956:
470:
951:
121:, which unifies audio-rate and control-rate timing into a single framework, allowing arbitrarily fine time granularity and also one mechanism to manage both. This has the advantage of more flexible and readable code as well as drawbacks of reduced system performance.
602:
instrument; instead, entire songs or musical pieces are encoded and processed into a digital file on disk or tape containing the stream of samples. Prior to the advent of low-cost digital audio gear in the late 1980s, the samples were typically sent to a
199:
A number of highly original (and to this day largely unchallenged) assumptions are implemented in MUSIC and its descendants about the best way to create sound on a computer. Many of
Mathews' implementations (such as using pre-calculated arrays for
50:, and was certainly the first program to gain wide acceptance in the music research community as viable for that task. The world's first computer-controlled music was generated in Australia by programmer Geoff Hill on the
1083:
955:
548:. The program was an expansion of earlier packages written by Mathews to produce music by direct digital computation, which could be heard by converting samples to audible sound using a
86:). These simple opcodes are then constructed by the user into an instrument (usually through a text-based instruction file, but increasingly through a graphical
591:", which is a software algorithm. Some instruments are supplied in the package, but the programmer can supply new instruments in the form of FORTRAN code, to be
105:
of the piece. Some variants of the language merge the instrument and score, though most still distinguish between control-level functions (which operate on the
1103:
124:
MUSIC-N and derived software are mostly available as complete self-contained programs, which can have different types of user-interfaces, from text- to
38:. MUSIC was the first computer program for generating digital audio waveforms through direct synthesis. It was one of the first programs for making
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which is then "played" by a second file (called the score) which specifies notes, durations, pitches, amplitudes, and other
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and Maston Beard. However, CSIRAC produced sound by sending raw pulses to the speaker, it did not produce standard
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by John
Gardner and Jean-Louis Richer to enable it to process digitized sounds as well as to synthesize sounds
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As designed, the package was not intended for real-time generation of music as is done by a modern portable
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rather than at audio rate) are the norm for most hardware and software synthesis and audio
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built around simple signal-processing and synthesis routines (written as "opcodes" or
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All MUSIC-N derivative programs have a (more-or-less) common design, made up of a
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MUSIC 11 was developed by B. Vercoe, S. Haflich, R. Hale, and C. Howe on a DEC
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at Bell Labs in 1957 (this original version was later referred to as MUSIC I)
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388:(SAOL) is an imperative, MUSIC-N programming language, which is part of the
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was developed by
Mathews and J. Miller on an IBM 7094 at Bell Labs in 1963
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Peter
Manning, Computer and Electronic Music. Oxford Univ. Press, 1993.
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being generated (which operate on the sound). A notable exception is
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MUSIC IVB was developed by G. Winham and H. Howe on an IBM 7094 at
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Less obviously, MUSIC can be seen as the parent program for:
343:
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153:
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99:
91:
43:
39:
661:; Mathews, Max (Winter 1980). "Interview with Max Mathews".
30:
descended from or influenced by MUSIC, a program written by
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428:
213:
294:
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and called by the MUSIC IV package to generate output.
275:
MUSIC 4BF was developed by H. Howe and G. Winham on an
405:(a later RealTime Scheduling language by Max Mathews)
352:
was developed by F. R. Moore and D. G. Loy on a DEC
329:
MUSIC V was developed by
Mathews and J. Miller on a
286:
on an IBM System/360 at
Princeton University in 1969
1204:
303:(descended from MUSIC 11 and in wide use today)
180:, etc., as well as other music systems such as
821:
587:and have each note played with a particular "
657:
66:samples, like the MUSIC-series of programs.
1119:Center for New Music and Audio Technologies
712:
710:
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698:
696:
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653:
651:
649:
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498:. Unsourced material may be challenged and
228:MUSIC included a number of variants, e.g.:
140:which can be accessed through a variety of
828:
814:
801:Comparison of audio synthesis environments
136:have since evolved to work effectively as
518:Learn how and when to remove this message
246:MUSIC III was developed by Mathews on an
54:computer which was designed and built by
747:
691:
644:
552:(DAC). MUSIC IV was further expanded by
239:MUSIC II was developed by Mathews on an
1205:
338:MUSIC V was considerably augmented at
809:
716:
568:, a more portable version written in
232:MUSIC was developed by Mathews on an
496:adding citations to reliable sources
463:
386:Structured Audio Orchestra Language
13:
835:
741:
14:
1239:
1094:Computer Music Center at Columbia
261:Derivatives of MUSIC IV include:
954:
949:
468:
109:) and functions that run at the
279:at Princeton University in 1967
626:
617:
583:to enter a musical score as a
314:, D. Poole, and L. Smith on a
1:
1228:Samplers (musical instrument)
610:
607:and recorded on analog tape.
253:
128:-based ones. In this aspect,
7:
1213:Audio programming languages
794:
720:The Computer Music Tutorial
550:digital-to-analog converter
459:
282:MUSIC 360 was developed by
10:
1244:
1191:Mortuos Plango, Vivos Voco
1099:Experimental Music Studios
774:10.1162/014892602320991356
723:. MIT Press. p. 789.
16:Audio programming language
1175:
1142:
1071:
983:Composers Desktop Project
963:
947:
843:
223:
69:
881:Gottfried Michael Koenig
310:MUS10 was developed by
1155:Artificial intelligence
1150:Algorithmic composition
572:. It is a precursor to
761:Computer Music Journal
717:Roads, Curtis (1996).
664:Computer Music Journal
208:storage, the use of a
188:and plugin frameworks
22:refers to a family of
1218:Software synthesizers
212:that runs in musical
146:programming languages
28:programming languages
1223:Digital synthesizers
579:MUSIC IV allows the
492:improve this section
377:Princeton University
333:in 1966 at Bell Labs
266:Princeton University
250:at Bell Labs in 1960
243:at Bell Labs in 1958
1129:Oberlin TIMARA Labs
1124:Princeton Sound Lab
633:The music of CSIRAC
600:electronic keyboard
544:package written by
443:Any other computer
392:audio standard, by
371:, and others on an
320:Stanford University
911:Jean-Claude Risset
871:Giuseppe di Giugno
790:version available)
753:"Max at seventeen"
638:2008-07-05 at the
589:musical instrument
445:synthesis language
138:software libraries
1200:
1199:
1165:Digital synthesis
856:Richard Boulanger
528:
527:
520:
447:that relies on a
434:Common Lisp Music
363:was developed by
90:) that defines a
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1008:Laptop orchestra
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749:Puckette, Miller
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564:, and then into
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379:starting in 1982
98:relevant to the
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1160:Sound synthesis
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1018:MIDI controller
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959:
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901:Miller Puckette
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742:Further reading
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677:10.2307/3679463
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640:Wayback Machine
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356:at UCSD in 1980
226:
220:systems today.
84:unit generators
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46:) on a digital
42:(in actuality,
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837:Computer music
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554:Godfrey Winham
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373:IBM System/370
361:Real-time Cmix
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277:IBM System/360
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56:Trevor Pearcey
24:computer music
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1053:SuperCollider
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876:Charles Dodge
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866:John Chowning
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659:Roads, Curtis
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508:December 2009
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477:This section
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454:
451:system (e.g.
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442:
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424:SuperCollider
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394:Eric Scheirer
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111:sampling rate
108:
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81:
77:
67:
65:
61:
60:digital audio
57:
53:
49:
45:
41:
37:
33:
29:
26:programs and
25:
21:
1189:
1184:Illiac Suite
1182:
1176:Compositions
1032:
964:Programs and
936:Barry Vercoe
916:Curtis Roads
851:Marc Battier
768:(4): 31–43.
765:
759:
719:
671:(4): 15–22.
668:
662:
628:
619:
597:
578:
565:
561:
530:
529:
514:
505:
490:Please help
478:
397:
384:
284:Barry Vercoe
227:
198:
123:
73:
19:
18:
1058:TidalCycles
1023:Music Mouse
966:instruments
896:Gérard Pape
891:Max Mathews
886:Paul Lansky
558:Hubert Howe
546:Max Mathews
369:Brad Garton
365:Paul Lansky
312:J. Chowning
103:informatics
34:in 1957 at
32:Max Mathews
1207:Categories
1143:Techniques
861:David Cope
611:References
581:programmer
566:MUSIC IVBF
540:synthesis
419:AudioMulch
316:DEC PDP-10
148:, such as
96:parameters
1079:Bell Labs
1043:Riffusion
1038:Radiodrum
1028:Pure Data
756:(reprint)
585:text file
562:MUSIC IVB
479:does not
414:Pure Data
210:scheduler
182:Pure Data
142:frontends
88:interface
80:functions
36:Bell Labs
1048:Sonic Pi
795:See also
751:(2002).
636:Archived
593:compiled
542:software
535:computer
531:MUSIC IV
460:MUSIC IV
254:MUSIC IV
248:IBM 7090
241:IBM 7094
206:envelope
202:waveform
48:computer
1033:MUSIC-N
1013:Max/MSP
931:Trimpin
926:The Hub
782:1150821
685:3679463
570:FORTRAN
500:removed
485:sources
453:Reaktor
449:modular
409:Max/MSP
359:CMIX /
297:in 1973
268:in 1965
234:IBM 704
186:Max/MSP
113:of the
100:musical
76:library
20:MUSIC-N
1089:CEMAMu
1072:Places
988:Csound
844:People
780:
727:
683:
574:CSound
533:was a
403:RTSKED
390:MPEG-4
354:VAX-11
350:CMusic
331:GE 645
301:Csound
291:PDP-11
224:Family
190:LADSPA
178:Scheme
162:Python
134:RTcmix
130:Csound
70:Design
52:CSIRAC
1114:IRCAM
1084:CCRMA
993:FAUST
973:ChucK
778:S2CID
681:JSTOR
560:into
538:music
439:ChucK
344:Paris
340:IRCAM
119:ChucK
115:audio
107:music
92:sound
62:with
44:sound
40:music
1109:ICMA
1104:ICEM
1063:UPIC
1003:Kyma
998:HMSL
978:Cmix
788:HTML
725:ISBN
556:and
483:any
481:cite
429:JSyn
322:1966
214:time
204:and
192:and
174:Lisp
158:Java
144:and
132:and
1134:IEM
770:doi
673:doi
605:DAC
494:by
375:at
342:in
318:in
295:MIT
293:at
218:DSP
194:VST
170:Lua
166:Tcl
154:C++
126:GUI
78:of
64:PCM
1209::
776:.
766:26
764:.
758:.
693:^
679:.
667:.
646:^
576:.
455:).
367:,
196:.
184:,
176:,
172:,
168:,
164:,
160:,
156:,
152:,
829:e
822:t
815:v
786:(
784:.
772::
733:.
687:.
675::
669:4
521:)
515:(
510:)
506:(
502:.
488:.
150:C
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