Academic literature on the topic 'Music Boxes'

ABSTRACTThis article reveals the source for two major themes in Madama Butterfly – one associated with Butterfly herself, the other with her patrimony. The assumption has been that Puccini based these themes on Japanese melodies, but his source was actually a Swiss music box playing Chinese tunes. Specific moments in the opera indicate that Puccini was aware of the titles of these tunes. The sound of music boxes in Butterfly and Turandot suggests previously unnoticed connections between these operas. The music-box melodies may be traced to Fritz Bovet's transcriptions. Puccini encountered ‘Jasmine Flower’ on these boxes, and in Turandot reaffirmed its status as the token of Chinese music.

Based on 2 years of ethnographic fieldwork with builders of boutique music effects boxes, this essay explores the ways in which improvisation figures into the creation of music technology. The author argues that expanding the rubric of improvisation to encompass the processes of designing and building effects boxes pushes scholars to understand relationships between music and improvisation as existing beyond the boundaries of performance. Ultimately he posits that improvisatory behavior and exploratory engagement with material at hand is central to building pedals, and should be assessed as part of the continuum of social-aesthetic practices composing music making.

Roxy Music Limited is a wholesale supplier of Compact Discs (CDs), Music Cassettes, Videos and, more recently DVDs, in the New Zealand music and entertainment market. All products are imported from Germany, the United Kingdom, the United States of America or Holland. Product arrives in boxes of 1,000 units. For the purpose of this case, we are focusing on CD sales.

This article explores the use of mobile phones as portable remediated sound devices for mobile listening – from boom boxes to personal stereos and mp3 players. This way of engaging the city through music playing and listening reveals a particular urban strategy and acoustic urban politics. It increases the sonic presence of mobile owners and plays a role in territorialisation dynamics, as well as in eliciting territorial conflicts in public. These digital practices play a key role in the enactment of the urban mood and ambience, as well as in the modulation of people’s presence – producing forms of what Spanish architect Roberto González calls portable urbanism: an entanglement of the digital, the urban and the online that activates a map of a reality over the fabric of the city, apparently not so present, visible or audible.

The occurrence of a single candidate in the 2020 Humbang Hasundutan District Head Election has spawned political communication to choose an empty box. The empty box volunteer political movement influences voters to vote for blank ballots in the name of ideal democracy. This study examines how empty-box volunteers convey their political messages in music to voters. Qualitative research methods with framing analysis approaches are used to analyze data or political messages in songs against political movements of empty box volunteers. Data collection techniques through literature studies show five songs about the Empty Boxes in the 2020 Humbang Hasundutan Regional Head Election. The results show that the Empty Boxes volunteers place the issue of Empty Boxes Democracy as the main issue with various frames of political messages in the Empty Boxes song. The five songs of empty box volunteer articulate, frame, highlight, and disseminate political messages on three themes, among others, ideal democracy, democracy becomes a movement for change and democracy against political elites.

crash and bloom is an elec-tronic sculpture that undergoes population density cycles similar to those found in some natural systems. The system is made up of 42 boxes, their simple behaviors and the interconnec-tion topology of the boxes with one another, which enables them to pass “ping” messages around the network. Three simple rules determine how the boxes respond to the ping messages. These rules, coupled with a feedback loop topology, allow the emergence of crash and bloom cycles: The density of pings in the system rises rapidly, saturates the environ-ment, crashes and rises again.

Simon Løffler's b presents to its audience an immediate question: where are the instruments? Three players sit on straight-backed chairs, joined by a daisy-chain of cables and guitar stomp boxes. The score directs a choreography of foot switching, demanding extraordinary pedal dexterity. Sounds pass down the line, modulated by distortion and equaliser effects, before bursting out of the PA in a series of abrupt electrical barks. But at the other end of the line there is nothing but an unplugged jack, held aloft, inserted nowhere but the open air.

22 July 1824. Many Londoners had waited years for this night. They thronged to the English Opera House, filling the boxes and cramming the benches in the pit and gallery. It was worth the heat, the expense, the danger from pickpockets. After hearing of its success for three years, after glimpsing snatches of it in concert and sheet music excerpts, and after enduring weeks of advertising for the English Opera House production, they would finally be the first in London to witness the most celebrated German opera of the time: Weber's Der Freischütz.

Roysten Abel's The Manganiyar Seduction is perhaps the most popular performance of Indian folk music on the global festival market today. This performance of Rajasthani folk music is an apt exemplification of an auto-exoticism framed as cultural commodity. Its mise en scène of musicians framed, literally, by illuminated red square boxes ‘theatricalizes’ Rajasthan's folk culture of orality and gives the performance a quality of strangeness that borders on theatre and music, contemporary and traditional. The ‘dazzling’ union of the Manganiyars' music and the scenography of Amsterdam's red-light district engendered an exotic seduction that garnered rave reviews on its global tour. This paper examines the production's performative interstices: the in-betweenness of sound and sight where aural tradition is ‘spectacularized’. It will also analyse the shifting convergences of tradition and cultural consumption and further interrogates the role of reception in the construction of such ‘exotic’ spectacles.

This article is the second in a three-part series on the theory and applications of a music care framework. Music is increasingly being recognized in health care as an effective psychosocial and rehabilitative intervention. Currently, there is little standardization as to how music may best be integrated into health care settings. It is the absence of standardization that prompted the authors to identify new possibilities for integrating music in health care. The purpose of this study was to explore how music could be optimized in complex rehabilitation and continuing care environments, using one such facility in Ontario, Canada, as an example. Data collection focused on the feasibility of incorporating music in care delivery by surveying stakeholders regarding the potential for music in the facility, and collecting specific ideas for the integration of music within the space. Participants’ perspectives were collected using 4 methods: design charrettes, a musical café, an electronic questionnaire and ‘idea boxes’. Data revealed participants’ perceived values and assumptions about the importance of music in care. The researchers utilized a conceptual framework of music care, which was designed to help clarify various dimensions of music in care, assist in the mapping of existing music care initiatives, and identify opportunities to optimize the use of music in care. The study concluded with site specific recommendations, which may be applicable to other health care settingsSpanishOptimizando la Música en Rehabilitación Compleja y en Cuidado Continuo y Rehabilitación; un estudio en centros de atención comunitarias.Este artículo es el segundo de una serie de tres partes sobre la teoría y aplicación de la música en el marco de atención de salud. La música está siendo altamentereconocida en las comunidades de atención de salud como una intervención psicosocial y de rehabilitación efectiva, incrementando muchos aspectos de la calidad de vida. Actualmente, existe poca estandarización sobre cómo integrar de forma eficiente a la música dentro de los objetivos de atención individual y en los centros de atención. Es esta ausencia en la estandarización la que ha llevado a los autores a desarrollar un marco conceptual de atención musical, de esta manera los variados ámbitos de la práctica que incluyen a la música pueden ser distinguidos unos de otros y pueden ser identificadas nuevas posibilidades de optimización musical en los centros de atención.El primer estudio de esta serie examina la optimización de la música en centros de atención a largo plazo en Canadá [1], el propósito del mismo es explorar como la música puede ser optimizada en ambientes de atención compleja y continua, utilizando un centro de estas características como lugar de exploración, ubicado en Ontario, Canadá. Este estudio examina la viabilidad de incorporar música dentro de la atención de este lugar mediante encuestas a sus miembros sobre como ellos evalúan el potencial de la música en la institución, y sobre ideas específicas que pueden tener sobre como optimizar la música en ese espacio. Los datos fueron tomados utilizando 4 métodos: reuniones de directorio, café musical, cuestionarios electrónicos y caja de ideas. Los investigadores desarrollaron un marco conceptual de atención musical como una herramienta de investigación, diseñada para ayudar a clarificar las dimensiones de la música en atención de salud, mapear las iniciativas existentes en atención musical y optimizar el uso de la música en atención de salud. El estudio concluye con ideas y estrategias para la optimización musical, y una lista de recomendaciones para instituciones específicas. Los datos revelan que los participantes tienen valores y suposiciones sobre la importancia de la música en atención de salud que se correlaciona con la importancia de la atención centrada en la persona.Palabras claves: atención musical, cuidado centrado en el paciente, cuidado continuo complejo, optimización musical, diez dominios de la atención musical German Optimierung von Musik in dem Gesamt der Rehabilitation und der kontinuierlichen Versorgung und Rehabilitation: eine Studie über VersorgungseinrichtungenAbstract: Dieser Artikel ist der dritte einer dreiteiligen Serie über Theorie und Anwendung eines Versorgungsrahmens mit Musik. In Versorgungs-einrichtungen wird Musik zunehmend als eine effektive psychosoziale und rehabilitative Intervention anerkannt, die viele Aspekte der Lebensqualität verbessert. Zurzeit gibt es wenig Standardisierung wie Musik am besten in individuelle Versorgungsziele und –settings integriert werden kann. Die noch nicht vorhandene Standardisierung hat die Autoren angeregt, das Konzept eines Versorgungsrahmen mit Musik zu entwickeln, so dass die verschiedenen Praxisbereiche, die Musik integrieren, voneinander unterschieden und neue Möglichkeiten, die Anwendung von Musik in der Versorgung zu optimieren, identifiziert werden können.Während die erste Studie dieser Serie die Optimierung der Musikversorgung in kanadischen Langzeitpflegeheimen [1] untersuchten, ist der Zweck dieser Studie herauszufinden, wie man Musik in komplexen Pflegeeinrichtungen optimieren könnte, dafür wurde solch eine Einrichtung in Ontario/Canada ausgewählt. Diese Studie untersuchte die Möglichkeiten, Musik in die Pflege dieser Einrichtung einzubringen, indem sie die Mitglieder dieser Gemeinschaft beobachteten, wie sie das Potential von Musik der Einrichtung einschätzen, sowie ihre spezifischen Ideen, Musik in diesem Raum zu optimieren.Die Daten wurden mithilfe von vier Methoden erhoben: Design charettes, musikalisches Café, ein elektronischer Fragebogen und Boxen für Ideen. Die Forscher entwickelten einen konzeptuellen Rahmen für die Musikversorgung als Forschungstool, der helfen soll, die Dimensionen der Musikversorgung zu klären, Initiativen zur Musikversorgung zu kategorisieren, und die Anwendung von Musik in der Pflege zu optimieren. Die Studie schließt mit Ideen und Strategien zur Optimierung der Musik und eine Liste von Vorschlägen für spezifische Einrichtungen. Die Daten enthüllt, dass die von den Teilnehmern wahrgenommenen Werte und Annahmen über die Bedeutung von Musik in der Pflege mit der Bedeutung der personen-zentrierten Pflege korrelieren. Keywords: Versorgung mit Musik, patientenzentrierte Pflege, komplexe Langzeitpflege, Optimierung von Musik, zehn Bereiche von Pflege mit Musik.ItalianOttimizzazione della musica nelle Riabilitazioni Complesse e di Cura continua: A facility community site studyQuesto è il secondo di una serie di tre articoli sulla teoria e le applicazioni della cura (riabilitazione) tramite la musica. La musica è sempre piú riconosciuta nelle comunitá di assistenza sanitaria come un efficace intervento psicosociale e riabilitativo, aumentado molti aspetti della qualitá della vita. Ad oggi c’é una leggera standardizzazione su come la musica puó essere meglio integrata per obbiettivi di cura individuale e in altri ambiti di cura. É proprio questa assenza di standardizzazione che ha portato gli autori a creare un quadro concettuale di cura con la musica, cosi i diversi scopi delle pratiche che integrano la musica possono essere distinti gli uni dagli altri, rendendo quindi possible l’ identificazione di nuove possibilitá per utilizzare la musica come cura.Mentre il primo studio ha esaminato l’ottimizzazione della cura con la musica in strutture di assistenza a lungo termine canadesi [1], lo scopo di questo studio é quello di esplorare come la musica possa essere ottimizzata in complessi ambienti di cura continua, utilizzando un impianto in Ontario, Canada, come sito di esplorazione.Questo studio ha esaminato la fattibilitá di incorporare la cura con la musica all’interno di questa struttura, sorvegliando come I membri della comunitá valutano il potenziale della musica nella struttura e su idée specifiche che potrebbero avere per ottimizzare l’uso della musica nello spazio. I dati sono stati raccolti secondo 4 metodi: * (designed charrettes, musical café, an electronic questionnaire and idea boxes). I ricercatori hanno sviluppato un quadro concettuale di cura con la musica come strumento di ricerca, progettato per aiutare a chiarire il ruolo della musica nella cura ,e ottimizzarne l’ uso. Lo studio si é concluso con idée e strategie per l’ottimizzazione della musica, e un elenco di raccomandazioni per un istituto specifico. I dati hanno rilevato valori ed ipotesi fornite dai partecipanti circa l’importanza della musica nella cura correlalandola al significato di cura incentrata sulla persona.Parole Chiave: cura tramite musicaJapanese要旨：本論文は、３部の連続した音楽ケア構造の理論と応用の第２部である。音楽は、心理社会的かつ社会復帰のための効果ある介入としてヘルスケアコニュニティーにおいてますます認知され 、QOLの多くの様相を高めている。現時点では、音楽が個人ケアの目的とケア設定の中にどのように最適に調和させられるかに関して標準化されたものはわずかである。この標準化の欠乏が著者に音楽ケアの構造概念の構築を先導した。音楽を調和した臨床の異なる機会は相互から識別されることができ、ケアの中での音楽の最適化の新しい可能性を見極めることができるかもしれない。このシリーズの第一部でカナダの長期ケア施設での音楽ケアの最適化を考察したが、この研究の目的は音楽が複雑に継続するケア環境の中でどのように最適化されるか、カナダのオンタリオの施設を実地サイトとして探求することである。本研究では、このサイトでのケアに音楽を取り入れることの可能性について、施設コミュニティーのメンバーがどのように音楽の施設内利用の可能性について評価しているか、また、どのように音楽を最適化するか特定のアイディアについて、アンケートを用いて調査した。データは、4つのメソッドを用いて収集された：デザインシャレット、ミュージカルカフェ、電子アンケート、そしてアイディアボックス。研究者達は研究ツールとしての音楽ケアの構造概念を構築し、ケアの中での音楽の重要性を明確にすることを助長するデザインをし、存在する音楽ケア構想をマッピングし、ケアの中での音楽利用を最適化した。研究は音楽の最適化のためのアイディアと方法、特定の施設のための推奨事項を含めて完結した。データは、参加者が認めた有用性と、人間中心ケアの意義とケアの相互関係の中での音楽の重要性の仮説について明らかにしている キーワード：音楽ケア、患者中心ケア、複合継続ケア、音楽最適化、音楽ケアの10の領域

Album Summary: (3-CD + DVD + 308 page book) Bear Family Records came into being in the late summer of 1975. We want to celebrate the company's 40th anniversary with a very special release. A CD/DVD/book edition has been produced just for this event. You may purchase this item at a special price. Our friends in the music industry, musicians and songwriters, have written and recorded a collection of 'Bear' songs especially for our anniversary. These original recordings - 72 in all - are available exclusively on this LP-sized Bear Family boxed set. Especially interesting are the songs that deal not just with any old bear, but with our own Bear Family label - Ry Cooder: I Wanna Be On Bear Family When I Die, Jim Diamond: Bear Family - Deke Dickerson: Bear Family Talking Blues - Roland Heinrich: Sixteen Discs, and Kim Lenz: What. In the accompanying 308-page LP-sized publication, you will read comments and remarks of internationally recognized music critics, experts and authors on Bear Family. We have re-printed all song lyrics, and of course there is a picture of every performing artist. Look back on Bear Family's 40-year history with the lavishly illustrated book. We want to thank all our facilitators and supporters who have made ??us what we are today, and last but not least we say goodbye to companions we have lost.

Excerpt: Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering at Appalachian State University in 2005. Inspired by this meeting in Appalachia, the trio worked to connect the legacy of Cumberland Plateau fiddler Howard Armstrong (of the 1920s band the Tennessee Chocolate Drops) with musical material they learned from their mentor, North Carolina Piedmont fiddler Joe Thompson. As the Carolina Chocolate Drops (CCD), these musicians explored a variety of black string band traditions.

Review of Vibrant, Playful, Beautiful, and Emotionally Charged: Two Box Sets of African-American Gospel Music [Fire in My Bones: Raw + Rare + Other-worldly African-American Gospel, 1944-2007 and This May Be My Last Time Singing: Raw African-American Gospel on 45 RPM, 1957-1982]

Tang, Cheuk Pan.
"December 2010."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 95-101).
Abstracts in English and Chinese; some appendixes includes Chinese.
Abstract --- p.i
Abstract (Chinese Translation) --- p.ii
Acknowledgements --- p.iii
Contents --- p.iv
Chapter Chapter One --- Introduction --- p.1
Chapter 1 --- Background and Issues --- p.1
Chapter 1.1 --- Karaoke-A Big Business
Chapter 1.2 --- Karaoke's Significance within the Community
Chapter 2 --- Literature Review --- p.6
Chapter 2.1 --- Medium of Karaoke
Chapter 2.1.1 --- MV
Chapter 2.1.2 --- Karaoke
Chapter 2.2 --- "Identities, Mass Society Theory and Mass Culture Theory"
Chapter 3 --- Methodology and Approach --- p.19
Chapter 3.1 --- Research Questions and Analytical Framework
Chapter 3.2 --- Data Collection
Chapter 3.2.1 --- Participation Observation
Chapter 3.2.2 --- Individual Interviews and Group Discussion
Chapter 3.2.3 --- Other Findings - Questionnaires
Chapter 3.3 --- Limitations
Chapter 3.4 --- Translations
Chapter Chapter Two --- Cantopop and Karaoke Boxes in Hong Kong --- p.26
Chapter 1 --- An overview of Cantopop in Hong Kong before Karaoke --- p.27
Chapter 1.1 --- Change of Population of Hong Kong 1940s to 1970s
Chapter 1.2 --- Music of Hong Kong before 1970s
Chapter 1.3 --- Germination of Cantopop - 1970s
Chapter 1.4 --- Cantopop and Hong Kong 1980s
Chapter 1.5 --- "Cantopop and Hong Kong 1990s - 2000s, a Different Music Scene"
Chapter 2 --- A Historical Review of Karaoke Boxes Businesses in Hong Kong of the 1990s - 2000s --- p.38
Chapter 2.1 --- Karaoke Boxes' Heyday and Exclusive Right Tryout
Chapter 2.2 --- Karaoke Boxes of the Big Two
Chapter 2.3 --- "Neway, California Red and K-net"
Chapter 3 --- Implication of the Development of Cantopop and Karaoke Box Businesses --- p.45
Chapter 4 --- Karaoke Boxes - A Reflection of Consumption Culture of Hong Kong --- p.46
Chapter 4.1 --- Indoor Consumption Culture
Chapter 4.2 --- Standardization and Personalization
Chapter 4.3 --- Fast Food Culture
Chapter 4.4 --- From Businessmen to Consumer
Chapter Chapter Three --- Overwhelming of the Karaoke Boxes Chains in Hong Kong --- p.51
Chapter 1 --- A common Term: K-Song --- p.54
Chapter 2 --- Interviews and Discussions of K-Song --- p.58
Chapter 2.1 --- Individuals
Chapter 2.2 --- Group Discussions
Chapter 3 --- The implication of the Term K-Song --- p.61
Chapter 3.1 --- """I am not one of them"" - As a Tool for Construction of Identity"
Chapter Chapter Four --- The Karaoke's Goers in Hong Kong --- p.66
Chapter 1 --- Emotional Satisfaction of a Performer in a Karaoke Room --- p.66
Chapter 1.1 --- Lyrics and Role Play
Chapter 1.2 --- Desire to Perform
Chapter 2 --- Audience in Karaoke --- p.73
Chapter 2.1 --- A Desirable Place for Social Gathering
Chapter 2.2 --- Certainties in Karaoke Boxes as a Social Activity
Chapter 2.3 --- Bonding between Participants in the Karaoke Room
Chapter 3 --- Why Karaoke? Intention and Behavior in Karaoke Room --- p.77
Chapter 3.1 --- Results from Interviews and Questionnaires
Chapter 3.2 --- Interpretation of Results from Participant Observation: Affect and Cognition of Customers towards Karaoke Boxes 4 The Goer's Goal --- p.80
Chapter Chapter Five --- Conclusion --- p.84
Chapter Appendix I --- Questions Used in Interviews and Discussions --- p.88
Chapter Appendix II --- Questionnaires Used --- p.89
Chapter Appendix III --- Summary of Questionnaire Results --- p.91
Chapter Appendix IV --- Phonetic Transcriptions & English Translations of Chinese Terms --- p.93
Bibliography --- p.95

The early stages of my research had focussed on the general idea of place as landscape in painting, centering on the Warlpiri country of the Central Desert. This perspective on place was quickly challenged by ideas of, experiences in and responses to those places I then visited as part of this research. My research eventually became an investigation into the language of painting, informed by ideas and different cultural forms and resulting in a one that has reconstructed my practice. I have explored how the contemporary language of abstract painting can engage with the experience of different cultural contexts both western and indigenous, specifically in the areas of visual art and music. Western artists I have considered are Paul Klee and Piet Mondrian, Ellsworth Kelly, Richard Long, Yves Klein, Tim Johnson and Jan Riske: the indigenous artists considered are the Martumili women of Punmu, Joe Japanangka James, Shorty Jangala and Lady Nungurrayi Robinson. My conversation has evolved using newfound elements extending and deepening my painting practice. My research has been enriched by fieldwork experiences ranging from a retrospective of Piet Mondrian’s painting in Den Hague, attending the Women’s Law and Culture Week in the Northern Territory and music performances such as John Luther Adams composition Inuksuit and Morton Feldman’s Patterns in a Chromatic Field. My early readings were very much centred on the writings of anthropologists such as Nancy Munn, Diana James, Christine Watson, Francois Dussart and Yasmine Musharbash as they provided important context to my visits to Yuendumu and my fieldwork at the Women’s Law and Culture Week. In reflecting on my practice I have been influenced and informed by writers such as Terry Smith and his revisiting of contemporaneity and connectivity in the global community; by Yve-Alain Bois’ essay on Mondrian’s painting, The Iconoclast and Maurice Merleau-Ponty regarding phenomenology and perception. Finally, The Grid as a Checkpoint of Modernity by Margarita Tupitsyn helped refine my focus, appearing to encapsulate much of what I had been thinking. I have come to recognise the phenomenological experience as key to all my responses both as observer and as artist. In particular, the aspect of my research focussing on the cultural forms of Central Desert communities, specifically painting and the performance of songs has had an expansive effect on my thinking and studio processes, contributing to a re-invention of my painting as an abstract artist.

In this chapter, we will discuss some of the math used in musical operations. If you just cringed when I said the m word, have no fear. We’ll be looking at the math behind musical things you already know how to do like transposing music by some interval and adding chord tones to a root note. We will also look at some of the things that will help make your program look better and more accessible to users. By the end of this chapter, you will have made a program that harmonizes MIDI notes. Let’s build a MIDI synthesizer. You remember how to do this. Create a new patch and 1. Create a new object called notein 2. Create 2 number boxes 3. Connect the first 2 outlets of notein to both number boxes 4. Create a new object called noteout 5. Connect the first outlet of each number box to the first 2 inlets of noteout Done! This is just about as simple as it gets for building a MIDI synthesizer. In fact, you don’t even really need the number boxes; they’re just displaying the pitch and velocity data as they come in. However, for now, we’ll leave the number boxes in to ensure that data are fl owing properly. Remember that if you forget which outlet connects to which inlet, you can hold your mouse over an inlet or an outlet to reveal a small window displaying the type of data that is being received or sent. 6. Create a new object called kslider Kslider is graphical object that resembles a keyboard. It has two inlets that receive pitch and velocity, respectively. 7. Create 2 number boxes beneath kslider’s 2 outlets 8. Connect the outlets of kslider to the inlet of each number box, respectively In a moment, we will integrate the kslider into the existing objects in our patch. For now, let’s 9. Lock the patch and click on kslider’s keys Note that each key on kslider’s graphical keyboard sends the corresponding MIDI pitch out its left outlet.

In this chapter, we will examine some premade patches demonstrating a few techniques for designing diatonic musical instruments. We will review some of the basic ins and outs of MIDI, learn some ways to program more efficiently, and discuss a number of control options for your patches. As we examine some working patches and encounter many new objects, please read carefully and, in your mind, follow the flow of data from one object to the next as the process is described in the text. Remember that it will be beneficial to look at the Help file for any objects you may have forgotten about or do not fully understand as you encounter them in this chapter. In the last chapter, you installed the EAMIR SDK (Soft ware Development Kit) which, in addition to putting the Modal Object Library into the Max search path, put a bunch of patches I’ve created into the path as well. In fact, if you select Extras from the top menu, you will see an item marked EAMIR among the other extras. 1. Click on Extras>EAMIR from the top menu to view the main menu of the EAMIR SDK 2. In the umenu labeled Examples, click the first item 1.EAMIR _MIDI_Basics.maxpat If you did a manual install of the EAMIR SDK, you will need to locate the EAMIR_SDK folder on your computer and open the file EAMIR.maxpat. A patch will open containing two rectangular boxes. Unlock the patch to see that these two rectangular boxes have inlets and outlets just like the objects we’ve been working with, except that they, in themselves, contain other objects. These two boxes are called bpatchers. A bpatcher is an object that allows an existing Max patch to be loaded into a viewable window; that window is the bpatcher object itself. 3. Open the Inspector for the upper bpatcher Note that the line Patcher File within the Inspector displays the filename of the Max patch currently loaded in the bpatcher: EAMIR_MIDI_in.maxpat. This is just a Max patch that is being displayed in the bpatcher.

In this chapter, we will look at some innovative ways to control music making as we develop musical instruments. We will look at using your computer keyboard and mouse as performance instruments as well as discuss the use of videogame controllers in your patches. Designing your own custom musical instruments is a great way to tailor the controls to the specific physical abilities of users while allowing them to focus on certain specific musical concepts like pitches, scales, and harmony/chords. 1. Click on Extras>EAMIR from the top menu to view the main menu of the EAMIR SDK 2. In the umenu labeled Examples, click the third item 3.EAMIR _ASCII_Keyboard_Control.maxpat Unlock the patch that opens and look at its basic structure. As you can see, the patch is really just 4 bpatcher objects, 3 of which refer to patches we’ve already looked at. The newest bpatcher, at the top of the patch, is basically just a patch with a key object, a select object, and some fancy graphics—all things you learned to use in Chapter 3. Lock the patch and 3. Type your full name using your computer keyboard. Note that uppercase letters and lowercase letters trigger different buttons 4. Press the number keys 1–8 as these are mapped to message boxes containing numbers used as diatonic chord functions Without the top bpatcher, your patch generates chords in any key simply by clicking the message boxes. The top bpatcher is just a control interface that maps something (keys) to something else (message boxes). 5. Ctrl+click (Mac) or right click (Windows) the top bpatcher and select Object>Open Original “EAMIR_keyboard.maxpat” from the contextual menu This patch is set to open in Presentation mode. Unlock the patch and put it in Patching view. The contents of the patch are as I described: a key object, as well as a keyup object, are connected to two gigantic sel (select) objects containing the ASCII numbers for all the available characters on the computer keyboard nothing you couldn’t already do. In fact, the most impressive part of this patch, in my opinion, is the graphical part of it.

The stochastic Navier-Stokes equation solves the mysteries underlying the macroscopic morphogenetic processes of human beings, which include brain, legs, arms, internal organs. (Naitoh, 2001, 2008, 2010, 2011) This is possible because main part of the living beings is filled with water flow. The theoretical studies (Naitoh, 2008, 2010, 2011) also explain the reason why inner organs such as heart and liver are left-right asymmetric at the later stage of the developmental process. Our computational results (Naitoh and Kawanobe, 2011) also reveal the morphogenetic process of main blood vessels. Here, first, we examine the morphogenetic processes of bones and main nerve systems. Next, further thought experiments based on statistic fluid mechanics (Naitoh, 2008, 2011) and biological data reveal the standard network pattern common to neural networks inside the brain and various bio-molecular networks for the morphogenetic process of the human system. It is stressed that the standard network is basically constructed with only six groups of molecules and neurons. The physical equation describing the dynamics of the standard pattern shows the temporal oscillations appearing in various phenomena such as differentiation and proliferation in cell divisions and memory systems. Third, statistic fluid dynamics based on the quasi-stability principle and the indeterminacy principle (Naitoh, 2001, 2008, 2010, 2011) reveals the inevitability of the supermagic numbers including symmetric ratio of 1:1 and asymmetric ratios such as about 1.27:1, 1.35:1, 1.41:1, 1.44:1, 1.78:1, 2.1:1, 2.5:1, 3.6:1, and 4.54:1, in various pairs of flexible-particles in natural and living systems. The present report reveals the role of the magic numbers inside the human brain system, which are related to music, fine-arts, poem, and language. Thus, the fluid-dynamics proposed in our previous reports will bring a new insight on the spatiotemporal structure of ontogeny and also a new technology of cyberneology, which will result in artificial brain system living over millennium in super-computers.