Music has been my love, my solace, my ecstasy, and my pain. It can sometimes be more real to me than life itself. I can do no better to convey the power of music with words than to pass on those of Aldous Huxley, written in his essay, "Music at Night":
ONLY MUSIC, and only Beethoven's music, and only this particular music of
Beethoven, can tell us with any precision what Beethoven's conception of the
blessedness at the heart of things actually was. If we want to know, we must
listen -- on a still June night, by preference, with the breathing of the
invisible sea for background to the music and the scent of lime trees drifting
through the darkness, like some exquisite soft harmony appreciated by another
sense.
Huxley wrote this after selecting a record at random in the dark, on a
nameless night sometime in the 1920's or perhaps the early 30's. The entire
essay is well worth reading.
Music is perhaps unique among art forms for the way it has evolved so far
with technology without losing its essence or connection to earlier
techniques. Skin drums, reed flutes, and the voice were man's first
instruments, wielded by shamans and directors of possession dances. Later we
had stringed instruments, chords, and bards and minstrels. From
mechanically-minded Europe came the keyboard, and performers on the organ,
harpsichord, and piano took advantage of the dazzling array of polyphonic
possibilities it offered. At around this time standardized notation and new
levels of leisure and social stability created a new kind of music that was
thought out and written down before being played by large, organized groups.
New levels of complexity were explored, felt to be the highest and most
intense form of pleasure by some, but abstruse and monotonous by others.
In the middle part of this century another revolution occurred with
electricification, which touched every aspect of music. Not only could the
sounds made by a small number of people be conveyed to a larger audience, but
the sounds that could be made by instruments were fuller and richer as well,
so a smaller group could make "full-scale" music. The "power trio" of bass,
guitar, and drums could bring a vibrant listening experience approaching what
was previously the sole province of large orchestras. Complexity in
composition was replaced by complexity in the timbral dimension, and new
electrically-based controls like pedals, knobs, and switches were marshalled
to manipulate it in a partly indirect and imprecise, but real-time, way.
Finally, the ability to record and mix sounds opened up entirely new vistas in
musical creation.
The net effect of electrification together with mass distribution media has
sharply reduced the role of the specialist (and generally class-priviledged)
composer and brought the cutting edge of musical innovation back into the
hands of performing musicians and the common people.
The computer promises a further revolution in the same direction,
but it has not occurred yet. Eventually, anyone sensitive to music will be
able to create deep, satisfying works with the aid of a computer, without the
necessity of undergoing long specialized musical training. The computer will
take the evolution of music-making interfaces, that has gone from flutes
through pianos and electric guitar wah-wah pedals, to the next stage -- the
adaptive, user-customizable direct-manipulation medium. But that advance
requires a major step forward in human-computer interaction (HCI) technology,
which may take some time yet. For now, the field of computer music is divided
into the three areas of interface, algorithmic composition, and digital sound
manipulation, with the emphasis decidedly on the latter.
This page is not the place for a review of past and present computer music
platforms, but check out here and here, and look into the book Computer Music
by C. Dodge and T.A. Jerse for more information. There may be some discussion
up at freejazz.org. For
my part, I have ended up experimenting using Csound as a basic platform for
sound synthesis, because it is relatively flexible and powerful and is
well-documented. Here are some compositions (collected off the net) that use
it. For a nice example of recent progress on both the algorithmic composition
and user interface fronts in computer music, check out the Sseyo "Freeharp" (try a local
version here if that link's dead). There
are some other cool things available through the site where this came from, www.sseyo.com -- try to ignore the
money-oriented "dot-com-ishness" of this site; there are some good ideas
underneath all the hype.
Finally, here are some works of my own.
Note: You must hit shift-click (or right-click and "Save
Link") to download these, then unpack them and run them through Csound to
listen to them.