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6 MUSICAL ApPLICATIONS OF MICROPROCESSORS<br />

heights <strong>of</strong> inaudibility. Any sound may be made as loud or as s<strong>of</strong>t as desired.<br />

Thunderous, gut-shaking bass chords are available as is the most subtle solo<br />

melody.<br />

.Certainly a musician working with electronics is not limited by the<br />

sounds available for composition.<br />

Performance by the Composer<br />

Another goal sought by many electronic muStclans is, to be blunt,<br />

omnipotence. It is now possible for a single person to compose, perform, and<br />

criticize a piece <strong>of</strong> music <strong>of</strong> any degree <strong>of</strong> complexity desired. No longer is it<br />

necessary to write the music down part by part and find an orchestra to play<br />

it, and then correctly only after considerable practice. Instead, the composer<br />

can play the piece sequentially by part and have the parts combined' in a<br />

recording studio. Or, with the aid <strong>of</strong> a computer, proper notation <strong>of</strong> the<br />

music is itself sufficient to pr:ecisely direct the performance.<br />

Interpretation <strong>of</strong> conventional scores has always been a problem. Many<br />

important variables are left unspecified. Filling in these gaps is left to the<br />

conductor (who may indeed be the composer himself) and the individual<br />

players. In cases in which some aspect <strong>of</strong> the music is unconventional, the<br />

fact that the performers are musicians too with their own ideas may make<br />

execution according to the composer's wishes very difficult. With the use <strong>of</strong><br />

electronics, the composer himself can be in complete control <strong>of</strong> the performance.<br />

Passages can be repeated and experimented with in search <strong>of</strong> perfection<br />

subject only to the patience <strong>of</strong> the composer. Nobody other than the<br />

composer himself needs to hear or judge the work until it is in final form.<br />

Because <strong>of</strong> the vast repertoire <strong>of</strong> new sounds. available, it is less likely<br />

that the desired sounds and their combinations can be chosen using only<br />

prior knowledge and imagination. Just as the classical composer worked with<br />

a piano to experiment with melodies and rhythms, the contemporary composer<br />

needs to experiment. Electronics allows such experimentation with<br />

immediate, or nearly so, feedback <strong>of</strong> results. Additionally, the costs are such<br />

that expenmentation is usually practical as well as possible.<br />

The majority <strong>of</strong> money spent on musical instruments in this country is<br />

by individuals who are not in any sense pr<strong>of</strong>essional musicians. To these<br />

people, playing an instrument is a very enjoyable, creative pastime. The<br />

increasing popularity <strong>of</strong> organs over pianos and other instruments in the<br />

home is probably due to the greater versatility <strong>of</strong> the organ. Electronic organ<br />

manufacturers have been very quick to adopt new technology that increases<br />

the capabilities <strong>of</strong> their instruments and makes them easier to learn and use.<br />

In the not too distant future, programmable electronic instruments will<br />

allow anyone with clear ideas and time to try their hand at composing and<br />

performing truly serious music strictly for fun.<br />

Certainly, a musician working with electronics is not limited by anyone<br />

else in what can be achieved.

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