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  • System Detail

System: LEMu (Morpheus)

Authors

Description

LEMu Software LEMu is a software application written in JAVA using jMusic and MidiShare. Designed and implemented by electronic musicians, it aims to assist in both the production and performance of electronic music. LEMu operates in realtime, is loop based and uses MIDI. It could be thought of as a "realtime" MIDI sequencer, as it triggers an external synthesiser to generate sounds. Most of the functionality in LEMu is an extension of two main concepts: automatic pattern generation and realtime pattern manipulation. Generative algorithms create patterns that are looped. Once a pattern has been created, it can be manipulated in many different ways by functions that operate in realtime. The tonality of the phase can be set using a wide range of unique modes. The pitch range can be expanded or limited using a slider. Other functions include rate of play, capture/repeat, phase offset, transposition, volume and velocity. All slider functions can be automated and automation can be drawn graphically and recorded. LEMu can record a session and save it as a MIDI file. The patterns and automations can also be saved and restored. LEMu can recieve MIDI messages to control any parameter. For more information, don't hesitate to email or check out the feature guide. LEMu was initially created by alledgedly funky students in the New Media strand of Music in Creative Industries, QUT. Under the supervision of their lecturer Andrew Brown, graduates Rene Wooller and Nick Coleman developed LEMu using jMusic. Since then (2001), Nick has moved back to Melbourne to pursue a very active music producing/DJing career, and Rene has stayed in Bris' following up the degree with a Masters and now a PhD Scholarship.

“Music is then no longer primarily conceived as a guide for premeditated emotions, but as the density of the possible relationships which first become actuality during production under the influence of chance, and which during performance are presented to the listener as sounds beyond any environmental associatiations, independent of bodily actions required to produce sounds...”

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“The danger is great of letting oneself be trapped by the tools and of becoming stuck in the sands of technology that has come like an intruder into the relatively calm waters of the thought in instrumental music.”

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“The computing machine is a marvelous invention and seems almost superhuman. But in reality it is as limited as the mind of the individual who feeds it material. Like the computer, the machines we use for making music can only give back what we put into them.”

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“... but beware, technique can submerge the user: We must defend ourselves; it is good to use techniques, but we have to dominate them, to stay alert.”

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“The use of computers is the logical outcome of a historical development. It by no means heralds a new musical epoch; it simply offers a fast, reliable and versatile means of solving problems that already demanded solution. The person who writes the computer programme must bear the development of musical language up to the present in mind, and try to advance a stage further.”

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“... the individual and the society are deprived of the formidable power of free imagination that musical composition offers them. We are able to tear down this iron curtain, thanks to the technology of computers...”

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“Composers are now able, as never before, to satisfy the dictates of that inner ear of the imagination. They are also lucky so far in not being hampered by esthetic codification -- at least not yet! But I am afraid it will not be long before some musical mortician begins embalming electronic music in rules.”

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“... and the hope of an extraordinary aesthetic success based on extraordinary technology is a cruel deceit.”

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“The characteristics of every sound depend on the way in which the sound was produced. Each art-form exploits its special production methods in order to endow the phenomena with unmistakable characteristics. Artistic economy demands that the means be appropriate to the end, and that the exploitation of the means be an end in itself.”

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“... the use of numerical machines no longer stands in need of justification. It is not a mystery. If there is a mystery, it is in the mental structures of music and not in the computers, which are only tools, extensions of the hand and the slide rule.”

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“With the development of electronic and computer music, multidemnsionality of sound representation turned out to be both natural and useful. But music goes beyond multidimensionality -- it is even more complex.”

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