Electronic music and the computer: a critical study of the development of electronic music systems and the introduction of computer-based technology, with particular reference to the interface problems encountered in composer/machine communications

Abstract

This thesis examines the development of electronic synthesis systems and their associated philosophies from the antecedents of the first half of the twentieth century to the early part of the current decade, viewed in the first instance from a musical rather than a technical standpoint. Such a task is in itself an exercise in communications, for it is necessary to evaluate the artistic characteristics of a rapidly expanding area of inter-disciplinary activity which has been largely dominated by technological interests, not always to the best advantage of the art and practice of music. Although the development of the medium has led to the publication of numerous books and articles, ranging from general descriptions to detailed scientific accounts, the former for the most part are uncritical in their approach, and the latter are rarely presented in a form which may be readily appreciated and commented upon by musicians in general. This account thus attempts to fill a major gap in the literature of the subject by presenting a broadly based critique of its most important historical features. After an introductory perspective of the background to electronic music systems, the first volume continues with a critical study of the main developments during the period 1948-1964, concluding with an examination of the characteristics of both voltage and digitally based control technology and their impact on studio designs during the remainder of the latter decade. The second volume is primarily concerned with the application of the digital computer, both as a means of directly generating sound information and also as a control device for analogue studios, particular attention being paid to the systems MUSIC 360 and MUSYS. The overriding objective of this study is to establish a sound and coherent basis for determining the artistic criteria which must be applied if future technical advances are to benefit the creative uses of the medium.