If musical data processing is important to us so much today is that it gradually created tools that will fundamentally change the mindset of the music. However, his history is short. It merges with the development of numerical technologies: computer first determines symbolized by the creation of languages for programming, then a host of inventions accompanied in numerical technology. Enough is early, data processing ripe enough to accommodate concerns of all kinds, energy accounting for scientific research, as it passes through, of course, what we are interested in their history, artistic creativity. And it's certainly indicates that it is necessary to distinguish what is clear from the data processing itself, and what belongs rather to the wider world of numerical technology. The music draws abundantly from these two areas of new resources. But since the area is converted to the tone today in audio-numeric, the distinction is important. Musical data processing of the meeting of the musical concerns and the environment resulting from numerical technologies and the specificity of the computer on the birth to a page, and the scientific fields to clarify his research topics. If the musical composition there appears in good place, virtually all activities of other music are found there. Music Research and partially covered the ground cleared by data processing, acoustics, the treatment of the signal, and cognitive psychology: How musical data processing is the focus of several musical, scientific and technical fields. But it is the reliance on the specific contributions of data processing that identifies their level. New conceptual tools are constantly by the artificial intelligence provided by concrete languages such as Lisp or Prolog. Once you're on the musicologist help or abstracting service composition. Research in real-time systems via the interactive interface makes it possible to understand new links between the instrumentalists and the electronic world. Large stages the musical form with the emergence of musical data processing, there are two types of activity, independent of the others. Where such activities are prudent today, it is otherwise, predict that the original vision that could cause birth can. These two types of activity are: the musical composition and production of sound. In both cases, the production of the desired result is ensured by the computer. These two types of activities are significantly outdated. The first serious examination of the musical composition per computer the year 1956 to go: it is at this point that Lejaren Hiller charges partition rules coded in the form of algorithms on the computer I Illiac from the University of Illinois. It's about Iliac Suite for string quartet, whose three sets this year are performed by the String Quartet WQXR. In a famous structure, which was published in 1959 and the title of "experimental music composition with year Electronic Computer," Lejaren Hiller explains in detail the procedure that applied to the Iliac computer to produce supported the partition of the string quartet. To this period, it is forged in 1956 as John McCarthy, the concept of artificial intelligence. A year later, Max Mathews, researchers wrote in the laboratories of Bell Telephone in New Jersey, a programmer first numerical synthesis of the sound for the computer IBM 704th Today known as the Music I, it is the first of a large family of acoustic compiler, a psychologist, Newman Guttman, initially generates a one 15-second study, in the Silver Scale. It is as published in 1957 as a continuation of the four movements for string quartet by Illiac Lejaren Hiller, the year is the primitive version of the famous language Fortran program (Formula Translator) was born. We must note that during the preparation of the work of Hiller from the string quartet WQXR, organizes, Max Mathews, which was a recording that place, then carried out with the release of this recording on a disc in 1960 by Bell Laboratories and authorized music in mathematics: even if the road back out of these two independent inventor is not known how they do not cross ... Of these two almost contemporary events, the development will continue, gradually, marked in the directions: the composition and production of sound. We will see low prices from them. But a third way is to not seem long: it is from the same observation that Hiller had been born: The computer is particularly at that time a huge calculator. The English name of the selected computer specified, before the appearance of these machines, pay the staff to run calculations. But at the same time, with a little fear, they spoke easily at the time of the electronic brains. An artist could not approach the computer is not without a certain emotion, which no doubt the attraction, sometimes frightening, is that the data processing have on the artist explains in the following decades. But they are two scientists who are at the origin of these experiments: Hiller practiced chemistry, while Mathews was an already well-known researchers. It is certainly remarkable, which explains that they reflect rather than methods that should be in each case on its side, and with complete independence. With Bell Laboratories, Max Mathews, on his side, in 1957 a first written numerical programmed the synthesis of the sound for the IBM 704 computer, equipped with 4096 words of memory. Today known as the Music I, this is the first by a large family. The program Music III (1960), the concept of modular instrument. The model presented by Max Mathews is more than one device in the laboratory or an electronic music studio, inspired by an acoustic stringed-instrument trade. The program offers a series of independent modules (unit generators), responsible for all from a survival function: oscillator with programmable wave form, signals of adder, multiplier, generator envelopes and random signals, etc. .. The musician is building a "tool" by a selection of modules between them. The signals of the oscillators or the generators are producing over other modules are modified or mixed to be performed. Multiple devices can be connected together in an "orchestra, each instrument its own identity. In contrast to what happens in the material world, there is no limit to the number of modules can be used simultaneously, except perhaps the memory of the computer. The result of the placement of the device is the progressive calculation of the speed of sound in the form of a sequence of numbers to bring the end to end, make a complex sound wave. These figures are "samples". Today, the number of samples representing a second was to anchor his 44 100 per channel for the general public applications, and 48 000 professional in the field. can be carried out due to the relative slowness of the machines and design weight, put the time to produce the sound waves, is rather higher than the duration of the sounds, the operation of these programs is "different in time" to be known. The origin of the sound waves were calculated numerically on a numerical method gradually strip the end of a processing unit stores the samples. This method of producing the sound as "direct synthesis". Thus creating a "sound file from", once completed, the musician asks for a second program calculates the reading of the file of sound in real time and sending the samples to a digital-analog converter that is connected to an amplifier and speakers. To enable the orchestra, the musicians have to write a "partition", where all parameters are claimed by the modules of the device specified. This partition is in the form of a list of numbers or codes, telegraphy, which presents each, a "notice" or any event, the subject of a separate list. These lists are ordered in time. But specify any parameters, is a difficult task, especially since the musicians are not trained to values are measured by dimensions, the sound they manage to give. designed to combat this obstacle, the languages to aid the writing of partitions have been the result of the most famous program of Leland Smith (1972). not the result is an automatic program of the composition: it makes it possible to specify the parameters by using terms from the musical practice (high, nuances, duration), calculate automatically tempo changes or nuances and sections to be completed with the comments a train the translation given. The model instrument of partition was established with the arrival of Music IV (1962) was founded. This program was born of many alternatives, some of which do indeed exist today. In those mishaps, let's contents, music 4BF (1966-67), there is now a version for Macintosh (music 4C, 1989), and above all 360 of Barry Vercoe Music (1968), has this feature as a descendant of Music IV in the form of a real programming language, which doubtless explains why it was announced today by C-compiler of the acoustic music be presented used. It was adapted first to minicomputers PDP-11 from Digital in 1973, then, all in the C language in 1985, re-written, he took the name C-Sound, and was quickly on all types of computing platforms, including adapted the Micro-computers such as Atari, Macintosh and IBM. In 1969 appear V Music, a program designed to facilitate the programming of musical instruments and the partitions, now, music is still widely used V, usually in the form of adaptation, in from Richard Moore, C-Music ( 1980). The computer was also an undeniable success in a highly speculative, the musicologist analysis. With the eyes of the public in the early sixties, computers are interested, still quite mysterious and inaccessible, was the opportunity for foreign musical work, composition, musicology, and finally, limited to the laboratories of Bell, the production of sound. A great musical upheaval of the decade was coming from the world of electronics, with the publication in 1964 of the modular synthesizer, the "analog", as they do not contain numerical electronics known. Designed independently by Paolo Ketoff (Rome), Robert Moog and Donald Buchla (United States), the synthesizer the answer brought to the technological needs of many musicians, especially after the popular success of the disc Switched a stream of Walter Carlos, who know really made, that these instruments around a large audience. During this period the program of Mathews adjustments do on other sites such as the universities of New York, Princeton or Stanford. Another application of the computer with the testing of analog instruments. The machine generates signals with slow change, change needed to bring the equipment to Studio: the frequency of oscillators benefit of amplifiers with cutoff frequencies of filters. founded the first example of this system, you name hybrid synthesis "was funded in 1970 in electronic music studio in Stockholm, independent foundation since 1969 by the Royal Academy of Music and presented under the direction of Knut Wiggen. A PDP 15/40 computer controlled the frequency are 24 generators, a generator of the vibration white, two-thirds of octave filters, modulators, from ring, the amplitude and reverberation. The originality of the system of Stockholm was state in a highly ergonomic control panel with which the translator has the parameters of the synthesis by sweeping a group of figures with the help of a metal skewer. Another studio to be quoted, that of Peter Zinoviev in London (1969), placed under the control of a mini-computer PDP 8 DIGITAL, for Peter Grogono wrote the language of Nicolas Musy piloting. Another remarkable finding is (Created Real Time Operations A voltage-controlled equipment, Ca 1969), the system designed in the Groove Bell Labs by Max Mathews and Richard Moore. Groove is a tool for the control of parameters in the design of a device determines the synthesis. In this direction, it places the music more close to the position of a leader, leading to a translator or an instrumentalist, although we believe that the electronic translator of music often has to place itself in the position of Chief by direct interpretation of the music is constructed. It is the mid-seventies, the transition to a relentless expansion of brands now on the life of musical data processing, with the advent of the microprocessor. A computer-stringed instrument of the trade is becoming possible with the design of complete computer on an integrated circuit: microprocessors. There will also be necessary to improve the interface with the user and that the hole cards are replaced by an interactive mode of inputs: it is the keyboard and cathode ray tube that will carry it. The principle of the hybrid synthesis continue to be applied throughout the seventies, before they finally replaced by the numerical synthesizers in the early eighties. The American company Intel markets since 1971, the first microprocessor, the circuitry 4004, enabling the design of a real mini-computer, micro computer: Intellectual 8 (designed from 8008 microprocessor in 1972 beginning), Apple I, Altair (1975) gathered soon under the name of the micro-computers. The attempt of the kind of musical group and data processing of Vincennes (GAIV) illustrate well this time of transition. This team, based at the University of Paris known 8 of Patrick Greussay and a team of artists and architects, for the publication of a bulletin dissemination of research tasks in the most recent art and data processing instructed the translator Giuseppe Englert's musical coordination of their activities . It is the intellectual 8, microcomputer with words of eight bits, ordered by a paper tape and a keyboard that was used with the compositional activities and research on the musical formalization, English synthesizer EMS VCS3 were controlled by the microcomputer via digital analog converters are free of charge to offer the power of order in the exchange of binary data through interactive programs. The second effect of the arrival of the microcomputer, the design of mixed-synthesis ", synthesizer adapted numerical, real computer to calculate the sound wave in real time, placed under the control of a computer. released from second half of the seventies, several benefits of this kind, we reserve the work of James Beauchamp, Jean-François Allouis, William Buxton, (designed synthesizer system concept for the research center - CCRMA - Stanford University), among other things, like Peter Samson, Synclavier de New England Digital Corporation, Syd Alonso and Cameron Jones, under the impulse of the translator Jon Appleton, design, designed, under the impulse of Luciano Berio, a bank of oscillators in Naples by Giuseppe di Giugno, who continued his work at Ircam ( Series 4A, 4B, 4C and 4X), headed by Pierre Boulez; recently fly 30 of the center of Rome's musical recherché. We must note that with the IRCAM 4X (1980), the duration of the synthesizer will disappear by the numerical processing of the signal that moves no doubt, the emphasis on replacing the general information of the machine. This sector instrument does not take long to adapt these new developments. The first phase was the introduction of microprocessors in an analog synthesizer (Prophet Synthesizer Company Sequential Circuits), calculated on the modules ordered in tension control, it is still the "hybrid" synthesis ". The second stage follows quickly: it consists in the design of fully numerical real musical instruments. It has come to an arrival Synclavier II, then from Fairlight. The industrial sector is now first on the market, the synthesizer and sound processor, and the software makes it possible to use this also makes. Today, all the synthesizers and numerical necessarily the MIDI standard. The field of the synthesizer is twofold: on the one hand equipment, often with a keyboard that provided propose a selection of preset sounds that you can vary certain parameters of an elementary process of programming, also the machines that are intended to reproduce sounds previously recorded and stored, or stored memory: sampler, or "sampler". It should be noted that all these technologies in the Internet for home musicians, in the context of what are commonly the "Personal Studio" (Home Studio). But these machines, and certainly not the personal studio without proper software function: The sequencer controls the execution of a piece, starting directly from a computer, the editorial board of the Sound to the treatment, assembly and determines the mixture of sound sequences. Programs make it possible for a partition that is busy from now on, usually by the musical output to write. Finally, the machines can also be under the control of additional programs, the composition can be placed. The original character of contemporary data processing stringed instrument of trade is the "workstation". To understand, a workstation is in the collection programs of various kinds, for the analysis or synthesis of the sound, intended to control the sound or the composition. These programs are organized within integrated data processing, an "environment" around the computer and its peripherals for handling the sound established on the line. It is the case of the plug-in charts, the software is connected, make it possible to "sound files" stored on a CD read, get in exchange a purchase order, for example, from a midi source. This system, when new, that it can not find a name true, is usually how "hard" or suggested "direct-to-disk" disk. The musical representation Since the computer, unlike the electronic music studio, claimed a specification of the data and thus a font is the issue of musical representation, a constant concern of the field. We will see two answers. The first shows a step a priori compositionnelle: the Xenakis. The second, more general, the MIDI standard. Iannis Xenakis renewed with the design of the UPIC (Unit of CEMAMu Polyagogique Informatique). Developed in the mid-seventies, rising, this system naturally from the approach of the synthesis of the sound of this type-setter: within the team, which had joined together, first christened Emamu (Team of Mathematics and Musical Automatic, 1966), and with the financing of the Gulbenkian Foundation, Xenakis had been building a digital-analog converter of high quality. The UPIC is a complete environment with the composition, in consequence of the sound synthesis of the page made up music. Become CEMAMu in 1971 (Centre for Mathematics and Musical Automatic), because the creation of a place to house its research, the team met to Xenakis understand a system makes it possible to draw on a broad translation table of the architects of the " ; time-height arches "by a temporal trajectory for each sheet, a form of wave, a nuance. The music is so initially presented in graphical form. The programs of the first UPIC are written for a minicomputer Solar 16/65, at two points of magnetic tapes, programs, and the samples, a digital-analog converter, a cathode ray tube, making it possible, the forms review save the waves, but also these waves are characterized using a graphic pencil. To listen to the page that she has just moved, it must wait the type-setter for the computer to calculate all the samples ready, the generation of sound by a digital-analog converter ensures high quality. More recently, the UPIC was redrawn for microcomputers and functions without delay. To represent the sound in the form of a variable image, the goal is the recorded music program at the University of Paris 8 per Vincent Lesbros designed. With the kind of sonograms, the program shows the spectral analysis as a drawing that can be modified, the new representation can then be synthesized, either by Midi, or in the form of a file of sound or even converted into MIDI files. The charge is often heard today that the generation of young musicians, the technology approach by the environment around the midi standard does not create a satisfactory unaware of musical data processing and its problems were. But forget that in one direction, the birth of the MIDI standard, without true origin was with the previous stages of the field, a musical data processing name is done. The phenomenon represents Midi is not at all an accident of this area. The MIDI standard was developed in 1983 to allow control of multiple synthesizers based on a keyboard only, the messages are transmitted in digital form, according to a well defined protocol. The origin is thus based on the best instrumental gestures Midi Controller: It is a method to represent not the sound, but the gesture of the musician playing a MIDI instrument. In 1983, leaves the first synthesizer, a MIDI interface have, Prophet 600 Sequential Circuits. What had not been defined, on the other hand, it is the success that this standard is to win quickly, the day to inter-connect all the machines used in a studio for electronic music, and even the traffic lights was a scene. Musical Research Work carried out since 1956 by Lejaren Hiller for the composition of the Iliac Suite for string quartet also marked the birth of the musical form and the anchoring of this area of research, in this case to the automatic composition. The computer then appeared like a machine, making it possible to treat characterize the complex process involved in the sequels to the composition of the ambitious musical works. This was designed from 1958 are amplified by the French translator Pierre Barbaud that melts in Paris, the algorithmic group theory in connection with the firm of Bull-General Electric, and began his research on the automatic composition, such as the following year, the first | Unexpected innovations ( Algorithm 1), in collaboration with Pierre Blanchard |: Barbaud algorithmic work was done. The program Musicomp de Lejaren Hiller and Robert Baker, who designed simultaneously for the Iliac computer on the composition of Iliac sequel, which the University of Illinois on one of the centers of musical data processing at the time. And when in 1962, created Iannis Xenakis ST/10, 080 262, written work, thanks to the stochastic program ST since 1958 on a computer IBM developed 7090, the composition using the computer in its golden age. In the Netherlands, Gottfried Michael Koenig wrote in 1964, the program of the composition project I (1964), soon followed by Project II (1970). The composition is based on computational mathematics and the stochastic one that is largely from the resources of the processes of Markov (Hiller, Barbaud, Xenakis, Chadabe, Manoury). With the arrival of the micro-computer created a new trend: support for the composition, then the composition of computer-aided design (CAD). The program Demiurge, capable of generating a whole composition of the model an environment of possible IT tools loaded with precise musical problems to solve. Let us quote among the most important of which: HMSL (Hierarchical Music Specification Language, 1985) and Mills College in California, forms, Xavier Rodet, Ircam Patchwork in depth and under the impulse of Jean-Baptiste barrier designed experiment in musical intelligence created by David Cope, at the University of Santa Cruz, California. These programs are open: facilitating dialogue with the translator in an interactive manner and are connected to the world of MIDI devices. Except for M and Jam Factory by Joel Chadabe and David Zicarelli, they are structured by the use of languages not numeric, which is explained by the field of artificial intelligence, such as Forth, and especially Lisp, why not rest on the mathematics, as was the case for the first generation of computer-aided composition, but on the formal languages and generative grammar. Real Time: Computers and instrumental universe The Eighties see development of the use of computers in the situation in concert, thanks to the arrival of the numerical synthesizers in real time, or, more generally, numerical processors of sound, and language control in real time, the conditions are ripe, these old surface of the music of the twentieth century re: electronic music on the line (live-electronic music). In most cases, it is first a matter of imagination a means of connecting the computer and its computing power with the apparatus of synthesis or treatment of clay, with, if possible, the interaction of musicians. Répons (1981), of Pierre Swell through the integration of the process was the treatment of the letter itself, which perfectly integrates the computer into an instrument in the orchestra. Following this working paper will be published on the follow-up by the computer that the game of the instrumentalists, operating under the name "Follow-up of the partition known. We cite the contributions of Roger Dannenberg of automatic monitoring and languages provide the conditions of the communication computer instrument, by Max Mathews, first with the Groove system, then more recently with his work on "Radio Operator Drum" and the simulation the Chief of Staff orchestrated himself, Miller Puckette to the Max program. That's why it was also interested to see the instruments of the orchestra give this ability by providing them with sensors, so follow the computer performance (flute, vibraphone, etc. ..). All musical industry is concerned with this trend, although the process is used to be yet decided: it is electro mechanical (material sensors placed at strategic locations of the instrument, membranes, etc. ..) to fall back, or will it be necessary to the analysis for the stolen sounds even knowing it, the height, the spectral structure and the mode of the game? The community organizes itself, the maturation of the musical data processing was accompanied by an assumption of responsibility by the community of musicians and scientists themselves. Gradually, the conscience of the membership is done in a field day. The international congresses appear later local conferences. The messages that are marked, there are issued for all collections in the community. These meetings also have their place in the presentation in concerts, which tends more to the conscience of the weld between them, a new field to the scientific and artistic components. It is the beginning of the "International Computer Music Conference" is (ICMC). In 1978, an organization is to facilitate communication and the conduct of the congresses born aid, "Computer Music Association, the 1991 International Computer Music Association (ICMA). The organizers try to keep the Congress for a year in North America, and the following year on another continent. These congresses, see the ICMA it grows a role in relief brought to the local organizers, as in the dissemination of publications, which go from these meetings until the placement of orders for works that are at ICMC (ICMA Awards Commission conducted 1991). Another vehicle, which is the conscience of membership in a common field of Computer Music Journal welds. Published in California in 1977, it is retrieved by MIT Press from Volume 4 (1980). The newspaper is essential, as the reference in the field of scientific publications of the field.
