Experiencing Music Technology

Home , Chris Douglas, Lyrics, Musician, Music psychology, Music technology

EXPERIENCING MUSIC TECHNOLOGY

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David Brian Williams Illinois State University

Peter Richard Webster Northwestern University

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665547_01_fm.indd5547_01_fm.indd iiiiii 112/7/072/7/07 10:18:5610:18:56 PMPM Experiencing Music Technology, Updated Third © 2006, 2008 David Brian Williams and Peter Richard Webster Edition ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may David Brian Williams, Peter Richard Webster be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scan- Publisher: Clark Baxter ning, digitizing, taping, Web distribution, information networks, or information storage Assistant Editor: Erikka Adams and retrieval systems, except as permitted under Section 107 or 108 of the 1976 United Editorial Assistant: Nell Pepper States Copyright Act, without the prior written permission of the publisher. Technology Project Manager: Morgen Murphy Windows, Windows 95, Windows 98, Windows XP, Windows Vista and MS-DOS are reg- Marketing Manager: Christina Shea istered trademarks of Microsoft Corporation. Apple, Macintosh, OS 8, OS 9, OS X, iPod, iTunes, the Apple and QuickTime logo, QuickTime are registered trademarks of Apple, Marketing Assistant: Denise Bousquet Inc. All rights reserved. Marketing Communications Manager: Heather Baxley IBM is a registered trademark of the IBM Corporation. Zip is a registered trademark of Iomega Corporation. PostScript is a registered trademark of Adobe Systems, Inc. Content Project Manager: Georgia Young Senior Art Director: Cate Rickard Barr For product information and technology assistance, contact us at Print Buyer: Linda Hsu Cengage Learning Academic Resource Center, 1-800-423-0563 Permissions Editor: Roberta Broyer For permission to use material from this text or product, Production Service: Stratford Publishing submit all requests online at www.cengage.com/permissions Services, Inc. Further permissions questions can be emailed to [email protected] Text Designer: Roy Neuhaus Photo Researcher: Cheri Throop Library of Congress Control Number: 2007942798 Copy Editor: Frank Words ISBN-10: 0-495-56554-7 Illustrator: Stratford Publishing Services, Inc. ISBN-13: 978-0-495-56554-3 Cover Designer: Cuttriss & Hambleton Cover Images: Photodisc Collection/Getty Images, Digital Vision/Getty Images, Steve Cole/Getty Schirmer Cengage Learning Images, Anthony Saint James/Getty Images 25 Thomson Place Boston, MA 02215 Compositor: ICC Macmillan Inc. USA

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Preface xxi

VIEWPORT I Musicians and Their Use of Technology 1 Module 1 People Making Technology 3 Module 2 People Using Technology 12 Module 3 People Questioning Technology 17 Module 4 People Helping with Technology 21

VIEWPORT II Computer and Internet Concepts for Musicians 25 Module 5 Computer Operating Systems and Internet Software 27 Module 6 Computer and Networking Concepts 46 Module 7 The Mechanics of Computers and Networking 57

VIEWPORT III Digital Audio Basics 75 Module 8 Acoustics, Digital Audio, and Music Synthesis 81 Module 9 Software for Capturing, Editing, and Storing Digital Audio 103 Module 10 Building a No-Frills Digital Audio Workstation 127

VIEWPORT IV Doing More with Digital Audio 143 Module 11 Sonic Realism: MPEG, Surround Sound, and Discs 147 Module 12 Software for Multiple Tracks and Channels 167 Module 13 Hardware for Multichannel Digital Audio 197

VIEWPORT V Music Sequencing and MIDI Basics 213 Module 14 How MIDI Works 216 Module 15 Software Techniques for MIDI Sequencing 229 Module 16 MIDI Hardware: Interfaces, Keyboards, and Sound Modules 250

VIEWPORT VI Doing More with MIDI and Beyond 269 Module 17 Adventures in Sound Shaping and Synthesis 272 Module 18 Extending MIDI: Controllers, SoundFonts, and Timing 311

VIEWPORT VII Music Notation 331 Module 19 Coding Systems for Music Notation and Performance 335 Module 20 Software for Music Notation 357 Module 21 Notation Hardware: Input Devices, Scanners, and OMR 397

VIEWPORT VIII Computer-Aided Instruction in Music 403 Module 22 Music Software for Knowledge and Skill Development 406 Module 23 New Directions in Music-Instruction Software 426

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VIEWPORT IX Putting It All Together 445

Appendix A: Selected Readings by Viewport 449 Appendix B: EMT Workstation Equipment Codes 453 Index 455

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Preface xxi

So, What’s New With the Update? xxii Book Content and Goals xxiii Experiencing Music Technology Online Projects and Support Website xxiv Icons in the Margin of the Book xxiv Deﬁ nitions xxv Acknowledgments xxvi About the Authors xxvii

VIEWPORT I Musicians and Their Use of Technology 1

Overview 1 Objectives 1 Online Software Projects 2

Module 1 People Making Technology 3 Ballet of Technology and Music 3 Five Periods of Technology History 4 Period I (1600s–mid-1800s) 4 Period II (mid-1800s–early 1900s) 4 Period III (early 1900s–mid-1900s) 5 Period IV (mid-1900s–1970s) 7 Period V (1970s–present) 8

Module 2 People Using Technology 12 The Unexpected Turn 12 Innovation and Creativity 13 Pacing 15 Music Technology in Practice 15

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Module 3 People Questioning Technology 17 Ten Misconceptions 17 No. 1. Does technology refer only to hardware? 17 No. 2. Is there intimidating hidden “knowledge” inside the hardware? 17 No. 3. Will the hardware break if something is done incorrectly? 18 No. 4. Isn’t computer technology really reserved for the technical elite? 18 No. 5. Doesn’t computer technology take too long to learn? 18 No. 6. Isn’t computer technology only for the young? 18 No. 7. Doesn’t technology remove the creative spirit, producing music that is antiseptic or sterile? 19 No. 8. Aren’t computers, digital audio, MIDI, and DVDs, when used for teaching about music, just another expensive set of technological gimmicks that take time and money away from the real business of music education? 19 No. 9. Doesn’t technology, not music, become the focus? 19 No. 10. Isn’t it true that technology replaces musicians’ jobs? 19 Resulting Attitudes 20

Module 4 People Helping with Technology 21 People with Technical Skills 22 Computer Facilities 22 Print and Nonprint Materials 22 Professional Associations 22

VIEWPORT II Computer and Internet Concepts for Musicians 25

Overview 25 Objectives 25 Online Software Projects 26 Music Technology in Practice 26 Chi Fan 26

Module 5 Computer Operating Systems and Internet Software 27 The Desktop: Your Computer and Its Operating System 27 The Function of an Operating System 27 Streams of Information 27 MIDI 28 Printer/Mouse/Keyboard 28 Look and Feel: Graphic User Interface (GUI) 29 Staying Organized with Hierarchical File Structure 29 Volumes, Folders, and Files 29 Naming Files 30 Important Work Habits 31 Saving Files 31 Importance of Copyright 32 Viruses Deﬁ ned 33

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Backing Up 34 Additional Good Habits for Computer Maintenance 34 Other Operating Systems 35 UNIX 35 Linux and the World of Open Source Code 35 Extending the Desktop: Connecting to the Internet 36 Types of Internet Software 36 Web Surﬁ ng and Searching 37 Browsing Software Support for Other Internet Services 41 Electronic Mail/Listservs 41 Digital Audio Purchasing/Sharing 42 Chat 43 Forums, News Reading, and File Transfers 44 Additional Uses of the Internet with Music Software 45

Module 6 Computer and Networking Concepts 46 Analog to Digital: Computers and the Analog World 46 Counting and Thinking with 1 and 0 47 Computer Bits and Bytes 48 Serial and Parallel: Computers and Their Peripherals 48 Expressing Data in Parallel Form 48 Expressing Data in Serial Form 48 Internet Protocols: Computers Connecting to the Internet 49 Internet Addressing 50 Server Internet Addresses 50 E-Mail Internet Addresses 51 The Internet 2 Fast Lane 51 File Formats: Sharing Files over the Internet 52 Packaging and Compressing Files 52 Exchanging Documents with Universal File Formats 53 Exchanging Digital Audio and MIDI 55 Exchanging Graphics and Video 55

Module 7 The Mechanics of Computers and Networking 57 Computer Hardware Operations and the IPOS Model 57 Interfaces 58 Process 60 Input 62 Output 63 Storage 63 CD and DVD Storage 66 Networking: Routes to Connectivity 67 Getting Access 67 Talking among Computers 67 Network Topologies 68 Getting Connected 70

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VIEWPORT III Digital Audio Basics 75

The Big Picture 75 Viewport III Overview 77 Music Technology in Practice 78 Nate DeYoung 78 Objectives 78 Kevin Robbins 79 Online Software Projects 80

Module 8 Acoustics, Digital Audio, and Music Synthesis 81 Acoustical and Perceptual Dimensions of Sound 81 Vibrations, Frequency, and Amplitude 84 Envelopes 86 Harmonic Spectrum 87 Overtones 88 Harmonic Spectrum and Fourier’s Theorem 88 Summary of the Acoustic Properties of Sound 90 Concepts of Digital Audio and Sampling: Analog to Digital and Back 90 Sampling Rates and Quantizing 92 Optimizing the Quality of Digital Audio 92 Formats and Compression for Storing Digital Audio Files 95 Sound Compression 96 Increasing Compression While Fooling the Ear 97 Streaming Audio Files for the Internet 98 Varieties of Music Synthesis Techniques 99 Analog Synthesis: Additive, Subtractive, and Distortive 99 Physical Modeling 100 Digital Wave Synthesis 101 Granular Synthesis 102

Module 9 Software for Capturing, Editing, and Storing Digital Audio 103 Working with Audio on the Web 103 Obtaining Web Music Files 104 Organizing and Playing Web Music Files 105 Creating and Storing Your Own Web Music Audio 106 Working with Streamed Media 108 Streaming Audio in Action 108 Preparing Your Computer for Digital Audio Recording 109 PC Computers 109 Macintosh Computers 110 Using Digital Audio Editing Software 110 What Is Digital Audio Editing Software? 110 Basic Capture and Display of Digital Audio Editing Software 111

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Basic Editing and File Management 112 Advanced Editing and File Management 114 Effects Processing 118 Advanced Effects Processing 121 Plug-in Support for Digital Audio Editors 125

Module 10 Building a No-Frills Digital Audio Workstation 127 IPOS Model 127 Basic Digital Audio Hardware: ADCs and DACs 128 Digital Audio Interface 128 Input and Output: Connecting to the Outside World 130 Sound Drivers and Latency: Who’s in Charge Here? 131 Sorting Out Plugs and Jacks 132 Adding a Mixer and Performance Options with EMT-3 134 Mixer Input Controls 136 Mixer Output Controls 137 Microphones 137 Storage Devices for Digital Audio Work 139 CD/DVD-R and -RW Storage 140 Digital Music Players 140 Speakers and Recorders 140

VIEWPORT IV Doing More with Digital Audio 143

Overview 143 Objectives 143 Music Technology in Practice 144 John Shirley 144 Aaron Paolucci 144 Online Software Projects 146

Module 11 Sonic Realism: MPEG, Surround Sound, and Laser Discs 147 Multichannel Digital Audio Formats 147 MPEG 148 Surround-Sound Audio Formats 152 CD and DVD Laser Disc Formats 155 General Characteristics of CD and DVD Laser Discs 155 Compact Laser Disc Playables and Recordables 158 Digital Versatile Discs (DVDs) 161

Module 12 Software for Multiple Tracks and Channels 167 Important Terms 167 Types of Multiple-Track Software 167

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Tracks and Channels 169 Effects, Inserts, and Buses 169 Preparing Your Computer for Digital Audio and MIDI Input and Output 170 PC Computers 170 Macintosh Computers 170 Recording, Editing, and Using Built-In Effects 171 Starting a Project 172 Editing 173 Built-In Effects 176 Effects Plug-Ins 179 Categories of Plug-Ins 179 How Plug-Ins Are Called into Action 179 Overview of Effects Plug-Ins 180 Loop-Based Software 183 Slicing Digital Audio 184 The ACID Scene and Looping Software 184 Other Looping Software 187 Mixing, Mastering, and Distributing 190 Mixing and Mastering: Really the Same Thing? 190 Working with Mixing and Mastering 190 Tips for Mixing and Mastering 191 Mixing with Surround Sound 192 Distribution 193

Module 13 Hardware for Multichannel Digital Audio 197 IPOS Model for Multichannel Digital Audio 197 Superheroes: The DSP Chips 198 One-on-One with Digital: S/PDIF, AES/EBU, ADAT, Firewire, and USB 199 S/PDIF and AES/EBU: Close Cousins 199 ADAT 200 EMT Digital Audio Workstation Goes Multichannel 201 Expanding to Multichannel Digital Sound 202 Moving up to Surround Sound 205 Recording and Playback in the Digital Realm 206 CD and DVD Recordable Drives 207 DAT and ADAT Recorders 207 MiniDisc (MD) Recorders 207 Stand-Alone Digital Recorders 208 Surround-Sound Ampliﬁ ers and Speakers 211

VIEWPORT V Music Sequencing and MIDI Basics 213

Overview 213 Objectives 213

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Music Technology in Practice 214 Jeff Shuter 214 Software Projects 215

Module 14 How MIDI Works 216 MIDI Sound Structures 217 MIDI Performance Language 218 Channel Messages 219 System Messages 220 General MIDI 221 Storing and Exchanging MIDI Files 224 Experiencing MIDI Software and Hardware 225

Module 15 Software Techniques for MIDI Sequencing 229 Basic Design of Sequencing Software 230 What Does Sequencing Software Do? 230 Basics of Using Sequencers with MIDI Data 233 Entering MIDI Data 234 Creating the Sequences 237 Editing and Saving Sequences 239 Plug-Ins: Applying MIDI Effects and Software-Based Instruments 243 MIDI Effects 243 Virtual Instruments 243 Adding Digital Audio 244 Basic Entry and Data Representation 245 Effects Processing 245 Mixing and Mastering 246 Saving Sequencing Files 248 MIDI Content Only 248 Mixed Data (MIDI/Digital Audio) 249

Module 16 MIDI Hardware: Interfaces, Keyboards, and Sound Modules 250 MIDI Hardware Basics 251 MIDI Interfaces 251 MIDI Networks: Physical and Virtual 252 MIDI THRUs, Mergers, and Patchbays 254 Beyond 32 Channels 254 Basic MIDI Keyboard Controllers and Sound Modules 255 MIDI Sound Modules 255 Keyboard Controllers 258 MIDI Workstations 259 Keyboard 260 Alternative Controllers 261 MIDI Capabilities 262

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Sound Generation and Drum Kits, Sample Playing, and Real-Time Sampling 263 Drum Kits and Sounds 264 Synthesis and Digital Effects 264 Sequencers 266 Digital Expansion and Connections 267 Workstations—In Conclusion 268

VIEWPORT VI Doing More with MIDI and Beyond 269

Overview 269 Objectives 269 Music Technology in Practice 270 Henry Panion III 270 Software Projects 271

Module 17 Adventures in Sound Shaping and Synthesis 272 Digital Audio Workstation (DAW) Software 272 Interface Features 273 Editing and Input/Output 279 Plug-In Effects 284 Mixing and Mastering with DAW Software 287 Specialized Plug-In Samplers, Synthesizers, and Virtual Instruments 293 How Specialized Plug-Ins Are Used 298 Virtual Instruments 298 Synthesizers 300 Synthesizer/Sampler Combinations 303 “All-in-One” Virtual Studios 304 Reason 304 ReWire Connections 307 The Future of “All-in-One” Virtual Studios 308 Programming Environments 308 Max/MSP 308 Other Programming Approaches 309

Module 18 Extending MIDI: Controllers, SoundFonts, and Timing 311 Controller Cornucopia: Drums, Guitars, Winds, and More 311 Drum Controllers 312 Guitar and String Controllers 314 Voice Controllers 316 Wind Controllers 316 Mind-Expanding MIDI Controllers 317 New Modes of Instrument Expression 318

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Integrating MIDI and Digital Audio 320 MIDI Control Surfaces 321 Subjective Factors for MIDI Controllers 323 Enhancing the MIDI Sound Palette: GS, XG, SoundFonts, and DLS 323 MIDI SoundFonts 324 MIDI Down-Loadable Sounds (DLS) 324 MIDI and Audio Timing: SMPTE, Word Clock, mLAN, and More 325 Who’s Conducting This Group? 325 Keeping the Tape Time 326 Keeping the MIDI Time: MIDI Time Codes 328 ADAT, Word Clock, and Digidesign Sync 328 mLAN Music Network and Word Clock 329

VIEWPORT VII Music Notation 331

Overview 331 Objectives 331 Music Technology in Practice 332 Mike Wallace 332 Jouni Koskimäki 333 Online Software Projects 334

Module 19 Coding Systems for Music Notation and Performance 335 How Is Notation Represented in a Computer? 335 Data Structures for Performing and Display 335 Translating between Performance and Display Data 336 A Simple Music Coding 337 Tour of Computer Music-Coding Systems 339 Pre-1950s: Mechanical Music Coding 339 1950s to 1960s: Notation to Feed the First Computer Music Synthesizers 341 Mid-1960s to Mid-1970s: Friendlier Text-Based Music Coding 341 1970s to Early 1980s: Experimentation and Graphic Display of Notation 344 Early 1980s: Personal Computers and Consumer Music Systems 345 Mid-1980s: The Birth of Desktop Music Publishing 346 Late 1980s and 1990s: Intelligent Rule-Based Music-Coding Systems 347 1990s: Seeking Interchangeable Notation-Coding Systems 348 2000s: Web-Based Notation-Coding Systems 351 Music Fonts for Notation 353 Bitmapped Versus Outline Fonts 354 Coding Music-Font Symbols 354 Lots of Music Fonts 355 Is WYPWYP Music Software Possible? 355

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Module 20 Software for Music Notation 357 Content and Context: What Do You Need? 357 Basic Operational Features 360 Help 360 Interface Design 361 Getting Started 365 Score Display 365 Playback, Printing, and Distribution 366 Note Entry and Basic Score Design 368 Methods of Note Entry 368 Mass Editing 373 Other Basic Features for Score Design 374 Advanced Editing 376 Editing Aids 379 Transposition and Automatic Arrangements 380 Enhancing the Score 381 Text and Lyrics 385 Play, Print, and Save 388 Playback Options 388 Print Controls 391 Saving and Distribution 393 Advanced Capabilities 394 Additional Capabilities 395 Plug-Ins 395 Finale 2008 395 Sibelius 5 396

Module 21 Notation Hardware: Input Devices, Scanners, and OMR 397 Input Devices for Music Notation 397 Text and Key Codes from the Computer Keyboard 397 Graphic Palettes and a Mouse 399 MIDI Controllers 399 Singing in the Notes 400 Scanners and OMR 400 Optical Music Recognition (OMR) 400 The Mechanics of a Scanner 401

VIEWPORT VIII Computer-Aided Instruction in Music 403

Overview 403 Objectives 403

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Music Technology in Practice 404 Susan Young 404 Online Software Projects 405

Module 22 Music Software for Knowledge and Skill Development 406 Importance of CAI 406 Categories of CAI Software: Approach and Content 408 Drill-and-Practice 409 Flexible Practice 409 Guided Instruction 410 Game-Based 410 Exploratory/Creative 410 Teacher Resource 410 Internet-Based 411 Examples of Knowledge and Skill-Development Software 411 Beginning-Skills Software for Knowledge and Skill Development 411 Drill-and-Practice Software Examples 413 Flexible-Practice Software Examples 415 Guided Instruction 420 Game-Based 423

Module 23 New Directions in Music-Instruction Software 426 Examples of New Directions in Music-Instruction Software 426 Exploratory/Creative-Software Examples 426 Teacher-Resource Software Examples 434 Internet-Based Software Examples 437 What to Choose: A Matter of Content and Need 442 Software from Past Viewports and CAI 443

VIEWPORT XI Putting It All Together 445

Projects and Selected Readings 445 Expanding Your Skills and Creative Urge 445 Closing Note 447

Appendix A: Selected Readings by Viewport 449

Appendix B: EMT Workstation Equipment Codes 453

Index 455

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“By looking for the structure in signals, how they were generated, we go beyond the surface appearance of bits and discover the building blocks out of which image, sound, or text came. This is one of the most important facts of digital life.” —Nicholas Negroponte, Being Digital (1995)

Welcome to the update for the third edition of Experiencing Music Technology! If you are familiar with the earlier versions of this textbook, we hope you will appre- ciate the changes herein and fi nd this version as useful as the last. If you are a new reader, we hope you will enjoy this introduction to music technology and its role in the contemporary music scene. Writing about this fi eld is exciting. Many times since the last edition, we have stopped the process of reviewing and testing new software and hardware, remark- ing to each other how truly amazing the fi eld’s achievements have been since our last edition. In 1993, when we fi rst decided to create this textbook, we were moti- vated in large part by the power of music technology to enhance the experience of musicians of all ages and experience levels. As researchers, educators, and musicians, we saw the role of music technology as a major force in teaching the technical aspects of music and, perhaps most importantly, encouraging the creative experience of music composition, improvisation, performance, and music listening. More than 14 years later as we conclude this edition, we believe this more than ever before. Of course, updating such a book presents us with one obvious challenge: the persistence of change. Developments in hardware, software, and even the very culture of music technology itself seem to escalate exponentially. Since 1999, we have seen: (1) major operating-system changes in both PC and Macintosh computers, (2) a tripling of the power of personal computers accompanied by major drops in cost, (3) literally hundreds of new music-software titles in every major category produced by companies in the United States and abroad, (4) new hardware devices for a variety of music needs at all price points, and (5) major shifts in the way music is acquired and enjoyed by us all. Just a few of the new technologies we have seen emerge include mobile computing, wireless, DVD and surround sound, soft synths and effects, and the prevailing dominance of digital audio, with a bias toward software rather than hardware solutions. All of this has an obvious effect on our ability to do a credible job of accounting for the fi eld, for those both inside and outside academe. The task is made a little easier because of the approach we have taken since the start. In each edition, we concentrate less on the specifi cs of each software xxi

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program or piece of hardware and devote most of our space to what to expect in, for example, a good MIDI-keyboard or sequencing program. We do refer to specifi c products that are as current as possible, but we do so with the idea that the specifi cs are of less importance than an overall understanding of how the products function and the future direction of the technology. This approach continues in the third edition. What also keeps the book current is our attention to the future. In the second edition, for example, we anticipated the growth of the Internet as a resource for teaching and for music productivity. Our design for categorizing computer-aided instruction continues to be valid and useful for bringing order to this important part of music technology. Certainly the tendency for digital audio to be used more pervasively as part of sequencing and notation software has been carried to levels beyond our expectations. Predicted advances in DVD, computer connectivity, and other hardware and conceptual content have come to pass in the last four years. In this edition, we continue to chronicle what is clearly on the horizon for the near term, including such developments as Internet 2 for musicians, wireless and mobile computing, surround sound and MPEG, miniaturization, and software emulation of hardware. Readers will note that we have also retained our accent on people and how they put technology to use (procedures) as the most important elements of music technology. Based on our continued experience as teachers, consultants, and work- shop leaders, we continue to believe in the critical importance of understanding the underlying concepts and data structures for how music software and hardware function to help us be more musical and use the technology to full advantage. We also have continued to organize topic material into larger sections called Viewports. For us, Viewports are “portals” for “viewing” and organizing major topics that refl ect people’s common use of music technology, such as digital audio, notation, and computer-aided instruction. We have created revised modules in each larger section to refl ect the concepts of data structures, software, and hardware.

So, What’s New With the Update? Since our last writing, we have been pleased to hear from many students and instructors who have used the book. Our research shows that the book is the most widely used one in introductory college and university courses and this positive response has been most gratifying. We also fi nd the book used in many other set- tings such as public schools and community colleges and for self-study. We are deeply indebted to the reviewers of the last edition, some known to us and others who remain anonymous. Many have offered extensive and detailed suggestions for change and we have included as many of those suggestions as possible. In the fi rst version of the third edition, we incorporated many changes and these continue in the current updated edition. For example, we continue our emphasis on music and people. We have retained the structure that begins with overall issues of operating systems and Internet use, followed by several sections on digital audio and MIDI. We move to notation and then end with computer- aided instruction. Throughout the book, we try to refl ect the most leading-edge topics in music software, hardware, and data structures. This upgrade includes several new features. The majority of screen shots have been completely redone to refl ect the inevitable changes in software and hardware

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development in the last three years. We have included new software titles and deleted others, based on our understanding of the changing scenes in music production and in music instruction software. When appropriate, we have refl ected the changes in major operating systems, including the development of Microsoft’s Vista OS for PC computers and the new Leopard version of OS X for Macintosh. All of the hardware and key concepts have been reviewed, updated where needed, and new technologies and products replaced or added to refl ect the current computer and computer music scene. Perhaps the biggest change has been our decision to move the project tutorials for software from a bundled DVD to online sources. After discussions with many users of the book—both instructors and students—and after considering changes in bookstore procedures and the obvious fl exibility of online distribution, we are happy to provide a set of the most used tutorials in their current version as an online resource. Throughout the text, we include links to the projects in the same way we have always done. For information on access to these step-by-step project tutorials on important music software, consult our book website at http://www. emtbook.net.

Book Content and Goals Experiencing Music Technology, 3rd Edition, covers the essential topics a musician should consider when exploring the use of computers and technology in the many aspects of the music experience: listening, performing, composing, teaching, and managing. The book is designed as an introductory resource for a wide audience both inside and outside the academic setting. Although it is introductory in scope, it still provides considerable depth of coverage on critical music-technology topics. Modular in design, the book’s resources can be used in many ways. Although intended as the text for a complete undergraduate or graduate course of study devoted to music technology, it can also serve as a supplemental resource for other courses in the curriculum: general musicianship, piano pedagogy, theory and aural skills, arranging and orchestration, music composition and improvisation, instructional design, and other contemporary topics. In addition, the book can be easily read and used for self-study by people who are simply curious about and intrigued by the use of computers for music making. Professional musicians, parents, children, computer afi cionados, and lay musicians of all kinds may fi nd the book helpful in increasing their understanding of music technology. Experiencing Music Technology is designed to meet the following goals: • Provide a conceptual overview of music and technology with essential study and reference material • Give a broad perspective of the many ways people can use technology in music applications • Offer modular organization of the material to provide fl exibility for the reader and the instructor • Note historic milestones in music computing and technology • Promote a systems approach to computer understanding, planning, and imple- mentation by stressing fi ve components: people, procedures, data, software, and hardware

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• Emphasize hardware and software unique to music applications • Focus on the conceptual and cross-application features that deﬁ ne current commercial hardware and software • Avoid featuring industry-speciﬁ c products for their own sake, instead emphasiz- ing features in common or contrast with other products to illustrate their general application to music experiences.

Experiencing Music Technology Online Projects and Support Website Online Web-based Projects are available to provide supportive tutorials to parallel the book material. While the textbook illustrates concepts of music technology with a broad range of software examples, The Online Projects provide hands-on activities focused on specifi c commercial software to parallel the major topics in the book. All of the materials can be easily viewed through a web browser. Each software activity is a tutorial that features step-by-step directions for using a specifi c software application. A generous number of screen shots are pro- ONLINE PROJECT Watch for the Online Project vided to illustrate the steps in the tutorials. Links are included to related materials, icon throughout the book for including worksheets that students can use to track their progress and teachers hands-on software experi- can use to evaluate work completed. These worksheets can be viewed and printed ences available at www. right from a web browser. The Online Projects are available as ZIP fi les for down- emtbook.net load at www.emtbook.net, on fi le for each project activity.

Icons in the Margin of the Book To help you as you progress through each chapter, we have created several icons that will alert you to different levels of help. Watch for these icons: • LINKS to helpful information related to this topic elsewhere in the book

• TIPS that are especially helpful to those just starting to use computers and music technology

• ASIDES that are interesting notes for reading enjoyment and mind expansion

• Online Project materials: training online at www.emtbook.net that accompa- nies this textbook and provides hands-on experience with software noted in the textbook

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Deﬁ nitions In addition to the term viewport, a few other terms are critical in this book. We need to be sure that you understand what terms like musician, music experience, computer, and technology mean for us.

Musician The term musician refers to anyone, at any level of sophistication, engaged in music experiences. This deﬁ nition of musician includes the parent, child, student, teacher, administrator, performer, and composer. We realize that the usual use of this term refers to individuals with advanced skills in music, particularly in performance. However, in the interest of promoting a view of music computing accessible to the widest-possible audience, we have chosen this more-relaxed deﬁ nition.

Music Experience Music experience refers to the fundamental ways people interact with music cogni- tively, emotionally, and aesthetically. Included in this are the processes of listening to, performing, and composing music, which are the hallmarks of music as art. Throughout this book, we are interested in ways that technology can enhance these fundamental aspects of experiencing music. In addition, we are concerned with how technology can help with teaching and studying music and managing music activities. Although these activities are not primary music experiences, they are vital to music as practiced in our society.

Computer The term computer, as used in this book, refers to small computer systems commonly known as personal computers. In creating our illustrations, we have chosen to focus on the two primary icon-based computing environments used today by musicians: (1) IBM PCs and their compatibles, commonly referred to as either “Windows” or “PC” machines, and (2) Macintosh, sometimes called “Mac,” computers. Throughout the book, we refer to these as either “Macintosh” or “PC” machines, or “Macintosh” or “Windows” operating systems, regardless of whether the versions are OS 9, OS X, Windows 2000, Windows NT, Windows XP, Vista or any future versions of these. By icon-based, we mean operating systems that use graphic images or icons for common operations with the computer.

Technology The term technology refers to computers and all of the music and nonmusic peripherals needed to perform music tasks with computers. These peripheral devices include such hardware as electronic-music keyboards, MIDI controllers, printers, scanners, CD players, and so on.

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Acknowledgments First, we’d like to renew our thanks to everyone recognized in the two previous editions for their generous help, insights, and guidance in bringing this book project to fruition. For this third edition and its update, we extend our sincere thanks to James Frankel (Teachers College, Columbia University), Sara Hagen (Valley City State University), Evelyn K. Orman (Louisiana State University), several anonymous reviewers who offered insightful critiques of the second edition, and a number of colleagues across the country who have read portions of the new edition and offered comment, factual accuracy, and revised wording. These include a select group of people who provided technical reviews of our written materials: Frank Clark (Georgia Institute of Technology), Don Byrd (Indiana University), Chris Douglas (Edirol), Scott Genung (Illinois State University), Ken Johnson (M-Audio), Virgil Moorefi eld (University of Michigan) Scott Lipscomb (Univer- sity of Minnesota), and Ken Pohlmann (University of Miami). Then there were those who came through with critical information and support materials at just the right time: James Bohn; John Dunn (Indiana University); Ben Flin, Peter Maund, and Bobbie Thornton (Sibelius); Greg Smith (Hal Leonard); Bill Hanson (Apple Computer); Billee Kraut (AABACA); Tom Lykins (Sound Marketing); Tom Johnson (MakeMusic!); Henry Panion (University of Alabama-Birmingham); Sam Reese (University of Illinois); Perry Roland (University of Virginia); Eleanor Selfridge-Field (Center for Computer Assisted Research in the Humanities), Tom White (MIDI Manufacturers Association); Lee and Laura Whitmore (Sibelius); and Larry Worster (The Metropolitan State College of Denver); and numerous industry contacts who came through with photos and information for us. These professionals have added enormously to the reliability and validity of the material herein. Of course, any errors remain solely our responsibility. Thanks go to the many students who have taken our courses and to colleagues in our workshops and conference sessions who have offered much help with their thoughtful questions and suggestions over these last three years. A special thanks to Marc Jacoby, Jay Dorfman, and Maria Horvath, who helped with certain tutorial training projects. To the administrators at our respective universities, Illinois State and North- western, we offer our appreciation for the support given over the past 14 years for our book research and those scholarly activities that work in tandem with this activity. Our fi nal acknowledgments go to Clark Baxter, Erikka Adams, and Georgia Young. Samirendra Ghosh wonderfully navigated the pressures of the fi nal publi- cation process with exceptional fi nesse. All those at Cengage showed remarkable patience and perseverance with two authors who attempted to interweave writing and research time with many other administrative and teaching responsibilities and they have our thanks! David Brian Williams, Bloomington, Illinois Peter Richard Webster, Winnetka, Illinois

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David Brian Williams and Peter Richard Webster have partnered for more than 18 years to provide leadership to the music profession in technology applications; workshops on the application of technology to music and music education; and presentations for state, national, and international conferences, including MENC, CMS, ATMI, and NASM.

David Brian Williams is Emeritus Professor of Music and Arts Technology at Illinois State University. Dr. Williams founded one of the ﬁ rst nationally recognized integrated arts technology programs and served a four-year appoint- ment as Associate Vice President for Information Technology on his cam- pus. He is currently a freelance consultant on computers and music technology (www.coach4technology.net). In the late 1970s, he cofounded Micro Music, Inc., and developed numerous music-education titles for the Apple II and the MMI DAC sound card. He has written extensively in the areas of music education, music psychology, music and arts technology, and instructional development. He has served on the boards of MENC, CMS, Illinois Music Educators Association, and ATMI. He chaired the MENC task force for developing Opportunity-to-Learn Standards for Music Technology and, in 2001, received the Illinois Music Educa- tors Association Distinguished Service Award for his work in music technology.

Peter Richard Webster is the John Beattie Professor of Music Education and Technology at Northwestern University’s School of Music, where he also serves as the Associate Dean for Faculty Affairs, directs doctoral research in music education, and serves on the music technology, cognition, and music-education faculties. He is the author of Measures of Creative Thinking in Music, an assessment tool designed for children aged 6–10. He has published in numerous professional pub- lications, such as Music Educators Journal, Journal of Research in Music Education, CRME Bulletin, Contributions to Music Education, Arts Education and Policy Review, Research Studies in Music Education, Music Education Research, and Psychomusicology. He has authored chapters in several books, including chapters on creative thinking in music and music technology research in the ﬁ rst and second editions of the Hand- book of Research on Music Teaching and Learning. He has served on the board of CMS and is a past president of ATMI.

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