Ross Kirk: ross@ohm.york.ac.uk , 7 June, 1999 In providing an overview of music technology, we were keen to avoid a superficial treatment of the subject. So although we assume no prior knowledge (just an interest) in the topic, readers will find that they tackle digital audio processing and music synthesis fundamentals in some detail, paving the way to an understanding of the material in more erudite texts! We have written the book so that it can be read in various orders or 'flow lines', to suit the particular needs and background of the reader. This has been achieved by making individual sections of the book as self-contained as possible, using small but judicious amounts of repetition of material where appropriate.
Andy Hunt (adh@ohm.york.ac.uk) , 3 June, 1999 Ross Kirk and I have been teaching and developing music technology courses for the last decade. In that time we've learnt a bit about what students really need to know- whether they come from a music or a technological background. This book summarises what we teach. We acknowledge there's a lot of detailed information 'out there' in other books and on the web, but we felt that an overview was missing. So, we've written that overview - trying to let you understand how and why music technology works. The web-site we provide with the book gives you loads of links to all the major topics covered in the book, so you can see other people's perspectives, and get detailed up-to-date information. The book provides the 'key' to understanding and piecing together that information into a consistent story. We really hope you find the book and site enjoyable and useful, and would welcome any comments.
Chapter 1
Sound Generation and Recording in the twentieth century
Overview
The aim of this chapter is to introduce you to the art and techniques of electronic sound creation and storage in the twentieth century and thus to encourage you to think about how these trends may develop into the next century.
This chapter is concerned with the ways in which computers and electronic systems have been used in the production and processing of sound, and examines the effect this has had on engineers, musicians andcomputer users. It sets the scene for later chapters by showing that during the entire history of recorded sound, the art of the recording engineer and of the musician have been inextricably intertwined; developments in the one encouraging further experimentation in the other.
The material in this book is dedicated to the furtherance of this exchange. It is therefore appropriate to review the historical contextof this mutual development in this opening chapter.
Topics Covered
* History of Interfaces in electronic sound generation.
* Musical changes and trends in the early twentieth century.
* Early electronic instruments.
* Electronic Music Studios.
* How Sound Recording has affected music.
* Synthesisers and the live performance of electronic music.
* Digital Sound and its processing and control.
* Digital Computer Music Systems.
1.1 Setting the Context
In this age of rapid technological development it is important to keep a sensible perspective by reminding ourselves that music has been a fundamental part of every human society for thousands of years. By contrast computers have only been available to the general public since the 1980s.
However, the seemingly independent disciplines of Music and Computing appear to be increasingly interwoven in the modern western world. The technological advances of the latter half of the twentieth century have allowed large proportions of the population to have access to music and computing facilities as an integral part of everyday life. The two subject areas are inextricably linked now that digital technology has become the prime method of storing music and an increasingly important way of producing it.
It is the purpose of this chapter to step back from the relentless pursuit of technological advancement for its own sake, and to examine the ways in which humans interact with computers when involved in musical activities. By examining some of the ways in which people perform with traditional musical instruments (methods which have developed throughout history) we can gain valuable insight into the design of interactive computer interfaces, the study of which is still, by comparison, in its infancy.
1.2 The effect of technology on sound production
The generation of sound waves requires physical vibration. As human beings we are equipped with versatile vocal systems which provide us with our most direct way of producing sound; a new-born baby wastes no time in demonstrating this!
However, throughout history, we have felt the need to use tools to create external sounds. The manufacture of such tools (or instruments) demands technical knowledge and technical development.
When each new technical innovation is used to make music it influences the range and style of music produced. For example, in the early 1700s Bartolomeo Cristofori invented a harpsichord with notes that could be played soft or loud (gravicembalo col piano e forte). Composers responded by writing keyboard music with expressive touch and volume.
Sometimes the reverse is true: the development of artistic thinking can set the goals for the instrument designers. At various points in musical history musicians have attempted to extend their musical language. This has often required new types of musical instrument. The twentieth century has seen an explosion of music making all over the world, and the technology of the twentieth century has been regularly called upon to produce instruments capable of new forms of expression.
Traditionally, acoustic instruments are played by one or more of the following techniques : plucking, strumming, bowing, hitting, blowing, keying or stopping (placing fingers over holes or on strings). In all of these techniques, the performer's physical action causes vibrations in the instrument, thus producing sound. The musician is therefore continuously in touch with the instrument as it is played. Once electricity is introduced into the range of technological tools available for making music, this situation is extended since it is possible to produce electric instruments which can be played without direct physical contact.
It is with the above points in mind that we now examine the history of the development of music and recording technology from the point wherean electronic circuit was first used to make a musical instrument. Special emphasis is given to the ways in which musicians have been expected to interact with the technology as it develops.
1.3 Musical changes from 1900 - 1950
In this section we set the scene for the development of twentieth century music technology by considering how music itself was undergoing great changes in the early 1900s. It is important for engineers and musicians to appreciate the background to their disciplines since it is then easier to place new developments in context.
The early part of the twentieth century saw music in the Western world undergoing huge changes. Symphonic works had grown to enormous lengths and involved hundreds of performers singing and playing with complex harmony in the so-called 'Romantic' period.etc.
