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λ is the 11th letter in Greek alphabet. It is written and pronounced as "Lambda" in English. λ音译：兰布达
This is the original version. It has NOT been revised for 11 year old children yet. However, I do NOT see much differences within current English version as a second language speaker. We are in an unusual sonic space With hints of recognisable sounds emerging from the background These sounds hint at the real world situation that is 'informing' this composition Suddenly we are dropped into reality by the sound of a reality by the sound of a 'confrontational' voice The composition shifts between real and abstract spaces It is as if we are taking a taxi ride during which our mind keeps wandering off until we are snapped back into reality by sudden sonic gestures
1914 • Russolo conducts the first public performance of music composed for his intonarumori (noise instrument). 1931 • Varese composes Ionisation, the first European composition written solely for percussion.
MySQL (beta) at CHEARSdotinfo.co.uk The Musical Instrument Digital Interface or MIDI protocol has been variously described as an interconnection scheme between instruments and computers, a set of guidelines for transferring data from one instrument to another, and a language for transmitting musical scores between computers and synthesizers. All these definitions capture an aspect of MIDI. MIDI was designed for real-time control of music devices. The MIDI specification stipulates a hardware interconnection scheme and a method for data communications (IMA 1983; Loy 1985c; Moog 1986). It also specifies a grammar for encoding musical performance information. MIDI information is packaged into small messages sent from one device to another. For example, a message can specify the start and stop time of a musical note, its pitch, and its initial amplitude. Another type of message, transmitted at regular intervals, conveys ticks of a master clock, making it possible to synchronize several MIDI instruments to a sequencer that emits these messages. Musical Possibilities of MIDI 1. MIDI separates the input device (for example, a musical keyboard) from the sound generator (synthesizer or sampler). Thus MIDI eliminates the need to have a keyboard attached to every synthesizer. 2. The separation of control from synthesis means that any input device (breath controller, hornlike instrument, drum pad, guitar, etc.) can control a synthesizer. This has led to a wave of innovation in designing input devices (see chapter 14). 3. Software for interactive performance, algorithmic composition, score editing, patch editing, and sequencing can be run on the computer with the results transmitted to the synthesizer. 4. MIDI makes "generic" (device-independent) music software easier to develop. Generic music software runs on a personal computer and drives synthesizers manufactured by different companies. An example of generic software is a sequencer 5. MIDI makes "targeted" music software (i.e., software for a specific device) easier to develop. Targeted music software includes patch editor/librarian programs that adjusting the knobs on the screen image with a mouse, one can control the synthesizer as if one were manipulating its physical controls. 6. MIDI codes can be reinterpreted by devices other than synthesizers, such as signal-processing effects boxes (reverberators, etc.). This offers the possibility of real-time control of effects, such as changing the delay or reverberation time. MIDI can synchronize synthesizers with other media such as lighting systems. MIDI can also be linked with other synchronization protocols (such as SMPTE timecode) to coordinate music with video and graphics. Another specialized application of MIDI is the control of audio mixers. See chapter 9 for a discussion of console automation via MIDI. 7. Through MIDI, score, sequencer, and sample data can be exchanged between devices made by different manufacturers. essentially replace the front panel of a synthesizer, sampler, or effects processor. By pushing graphical buttons and MIDI Hardware MIDI messages transmitted between devices are sent in serial binary form,The standard rate of transmission is 31,250 bits per second.The hardware that handles these signals includes MIDI ports and MIDI computer interfaces, MIDI Ports A MIDI port on a device receives and transmits the messages. The basic port consists of three connectors: IN, OUT, and THRU. This allows the cable to shield without grounding problems over a span of up to 15 meters. MIDI Computer Interfaces Three basic types of interfaces are extant: serial, parallel, and multiline. MIDI Driver Programs Every synthesizer or digital signal processor (DSP) with a MIDI port contains a microprocessor. The program that handles this MIDI input and output function is called the MIDI driver. In effect, the driver "owns" the input/output port; all MIDI communications must be routed through it. MIDI Channels All sixteen channels can be routed over one physical MIDI cable. Each receiving device is set up beforehand to listen to one or more channels. MIDI's Representation of Pitch A note-on message contains a 7-bit field corresponding to a pitch value. Since 27 = 128, this means that the MIDI pitch range extends over 128 pitches. Channel Messages MIDI messages fall into two categories: channel messages and system messages. Status and Data Bytes The stream of MIDI data divides into two types of bytes: status bytes and data bytes (figure 21.9).A status byte begins with a 1 and identifies a particular function, such as note-on, note-off, pitch wheel change, and so on. A data byte begins with a 0 and provides the value associated with the status byte, such as the particular key and channel of a note-on message, how much the pitch wheel has changed, and so on. For example, a note-on event message consists of three bytes (10010000 01000000 00010010). General MIDI Mode That is, devices equipped for GMM respond to MIDI messages according to a standard mapping between channels, patches, and sound categories. GMM preassigns the first ten channels, with channel 4 for melody, channel 8 for harmony, and channel 10 for the percussion part. In addition, all 128 patches are preassigned to specific sound categories, mostly based on traditional instruments or "classic" synthesizer sounds. General MIDI in itself is simply a naming scheme and cannot guarantee that two different devices playing. Continuous Control via MIDI Some aspects of performed music change in a discrete, on/off way, like the keys on a keyboard or the pushbuttons on the front of an effects processor. Other aspects change in a continuous way over time, MIDI input devices usually have both discrete controllers (e.g., switches or keys) and continuous controllers (e.g., levers, wheels, potentiometers, pedals). A point to be aware of is that the stream of messages from a continuous controller can consume a great deal of MIDI's available transmission capacity (figure 21.11). Control Change Messages Control change messages tell a receiving device that the position of a continuous controller is changing. A point to be aware of is that the stream of messages from a continuous controller can consume a great deal of MIDI's available transmission capacity (figure 21.11). Defined Controllers Defined controllers and registered parameters simplify MIDI communications by assigning standard functions to controllers found on most MIDI devices. Some of MIDI's preset controller numbers are vibrato (1), left-right pan (10), volume (7), and damper (sustain) pedal (64). Registered and Unregistered Parameters Typical RPNs include pitch bend sensitivity, fine-tuning, and coarse tuning. Standard MIDI Files SMF can also serve as a common format for program intercommunication in a multitasking operating system running more than one music application. Long-distance communication of MIDI data is also aided by SMF, since musicians running different software can nevertheless exchange sequence data. (See the section on telecommunications in chapter 22.) MIDI Timing MIDI provides two ways to count time: via MIDI Clock messages, or via MIDI Timecode. The next sections describe these techniques. MIDI Machine Control and MIDI Show Control MMC controls tape recorders, videocassette recorders (VCRs), and hard disk recorders via MIDI. A related extension to MIDI is created for control of lighting systems and theatrical productions in general.
Supervised Learning Unsupervised Learning Self-supervised Learning These three words are mentioned in the lecture. But I am not sure how much they are related to EA Music.
