The Use of Computer Programmes in Creating Music

1. BACKGROUND

For the purposes of musical production computer programmes are used in an attempt to fix
in advance, in accordance with rules, the course of a musical form or a musical sound. In
musical analysis, they can reveal the rules obeyed by the composer, or at least indicate his
stylistic characteristics.
The use of computers is based on the assumption that musical form is not merely the
result of inspiration, guided perhaps by experience, but that it obeys communicable rules
which theoretically can be used by anyone who takes the trouble to learn them. Musical
sounds may be described as a function of amplitude over time.
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.
This study attempts to make a brief historical survey and indicate the notation problems
that arise from the composer's work with the computer. It concludes with two practical
examples (a composing programme and the automation of an electronic music studio by
means of a computer).

Rules of musical composition

More than any other art form, music tends to have rules for its composition. There are rules
for rhyming and metre, perspective and colour mixtures, drama and so on. But poetry,
painting, acting and sculpture have natural objects as their model, or their geometric
abstractions. Literature uses a language which is also used to communicate in everyday life.
But music does not portray nature; the world of musical sounds and expression is absolutely
artificial – there is no corrective in the form of a natural model. Whereas the model can be
recognized in illustrative art, music, if it does not produce psychological associations or
imitate the gesture of spoken language, must establish its "non-natural" sound formations in
such a way that they can be repeated, recognized, altered and further developed.
We encounter examples of musical rules in counterpoint and harmony. Counterpoint
proceeds from the one-part melody and regulates the sequence of pitches in an approximation
of the natural flow of speech. As soon as several melodies occur together to form polyphony,
a harmonic problem arises: although each individual part has to obey the melodic rules, each
chord must also be checked. But even where the harmonic rules are in contradiction to the
melodic and are ignored in favour of the latter, the struggle of the part-writing communicates
itself to the chords, and especially to the sequence of chords.
In harmonic writing, which obeys the rules of tonal harmony, the chords, which originated
in the superposition of several parts, are treated as having an independent existence. There are
fixed rules for the construction of the chord from single notes and for joining chords
together; but the moment chords have to be distributed among several parts for the purposes
of performance, a problem arises – this time the other way around. However, in this case, the
strength of the chordal progression is communicated to the individual parts if the latter's
progress contravenes the melodic rules.

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 Counterpoint and harmony, of course, tell us little about the construction of musical form,
which has its own set of rules. These, however, are less binding than those of melody or
harmony.

Serial music
Arnold Schoenberg's twelve-note technique resulted from the consequences of a further
development of polyphonic and chordal music which was threatening to break up tonality; at
the same time it is an attempt to resolve the contradiction between simultaneity and
succession. It puts the twelve semitones of the octave into a prescribed order (series or row)
in which no note may be repeated. All melodic and harmonic progressions must be derived
from this series and its inversions and transpositions. However, the theory says nothing about
the manner in which the notes of the series may be treated rhythmically or combined to form
chords; but it does allow the composer sufficient freedom to resort to the criteria of tonal
forms or to invent other regulative devices.
It was not until after 1945, however, that a number of young composers attempted to apply
serial control to other musical parameters. Not only pitches, but also dynamics, durations and
timbres were arranged in series, so that several kinds of series intersected at each single note.
The serial mechanism allowed all details to be fixed programmatically – the sequence of
individual sounds, and formal criteria pertaining to changing density of context or the
predominance of individual parameter values (group composition). These serial composers
had no desire to subordinate their artistic responsibility to a system of rules, but saw a real
chance of preserving the spontaneity that derives from the invention of combination patterns;
the rules cause all events to be predictable, but there can still be surprising situations for the
listener. With developments, climaxes or simply an agreeable-sounding texture, such
situations belong to the criteria of earlier music which even serial composers did not wish to
renounce. Eventually it became apparent that random criteria could also be introduced into
serial technique, thereby not only causing an increase in unpredictability, but also providing
a composition-technical basis for the desire for scattering techniques, the definition of fields,
freedom from "pointillist" determinations for each individual tone.

Performance technique
Performance is another programmatic aspect of music. Any score, for large orchestra,
chamber group, or soloist, can be regarded as a linear programme which gives instructions to
the players for the duration of the performance, about the exact order or a series of actions.
If the interpreters have freedom extending to group improvisation for which only general
indications can be given, the programme must have branches. As regards performance
technique, the composer is also accustomed to making use of a kind of programming.

Mechanical music
The necessity of making each individual sound audible by mechanical means and of fixing
the player's actions accordingly by means of graphic symbols which are not always
unambiguous led to all kinds of experiments in mechanizing both sound production and
communication. Mechanized sound production has been especially successful in the case of
keyboard instruments; the ancestors of mechanical communication are musical boxes and
mechanical pianos.
Electronic music can also be considered in this light. The composer originally had to set
every single sound at the oscillator and cut it to the right length of tape with a pair of

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scissors. The development of punch-tape control, voltage control and, finally, the introduction
of the computer have made the programmatic aspect of this type of sound production
increasingly clear. The relatively slow speed of tape-readers means that oscillators or filters
have to be set before being switched. One speaks of "sequences", because in this way only
the order of given signals can be determined. For voltage control, however, direct voltage
signals are either produced by suitable function generators or obtained by the demodulation
of audio signals. These signals can then be used to control voltage-dependent amplifiers,
oscillators or filters.
Punch combinations and direct voltage signals represent programmes which
unambiguously fix the course of musical sounds in several parameters. These methods
developed from the need to simplify the production of sounds in the electronic studio or at
least to subject them to strict control. But it can be seen that the need to control musical form
can be satisfied too if what the composer understands by form is the end-product of all
physical parameters.

2. COMPUTER PROGRAMMES

The use of computers for purposes of musical production is a logical result of historical
developments. Every rule of composition that can be formulated can also be programmed and
carried out by a computer. According to the tasks the computer is asked to perform, there can
be programmes for
- composition (score),
- sound production (instrumental or electronic sounds),
- controlling voltage-dependent studio apparatus,
- the analysis of scores or sounds.
Naturally, one does not programme known rules of composition but also tries to find out
whether events not yet expressed in the form of rules are feasible. The computer thus has a
stimulating effect on research in composition theory.
A few programmes that have emerged from the experimental stage have been published,
and several compositions produced with the computer's help, e.g. those of Xenakis, Hiller or
Brün, to name but a few, or the well-known Music V programme. The programmes usually
link with accepted terms (rules for harmony, counterpoint, serial or aleatory compositional
technique). Unless orientated towards the types of sound that occur in electronic music, sound
production is generally preceded by an analysis of the instrumental sounds. If punch-tapes or
computers are used in studios in the process of automation. their employment depends on the
control facilities of each such studio. Musical analysis presents great difficulties, as the
problems involved are still a matter of debate; once the musicologist knows what aspect he
wishes to investigate, the main problem is already solved. It is no less difficult for the
composer to provide indications for the analysis of his own works. Since composing
programmes involves countless random decisions, it is desirable to make the progress of the
composition dependent on decisions which have already been made. The Institute of
Sonology of Utrecht intends to work on this problem during the next few years. Attempts at
computer-controlled printed notation have also been made and plotters have produced musical
graphics. Apart from the fixing of composition rules, the analysis of given texts, or analysis
during composition for the purpose of modifying further decisions, the question also arises as
to whether musical theory will not be increasingly compelled to regard the computer as its
most perfect tool. The complexity of qualitative criteria in particular practically excludes the

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use of the computer; it would have to be quantified, and thus brought within the purview of
musical rationality. But even here, the previous limitations will surely diminish. It is not by
chance that the development of computer programmes has up to now concentrated on familiar
quantities (instrumental sounds, electronic sound-types, measure, parts, orchestra); but I feel
that the time has come to bring the most advanced position in music within the computer's
scope. It is not, however, the purpose of this study to go into this question. We shall now
consider to what extent the computer affects notation problems in music.

3. NOTATION PROBLEMS

The purpose of notation in music is to provide an unambiguous means of communication

between composer and interpreter. Numerous attempts to improve, or even replace, traditional
notation, indicate that the communication is by no means wholly satisfactory. Electronic
music has not yet found any generally accepted notation. Individual composers have
succeeded in writing unequivocal instructions for studio performance, but these scores usually
do not allow the listener to follow it, i.e. they do not convey a visual impression of the
acoustic events.
Still, difficulties in communication between composer and performer already existed
before computers, and do not derive intrinsically from the use of computers. Standard
programme languages are used in writing the computer instructions, so that there are no
notation problems here. Standard typewriter symbols are used for data output. Although they
must be transcribed by the composer into musical notation symbols, this does not affect the
notation problems referred to above. Seen in this light, then, no notation problems are
involved in computer use. Furthermore, the computer output is intended for the composer
who will have to transcribe it and not for the performer or audience. Sounds produced by the
computer are fixed, not graphically, but straight on to audio tape. In musical analysis, the
output is intended for the person doing the analysing, who communicates in this way with
himself and not with the outside world: the analysis evaluation in then published in the usual
written form. Lastly, control voltages produced by the computer are not written down but fed
straight to studio equipment by means of electric connexions.
If, however, we ask ourselves how the composer makes contact with the computer,
communication problems – and hence notation problems – arise (we shall disregard
composers who have their own private computer). First, the composer requires a programme,
which means he gets in touch with a programmer. If he is lucky, the programmer knows
musical terminology; otherwise there are serious difficulties in communication. Should the
composer want to make himself independent of the programmer by learning about the
computer's possibilities and then trying to work with them, he will find he can barely
formulate his own ideas. He could of course learn a programme language in order to
communicate better with the programmer, or he might even write his own programmes. He
could master the language in a couple of weeks, but it would take months, if not years
(provided he had a computer available with which he could practise regularly) to learn to use
it in handling complex musical problems.
It is indeed difficult to say whether the composer should do his own programming or rely
on telling a professional programmer what he wants. No driver has to build his own car, no
listener his own radio. Even composers of electronic music have ready-equipped studios at
their disposal in which they can put their ideas into practice without electro-acoustic
knowledge. Should the computer centres (or electronic studios with computers) not make

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musical programmes available which composers with no previous knowledge of computers
might use ? The problem of notation is then this: what must a musical programme do for the
composition or sound production? and in what form should the composer write his
requirements so that they can be used directly as input for an existing programme without
previous translation into a programme language?
If then we regard the computer as an instrument with a panel as easy to understand and
utilize as that of a radio or an electric filter, our survey of notation problems in computer
music would include the following points:
- System of data input for composing programmes,
- System of data input for sound production,
- Data output in the form of tables for composing programmes which can be easily
transcribed into any required notation system,
- Graphic data output for composing programmes with the aid of plotters or similar
devices,
- Use of plotters, music-typewriters or similar devices for the production of scores and
parts.
This list could be extended by including notation problems resulting from the analysis of
scores or sounds, and one other question: how may a computer which produces "real-time"
music in the concert-hall be influenced by the composer (or audience) during performance ?
However, many of these problems, and especially the last, are still in the realm of
speculation. It may be true that the computer can do anything; it is also true that, in practice,
there is very little that can yet be done with the computer in music. Composers can have
players, orchestras, conductors, even studios for electronic music completely equipped and
serviced, but a composer who wants to compose with computers has practically no facilities
for doing so. It is not much help to him to be told that he can write his own programmes, or
that he may occasionally have the help of a programmer. The computer must be placed
within the composer's reach, as the facilities of the electronic studio have already been for
quite a long time. Apart from a few exceptions, as far as I can see, the computer just
represents a problem of notation for the composer i.e. a problem of communication. It is not
enough to count the notes in the score, to imitate traditional musical instruments, to
programme electronic studios. These are all highly interesting and can keep the specialists
busy for years, but they are not much use to the composer. I believe that very considerable
efforts must still be made to provide the composer, and even the music student, with a
computer as a tool for musical creativity and as a medium of empirical experience, with as
little fuss as he can be provided with a piano or an electronic music studio.

4. EXPERIMENTS AT UTRECHT

To end, the following is a report on an experience in the Institute of Sonology at Utrecht

University. The Institute has a large studio for electronic music which in recent years has
developed its own system of voltage control. Computers are to be employed in musical
composition, voltage control, sound production, musical graphics, musical analysis,
perception research.
So far, research was intended partly as a preparation for sound production and has been
concentrated on musical composition. A Hewlett-Packard computer to be purchased in 1970
will be used first for voltage control, later (in collaboration with the university's computer
centre) for sound production, and for purposes of notation and musical graphics. Musical

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analysis is regarded as a part of the composition project and will be handled in conjunction
with it during the next few years. Perception research (on non-stationary sounds) will utilize
the results of sound production. A discussion on the notation problems of musical
composition follows, and on preparations for studio automation.

Musical composition
The first point to be settled in writing composing programmes is: What, in music, can be
programmed? i.e. apart from the decisions which the composer makes once, are there also
recurring decisions which can be established as compositional rules? Do such rules apply
only for one piece, or for several different kinds of pieces?
The author's first attempt at an answer resulted in a composing programme called
Project 1 (which will be described in the second issue of Electronic Music Reports, an
occasional publication of the Institute of Sonology). The programme contains rules and a
number of individual data so that it was possible to produce only a number – although quite
a large number – of variants of the given set of rules. It cannot have much interest for other
composers as they can exert hardly any influence on the rules and the individual data. So far
the programme has been used to produce three instrumental compositions.
The next development was Project 2 (a manual will appear as Volume 3 of the Electronic
Music Reports). This new, more comprehensive programme involves seven parameters which
are named: Instrument, Harmony, Register, Entry Delay, Duration, Rest, Dynamics.
The composer can provide as many data as he wishes for each parameter; furthermore,
several sub-programmes select the data according to various principles and assemble them to
form the score. The composer determines the compositional rules on the basis of these
selection principles and combinations of them, but also by indicating the order in which the
parameters are to be computed, for the parameters depend on one another in such a way that,
for instance, no tones may be selected which a given instrument cannot play, and vice-versa,
according to the order determined by the composer. At all levels of decision, chance is given
opportunities to operate to a greater or lesser extent, so that any number of variants can be
composed according to the data.
The guiding principle behind Project 2 was to describe the possibilities of the programmes
in the special language of music. For this, terms from serial compositional technique were
chosen. A second purpose was to spare the composer superfluous writing – mainly in order
to reduce the quota of errors. A third, resulting directly from the first, was to eliminate the
need for a previous knowledge of computer technique or mathematics.
The List-Table-Ensemble principle was accordingly developed and applied to five of the
seven parameters (Fig. 1). The list registers the elements of the parameter concerned, whether
these be numerical or alpha-numeric information. The table allows the elements from the list
to be combined into groups. The composer makes a preliminary sorting. For each variant, a
different group, for example, can then be called. The group thus called (or combination of
groups) is then available in the ensemble. The number and selection of groups for the
ensemble depend on one of the selection principles. These selection principles are also brought
into play in the last phase, which is the assembly of the score by means of the elements in the
ensemble.
Uniform questions were formulated for the parameters affected by the List-Table-Ensemble
principle (Fig. 2). For duration, for example, they are

6
 - Which durations? (The composer inserts
the required duration list);
- Which table? (The composer puts groups
together from the indices of the elements from
the list);
- Which group? (The composer determines a
selection principle according to which a
selection from among the groups of tables is
to be made; the number of groups is decided
at another point in the programme);
- Which durations? (The composer again
determines a selection principle).
The catalogue of questions for the duration
parameter contains two additional questions:
- What ratio to the entry delays? (The
composer has three alternatives from which to
choose);
- Durations within a chord? (The composer
may choose between equal or unequal
durations of the tones in the chord; whether
chords can occur at all is decided elsewhere in
the programme).

33 W HICH DURATIONS? |
34 DURATION GROUPS |
(TABLE) |
35 W HICH GROUPS? | 1 ALEA
| 2 SERIES
| 3 SEQUENCE :
36 W HICH DURATIONS? | 1 ALEA
| 3 RATIO :
| 4 GROUP a: z: type 1 2 3 4
| 5 SEQUENCE :
| 6 TENDENCY d: a1: a2: z1: z2:
37 RATIO | 0 INDEPENDENT
| 1 DURATION = ENTRY DELAY
| 2 DURATION <= ENTRY DELAY 83
DURATIONS IN CHORD | 0 EQUAL
| 1 UNEQUAL
|
Fig. 2
DATA FORM – PARAMETER DURATION

Each question is provided with a call number, as are the selection principles. ALEA selects
randomly (that is without a repetition check) among the given elements, SERIES selects

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randomly with a repetition control so that an element, once selected, is blocked until all
elements from the list (or all groups from the table) have been selected once. In the RATIO
principle the duration of the repetition check depends on a ratio quantity which must be given
for each list-element; the element repetitions are distributed randomly. GROUP produces
repetitions of the elements in groups; a and z indicate the minimum and maximum sizes of the
groups; the numbers for the type refer to combinations of the ALEA and SERIES principles
for the selection of the element and the size of the group. SEQUENCE permits the composer
to determine the order of the elements (and groups in the table) himself. Lastly, TENDENCY
works with a mask, the edges of which move across the ensemble independently of each
other; ALEA selects among the "visible" elements. The terms d, a1, a2, z1 and z2 control the
mask's movements, in percentages of the size of the ensemble.
The composer states the call number of each question, the call number of the selection
principle (if required) and the elements and parameters of the selection principle. All the data
are stored in the computer, so that for further variant-groups only the questions have to be
answered to which different answers should be given. Apart from the fact that this system can
be extended at any time, it also enables the composer to write with great economy data which
ought not to exceed the range of his compositional experience. The selection principles ALEA,
SERIES, RATIO, GROUP and TENDENCY and the parameters DYNAMICS, HARMONY
(including REGISTER) and time (ENTRY DELAY, DURATION and REST) are also
available separately for purposes of studying Project 2.
For the data output, the notation problem is the printing of the notes or a musical graphic.
Scores printed or drawn by the computer are not only required for a performance but even
earlier, for tests, and for the comparison of several variants. Lengthy experiments with the line
printer convinced me that the results could not be read easily. Experiments with music
typewriters (Hiller) show more promise, but as far as I know, there are no programme-
controlled music-writers on the market. Plotters or screens could be used if a computer centre
possesses them and can make them available for such time-consuming work. At present the
data output of Project 2 is limited to printed tables of the composed results, consisting of
several parts.
The input data are printed first (Fig. 3), to be followed by preparatory decisions with regard
to group formation and the order of the parameters (Fig. 4), and pertaining to the contents of
the ensemble and the order of the elements for the score (Fig. 5). The second part contains the
complete score (Fig. 6) with columns for instrument, manner of playing, pitch, dynamics and
duration (beginning and end of a tone in seconds). The COMMENT column contains any
indications that might be needed to show that a particular parameter value cannot be
ascertained because of the given rules. In the third part (Fig. 7) the data are printed for each
part and combined into metres. The composer is free to combine several metres to form a
measure. The following are printed in columns: the current number of the metre, the pitch,
beginning and end of the tone with regard to the metrical subdivision, dynamics and manner
of playing. For the pitch. the first number indicates the octave and the other two indicate the
tone within the octave. The metrical subdivision is represented by two numbers: the first
indicates the number of subdivisions (e.g. quintuplet), the second the point in time at which
the tone begins or ends. Transcribing this third part into notation has proved to be practical
and quick, the second part – except for purposes of checking – being suitable for scores to
scale in which the durations are indicated by lines of corresponding lengths. Fig. 8 shows an
example of a score (Übung für Klavier by the author), from which the previous figures were
also taken.

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 Call Name Count Elements
* 25 L-REG 2 207 706
* 26 TAB-REG 1 1
27 SEQ-GR-REG 1 1
28 SEQ-REG 1 1
29 L-ENTRY 20 .10 .12 .15 .19 .24 .30 .37 .46 .58 .72 .89
1.11 1.38 1.72 2.14 2.67 3.32 4.13 5.14 6.40
* 30 TAB-ENTRY 7 8 9 10 11 12 13 14
31 SEQ-GR-ENTRY 1 1
32 SEQ-ENTRY 1 1
33 L-DUR 20 .10 .12 .15 .19 .24 .30 .37 .46 .58 .72 .89
1.11 1.38 1.72 2.14 2.67 3.32 4.13 5.14 6.40
34 TAB-DUR 10 1 2 3 4 5 6 7 8 9 10
35 SEQ-GR-DUR 1 1
36 SEQ-DUR 1 1
* 37 DUR-ENTRY 1 1
38 MOD-DUR 1 0
39 L-REST 1 .01
40 TAB-REST 1 1
41 SEQ-GR-REST 1 1
42 SEQ-REST 1 1
* 43 MOD-REST 3 1 10 25
44 L-DYN 16 PP,P,MP,MF,F,FF
45 TAB-DYN 6 1 2 3 4 5 6
46 SEQ-GR-DYN 1 1
* 47 SEQ-DYN 7 3 1 1 1 1 1 1
48 MOD-DYN 1 0

Fig. 3
Printout of USER'S DATA
Parameter REGISTER, ENTRY DELAY, DURATION, REST, DYNAMICS

COMPUTED DATA VARIANT 1

TEM PO 75
TOTAL DURATION 20
INSTRUM ENT GROUPS 1 1 1
REGISTER GROUPS 1 1 1
ENTRY GROUPS 7 1 1
DURATION GROUPS 10 1 1
DYNAMIC GROUPS 6 1 1
REST GROUPS 1 1 1
NUMBER OF ATTACKS PER LAYER 20
CHORD SIZE INDEPENDENT
SEQUENCE OF CHORD SIZES 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1
NUMBER OF TONES PER LAYER 20
HIERARCHY FOR LAYER 1 4 5 1 2 6 3 7

Fig. 4
PROJECT 2 – Printout of GROUPS and HIERARCHY

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COMPUTED DATA VARIANT 1
ENTRY DELAY
ENSEM BLE : 7 8 9 10 11 12 13 14
10 11 8 8 12 11 9 13 11 14 9 10 14 11 9 12
9 11 13
DURATION
INSTRUMENT
ENSEMBLE : 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1
HARMONY
2 8 1 7 12 11 5 9 6 3 10 4 11 3 5 2
10 7 4 12
INTENSITY
ENSEMBLE : 6 1 2 3 4 5 6
1 5 3 4 6 2 5 6 2 3 4 1 2 5 1 3
6 4 2 1
REGISTER
ENSEMBLE : 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1
REST
ENSEMBLE : 1 1
REL.T. ABS.T. INDEX TIME REST
3.70 3.70 7 4.53 .01
2.93 7.46 11 9.11 .01
2.05 11.16 14 12.14 .01
2.90 15.04 18 15.31 .01
4.67 19.98
Fig. 5
PROJECT 2 – Printout of "ENSEMBLE" and ORDER of elements

VARIANT 1
Instrument Mode Pitch Intensity Entry End Comment
1 KL – 402 PP .00 .72
2 408 F .72 1.61
3 301 MP 1.61 2.07
4 207 MF 2.07 2.53
5 412 FF 2.53 3.64
6 411 P 3.64 4.54
7 405 F 4.54 5.12
8 509 FF 5.12 6.50
9 506 P 6.50 7.39
10 703 MP 7.39 9.12
11 210 MF 9.12 9.70
12 404 PP 9.70 10.42
13 611 P 10.42 12.15
14 503 F 12.15 13.04
15 405 PP 13.04 13.62
16 602 MP 13.62 14.73
17 210 FF 14.73 15.32
18 407 MF 15.32 16.21
19 704 P 16.21 17.59
20 612 PP 17.59 18.97

Fig. 6
PROJECT 2 – Printout of SCORE, TIME in seconds

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VARIANT 1

Meter Pitch Begin End Dyn Mode

1 402 81 PP –
1 402 88
1 408 88 F –
3 408 81
3 301 81 MP –
3 301 86
3 207 86 MF –
4 207 62
4 412 62 FF –
5 412 75
5 411 75 P –
6 411 76
6 405 76 F –
7 405 53
7 509 53 FF –
9 509 82
9 506 82 P –
10 506 42
10 703 42 MP –
12 703 53
12 210 53 MF –
13 210 82
13 404 82 PP –
14 404 81
14 611 81 P –
16 611 52
16 503 52 F –
17 503 32
17 405 32 PP –
18 405 81
18 602 81 MP –
19 602 74
19 210 74 FF –
20 210 72
20 407 72 MF –
21 407 73
21 704 73 P –
23 704 11
23 612 11 PP –
24 612 76

Fig. 7
PROJECT 2 – Printout of PARTS, TIME in metrical positions

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 Fig. 8
PROJECT 2 – Structure, Variant 2

Automation in the electronic studio

A system of voltage control has been developed in the studio at Utrecht; an important
component of this system is a "variable function generator", (a description of which will
appear in Volume 2 of Electronic Music Reports), with which up to 200 amplitudes (direct
voltage levels) can be set. The individual levels and the period of all the levels can be
produced periodically and aperiodically, by hand and controlled by impulses. According to the
sampling rate, either stationary sounds or direct voltages of changing amplitude are produced,
which can be used to control voltage-dependent amplifiers, oscillators or filters. The functions
of this apparatus can easily be programmed for a computer, which means that it can also serve
as a simulator for computer programmes. A few examples from an electronic composition by
the author, carried out with the aid of the variable function generator, will show some
possibilities of studio automation which can readily be dealt with by a computer.
This composition bears the title "Functions" , the names of colours (e.g. Function Red )
being used to distinguish several variants of the work. The starting-point of the "Functions"
was a curve consisting of 48 levels, which was set at the function generator (Fig. 9). Periodic
samples resulted in sounds rich in partials, as was also the case with frequency modulation by
using the same curve to control an oscillator. Slow sampling caused square impulses of

12
various amplitudes. The control pulses came from a noise generator, which is the reason for
the aperiodic rhythm. Slower aperiodic control pulses and the use of an oscillator resulted in
a kind of tune (pitches leaping up and down, but also glissando transitions after the curve is
filtered), which was later used to ring-modulate the basic sounds mentioned first. Lastly, the
original curve and an on-off signal (0-1 signal) were used to control a voltage-dependent
amplifier (amplitude modulator), on the one hand for dynamic articulation, on the other hand
to control the dynamic proportion of reverberation or a filter.

Fig. 9
Curve for "FUNCTIONS"

All the signals mentioned were stored on tape in several variants. Thirty-six circuit diagrams
indicate the manner in which basic sounds and control voltages should be combined for sound
production. Fig. 10 shows one of these diagrams. (The basic material was ring-modulated with
a control voltage which in its turn was chopped up rhythmically by another control signal; the
result was filtered and mixed with amplitude-controlled reverberation.) The formal assembly
of the final version was calculated by the computer, which determined for each circuit diagram
the variants, the duration of the sound and its position (in time) in the piece. In Function Red,
the durations were between 8 seconds and 64 seconds, thus keeping tape editing to a
minimum.
The same circuit elements (demodulators, modulators, level switches) were also used to
form variants in such a way that an existing version of the "Functions" could be transformed
in its entirety. All the versions are four track; one derivative was made by using two tracks to
produce one new track: tracks 1 and 2, tracks 2 and 3, 3 and 4, 4 and 1 were combined to
make the new tracks, 1, 2, 3 and 4. In each case one track provided the sound material and the
other the control signals.

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 Fig. 10
FUNCTIONS – Wiring diagram 27

Sound production
Sound production with the computer at Utrecht is still only a plan; but this plan will be
carried out, starting in 1971. As opposed to programmes based on stationary spectra or
familiar types of sounds, the composer will be able to construct the waveform from amplitude
and time-values. The sound will thus be the result of a compositional process, as is otherwise
the structure made up of sounds. The composer defines lists of data for amplitudes and time-
values; these values will be put together by means of selection principles to form sound
segments. Each segment begins and ends with an amplitude of zero. A permutation list,
provided by the composer, determines the order of the segments, which may contain any
number of repetitions. All known parameters of sound such as duration, dynamics or timbre
thus become functions of the constructional principle. The amplitude values which are
distributed in time can be connected in various ways, either to form square waves, triangular
waves or flowing curve forms. Suitable data input will also be able to produce familiar
timbres (e.g. those of musical instruments).

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 BIBLIOGRAPHY
On composing programmes
M.V. Mathews, L. Rosier: "Graphical Language for the Scores of Computer-generated
Sounds", Music by Computers, Cambridge (Mass.), London 1969, p. 84-114.
R.A. Baker: "Musicomp", Technical Report No. 9, University of Illinois, Experimental Music
Studio (July) 1963.
L.A. Hiller: "Informationstheorie und Computermusik", Darmstädter Beiträge zur neuen Musik,
Mainz 1964. p. 44 ft.
L.A. Hiller : "Some Compositional Techniques Involving the Use of Computers", Music by
Computers, Cambridge (Mass.), London 1969, p. 71-83.
L.A. Hiller, L.M. Isaacson : "Experimental Music", New York, Toronto, London 1959.
I. Xenakis : "Freie stochastische Musik durch den Elektronenrechner", Gravesaner Blätter,
Mainz 1965 (vol. 26), p. 54-78.
P. Barbaud : "Initiation à la Composition Musicale Automatique", Paris 1966.
I. Xenakis : "Musiques Formelles ", La Revue Musicale (No. 253/254), Paris 1963.

On sound production
MV. Mathews : "The Technology of Computer Music", M.I.T. Press, Cambridge (Mass.)
1969.

On control
H.F. Olson, H. Belar : "Electronic Music Synthesizer", J. Acoust. Soc. (vol. 27, No. 3), May
1955.
J. Gabura, G. Ciamaga : "Digital Computer Control of Sound Generating Apparatus for the
Production of Electronic Music", Electronic Music Review (No. 1), Trumansburg 1967, p.
54-57.
P. Zinovieff : "A Computerized Electronic Music Studio", Electronic Music Reports (No. 1),
Inst. of Sonology, Utrecht State University 1969, p. 5-22.
S. Tempelaars : "Voltage Control in the Utrecht University Studio", Electronic Music Reports
(No. 1), Inst. of Sonology, Utrecht State University 1969, p. 68-77.

On analysis
J.W. Beauchamp : "A Computer System for Time-variant Harmonic Analysis and Synthesis of
Musical Tones", Music by Computers, Cambridge (Mass.), London 1969, p. 19-62.
J. Selleck, R. Bakeman : "Procedures for the Analysis of Form : Two Computer Applications",
J. Music Theory (No. 9/2) Winter 1965, p. 281-293.
A. Forte : "A Program for the Analytic Reading of Scores", J. Music Theory (No. 10/2)
Winter 1966, p. 330-364.

On notation printing
L.A. Hiller, R.A. Baker : "Automated Music Printing", J. Music Theory (No. 9/1) Spring
1965, p. 129-152.

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