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John Pierce (1910–2002) J News John Pierce (1910–2002) J. J. Coupling. He authored or co- to illustrate theoretical principles. In authored at least 20 books and over 1949, inspired by Claude Shannon’s John Robinson Pierce, a celebrated 300 papers; and more than 90 patents work on information theory, Mr. electrical engineer who oversaw and were issued in his name. His most Pierce and his assistant at Bell Labs, promoted seminal research in com- important books related to music are Elizabeth Moorer, composed three puter music, passed away in Sunny- his text The Science of Musical short hymn-like pieces using spe- Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 vale, California on 2 April 2002, at Sound (Scientific American Books, cially made dice and a random- age 92. He died of complications 1983; reissued in paperback by W. H. number table. Later, he generated from pneumonia, having been in de- Freeman and Co., 1992) and the an- some musical examples using sound clining health for a number of years. thology Current Directions in Com- synthesis at Bell Labs: Stochata Historians will undoubtedly consider puter Music Research (co-edited with (1959), Variations in Timbre and At- his most significant impact on com- Max Mathews, MIT Press, 1991). tack (1961), Sea Sounds (1963), and puter music to be his encouragement Born 27 March 1910 in Iowa, John Eight-Tone Canon (1966). These syn- of Max Mathews’s pioneering but Pierce grew up in California and re- thesized pieces were published on unofficial work on digital music ceived his PhD in electrical engineer- the compact disc Computer Music synthesis at Bell Telephone Labora- ing from California Institute of Currents 13 (Wergo WE152–3, avail- tories, where Mr. Pierce was an exec- Technology (CalTech) in 1936, after able from www.cdemusic.org). utive director. However, Mr. Pierce which he worked at Bell Labs until (Decca issued two earlier recordings himself made numerous contribu- 1971. He was then a professor of en- on vinyl: ‘‘Music from Mathematics’’ tions to the field, including authoring gineering at CalTech and worked at and ‘‘The Voice of the Computer,’’ a popular book on musical acoustics the Jet Propulsion Laboratory. In the which included Mr. Pierce’s work.) (with a slant toward computer music) 1980s, Mr. Pierce and Mr. Mathews In his later years, he was particu- and conducting or co-authoring vari- were invited to join the faculty at larly interested in what he eventu- ous experiments in musical acoustics Stanford University’s Center for ally termed ‘‘the Bohlen-Pierce and psychoacoustics. Computer Research in Music and scale’’ (after learning of its earlier de- John Pierce is best known for his Acoustics (CCRMA), directed by scription by Heinz Bohlen): a divi- extramusical accomplishments. He John Chowning. Mr. Pierce was sion of the frequency ratio 3:1 into coined the term ‘‘transistor’’ for the given the unusual title of Visiting 13 equal parts, modeled after tradi- device invented by his colleagues at Professor of Music, Emeritus. tional equal temperament’s division Bell Labs, and he laid the basis for Besides promoting Max Mathews’s of the 2:1 octave into 12 equal parts. the first telecommunications satel- research at Bell Labs, John Pierce in- The system includes a subset, analo- lites. His publications and leadership fluenced many others in the field. gous to the traditional diatonic scale, resulted in Echo I, a 100-foot balloon The distinguished engineer Carver and a ‘‘triad’’ that approximates satellite launched by the National Mead took up computer music re- within 7 cents the frequency ratios Aeronautics and Space Administra- search for a period after Mr. Pierce 3:5:7 (whereas the traditional major tion (NASA) in 1960. Its success led introduced him to the area. And it triad approximates 4:5:6). Mr. Pierce to the launching in 1962 of the first was John Pierce who, on learning was intrigued by the notion that mu- commercial telecommunications sat- about Mr. Chowning’s FM sound- sic built on such scales could exhibit ellite, Telstar I, built by a team John synthesis algorithm, succinctly is- consonance and dissonance analo- Pierce directed at Bell Labs. He also sued two words of advice to him that gous to those of traditional music, improved traveling-wave tubes (see ultimately affected the music indus- and that the 3:1 ratio could even be Figure 1), invented the Pierce elec- try: ‘‘Patent it!’’ Mr. Pierce also perceived as an identity relationship tron gun (a vacuum tube used in sat- helped Stanford University win a in place of the traditional octave. ellites and linear accelerators), and large grant from the Systems Devel- Owing substantially to his and Max co-developed the low-voltage reflex opment Foundation to support the Mathews’s influence, computer mu- klystron oscillator, which is used in work at CCRMA. sic composers such as Jon Appleton, radar receivers. Although John Pierce was by no Richard Boulanger, Curtis Roads, An avid writer, he published means a composer (having what he Georg Hajdu, and Juan Reyes have numerous technical books, in addi- referred to as ‘‘an unreciprocated employed the Bohlen-Pierce scale. tion to science-fiction stories mostly love of music’’), he experimented Mr. Pierce himself wrote one or two written under the pseudonym with creating some pieces of music short studies in the scale. 6 Computer Music Journal Figure 1. John Pierce dis- playing a traveling-wave tube. autobiography My Career as an Engi- Marco Marinoni (Italy) and to Labi- neer, written in connection with his rinto, for string quartet and tape, by being awarded the Japan Prize; and Joao Pedro Oliveira (Portugal). Men- in the lengthy 1992 interview by tions were made of Roderik de Man Andrew Goldstein, available at (Netherlands) for Magnetic fields, for www.ieee.org/organizations/history orchestra and tape, and of Mario Downloaded from http://direct.mit.edu/comj/article-pdf/26/4/6/1853630/014892602320991338.pdf by guest on 28 September 2021 _center/oral_histories/transcripts/ Mary (Argentina) for Aarhus, for vio- pierce.html. This obituary’s mention lin and tape. In the category of elec- of the 1949 stochastic compositions troacoustic sonic art, the prize was derives from information in Marcia awarded to Eric la Casa (France) for Bauman’s dissertation from the East- Vibratility Mozaik and mention was man School of Music on the music made of Frank Niehusmann (Ger- research at Bell Labs, a document many) for Untertagemusik nr.1. based partly on her unpublished in- In Trivium B, the mention for a terview with Mr. Pierce.] work for dance or theatre went to Todor Todoroff (Belgium) for In Be- tween. The prize for installation work was awarded to Staccato Death Life by Ralf Nuhn (Germany) with John Pierce’s interest in pitch also Bourges 2002 mentions of Simone Simons and Pe- led him to learn that the psycho- ter Bosch (Netherlands) for Cantan acoustician Harvey Fletcher had un Huero. The multimedia prize was apparently understood the phenome- Prizewinners of the 29th Bourges in- won by Marcelle Desche`nes (Canada) non of the ‘‘missing fundamental’’ ternational electroacoustic music with Die Dyer (video by Alain Pelle- slightly earlier than J. F. Schouten, to and sonic art competition were an- tier) with mentions being made of whom its discovery has often been nounced during the Bourges Syn- Pascal Baltazar (France) for Soma and attributed. Mr. Pierce’s musical re- the`se festival in May 2002. Elsa Justel (Argentina) for Destellos. search interests were not limited to Residence prizes were awarded to The Magisterium prize was awarded pitch, however; for example, he co- Ondrej Adamek (Czech Republic) for to Ricardo Mandolini (Italy/Argen- authored papers on physical model- Un souffle, une ombre, un rien; Fran- tina) for his piece La noche en que ing with Julius Smith and Scott Van cesco Biasiol (Italy) for Ne pas se los peces flotaron. Duyne. pencher au dehors; Thomas Cahill- The Bourges Synthe`se festival, in Mr. Pierce is survived by his wife Jones (UK) for DeLeTE ‘e’ UNIT; Pe- its 32nd year, also celebrated the Brenda Woodard Pierce, his son John ter Gilbert (USA) for Rituals; Nikos 30th anniversary of the collaborative J. Pierce, and his daughter Elizabeth Stavropoulos (Greece) for Scene II; work ‘‘The Seasons’’ created by Jorge Anne Pierce. An afternoon of re- and Ana Gabriela Yaya Aguilar (Ar- membrance was held 3 May 2002 at gentina) for Patio. Arriagada, Franc¸oise Barrie`re, Chris- Stanford University, including a con- In Trivium A, in the category of tian Clozier, Lorenzo Ferrero, Beatriz cert of music by John Pierce, Richard electroacoustic music without in- Ferreyra, Dieter Kaufmann, Peter Boulanger, Edgard Vare`se, and Julius struments, prizes were awarded to Kolman, Alain Savouret, Luis Maria Benedict. David Berezan (Canada) for Baoding Serra, and Elzbieta Sikora in 1972. [Editor’s note: This obituary was and to Jon Christopher Nelson (USA) All composers who wished to partici- written by Douglas Keislar, who re- for Scotter. Mentions were made of pate were invited to create a short members with appreciation both REcoil by Jens Hedman (Sweden) and piece based on just one of the sea- John Pierce’s intellectual enthusiasm Lascivia Pristina II by Juan-Manuel sons. Both the 1972 works and the and his advice as a member of the Marrero (Spain). In the category of new 2002 pieces were performed dur- Editor’s PhD thesis committee. Ad- electroacoustic music with instru- ing the festival. Details of the festi- ditional information about Mr. ments prizes were awarded to To val can be found on the Web at Pierce can be found in Vol.
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