Computer music: Difference between revisions

Early computer-music programs typically did not run in [[Real-time computing|real time]], although the first experiments on CSIRAC and the [[Ferranti Mark 1]] did operate in [[Real-time computing|real time]]. From the late 1950s, with increasingly sophisticated programming, programs would run for hours or days, on multi million-dollar computers, to generate a few minutes of music.<ref>{{cite web|last=Cattermole|first=Tannith|title=Farseeing inventor pioneered computer music|url=http://www.gizmag.com/computer-music-pioneer-max-mathews/18530/|publisher=Gizmag |access-date=28 October 2011|date=9 May 2011|quote=In 1957 the MUSIC program allowed an IBM 704 mainframe computer to play a 17-second composition by Mathews. Back then computers were ponderous, so synthesis would take an hour.}}</ref><ref>{{cite journal|last=Mathews|first=Max|author-link=Max Mathews|title=The Digital Computer as a Musical Instrument|journal=[[Science (journal)|Science]]|date=1 November 1963|volume=142|issue=3592|pages=553–557|doi=10.1126/science.142.3592.553|pmid=17738556|bibcode=1963Sci...142..553M|quote=The generation of sound signals requires very high sampling rates.... A high speed machine such as the I.B.M. 7090 ... can compute only about 5000 numbers per second ... when generating a reasonably complex sound.}}</ref> One way around this was to use a 'hybrid system' of digital control of an [[analog synthesiser]] and early examples of this were Max Mathews' GROOVE system (1969) and also MUSYS by [[Peter Zinovieff]] (1969).

 

 

In May 1967 the first experiments in computer music in Italy were carried out by the ''S 2F M studio'' in Florence<ref>{{Cite web |last1=Parolini |first1=Giuditta |year=2016 |title=Pietro Grossi's Experience in Electronic and Computer Music by Giuditta Parolini |publisher=University of Leeds |url=http://archive.researchdata.leeds.ac.uk/209/ |doi=10.5518/160/27}}</ref> in collaboration with ''General Electric Information Systems'' Italy.<ref>{{cite journal|last=Gaburo|first=Kenneth|author-link=Kenneth Gaburo|jstor=4617921|title=The Deterioration of an Ideal, Ideally Deteriorized: Reflections on Pietro Grossi's 'Paganini AI Computer'|journal=[[Computer Music Journal]]|volume=9|number=1|date=Spring 1985|pages=39–44}}</ref> ''Olivetti-General Electric GE 115'' ([[Olivetti S.p.A.]]) is used by Grossi as a ''performer'': three programmes were prepared for these experiments. The programmes were written by Ferruccio Zulian <ref>{{Cite web|url=https://depositonce.tu-berlin.de/bitstream/11303/7174//music_without_musicians_but_with_scientists_technicians_and_computer_companies.pdf.txt|title=Music without Musicians but with Scientists Technicians and Computer Companies|year=2019}}</ref> and used by [[Pietro Grossi]] for playing Bach, Paganini, and Webern works and for studying new sound structures.<ref>{{cite journal|last=Giomi|first=Francesco|title=The Work of Italian Artist Pietro Grossi: From Early Electronic Music to Computer Art|journal=[[Leonardo (journal)|Leonardo]]|volume=28|number=1|year=1995|pages=35–39|jstor=1576152|doi=10.2307/1576152|s2cid=191383265}}</ref>

C Wang, S Dubnov, Tenth Artificial Intelligence and Interactive Digital Entertainment Conference, 2014</ref> using an information rate criteria for finding the optimal or most informative representation.<ref>S Dubnov, G Assayag, A Cont, "Audio oracle analysis of musical information rate", IEEE Fifth International Conference on Semantic Computing, 567–557, 2011 {{doi|10.1109/ICSC.2011.106}}</ref>

 

 

==Live coding==

[[Category:Computer music| ]]

[[Category:Computer music software]]