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F. Richard Moore, Dreams of Computer Music: Then And Dreams of Computer Music: Then and Now Author(s): F. Richard Moore Source: Computer Music Journal, Vol. 20, No. 1 (Spring, 1996), pp. 25-41 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3681267 Accessed: 28/01/2010 22:31 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. 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The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to Computer Music Journal. http://www.jstor.org F.Richard Moore of Department of Music, and Center for Research Dreams Computer in Computing and the Arts University of California, San Diego Music-Then and Now La Jolla, California 92093-0037, USA [email protected] Computer music was first created nearly 40 years observations, first published in 1514, that led him ago in universities and research laboratoriesby to suggest that the earth revolves around the sun people dreaming of magical instruments for music. rather than vice versa, an observation that directly These instruments were like genies in that they contradicted the teachings of the Roman Catholic could grant wishes-musical wishes-to anyone church. In 1633, just a few years after Bacon's who possessed the required "bottle" of knowledge death, the church condemned Galileo Galilei to about computers and music. These dreams also had life in prison on a charge of "vehement suspicion a correspondingtechnology in the real world, but of heresy" for teaching Copernicanism. Francis more than anyone would have dared to wish at the Bacon'sphilosophical works were held in high es- beginning, the technology of computer music was teem by many important scientists, including Rob- to prove itself unique; computers are possibly the ert Boyle, Robert Hooke, Isaac Newton, and only thing in existence that have actually gotten Thomas Hobbes, so much so that in the 18th cen- cheaper over the years while simultaneously becom- tury, Voltaire and Denis Diderot considered Francis ing more powerful. Now nearly everyone who Bacon to be the father of modern science. wishes it has the means to create computer mu- In 1626, about two years before his death, Francis sic-but do they have the dreams? Bacon wrote The New Atlantis. This is, ostensibly, the first work of what we today call science fiction. Bacon was both a practical man and a dreamer.In Precursors,Science Fiction, and Music The New Atlantis, he described a society stumbled upon by shipwrecked sailors, a kind of island uto- Dream:Power Over Sound and Music pia somewhere in the Atlantic Ocean. As the sail- Reality:Purely Imaginary ors were shown around the wonders of this place, Bacon describes many aspects of nature being stud- As strange as it may sound, the idea that observa- ied. One of these places of study was described tion should be the basis of knowledge was not al- with the following words. The and ways commonplace. great philosopher We have also our where we statesman Francis Bacon much to the sound-houses, prac- gave impetus tice and demonstrate all and their of modern science that sounds, gen- development by suggesting eration. We have harmonies which do observation of nature should be the basis for knowl- you not, of quarter-sounds,and lesser slides of sounds. edge. At the time of Francis Bacon, the church, the Diverse instruments of music, likewise to you state, and the nobility all had another theory; they unknown, some sweeter than any you have; to- believed that authoritative statements by high- gether with bells and rings that are dainty and ranking officials should be the basis for knowledge sweet. We represent small sounds as great and truth, rather than observations that could be and deep; likewise great sounds extenuate and made by just about anybody.The real revolution of sharp;we make diverse tremblings and war- science was the replacement of authority with ob- blings of sounds, which in their original are servation as the basis for truth. In fact, the very entire. We represent and imitate all articulate term revolution comes from Nicolaus Copernicus's sounds and letters, and the voices and notes of beasts and birds. We have certain helps which Computer Music Journal,20:1, pp. 25-41 Spring 1996 set to the ear do further the hearing greatly.We ? 1996 Massachusetts Institute of Technology. have also diverse strange and artificial echoes, Moore 25 I reflecting the voice many times, and as it were I wish now to consider the development of the tossing it: and some that give back the voice field of computer music in terms of the dreams of louder than it came; some shriller, and some several of those who were active in its establish- deeper;yea, some rendering the voice differing ment. While Francis Bacon was dreaming in 1624 in the letters or articulate sound from that of doing what many now take for granted, I con- they receive. We have also means to convey sider the real history of a separate field called com- sounds in trunks and pipes, in strange lines puter music to have started in the mid-1950s with and distances. the pioneering work of LejarenHiller and Max Ma- thews. Obviously such a treatment as this must be In this small paragraphfrom The New Atlantis, somewhat speculative, for most of what remains is Francis Bacon described much of the modern field the work of such people rather than records of their of computer music almost perfectly. In 1624, Bacon dreams. But there is ample evidence that dream was already dreaming of fundamental power over they did, and I suggest that it is these dreams- sound and music. What is remarkableis not so every bit as much as the work-that form the basis much the dream itself, for Bacon was simply trying for what is now an established and increasingly to list everything that he could imagine doing with important field of inquiry. sound, but that it would take hundreds of years to achieve most of it. Alexander Graham Bell invented the "trunks and pipes" and "strangelines" to con- Musique Concrete and Elektronische Musik vey sounds over distances-otherwise known as the telephone-only in the 19th century. Hearing There were many other precursorsto computer mu- aids, which Bacon described as "certain helps sic. Thaddeus Cahill's 200-ton Dynamophone (also which set to the ear do further the hearing greatly" called the Telharmonium), invented around 1906, are still a matter of intensive research, though toured the United States in several railroadboxcars, much has been achieved recently through the use astonishing and delighting audiences with its amaz- of neural implants and microelectronics. Modern re- ing ability to create musical sounds through the cording studios would be lost without their "di- use of huge electromagnetic inductors. Leon There- verse strange and artificial echoes," and computer min invented his famous mood-altering instrument music techniques like the phase vocoder allow us about 1924, around the time of the Ondes Mar- to "representsmall sounds as great and deep; like- tenot used by Olivier Messian and the Trautonium wise great sounds extenuate and sharp,"among used by Paul Hindemith. Sometime in the 1930s other things. The important thing is that Bacon the great conductor Leopold Stokowski wrote, "I imagined-he dreamed-of being able to "practice can see coming ahead a time when the musician and demonstrate all sounds, and their generation." who is creator can create directly in tone not on As with Leonardoda Vinci's visions of flight paper."In the late 1940s, with the advance of mag- through the air, and Jules Verne'svisions of travel netic wire and tape, it became possible to manipu- through space, without dreams, reality could not late sounds on recordingsin a manner similar to possibly follow. the manipulation of images on photographicpaper. Dreams in this sense are a pure combination of Such manipulations gave rise to the school of mu- desire and imagination without necessity of the sique concrete by the Groupe de Recherches Musi- means to achieve something in reality. Dreaming is cales at the national radio station of France in the imagining what is desirable without having to early 1950s, with the work of Pierre Shaeffer and worry about how to achieve it. The purpose of Pierre Henry and others. Musique concrete was to dreaming is therefore to discover what we wish to be based on the "concrete" sounds of nature rather do. Only when we awaken do dreams become than the "abstract"sounds of traditional musical attached to the typical clauses and conditions start- instruments. ing with "if only...." Also in the early 1950s, at the Cologne Radio Sta- 26 Computer Music Journal Figure 1.
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