", in which all the parameters claimed by the modules of the instrument are specified. This partition is presented in the form of a list of numbers or telegraphy codes, each "note" or a each event being the subject of a particular list. These lists are ordered in time.

But to specify each parameter is a difficult task, more especially as the musicians are not trained to give values measured to sound dimensions which they handle. To fight against this obstacle, of the languages of assistance to the writing of partitions were conceived; most known is the Score program of Leland Smith (1972). Score is not an automatic program of composition: it makes it possible to specify the parameters using terms resulting from the musical practice (heights, nuances, durations), automatically to calculate changes of tempo or nuances, and even to supplement sections with notes corresponding to a trajectory given by the type-setter.

The model instrument-partition was firmly established with the arrival of Music IV (1962). This program were born from many alternatives, of which some exist indeed still today. Among these misadventures, let us quote Music 4BF (1966-67), there is nowadays a version for Macintosh (Music 4C, 1989), and especially Music 360 of Barry Vercoe (1968); this descendant of Music IV has as a characteristic to be presented in the form of a true programming language, which undoubtedly explains why it became today with C-Music the acoustic compiler more used. It was initially adapted to minicomputer PDP-11 from DIGITAL in 1973, then, entirely rewritten in language C in 1985, it took the name of C-Sound, and was quickly adapted to all kinds of data-processing platforms, including the micro-computers like Atari, Macintosh and IBM. In 1969 Music V appears, a program which is conceived to facilitate the musical programming of the instruments and the partitions; nowadays, Music V is still largely employed, generally in the form of the adaptation that in made Richard Moore, C-Music (1980).

The computer was also an unquestionable success in a strongly speculative field, the musicologists analysis. With the eyes of the public interested at the beginning of the Sixties, data processing, still rather mysterious and inaccessible, showed the possibility for strange musical work; in composition, in musicology and finally, limited to the laboratories Bell, production of sound. A great musical upheaval of this decade was to come from the world of electronics, with the appearance into 1964 of the synthesizers modular, known as "analogical" since they do not contain numerical electronics. Conceived independently by Paolo Ketoff (Rome), Robert Moog and Donald Buchla (the United States), the synthesizers bring the response to the technological aspirations of many musicians, especially after the popular success of the disc Switched one Bach of Walter Carlos who truly made know these instruments near a large audience. During this time, the program of Mathews knows adaptations on other sites, such as the universities of New York, Princeton or Stanford.

Another application of the computer appears with the piloting of analogical instruments. The machine generates signals with slow variation which modify the adjustments of devices of studio: frequency of oscillators, profit of amplifiers, cut-off frequencies of filters. The first example of this system which one names "hybrid synthesis" was established in 1970 in Elektron Musik Studio of Stockholm, foundation independent since 1969, financed by the Royal Academy of Music, and placed under the direction of Knut Wiggen. A computer PDP 15/40 controlled twenty-four generators of frequency there, a generator of white vibration, two third filters of octave, modulators: out of ring, of amplitude and reverberations. The originality of the system of Stockholm lay in an extremely ergonomic operator console, with which the type-setter could specify the parameters of synthesis by sweeping a panel of figures using a metal brochette. Another studio is to be quoted: that of Peter Zinovieff in London (1969), placed under the control of a minicomputer DIGITAL PDP 8 for which Peter Grogono wrote the language of Musys piloting.

Another remarkable realization is the system Groove (Generated Realtime Operations One Equipment Voltage-controlled, Ca 1969) conceived at the Bell laboratories by max Mathews and Richard Moore. Groove is an instrument intended for the control of parameters of interpretation of a device of synthesis. In this direction, it places the musician more close to the position of a leader that to a type-setter or an instrumentalist, although one can consider that the electronic type-setter of music must often place himself in position of chief, by directly interpreting the music which is made up.

It is the middle of the Seventies which marks the transition towards an inexorable widening from now on from the life of musical data processing, with the appearance of the microprocessor. A data-processing stringed-instrument trade will become gradually possible with the design of complete computers on an integrated circuit: microprocessors. It will also be necessary that the interface with the user improves, and that the punch cards by a more interactive mode of inputs are replaced: it will be the keyboard and the cathode ray tube which will carry it.

The principle of the hybrid synthesis continued to be applied throughout the Seventies, before being supplanted definitively by the numerical synthesizers at the dawn of the Eighties. The American company Intel markets since 1971 the first microprocessor, the circuit 4004, which allow the design of genuine miniature computers, the microcomputers: Intellec 8 (conceived starting from microprocessor 8008 of 1972), Apple I, Altair (1975), gathered soon under the name of micro-computers.

The experiment musical of the Art Group and Data processing of Vincennes (GAIV) illustrate this time of transition well. This team, founded to the university of Paris 8 by Patrick Greussay and a team of artists and architects, known for the publication of a bulletin diffusing the research tasks in most recent art and data processing, entrusted to the type-setter Giuseppe Englert the musical coordination of her activities. It is Intellec 8, microcomputer with words of eight bits, ordered by a paper tape and a keyboard, which was used with the compositionally activities and as research on musical formalization; English synthesizers EMS-VCS3 were controlled by the microcomputer, via digital-to-analog converters charged to provide power of order in exchange of the binary data calculated by interactive programs.

The second effect of the arrival of the microcomputer was the design of the "mixed synthesis", synthesizers numerical, genuine computers adapted to the calculation of the sound wave in real times, placed under the control of a computer. From second half of the Seventies appear several achievements of this type; we will retain work of James Beauchamp, Jean-François Allouis, William Buxton, inter alia, like those of Peter Samson (synthesizer of Systems Concept, conceived for the research center -- CCRMA -- university of Stanford), Synclavier de New England DIGITAL Corporation, conceived by Syd Alonso and Cameron Jones under the impulse of the type-setter Jon Appleton, design, under the impulse of Luciano Berio, of a bench of oscillators in Naples by Giuseppe di Giugno, who continued his work in Ircam (series 4A, 4B, 4C and 4X) under the direction of Pierre Boulez; more recently, Fly 30 of the Center of recherché musical of Rome. Let us note that with the 4X of Ircam (1980), the term of synthesizer disappears, replaced by that of numerical processor of signal, which undoubtedly moves the accent on the general information of the machine.

The industry of the electronic instrument does not take a long time to adapt to these new developments. The first stage consisted in introducing microprocessors inside analogical synthesizers (Prophet synthesizers of the firm Sequential Circuits), charged to control the modules ordered in tension; it is still of the "hybrid synthesis". The second stage follows soon: it consists in designing genuine entirely numerical musical instruments. It is the noticed arrival of Synclavier II, then of Fairlight.

The industrial field is today initially made up by the market of the synthesizers and the processors of the sound, and by the software which makes it possible to exploit them. Today, all the synthesizers are numerical, and necessarily meet the Midi standard. The field of the synthesizers is double: on the one hand apparatuses, often provided with a keyboard, which propose a choice of preprogrammed sounds which one can vary certain parameters by an elementary process of programming; in addition, the machines which are intended to reproduce sounds beforehand recorded and memorized, or stored on mass memory: samplers, or "samplers".

It should be noted that all these technologies become accessible to the private musician, within the framework of what is called commonly the "personal studio" (home studio).

But these machines, and a fortiori the personal studio do not function without adapted software: the sequencers control the execution of a piece directly starting from a computer, the editors of sound are intended for the treatment, the assembly and the mixing of sound sequences. Programs make it possible to write a partition, which from now on is usually employed by the musical edition. Lastly, the machines can also be placed under the control of supplementary programmes to the composition.

The most original character of the contemporary data-processing stringed-instrument trade is the "workstation". To conceive a workstation consists in gathering programs of various nature, intended for the analysis or the synthesis of the sound, the control of the sound or the composition. These programs are integrated within data-processing a "environment" organized around a computer and of its peripherals, intended for the treatment of the sound on line. It is the case of the plug-in charts which, coupled to a software, make it possible to read "files of sound" stored on a disc, in exchange of an order, coming for example from a Midi source. This system, if new that it did not find yet a name true, is generally indicated like "hard" or "direct-to-disk" disk.

The musical representation

Since the computer, unlike the electronic music of studio, claims a specification of the data, and thus a writing, the question of the musical representation is a constant concern of the field. We will see two answers. The first illustrates a step a priori compositionnelle: that of Xenakis. The second, more general, is the Midi standard.

Iannis Xenakis innovates with the design of the UPIC (Unit Polyagogique Informatique of CEMAMu). Conceived in the middle of the Seventies, this system rises naturally from the approach of the synthesis of the sound by this type-setter: within the team which it had joined together, baptized initially Emamu (Team of Mathematics and Musical Automatic, 1966), and with the financing of the Foundation Gulbenkian, Xenakis had made build a digital-to-analog converter of high quality. The UPIC represents a complete environment of composition with, in result, the sound synthesis of the page of made up music. Become in 1971 CEMAMu (Center of Mathematics and Musical Automatic) because of the creation of a place intended to shelter its research, the team joined together around Xenakis conceives a system making it possible to the type-setter to draw on a broad table of architect of the "arcs time-height", by choosing for each arc a temporal trajectory, a form of wave, a nuance. The music thus is initially represented in graphic form. The programs of the first UPIC are written for a minicomputer Solar 16/65, connected to two bodies of magnetic tapes to store the programs and the samples, a digital-to-analog converter, a cathode ray tube making it possible to post the forms of waves, but also to draw these waves using a graphic pencil. To hear the page which it has just drawn, the type-setter must wait until the computer finished to calculate all the samples; the generation of the sound is ensured by a digital-to-analog converter of high quality. More recently, the UPIC was redrawn for microcomputer, and functions without delay.

To represent the sound in the form of a modifiable image, it is the goal of the Phonograms program, designed at the university Paris 8 per Vincent Lesbros. With the manner of a sonograms, the program posts the spectral analysis like a drawing, which can be modified; the new representation can then be synthesized, either by Midi, or in the shape of a file of sound, or even transformed into Midi file.

The reproach often today is heard that the generation of young musicians who approach technology through the environment created around the Midi standard are not a satisfactory aware of not passed of musical data processing and its problems. But is to forget that, in a direction, the birth of the Midi standard was done without true filiation with the preceding stages of the field which one will name musical data processing. The phenomenon which represents Midi is not at all a misadventure of this field.

The Midi standard was developed in 1983 to allow the piloting of several synthesizers starting from one only keyboard; the messages are transmitted in numerical format, according to a well defined protocol. With the origin, Midi is thus well based on instrumental gesturer control: it is a method to represent not the sound, but the gesture of the musician who plays of a Midi instrument. In 1983 leaves the first synthesizer to have an interface Midi, Prophet 600 of Sequential Circuits. What had not been defined, on the other hand, it is the success which this standard was going quickly to gain, which today is used to inter-connect all the machines of a studio of electronic music, and even the sets of lights of a scene.

Musical research

The work undertaken since 1956 by Lejaren Hiller for the composition of Illiac Suite for String Quartet marks at the same time the true birth of musical data processing and the anchoring of this field in the research, applied in this case to the automatic composition. The computer appeared then as a machine making it possible to treat the complex continuations of operations which characterize the composition of ambitious musical works. This way was going to be reinforced since 1958 by the French type-setter Pierre Barbaud, who melts in Paris the Algorithmic Group in connection with the company Bull-General Electric and begins his research of automatic composition; as of the following year, the first algorithmic work of Barbaud was made up:

Unforeseeable innovations (Algorithm 1), with the collaboration of Pierre Blanchard. The program Musicomp de Lejaren Hiller and Robert Baker, of the same time, conceived for the Illiac computer after the composition of the Illiac Continuation, making university of Illinois one of the centers of musical data processing at that time. And when in 1962, Iannis Xenakis creates ST/10, 080262, work written thanks to the stochastic program ST developed since 1958 on a computer IBM 7090, the composition using the computer enters its golden age. In the Netherlands, Gottfried Michael Koenig writes in 1964 the program of composition Project I (1964), followed soon of Project II (1970). The composition computer-assisted rests on mathematics and the stochastic one, drawing largely from the resources of the processes of Markov (Hiller, Barbaud, Xenakis, Chadabe, Manoury).

With the arrival of the micro-computers a new tendency develops: assistance with the composition, then computer-aided design of composition (CAD). The program demiurge, able to generate a whole composition the model of an environment of data-processing tools charged succeeds to deal with precise musical problems. Let us quote among the principal ones: HMSL (Hierarchical Music Language Specification, 1985) with Mills College in California, Forms, created by Xavier Rodet, Draft and Patchwork, developed in Ircam under the impulse of Jean-baptiste Barrier, Experiment in Musical Intelligence of David Cope, at the university of Santa Cruz in California. These programs are open: they dialogue with the type-setter in an interactive way, and are connected to the universe of the Midi devices. Except for M and Jam Factory of Joel Chadabe and David Zicarelli, they are structured by the use of languages nonnumerical, resulting from the field of the artificial intelligence, such as Forth, and especially Lisp, which explains why they rest not on mathematics, as it was the case for the first generation of composition computer-assisted, but on the formal languages and the generative grammars.

Real time: computer and instrumental universe

The Eighties see developing the use of the computer in situation in concert; thanks to the arrival of the numerical synthesizers in real time, or, more generally, numerical processors of sound, and languages of control real time, the conditions are ripe to revisit this old surface of the music of the XXe century: electronic music on line (live electronic music). In the majority of the cases, it is initially a question of imagining a means of connecting the computer and its computing power to devices of synthesis or treatment of sound, with, if, possible, the interaction of musicians. Répons (1981), of Pierre Swell, by the integration of the procedures of treatment the writing itself, showed in what the computer became an instrument, integrated perfectly into the orchestra. Following this work work appears on the follow-up, by the computer, of the play of the instrumentalist, operation known under the name of "follow-up of partition". Let us quote the contributions of Roger Dannenberg in the automatic accompaniment and the languages offering the conditions of the communication computer-instrument, those of max Mathews, initially with the Groove system, then more recently with its work on "Radio operator Drum" and the simulation of the rod of the chief orchestrates itself, Miller Puckette with the Max. program.

This is why one was in addition interested to give to instruments of orchestra this capacity, by providing them with sensors, allowing the computer to follow the execution (flute, vibraphone, etc...). All musical industry is concerned with this tendency, although the process to be used is not decided yet: it will be electromechanical (material sensors placed at strategic places of the instrument, conducting membranes, etc...), or will it be necessary to have recourse to the analysis for stolen of the sounds themselves to know of it the height, the spectral structure and the mode of play?

The community organizes itself

The ripening of musical data processing was accompanied by an assumption of responsibility by the community by the musicians and researchers by themselves. Gradually, the conscience of membership of a field is done day. The international congresses appear, followed later local conferences. The communications which are marked there are published in collections available for all the community. These meetings also give place to the presentation in concerts, which tends more strongly to weld between them the conscience of a new field, with the scientific and artistic components. It is the beginning of the "International Computer Music Conferences" (ICMC). In 1978 is born an organization intended to facilitate the communication and to help the behavior of the congresses, the "Computer Music Association", which becomes in 1991 "International Computer Music Association" (ICMA). The organizers seek to hold the congress one year in North America, and the following year on another continent. These congresses see the ICMA taking a role growing in the assistance brought to the local organizers, like in the diffusion of the publications resulting from these meetings, going until placing from the orders of works which will be carried out during ICMC (ICMA Commission Awards, 1991).

Another vehicle which welds the conscience of membership of a common field is the Computer Music Journal. Appeared in California in 1977, it is taken again by MIT Press starting from volume 4 (1980). The newspaper is essential like the reference as regards scientific publications of the field. Association ICMA publishes a bulletin, Array, which became a body very appreciated of information and discussion on the current topics of musical data processing. The review Interface Dutchwoman, which becomes since 1994 Newspaper of New Music Research, regularly publishes articles on musical data processing. Canada, Musicworks, guided by Gayle Young, ensures information on a broad range of concerns of the new musics. In France, publications of Ircam, InHarmonique, then the books of Ircam open their columns with the aesthetic, theoretical and critical considerations which accompany sudden appearance by new technologies in arts.

In 1991 the Leonardo newspaper, published by the international association for arts, science and technology, founded in 1968 by Frank Malina, lance, under the direction of Roger Malina, Leonardo Music Journal, who bring a full vision of the musical practice related to new technologies, thanks also to the publication, with each number, of a compact disk. More theoretical, the review [http://www.linereview.com] Languages of Design, under the direction of Raymond Lauzzana, is interested in formalization in the artistic procedures, and grants a broad place to musical data processing. With these traditional supports of information the direct communication between musicians and researchers by the means of the data-processing networks is added, allowing the instantaneous email. Lastly, the need to increase the speed of communication gave birth to the electronic newspapers, diffused by the networks such as Internet; released from the structure of manufacture, impression and routing, they allow the same type of access to information as the data banks which, they also, multiply in musical data processing.

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