2001 ヨーロッパツアー "竹虎"

本申請の事業は、日本の伝統音楽である雅楽と邦楽、そして日本が世界の先端の一部を
担っているコンピュータ音楽の分野での文化交流として、フランスで1回のレクチャー講演と
1回のコンサート、ドイツで数回のコンサート公演を行い、伝統的古典音楽とともに、新しく
創作したパフォーマンスを発表する、というものである。
なお、招聘元の機関は全てフランスおよびドイツの非営利団体であり、本事業全体としては
基本的には報酬を受けない非営利文化交流活動である。ただしコンサートに出演するプロの
演奏家の演奏謝礼の部分では、一般的に妥当な演奏報酬を受け取る計画である。

本申請の事業は、2001年9月中旬から10月初旬まで、大きく二つのパートに分かれて展開
する。前半(9/11-9/20)のフランスでの講演・公演には、長嶋、東野が参加し、後半
(9/20-10/1)のドイツには、残りの三好芫山、三好晃子が合流して、全員で公演ツアー
を行う。渡航費用と滞在費を本申請により計画し、残りの必要経費(コンサート会場費、
広報費、現地経費、機材送料、楽器保険料等)は、それぞれの招聘元が負担するという
計画になっている。添付資料は、それぞれの招聘状の写しである。

前半のフランスでは、フランス文化省の後援のもと、1985年にIannis Xenakisにより
設立されたCenter for Contemporary Musicにある、CCMIXというスタジオを訪問して
以下の内容の文化交流を行う。

　・音楽家・研究者である本申請者(長嶋、東野)が、CCMIXでの音響創作システムを活用
　　した音楽創造に関してCCMIXと交流し、日本の古典音楽である雅楽の響きを代表する
　　「笙」のサウンドを研究所に紹介する。さらに、笙をフューチャーした新しい音楽を
　　このために長嶋・東野それぞれ作曲し、コンサートの場で世界初演により発表する。

　・コンピュータ音楽の分野で、人間とシステムとのインタラクティブ性の応用分野で
　　先端の研究を進める本申請者(長嶋)が、CCMIXの依頼でレクチャーワークショップを
　　開き、コンピュータ技術を活用した新しい音楽の世界を紹介・講演する。

後半のドイツでは、カッセル大学のGunnar Johannsen教授(IEEEフェロー)の総合
プロデュースのもとで、大きく以下の二つの活動を行う。

　・「工学と音楽における人間の卓越したコントロール」と題した国際ワークショップに
　　付帯したKasselでのオーケストラのコンサートにおいて、以下の4曲が公演される。
　　　　　Aaron Copland (1900-1990)		　　Short Symphony (1934)
　　　　　Toru Takemitsu (1930-1996)		November Steps (1967)
　　　　　　　　　　　　　　　　for Orchestra with Shakuhachi	and Biwa
　　　　　Yoichi Nagashima (1958-    )		　Visional Legend(1998)
　　　　　　　　　　　　　　　　for Sho and Live Computer Music
　　　　　　　　　　　　　　　　with Live Graphics
　　　　　Ludwig van Beethoven (1770-1827)　Symphonie Nr. 2 (1802)
　　本申請者は、このコンサートにおいて、三好芫山(ノベンバーステップスの尺八)、
　　東野珠実(Visional Legendの笙)、長嶋洋一(Visional Legendの作曲とComputer演奏)の
　　3名が出演する。なお、ノベンバーステップスの琵琶は、アムステルダムで活動
　　するJunko Uedaさんが担当する。
　　このコンサートに関する経費等は、招聘元のカッセル大学が負担する。

　・ドイツ国内の都市において、本申請者の、三好芫山、三好晃子、東野珠実、長嶋洋一、の
　　4名によるアンサンブルを構成して、各都市で以下のプログラムでコンサートを行う。
　　　　Part 1 : Japanese Traditional Music (about 35-40 min.) 
                    "Tsuru no Sugomori" (Shakuhachi solo) - composed 500 years ago
                    "Midare" (Koto solo) - composed 350 years ago 
                    "Hirajyo no Choshi" (Sho solo) - Traditional Gagaku 
                    "Ichikotsu" (Shakuhachi and Koto) - Traditional 
 　         Part 2 : Expanded Traditional/Contemporary Music (about 45 min.) 
                    [under consideration] (Performance and live Computer) - world premiere 
                    "Visional Legend" (Sho, Graphics and live Computer Music) 
                    [under consideration] (Shakuhachi with CD) 
                    [under consideration] (Koto and Live Computer) - world premiere
                    "Japanesque Germanium" (all 4 players) - world premiere 
　　　(後半はこのツアーのための特設アンサンブルのための新作なので、現在作曲中)
　　このコンサートに関する経費等は、招聘元の各都市のドイツ日本協会が負担する。

本事業は、もともとはCCMIXからのレクチャー/コンサートの依頼と、カッセル大学の
Gunnar Johannsen教授(IEEEフェロー)のコンサート招聘とに端を発した企画である。
これは単に「日本の伝統音楽を紹介する」というものではない。伝統的な古典音楽(尺八、
琴、笙)の継承発展とともに、意欲的に現代音楽等の他ジャンルにも取組む音楽家(三好
芫山、東野珠実、三好晃子)と、それら音楽家と交流しつつ実際にコンピュータを組み
合わせた作曲・公演活動を行う研究者(長嶋洋一)とがジョイントすることで、従来の
「古典伝統芸能の紹介」を超えた、日本で展開し世界に発信している、新しい姿の文化
活動の先端を紹介する、というユニークな意義を持つものである。既に三好芫山の尺八、
東野珠実の笙、そしてこれら古典楽器と組んだ長嶋洋一のコンピュータ音楽は世界を
舞台として公演されており(添付資料参照)、今回は特に現地での新作の世界初演が期待
されている。

また、コンピュータ音楽の領域で作曲家・研究者として活動する長嶋洋一は、2000年、
ベルリンでのICMC(コンピュータ音楽国際会議)において、人間と音楽システムとの
対話的(インタラクティブ)なコミュニケーションの実現に関するワークショップの企画
開催を依頼され、世界中から先端の研究者・音楽家が集まって好評を得た(添付資料
参照)。今回のCCMIXでのレクチャー依頼はこの内容をフランスでも専門家や学生に
講演して欲しい、というもので、笙など伝統楽器を生かした音楽と人間の繊細な
息づかいをセンシングする、その先端の音楽的・文化的意義を評価されての招聘である。

予想される波及効果としては、日本の伝統的音楽の「古典」の持つ深さ、コンピュータ
テクノロジーと結びついてその可能性を拡大させた展開、そして人間の繊細な伝統的
技法と先端技術の結びついた音楽の新しい可能性を、日本文化の紹介とともに広く
発信することが期待できる。これは将来、国際的なコラボレーションによる新しい
音楽文化の創造にも寄与するものと考えている。

9/7　東野　成田→パリ
9/7　東野　CCMIXでレジデント(9/7-18)
9/10　京都・ゲンザン事務所にてリハーサル
9/11　京都・ゲンザン事務所にてリハーサル
9/17　長嶋・大山・加藤　成田→パリ
9/18　長嶋・大山・加藤　CCMIXにて東野と合流(^_^)
9/18　CCMIXにて長嶋レクチャー準備
9/19　CCMIXにて長嶋ワークショップ/コンサート(東野・長嶋出演)
9/19　芫山・晃子・琴傳　関空→ドイツへ
9/20　フランスの4人もドイツへ
9/20　全員、カッセルに到着、合流(^_^)
9/21　午前　4件のレクチャー
9/21　14:00-15:30　2件のレクチャー、長嶋登壇
9/21　夕方　ベートーベンのリハーサル公開
9/21　19:00-22:00　ノベンバー・ステップスのリハーサル
9/22　午前　2つのディスカッションのセッション
9/22　8:00-10:00　長嶋作品のセットアップとリハ
9/22　11:45-13:00　コープランドとタケミツのゲネプロ
9/22　14:00-15:00　長嶋作品のゲネプロ
9/22　16:00-18:00　コンサート
　　　　　コープランド→タケミツ→ナガシマ→ベートーベン
9/22　Johannsen教授のイブニングパーティーに招待(^_^)
9/23　レクチャーとディスカッション
9/24　レクチャーとディスカッション
9/25　カッセルにてリハ、アンサンブルコンサート
9/26　ハンブルクに移動、リハ、アンサンブルコンサート
9/27　欧州文化視察(^_^)
9/28　芫山・晃子・琴傳　→関空へ帰国(9/29)
9/28　東野・長嶋・大山・加藤　→成田へ帰国(9/29)

Gunnar Johannsen

The Symposium "Human Supervision and Control in Engineering and Music" 
is an international workshop supported by the VW-Foundation, with a 
promising transdisciplinary objective. Crossing frontiers in multiple 
respects, it shall discover connections between relevant part 
disciplines of the engineering and music sciences, relate different 
views to each other and, hence, break new ground for multi- and 
transdisciplinary questions. Visionary examinations of modern 
technology and their corresponding further developments require human 
and social related as well as cultural related judgements and design 
maximes.

As particularly rewarding integration and frontier domains, "Human 
Supervision and Control" will be analysed as human guidance, 
monitoring, and control activities in engineering and in music from the 
viewpoint of different cultural, intellectual, and technological 
perspectives. Thereby, the terms music and engineering are used for 
comprising two broad domains of experience and knowledge, namely

(A)	several fields of musicology, computer-music, composition, and music 
performance
as well as
(B)	several fields of engineering, computer science, psychology, and 
mathematics.

It is a great challenge to bring these two science domains closer to 
each other. However, such a concern is complicated in some countries 
such as Germany by pre-dominantly more traditional structures of 
disciplines in universities and scientific organisations. Also 
internationally, no comprehensive initiative has so far been developed 
for promoting an effective meeting of both domains.

Thus, the motive for this workshop came from the insight and the firm 
conviction of the initiator, who has knowledge and experience in both 
domains, that an intensive meeting will trigger considerable impulses 
for research on both sides. Thereby, the workshop will make excellent 
contributions to imparting innovative borderline experiences mutually, 
to scientists of both sides, with which they can kick off and handle 
transdisciplinary research projects that are required in the future.

After these considerations, the compelling necessity arises for the 
realisation of this international workshop "Human Supervision and 
Control in Engineering and Music". An intensive exchange of innovative 
research ideas and practical experiences shall take place in and 
between those fields of music and engineering which are dealing with 
"Human Supervision and Control". Scientists from the different fields 
of both experience and knowledge domains will explore common 
theoretical and practical foundations. The transdisciplinary approach 
of the workshop will thereby go far beyond the already existing 
multidisciplinarity within both domains (for example in computer music).

At present, contacts between both domains exist only in points and 
occasionally. A partial recognition of the respective other side is 
available in some working directions and in some research institutions, 
mainly through the literature. To some extent, there is a yet quite 
young atmosphere of departure to new horizons. The curiosity and the 
willingness for a common scientific discourse is huge on both sides. 
This has been confirmed by the pre-dominantly enthusiastic reactions of 
the invited participants who praise the innovation and the fascination 
of the theme. Accordingly, the main goals of this highly actual 
workshop are to learn from each other and to create new innovative 
research persepectives.

"Human Supervision and Control" comprises the human activities of 
guidance, monitoring and control (manual and supervisory control or 
sensory motor and cognitive control). It further includes perception, 
information processing, and action. "Supervisory Control" is the 
methodically most important subdomain of "Human Supervision and 
Control". Other subdomains supplement this with respect to different 
aspects of information transfer, such as "Gestural Control", "Motion 
and Sound Control", "Information Retrieval", "Virtual Environment", 
"Performance and Interpretation" as well as "Visual, Auditory, and 
Haptic Supervision".

The concept of Supervisory Control is regarded as guidance through 
humans, of computerised technological systems (also briefly called 
machines) as well as of human cooperative systems, and thereby as a 
common scientific paradigm for many promising technological 
developments in the future  ﾐ  not only in industrial process control, 
in vehicular guidance, in medical engineering, in telerobotics, and in 
the service sectors but also in broad areas of the music, the film and 
the television industries. To reflect such developments, to think about 
a continuing systematisation, and to anticipate methodical visionary 
innovations within the framework of an extended concept shall be 
essential concerns of this workshop.
	
A shortened and slightly modified part from the glossary of the book 
"Monitoring Behavior and Supervisory Control" edited by Sheridan (MIT, 
USA) and Johannsen invites to transdisciplinary borderline crossings: 
"The human supervisor performs upper level goal-oriented functions such 
as planning system activity, directing intelligent subsystems, 
monitoring system behaviour, adjusting parameters on-line when 
appropriate, and intervening in emergency or for normal redirecting or 
repair."

In times of more and more powerful multimedial and multimodal 
human-computer interactions in an interconnected information and 
knowledge society, Supervisory Control gains a new importance covering 
extensive domains of society, in the sense of responsible integrating 
leadership behaviour in the approach to humans and machines. Thus, it 
is fascinating and promising to compare the experiences from the 
technological-psychological areas of human-machine(-computer) 
interactions with those from the tradition-rich cultural areas of music 
which, at the same time, is one of the scientific core disciplines. In 
the workshop, borderline experiences to be exchanged shall 
correspondingly clarify questions about common interests and 
differences with the guidance of vehicles, productions plants, 
application software systems, orchestras, and computer-music 
installations.

The views of engineering scientists, psychologists, and computer 
scientists on "Human Supervision and Control" can stimulate new ideas 
and solutions, especially also for the domain of music. They have 
strongly advanced the research and the application of human-machine 
systems, of automation and systems engineering, and of human-computer 
interaction. In addition, they yield a far-sighted view on the 
revolutionary changes in process and vehicular guidance as well as in 
human-computer interaction of different application fields. For the 
domain of music, they can provide contributions to theoretical 
foundations of performance research and of interactive composition as 
well as to questions of perception, computer-music, and sound design. 
The spectrum of the scientific approaches comprises

蜉research on guidance of vehicles, industrial production plants, and 
medical apparatus as well as application software systems which the 
human as supervisor influences in a goal-directed manner via computer 
layers,
蜉research on human activities of guidance, monitoring and control 
(manual and supervisory control),
蜉research on decentral-hierarchical system architectures, guidance and 
support systems, telemanipulation and telepresence, cooperative 
multi-agent systems and cognitive systems responibility, as well as
蜉research on graphical, auditory, and multimedial human-machine and 
human-computer interfaces, also with user modelling and knowledge-based 
support, and virtual environments.

The views of musicologists and musicians on "Human Supervision and 
Control" seem particularly rewarding for the borderline experiences to 
be dealt with in this workshop. They shall stimulate new ideas and 
visions, also for the domain of engineering. The metaphorical question 
"Can we conduct a power plant, a truck or an interactive software 
system?" may serve as an impetus for the transdisciplinary discourse. 
The spectrum of the scientific approaches comprises

蜉research on and experiences from the areas of music performance and 
interpretation, including orchestra conducting, orchestra play, and 
soloistic performances,
蜉research on the mutual influence between composition (design) and 
interpretation (operation), as well as
蜉research on and experiences in computer music as well as live 
performances with computers and traditional music instruments, as well 
as sound design.

The concept of Supervisory Control can be applied to every orchestra 
under a conductor as Supervisor. The individual orchestra musicians 
with their respective instruments in the music performance practice 
correspond in some way to the process-near task-interactive computers, 
for example in production plants. The orchestra musicians are organised 
in subgroups (strings, woodwinds, brass, percussion). The conductor as 
supervisor conveys his or her mental imagination of the complete 
musical work forehearingly in real-time by gestural expressiveness to 
the subgroups and to each individual musician of the orchestra. The 
decentral-hierarchical organisation is completed by the part leaders of 
the subgroups and the concert master. The team-play can also be 
regarded as the cooperation of partly autonomous agents under the 
leadership of the supervisor. 

For human-machine(-computer) systems, the question arises how to learn 
from these organising and cooperative forms of an orchestra as well as 
from the gestural conveyance of complex mental contents by the 
conductor. This question shall be investigated in the workshop by means 
of a transdisciplinary scientific discourse as well as by a 
scientifically well-founded mediation of the music performance 
practice. For that purpose, different levels of "Human Supervision and 
Control" in music shall be made understandable, experiencable, and 
audible for all participants of the workshop, by means of an orchestra 
concert, also with insights into the rehearsal practice, with 
interactive rehearsals and explanations, and with individual expert 
lectures for each of the performed works.

The program of the orchestra concert has been conceived in accordance 
with the international and transdisciplinary character of the workshop. 
It comprises music of the last 200 years from three continents. 
Particularly, the contrast and the synthesis of Japanese music with 
European and North American music will be emphasised. Further, the 
cooperation of orchestra conducting, orchestra play, and soloistic 
performance will be illustrated. With the planned interactive orchestra 
rehearsals, the influence of different conductors on the performance 
result will be demonstrated. Also, the area of computer music with live 
performance will be represented. Works of Aaron Copland, Toru 
Takemitsu, Yoichi Nagashima, and Ludwig van Beethoven will be performed.

Composers have proved their musical imaginations at all times against 
the interpretation possibilities in the music performance practice. 
Thus, design and operational practice go together as in the 
technological development. Participative design is likewise striven for 
in engineering and in music. In the sense of "Human Supervision and 
Control", both these activities, composition (design) and 
interpretation (operation), meet more strongly and even merge in the 
areas of computer music and live performance. Sound design is a related 
advanced research field which requires artistic and engineering skills, 
for computer compositions, improvisations, and live performances, as 
well as for technical applications. Auditory displays with selections 
or combinations of digital-audio effects, natural sounds, and computer 
music will more often be needed in the future for human guidance and 
monitoring in music live performances as well as in multimodal and 
multimedia process control with all kinds of engineering applications.

About 60 scientists mainly from Europe, North America, and Far East 
(especially Japan) have been invited to the workshop. Thereby, rising 
young scientists are also very strongly involved as active 
participants. The engineering, information and cognition scientists of 
the experience and knowledge domain (B) represent the fields of 
human-computer interaction, human-machine-systems research, 
multimedia-, audio- and music technologies, knowledge-based systems, 
perception psychology, and cognitive systems science. The musicologists 
and musicians of the experience and knowledge domain (A) belong to the 
fields of music theory, composition, media composition, computer music, 
conducting, and interpretation. Moreover, all invited scientists of 
this workshop, also the rising young scientists, are outstandingly 
qualified for the theme of the workshop and, in many cases, have 
already their own borderline experiences between engineering and music 
sciences.

"Human Supervisory Control in Engineering and Music", September 2001

An international event with the theme
		Human Supervisory Control in Engineering and Music
will be organized in September 2001. This event combines a
multidisciplinary exposition of modern technology in the new century, on
the one hand, and ambitious cultural support, on the other hand, in a
visionary as well as pragmatic manner.

In the following, I present a first coarse concept.

The event "Human Supervisory Control in Engineering and Music" shall take
place from 21st to 23rd September 2001 in Kassel. This would be immediately
after holding the 8th IFAC/IFIP/IFORS/IEA Symposium on Analysis, Design,
and Evaluation of Human-Machine Systems (HMS) which will be conducted under
my general chairmanship from 18th to 20th  September 2001 in Kassel. The
Call for Papers which recently appeared is enclosed with this letter. The
temporal and spacial proximity of these two events has the advantage that a
number of the worldwide most important experts for Human Supervisory
Control in Engineering are anyhow present in Kassel because of the
IFAC-Symposium.

Four basic ideas, in a convincing connection with each other, shall make
the meeting "Human Supervisory Control in Engineering and Music" to a
unique international event. Here, these basic ideas will first be briefly
introduced and, then, explained in more detail.

	(1)	The concept of Supervisory Control as guidance of computerised systems
through humans has reached a very successful technological realisation in
its 25-year-old history, mainly in industrial process control and in
vehicular guidance, but also in application domains of human-computer
interaction such as in medical engineering and in the service sector. To
reflect this development, to think about a continuing systematisation, and
to anticipate methodical visionary innovations within the framework of an
extended concept shall be essential concerns of the event.

	(2)	The view of musicians on Supervisory Control shall stimulate new ideas
and visions. The metaphorical question "Can we conduct a power plant, a
truck or an interactive software system?" may serve as an impetus for the
transdisciplinary discourse. The spectrum of views includes experiences
from the musical performing practice with the emphasis on orchestra
conducting and orchestra play as well as the mutual influence between
composition (design) and interpretation (operation) with the emphasis on
Computer Music and Live Performance.

	(3)	An orchestra concert and a chamber music concert with preparatory
introductory lectures shall give insights into the musical performing
practice for all participants of the event. The orchestra shall be put
together to a considerable extent from young musicians of the city of
Kassel and the surrounding Central German regions. Thereby the event shall
provide a support of young orchestra musicians at the same time. These will
be instructed by experienced professional musicians  according to the
Supervision&Control-Principle.

	(4)	The experiences and views of industrial managers with respect to
Supervisory Control as style of leadership in the enterprise shall
supplement the more technological-psychological and the musical levels of
experience. The borderline experiences between all these areas shall lively
be exchanged. Mutual  fecundations of ideas and insights shall be enabled
to all participants of the event.

Supervisory Control in Process Control and Vehicular Guidance as well as
with Human-Computer Interaction

"Monitoring Behavior and Supervisory Control" was the name of a conference
which was organised in March 1976 in Berchtesgaden by Professor Sheridan
(MIT, USA) and myself. The concept of Supervisory Control was at that time
a very far-sighted view on the emerging revolutions in process control and
vehicular guidance as well as human-computer interaction. For the first
time, ideas and solutions were internationally discussed for the guidance
of vehicles and industrial production plants (also called machines in
short) as well as of application software systems which are all influenced
by the human as supervisor via computer layers in a goal-directed manner.
Modern technologies and developments such as decentral-hierarchical system
architectures, telemanipulation and telepresence, assistance and guidance
systems, cooperating multi-agent systems, and cognitive systems
responsibility have been anticipated in this visionary event. It was
undoubtedly a milestone of research and application of Human-Machine
Systems, Automatic Control, Systems Engineering, and Human-Computer
Interaction. The proceedings book is often cited until today.

A shortened and slightly modified part from the glossary of Sheridan,
Johannsen (1976) invites to transdisciplinary borderline crossings:

"The human supervisor performs upper level goal-oriented functions such as
planning system activity, directing intelligent subsystems, monitoring
system behavior, adjusting parameters on-line when appropriate, and
intervening in emergency or for normal redirecting or repair."

Exactly 25 years after Berchtesgaden, it is worthwhile to
creatively-critically undertake a reassessment of the concept of
Supervisory Control and a comparison with the above-mentioned modern
technologies and developments. In times of more and more powerful
multimedial and multimodal Human-Computer Interactions in an interconnected
information and knowledge society, Supervisory Control gains a new
importance covering extensive  domains of society in the sense of
responsible integrating leadership behaviour in the approach to humans and
machines. Thus, it is fascinating and promising to compare the experiences
from the technological-psychological areas of Human-Machine(-Computer)
Interactions with those from economic and artistic areas as well as to
mutually learn from each other. The tradition-rich cultural area of music
seems particularly rewarding for these borderline experiences.

Supervisory Control from the View of Music

The concept of Supervisory Control can be applied to every orchestra under
a conductor as Supervisor. The individual orchestra musicians with their
respective instruments in the musical performing pratice correspond to the
process-near task-interactive computers for example in production plants.
The orchestra musicians are organised in subgroups (strings, woodwinds,
brass, percussion). The conductor as supervisor conveys his or her mental
imagination of the musical complete work forehearingly in real-time by
gestural expressiveness to the subgroups and to each individual musician of
the orchestra. The decentral-hierarchical organisation is completed by the
part leaders of the subgroups and the concert master. The team-play can
also be regarded as the cooperation of partly autonomous agents under the
leadership of the supervisor. For Human-Machine(-Computer) Systems, the
question arises how we can learn from these organising and cooperative
forms as well as from the gestural conveyance of complex mental contents.

Composers have proved their musical imaginations at all times against the
interpretation possibilities in the musical performing practice. Thus,
design and operational practice go together as in the technological
development. Participative design is likewise strived for in engineering
and in music. In the sense of Supervisory Control, both these activities
meet and even merge in the area of Computer Music and Live Performance.
Therefore, this area promises to be especially revealing and stimulating
for the transdisciplinary discussion.

Supervision & Control with the Support of Young Orchestra Musicians

The musical performing practice shall be conveyed to all participants of
the event by means of two concerts, in addition with insights into the
rehearsal practice and introductory lectures. An orchestra concert and a
chamber music concert shall make different levels of Supervisory Control in
music experienceable and audible.

Selected young musicians from Kassel and the surrounding Central German
regions shall be acquired for the New Philharmonic Orchestra Kassel.
Experienced professional musicians will instruct them in their respective
subgroups according to the Supervision&Control-Principle and will take part
themselves. Correspondingly, intensive rehearsals with the subgroups as
well as the complete orchestra are necessary to a larger extent. The Kassel
Chamber Music Ensemble will be formed by the best of these orchestra
musicians.

In accordance with the international and transdisciplinary character of the
whole event, the program of the Orchestra Concert will comprise music of
the last 200 years from three continents. Particularly, the contrast and
the synthesis of Japanese music with European and North American music is
usually rather rarely to be heard. Under the title "Meetings in Concert",
three works with orchestra and, in-between, two works with smaller
instrumentations will be presented. The following program is planned:

 Aaron Copland (1900-1990)          Short Symphony (1934)
 Edgard Var se (1883-1965)          Octandre (1923)
 Toru Takemitsu (1930-1996)         November Steps (1967)
	                              for Orchestra with Shakuhachi
	                              and Biwa
 Yoichi Nagashima (1958-    )       Visional Legend (1998)
	                              for Sho and Live Computer Music
	                              with Live Graphics
 Ludwig van Beethoven (1770-1827)   Symphonie Nr. 2 (1802)

The Chamber Music Concert will present, as ever possible, works of living
composers who should also participate in the event, for example of Pierre
Boulez, Krzysztof Penderecki, Matthias Pintscher et al. This concert will
likewise include a work with computer music.

Supervisory Control from the View of Industrial Managers

The self-critical and cooperative style of leadership by managers of
industrial and other economic enterprises shall be reflected from the view
of Supervisory Control. Under this assertion, managers of medium to highest
leadership levels from Europe, Japan, and USA shall represent their
respective practical experiences and discuss with engineers, computer
scientists, ergonomists, and musicians. The borderline experiences to be
exchanged shall clarify questions about common grounds and differences with
the guidance of vehicles, production plants, application software systems,
orchestras, and enterprises.

Structure of the Event and its Participants

The event is composed of a workshop and two concerts with intoductory lectures.

The Workshop is planned for the 21st September 2001 for the whole day and
the morning  of 22nd September without parallel sessions. Conference
language is English. Invited lectures will be presented and discussed.
Furthermore, at least one discussion forum will be realised. In the evening
of the first day, insights into the rehearsal practice of the orchestra
will be given.

The Orchestra Concert shall be arranged on the second day and the Chamber
Music Concert on the third day, the 23rd September, each time in the
afternoon. In the first case, the introductory lecture will be held
immediately before the concert, in the second case in the morning, possibly
with further insights into the rehearsal practice.

The number of participants of the workshop shall be limited to a total of
125 invited persons. Hereby, about 40 participants of the
Berchtesgaden-Conference 1976 will be selected, from originally 100, who
came only from West Europe and North America. Additional 30 scientists and
practitioners, mainly younger and from additional countries, complement the
group of experts of Human Supervisory Control for the guidance of technical
systems of all kinds. The number of the musicians participating in the
Workshop (without the majority of orchestra musicians) and of the
musicologists shall be in the order of 35. Further, 15 managers of economic
enterprises and 5 journalists of different newspapers shall be invited.

Most of the orchestra musicians participate only in the respective concerts
and all pertinent rehearsals.

Both concerts as well as the corresponding introductory lectures (in
parallel in English and German) shall be accessible also to the general
public interested in music at favourable entrance-fees. For that, an
attractive advertising is meaningful throughout Germany.

The results of the workshop will be published in a proceedings volume. This
shall also contain the programs and the introductory lectures of the
concerts.

Enclosed, I send the short version of my Curriculum Vitae for your information.

I hope very much that my proposal for the international event "Human
Supervisory Control in Engineering and Music" in September 2001 fills you
with enthusiasm.

INSTITUT FUeR MESS- UND AUTOMATISIERUNGSTECHNIK (IMAT)
Systemtechnik und Mensch-Maschine-Systeme

Professor Dr.-Ing. Gunnar Johannsen

GhK -- Universitaet Kassel Gesamthochschule
Fachbereich 15  Maschinenbau

Moenchebergstr. 7
D - 34109 Kassel
Telefax: (0561) 804 - 3542
E-mail: joh@imat.
maschinenbau.uni-kassel.de
Telefon: (0561) 804 - 2658
Zimmer-Nr. 1610
Sekretariat: 804 - 2700
Datum:  20.04.2001

Universitaet Kassel, IMAT-MMS, Moenchebergstr. 7, D-34109 Kassel

Prof. Yoichi Nagashima
Department of Art and Science
Faculty of Design
Shizuoka University of Art and Culture
1794-1, Noguchi-cho, Hamamatsu, Shizuoka
430-8533 JAPAN

Invitation for International Workshop on
"Human Supervision and Control in Engineering and Music",
21.-24. September 2001 in Kassel, Germany

Dear Professor Nagashima

Herewith I kindly invite you to participate in the International Workshop
on"Human Supervision and Control in Engineering and Music" to be held in
Kassel, Germany during 21.-24. September 2001.

This international meeting will be an intensive workshop with a
transdisciplinary and highly innovative character. A maximum of 60 expert
scientists from all over the world will be invited. They represent a large
variety of research areas all related to human supervision and control in
engineering and music in a synergetic way. About half of the invited
participants belong more to the domain of musicology, computer-music,
composition, and music performance whereas the other half comes from
engineering, computer science, mathematics, and psychology. Many of these
scientists have experience in multidisciplinary projects. More senior
scientists with a very high international reputation as well as rising
young talents will participate.

Professor Nagashima, your participation in this workshop will be highly
appreciated. You are invited to present one of the key lectures relating
the selected works of the workshop concert to the theme of human
supervision and control. Particularly, you are kindly asked to present your
lecture with the title
	"Yoichi Nagashima's Visional Legend".

In additon, you are invited to present this work "Visional Legend" for Sho
and Live Computer Music with Live Graphics as a computer-music performer.
With these two functions as a scientific lecturer and a computer-music
performer, you will be one of the most important international key figures
in this workshop.

Please find more details in the enclosed preliminary Programme and the
preliminary List of Participants.

I am looking forward to a very close and fruitful cooperation with you
towards a great success of this unique international event. Many thanks for
your efforts and enthusiasm.

The workshop will take place in the Gartensaal of the Ramada Treff Hotel in 
Kassel.
The hotel is directly connected with the Stadthalle (where the orchestra 
concert will be held).

You can find more information about our workshop hotel "Ramada-Treff Plaza 
Kassel at
http://www.ramadahotels.com/dpp/PropertyPage.asp?MarshaCode=KSFKS

If you follow the link you can also see a map. The hotel is not far away 
from the railway station "Kassel Wilhelmshohe" (the ICE high-speed train 
station), about 15 minutes by tram.

The address of the hotel is as follows:

Ramada-Treff Plaza Kassel
Baumbachstrasse 2 / Stadthalle
34119 Kassel, Germany
Tel. +49 (561) 78 10 - 0, Fax +49 (561) 78 10 - 100 or email: 
plaza-kassel@ramada-treff.de