CD-R

The magazine Computable of last week writes that the CD-R promises to
be a big hit this year with sales of 1.5 million.
Soon there will be a new Philips player, CDD 2600, that can write at double
speed and read at sixtuple speed.
At the end of the year there will be a CD-Rewritable (older name:
CD-Erasable) with disk space that can be reused several times. This
standard is supported by Philips, IBM, Sony, Ricoh and HP.
CD-R disks are expected to drop further in price.

Manuel Op de Coul coul@ezh.nl

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>In response to Franck Jedrzejewski:

2. Ronald Bruce Smith said that Magnus Lindberg is the only IRCAM
>composer that had a knowledge of Forte's theory. Many others composers
>(Tristan Murail, Hugues Dufourt, Jean-Yves Bosseur etc....)
>perfectly know the Forte's theory, but they don't used in their
>own compositions.
My point exactly. That is, they *do not* use pitch class theory in their
compositions. Thanks for the reconfirmation

>Magnus has said (I can't remember where but I have read it)
>that he used the pitch set theory in his compositions.

Magnus often uses a synthesis of techniques derived from spectral theory
and pitch class theory. Nevertheless, he still thinks primarily in terms
of harmony and harmonic colour.

>3. The "objet sonore" is a concept of Pierre Schaeffer and electro-acoustic
>music, born in the GRM (Groupe de Recherches Musicales), not really a "friend"
>of the IRCAM because they have to deal with the same pie... Messiaen, Dutilleux
>and Boulez don't refer to the "objet sonore".

Certainly, but during my studies with Tristan he refered often to the objet
sonore.
>
>4. If IRCAM had opened "les nouveaux espaces", "a rather large and impressive
>extension to their building in Beaubourg" said Smith, IRCAM has also
>always >beenin crisis. Many people think that IRCAM has imposed his
>esthetics in the >french developpement of the music, had marginalized many
>other musical >institutions and eat to much money for what they do. Pierre
>Boulez had >published an interview in "Telerama" (a TV program paper) last
>week on the >musical french life. In reading this paper, you could
>understand what kind of >people is Pierre Boulez and understand how IRCAM
>had been what it is today.

Sure, IRCAM has often been a political hot potato. Still, to say, as
Mclaren did, that IRCAM has (musically) nearly marginilized *itself* out of
existence is not true.

rbs



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