Archive

Suppose two people ("Alice" and "Bob") are working on the same file. Both check out the current version of the file.

Alice finishes first, and commits a new revision of the file.

In an ideal world, Bob would do an "svn update" after Alice's commit, and then Bob would have Alice's new version as a starting point, and everything would be great. But things could go wrong if

CNMAT's Windows box is a Dell Dimension 4500. It's name is "Perotin", IP address 128.32.122.75. It's currently located in Andy's office on the bottom floor. The CPU is sitting on the floor near the door.

How to Build An External

The subversion directory structure has /max/java, /max/js, and /max/jsui.

You can put the same kind of name/value table in a comment in the Java or Javascript source code as you would in C code. For example, here's the current name/value table for SDIF-menu2:


@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
NAME: SDIF-menu2

A compendium of SVN incantations to do common or important tasks.

## To check out a directory from the repository to create a working copy

This command checks out the MMJ-Depot into the current directory:

> svn checkout svn+ssh://128.32.122.217/svn/cnmat/trunk/max/patches/MMJ-DEPOT

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Composer:

Title:

Score:

This handbook will describe workflows for scholarly research activities.

Internal CNMAT peer review is required for all papers you submit with a CNMAT affiliation.
We use the Drupal Case Tracker, Publications nodes and Calendar to organize this process.

Create a case for each paper for the primary author.
Develop notes on the content as comments to that node.
Use the Case Tracker to flag the papers motion through the submission/acceptation/publishing process.

A collection of simple synths.

A package for scheduling events based on a signal-driven metronome.

A package containing patches for processing data from Wacom Tablets.

A package of patches for calibrating incoming data.

Music provides an especially interesting laboratory for the study of cognition. Because so much musical behavior is non-linguistic in nature, music tends to challenge dominant linguistic paradigms, which reduce all cognition to rational thought processes such as problem solving, deductive reasoning, and inference.

How might we connect the theoretical framework of embodied cognition with the study of music?

In this chapter I shall turn to the concept of meter, and its role in shaping our musical perceptions. The first question to ask is why we have meter at all. I shall stress that meter has some special status among the various time spans of music, and in particular that its function is both established and constrained by our embodied perceptual and cognitive abilities.

In this chapter I discuss a class of models for rhythmic tapping that have developed in the literature over the last few decades. I discuss what I see as a shortcoming of these models, from which I suggest a supplementary view that allows for different mental processes at different timescales.

My overall thesis has been that music perception and cognition are embodied activities, depending crucially on the tangible features of our sensorimotor apparatus, and also on the sociocultural environment in which music perception, cognition, and production are situated.

Agawu, V. K. 1986. "'Gi Dunu','Nyekpadudo,' and the study of West African Rhythm." Ethnomusicology
30(1): 64-83.

______. 1992. "Representing African Music." Critical Inquiry 18(2): 245-266.

______. 1995. African Rhythm: A Northern Ewe Perspective. Cambridge: Cambridge University Press.

Addy, Mustapha Tettey. 1998. Secret Rhythms
(a.k.a. Drummer By Nature). Jork, Germany: WeltWunder
Records.

Brown, James. 1991. Star Time. Compact
disc compilation of original releases 1956-1984. New York: PolyGram
Records.

Busta Rhymes. 1996. The Coming. New
York: Elektra Entertainment Group.

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