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Musical-Applications-of-Microprocessors-2ed-Chamberlin-H-1987

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4 MUSICAL ApPLICATIONS OF MICROPROCESSORS<br />

ogy. Modern electronic technology allows the des"ign <strong>of</strong>compact instruments<br />

with a wider range <strong>of</strong> sounds and more precise player control <strong>of</strong> the sounds<br />

than had been previously available. Also <strong>of</strong> significance is the fact that these<br />

new instruments are <strong>of</strong>ten much easier to play. Perhaps the ultimate- in<br />

playing ease is a programmable instrument such as a digital computer. Since<br />

time need no longer be a factor, very intricate, fast-moving music may be<br />

played as easily as it can be written down.<br />

Often traditionalists, who may have spent many years perfecting the<br />

skills necessary to play traditional instruments, are loudly opposed to the<br />

utilization <strong>of</strong> this new technology.because to them music so produced is<br />

artificial and mechanical. Nevertheless, there is no essential difference between<br />

the use <strong>of</strong> piston valve technology in trumpet design and computer<br />

programming technology in organ design. It is still the responsibility <strong>of</strong> the<br />

composer and performer to produce desirable musical results.<br />

At this point it would be wise to develop a working definition <strong>of</strong><br />

music. Most physics texts define a musical sound as one that possesses a<br />

degree <strong>of</strong> regularity, while noise as a sound does not possess such regularity.<br />

Clearly, this alone is not sufficient, since a snare drum beat would be classified<br />

as noise and fluorescent light buzz as music by this definition.<br />

The arrangement, in time, <strong>of</strong> component sounds is as important as the<br />

sounds themselves. Furthermore, this arrangement must be orderly to be<br />

musical. However, excessive orderliness leads to boredom.<br />

So far nothing has been said about the emotional aspect <strong>of</strong> music<br />

composition and performance. True, some <strong>of</strong> the world's best music has a<br />

strong emotional appeal but that alone is not sufficient. A mortal cry <strong>of</strong><br />

anguish appeals emotionally to all who hear it but is certainly not music. A<br />

well-executed display <strong>of</strong> sound can be just as interesting to the ear as a<br />

fireworks display is to the eye.<br />

In summary, then, good music must be composed <strong>of</strong> sounds that have<br />

regular vibrations but with enough variation to be continuously interesting.<br />

Likewise, the arrangement <strong>of</strong> sounds must be orderly but with enough<br />

variety to maintain interest. Music may either express an emotional point or<br />

merely be a spectacular display <strong>of</strong> sound. Above all, good music must hold<br />

the attention <strong>of</strong> the listener.<br />

Goals <strong>of</strong> Music Synthesis<br />

Certainly, all who study electronic music techniques in general and<br />

particularly the readers <strong>of</strong> this book must have some goal in mind. The vast<br />

majority <strong>of</strong> young music students today are still educated. solely on the<br />

traditional musical instruments such as piano, organ, or any <strong>of</strong>a multitude <strong>of</strong><br />

band and orchestra instruments. Most <strong>of</strong>ten this involvement is not completely<br />

spontaneous but rather is encouraged by parents and teachers, <strong>of</strong>ten as<br />

the result <strong>of</strong> a musical aptitude test. Children who get into music on their

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