How Music Technology Inspires Creative Thinking

Mark Dal Porto

Northern State University

How is music technology being used today to inspire creative thinking in music? In this paper, I focus in on two important applications, those being the use of sequencers and algorithmic composition software.

A sequencer may be thought of as a recorder that records, not sound, but performance information. This data is stored as a list or "sequence" of performance events (hence the name "sequencer"). Because of sequencers recording in digital format, this data can be manipulated by a computer in a wide variety of ways (i.e., transposed, orchestrated in innumerable ways, played backwards, notes deleted, added, changed, increased or decreased in volume, etc.)

Another important area of composition with computers is algorithmic (sometimes called interactive) composition, that is, composing music using algorithms. An algorithm is a predetermined set of parameters or musical boundaries set up by the composer in which the computer has license to manipulate, but always staying within the confines that the composer has set. By setting up parameters or limits on what the computer will be allowed to do, the computer then composes music within the prescribed framework. These parameters or limits might include "style," song structure, overall pitch range desired, rhythmic considerations, horizontal and vertical "density" of counterpoint (overall texture), dynamics, tuning, probability distributions (determining the relative likelihood, or probability, that various parts of a selected musical parameter will occur), etc.

I conclude with how these electronic creative tools can be effectively incorporated into the musical curriculum and on where one can go to obtain further information on the material presented.

How is music technology being used today to inspire creative thinking in music composition? In this paper, I will focus on two important and common applications, those being the use of sequencers and software devoted to algorithmic composition.

SEQUENCERS

First of all, what is a sequencer? A sequencer may be thought of as a recorder that records, not sound, but performance information. This data is stored as a list or "sequence" of performance events (hence the name "sequencer"). An analogy may be made to the old-fashioned player piano. A player piano performance was "recorded" as perforations on a paper roll while the player performed. The "recording" was played back by reading the "recorded" perforation data moving over a suction mechanism which retriggered the played notes on the piano keyboard. A sequencer is similar. It records performance gestures on an electronic keyboard and can replay them with astonishing accuracy, but the difference is that the recorded performance gestures are in digital form and not encoded as punched holes on paper as was the format for the old-fashioned player piano. Because of sequencers recording in digital format, this data can be easily edited and manipulated by a computer in a wide variety of ways similar to the way a word processor can manipulate text. On a sequencer, the performance (or tempo) can be sped up or slowed down by increasing or decreasing the data transmission rate (as could be done by the old-fashioned player piano by increasing or decreasing the speed of the paper flow over the suction mechanism). The recorded performance can be transposed by simply using an editing feature that allows you to add or subtract a selected number of semi-tones to specified key events, thus transposing all or part of the performance by the requested amount. The performance can also be orchestrated in innumerable ways by assigning different sounds to different parts of the performance. Orchestrating the recorded performance usually involves separating the data into different "tracks." These different tracks of recorded performance data can then be assigned as different "voices" or sounds on one or more synthesizers with each "track" of information playing a different sound or, as it is often called, "patch" on a synthesizer.

Many other features are possible on a sequencer. A performance may be "quantized," that is, rhythmically improved by moving notes on or closer to their correct rhythmic positions. Notes may also be played backwards, deleted, added, changed, increased or decreased in volume, etc.

Not only note events, but other performance gestures may be recorded through a sequencer. These would include uses of the pedal, pitch-bend wheel, modulation wheel (to introduce vibrato), aftertouch (additional pressure added to the key to effect timbre), etc.

There are actually three different types of sequencers that are available today. These are: 1. a software sequencer that runs on a computer; 2. a dedicated hardware sequencer that functions as a separate unit; and 3. a workstation sequencer that combines an electronic keyboard with a built-in sequencer.

Of these three types of sequencers listed above, the most popular type (and most powerful) is number one -- a software sequencer that runs on a computer. The most popular computer platforms are IBM and Apple Macintosh, with other sequencer programs available for the Atari and Amiga computers. Along with a computer and software sequencer, you also need a MIDI interface (MIDI is a musical acronym which stands for Musical Instrument Digital Interface) attached or installed inside your computer. (The Atari is the only computer that does not require a MIDI interface since one is already built into the machine.) Then, via MIDI cables that run from your interface to one or more synthesizers, you can record sequencer data from your synthesizer into computer memory and play this data back from the computer to your synthesizer.

Sequencer type number two is a separate hardware component that functions in place of an actual computer. This electronic device is "dedicated" to recording performance data. Editing this data is less convenient when compared with type one because the user must work with a very small screen as opposed to a much larger screen on a computer. Also editing features are usually more limited on dedicated hardware sequencers when compared with computer software sequencers (type one). Its advantage is that it is much more portable, especially when it serves as a "member" of a travelling band for use in live performance situations.

Type number three is a sequencer built into the synthesizer itself. The term "workstation" is often used to describe this type of electronic keyboard. Many synthesizers today come equipped with a built-in sequencer. This allows the composer to keep his attention focused on one piece of gear since all recording, playing, and editing are done on the same hardware device. The disadvantage, however, is the same as type two -- working with smaller screens and usually less powerful editing capabilities.

Saving sequencer data (stored performance information) can be saved in a format called a "Standard MIDI File." This special format allows users to transcribe recorded sequencer data into standard music notation which may then be printed out on a printer. This usually requires an additional software program devoted exclusively to music notation. A Standard MIDI File (usually abbreviated SMF) can be "imported" into most music notation programs to create a music notation printout of the performance information. Creating Standard MIDI Files is often the fastest way of creating music notation printouts.

If you didn't already know, electronic keyboards are not the only controllers that can record MIDI data. Other MIDI gear is available: MIDI wind controllers, guitars, drum pads, and violins. Even the human voice can transmit MIDI performance information (with the right equipment) and can be recorded into a sequencer. This data can then be played back by the sequencer on any MIDI synthesizer.

Faced with all of this power, composers can be further inspired in their creative thinking. Composers now have access to instant feedback in terms of hearing and orchestrating their musical ideas. Additional creativity can thus be stimulated by working with this interactive medium. The use of sequencers is but an additional tool available for creative composition.

CAN COMPUTERS COMPOSE?

Another important area of composition with computers is algorithmic (sometimes called interactive) composition, that is, composing music using algorithms. This can be realized by running a special type of software program on a computer.

An algorithm is a predetermined set of parameters or musical boundaries set up by the composer in which the computer has license to manipulate, but always staying within the confines that the composer has set. By setting up parameters or limits on what the computer will be allowed to do, the computer then composes music within the prescribed framework. These parameters or limits might include "style," song structure, overall pitch range desired, rhythmic considerations, horizontal and vertical "density" of counterpoint (overall texture), dynamics, tuning, probability distributions (determining the relative likelihood, or probability, that various parts of a selected musical parameter will occur), etc. Algorithmic composition software is simply another way to harness and realize the creative impulse. Certain algorithmic software programs allow the musician to compose in many different "styles" of music. Others allow more sophisticated musical treatment and possibilities.

Algorithmic composition software generates MIDI data to drive MIDI-compatible synthesizers. This allows for interactive playing right along with the computer-generated music. Some of these programs incorporate the combination of many short preprogrammed sequences as in sequencer music (such as Band-in-a-Box, MiBAC Jazz, and SuperJAM!). Others generate melodies and accompaniments created by rules or "algorithms" rather than drawing upon existing pre-recorded sequences (such as MIDI Jukebox Arcade, MusicSculptor, and Sound Globs). Still others use a combination of both short sequences and algorithms (such as The Jammer). The overall effect of these programs is new and freshly composed music on the spot! The spontaneous interaction that can result is similar to the concept of "Music Minus One," but the difference it that the music always sounds new and invites musical collaboration between yourself and the computer-composed accompaniment.

This special type of software allows a new perspective of music. It enables one to understand the basic elements of music in a more direct, musical, and less abstract way by allowing the user to combine these basic elements in an inventive and interactive manner. It also improves ear training in a fresh and unique way because it allows one to explore musical structures in real-time and to alter selected musical properties while hearing those changes simultaneously.

WHAT TO DO AND WHERE TO GO

How can these electronic creative tools be effectively incorporated into a school curriculum and where can one go to obtain further information on the material presented?

The use of sequencers can be used in almost in any music environment. Since sequencers offer virtually instantaneous feedback, their use is only limited by one's imagination. They can be used as part of a music education course exploring music technology. Band students can use them to record a Standard MIDI File to be processed into music notation and create instrumental parts in any key desired. Piano students can use them to graphically see how accurate they are in playing rhythm, notes, and chords. Theory students can use them to test how their theory assignments sound. Composition students can use them to test out their ideas beforehand or to create their own compositions via the electronic medium. Jazz musicians can improve their improvisational skills by using sequencers as a "Music Minus One" accompaniment. Teachers can also create their own instrumental examples, accompaniments, or arrangements for use in the classroom or for a live performance situation.

Algorithmic programs can also be used by student and teacher alike to quickly and easily generate musical examples, accompaniments for improvisations, and performances to demonstrate style, texture, or demonstrate any of the basic elements that constitute the "architecture" of music.

In addition to consulting the accompanying bibliography for further information, Mix Bookshelf provides a valuable source of reference concerning books published in the electronic music field. Mix Bookshelf offers a complete catalog that is free containing hundreds of titles. Electronic Musician and Keyboard magazine are other important sources to consult as they offer a great deal of informative consumer material regarding many current electronic music products for the novice as well as the more advanced musician. Subscriptions are available for both Electronic Musician and Keyboard for about $25.00 per year. These two magazines are stocked by most book stores and music dealers. You should also ask your local music dealer if they know of any activities happening in your area. Music stores often conduct seminars and demonstrations that are related to various aspects of electronic music.

In conclusion, I ask that you allow music technology to play at least a small part of your musical experience. If you do, you will find it to be a relevant and valuable tool for creative exploration. All musicians of today must learn how to use these new tools to some extent if they are to consider themselves current with their craft. By doing so, you will be better prepared to face the 21st century -- a century that is undoubtedly going to be dominated by the continued and imaginative use of electronic technology.

BIBLIOGRAPHY

Mix Bookshelf

6400 Hollis St., Suite 12

Emeryville, CA 94608

Phone: (800) 233-9604 or (415) 653-3307

Computer Music Journal Electronic Musician

55 Hayward St. 6400 Hollis St., Suite 12

Cambridge, MA 02142 Emeryville, CA 94608

Phone: (617) 253-2866 Phone: (415) 653-3307

Keyboard The Music & Computer Educator

20085 Stevens Creek Blvd. 807 E. Jericho Turnpike

Cupertino, CA 95014 Huntington Station, NY 11746

Phone: (408) 446-1105 Phone: (516) 385-7107

Bassermann, Gerry. Speed Sequencing, Electronic Musician, 9/93: 63-68.

Cope, David. Virtual Music, Electronic Musician, 5/93: 80-85.

Miller, Dennis. Windows Shootout, Electronic Musician, 11/92: 38-57.

Peha, Steve & Hippen, Ben. The Musician's Apprentice, Electronic Musician, 1/93: 39-48.

Philips, Dan. The Virtuoso Sequencist, Electronic Musician, 3/92: 28-36.

Rich, Robert. Beyond Sequencing: Interactive Electronic Music, Electronic Musician, 2/91: 30-41, 116-119.

Wilkinson, Scott. How Sequencers Work, Electronic Musician, 3/92: 86-91.

Wilkinson, Scott. Sequencing Made Easy, Part 1, Electronic Musician, 3/92: 68-71.

Wilkinson, Scott. Sequencing Made Easy, Part 2, Electronic

Musician, 4/92: 65-70.

Yavelow, Christopher. State-of-the-Art Sequencing, Electronic Musician, 5/93: 39-56, 130.