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"James Tenney"
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From scratch : writings in music theory
One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch is a collection of Tenney's hard-to-find writings arranged, edited, and revised by the self-described \"composer/theorist.\" Selections focus on his fundamental concerns - \"what the ear hears\" - and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.
Book
From Scratch
One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch is a collection of Tenney's hard-to-find writings arranged, edited, and revised by the self-described \"composer/theorist.\" Selections focus on his fundamental concerns--\"what the ear hears\"--and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.
eBook
\2 < n < infinity\: A Multilayered \Phyllo Dough of the Analog and the Digital\ in Alison Knowles and James Tenney's The House of Dust
One of the stanzas in Alison Knowles and James Tenney's computer-generated poem \"The House of Dust\" suggests a sense of a shiny, metallic, unevenly reflective enclosure, filled with light characteristic of the desert environment, and yet one that somehow shelters both aquatic and avian species: \"A HOUSE OF TIN / IN A DESERT / USING NATURAL LIGHT / INHABITED BY VARIOUS BIRDS AND FISH.\" One distinct mood, one world of atmospheric and affective effects opens up here through the specific juxtapositions of entities and materials. Following Eve Sedgwick's sense, in her book Touching Feeling , of an intimacy that \"seems to subsist between textures and emotions,\" this essay enumerates the affective qualities generated through patterns of recombination that structure \"The House of Dust.\" Seen through the lens of cybernetics and affect theory this early computer-generated poem offers an interesting example of the complex layering of the analogue and the digital, as it translates between the binary code of early computer languages and the discrete, analogue properties of specific configurations of materials and the concomitant affective states they evoke. As such, the poem and the concomitant performances it has generated over time in which aspects of the poem were frequently recreated out of elements of the material universe complicate any kind of a binary relationship between the analogue and digital, materiality and code, or even original creation and reception.
Journal Article
Efficacy of Cefepime in the Treatment of Infections Due to Multiply Resistant Enterobacter Species
Cefepime is a new cephalosporin with an enhanced antibacterial potency and spectrum. More rapid penetration into many gram-negative bacilli, targeting of multiple penicillin-binding proteins, and resistance to inactivation by many β-lactamases account for its activity against organisms that have developed resistance to agents such as ceftazidime, cefotaxime, or ceftriaxone. This study identified 16 patients with 17 infections due to Enterobacter species organisms with reduced susceptibility or resistance to ceftazidime. Most isolates were multiply resistant to other β-lactam drugs as well, but all were susceptible to cefepime. All 17 infections, which included pneumonia, urinary tract infection, intraabdominal infection, and bacteremia, responded clinically to intravenous cefepime. In particular, cefepime was successfully used in the management of cases of chronic infection that had responded poorly to repeated therapy with imipenem, aminoglycosides, or ciprofloxacin. Eradication of Enterobacter species organisms occurred at 15 (88.2%) of the 17 sites of infection. No emergence of resistance to cefepime was noted.
Journal Article
Application of thin spray-on liners to enhance the pre-drained coal seam gas quality
Gas drainage has been the most common technique for gas management in underground coal mines. This method involves drilling holes into a virgin coal seam to allow the gas bleed off from the coal into the drainage holes. A major problem with the underground gas drainage is the air leakage around the gas drainage hole that cannot be blocked off by the sealing material. The air leakage will cause the low concentration of the drained gas and decrease the efficiency of the gas drainage hole, which may further lead to many other risks, such as spontaneous combustion, gas combustion and gas explosions. A thin spray-on liner is defined as a chemical-based layer or coating (3–5 mm) that is sprayed onto the rock surface to support mining excavations. Since their introduction, thin spray-on liners have received some success as a ground support tool for underground mining. Besides ground support, thin spray-on liners also show some potential to be used as a gas management tool in underground coal mines due to their relatively low permeability. This paper describes a field trial of using thin spray-on liners for enhancing the gas drainage efficiency by blocking the fractures around the drainage holes. The project involves spraying a thin spray-on liner onto the area surrounding gas drainage holes whereby the thin spray-on liner acts as a thin membrane decreasing the permeability of coal. This restricts the air migrating through the coal seam and diluting the gas from the drainage holes. The key benefits associated with the application of TSLs are the increase in the methane purity and the decrease in the air contamination. In-situ adhesion tests were conducted in parallel with the gas tests, and the results revealed that the TSL tested could be implemented for underground coal mine applications as the main failure mode is the internal failure of the coal substrate.
Journal Article
Form in Twentieth-Century Music (1969–70)
FORM. In the most general sense:shape(contour, the variation of some attribute of a thing in space or time) andstructure(the disposition of parts, relations of part to part, and of part to whole). In music, shape is the result ofchangesin some attribute or parameter of sound in time, while structure has to do with various relations between sounds and sound-configurations at the same or at different moments in time. The word is often used in the more restricted sense of a fixed or standard scheme of relationships (e.g., “sonata form”), but this definition ofform
Book Chapter
On “Crystal Growth” in Harmonic Space (1993/2003)
It seems clear, intuitively, that a concern for harmonic coherence would lead to the use of relatively compact, connected sets of points in harmonic space, where “connected” simply means that every element is adjacent to at least one other element in the set. How might such compactness be defined more precisely? I have been investigating an interesting algorithm in which sets of points are chosen, one by one, in somen-dimensional harmonic space, under the condition that each new point must have the smallest possible sum of harmonic distances to all points already in the set. That is, at each
Book Chapter
Excerpts from “An Experimental Investigation of Timbre—the Violin” (1966)
This report covers the research that has been completed to date on the project “An Experimental Investigation of Timbre,” although certain aspects of this work have already been described in published papers (Mathews et al. 1965; Tenney 1965). The result has so far been limited to a single instrument—the violin—although the concepts and methods used here are entirely applicable to other musical instruments as well. A description of the equipment and computer programs used in the investigation is given in section 1 of this report. The description is brief, since most of the techniques are relatively standard. More
Book Chapter
Reflections after Bridge (1984)
Since the revolution in aesthetic attitudes wrought by John Cage circa 1951, it has come to pass that virtually anything is possible in music. And yet not everything seems equally urgent or necessary, and, without a sense of necessity, one’s musical activities can quickly degenerate into mere entertainment or redundancy. One area of investigation that has that sense of urgency for me now is what I call “harmony”—i.e., that aspect of music that involvesrelations between pitchesother than those of sheer direction and distance (up or down, large or small). It has gradually become clear to me that
Book Chapter