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02 Lefford 9-17 Nyssim Lefford Machine Listening Group An Interview Massachusetts Institute of Technology (MIT) Media Laboratory with Barry Vercoe Cambridge, Massachusetts 02139, USA [email protected] Barry L. Vercoe (see Figure 1) is one of the foremost listeners and performers, and machine listening. developers and disseminators of computer music His publications span many fields of research, in- technology. He is best known as the inventor of the cluding music theory (Vercoe 1968), signal pro- Music 360 (Vercoe 1973), Music 11 (Vercoe 1978), cessing (Vercoe 1982), music perception (Vercoe Csound (Vercoe 1985), and RTCsound (Vercoe and 1997), and audio coding (Vercoe, Gardner, and Ellis 1990) languages for digital sound synthesis, Scheirer 1998). Among other awards, Mr. Vercoe which have been used by thousands of composers received a Guggenheim Fellowship in 1982–1983 around the world. He is also a respected composer for his innovative work exploring synthetic per- and a broad thinker who was one of the founding formers (Vercoe 1984; Vercoe and Puckette 1985) faculty members of MIT’s Media Laboratory. and other forms of automatic accompaniment sys- Mr. Vercoe was born in New Zealand in 1937. tems. In 1992, he received the Computer World/ He received bachelors’ degrees in music and math- Smithsonian Award in Arts and Media. The study ematics from the University of Auckland, followed of interaction between human and computer per- by the MusD degree from the University of Michi- formers remains his closest research interest. gan, where he studied under Ross Lee Finney. After This interview was conducted in February 1999 brief appointments at Princeton, Oberlin, and Yale, as part of the Media Lab’s “Digital Rewind” cel- he settled at MIT in 1971, where he was granted ebration of the 25th anniversary of the Experimen- tenure in 1974 and became a full professor. In 1973 tal Music Studio. Mr. Vercoe founded the MIT Experimental Music Studio (EMS), the first facility in the world to dedi- Lefford: Describe the first MIT experimental stu- cate digital computers exclusively to research and dio. Where was it located? composition in computer music. Vercoe: We began that work when I first arrived in The EMS was one of the innovating studios of its 1971. The first studio we had was in the basement time, and it oversaw the development or improve- of Building 26, where we had a computer given to ment of technologies such as real-time digital syn- MIT by Max Mathews—the Honeywell DDP-24. thesis, live keyboard input, graphical score editing, Max initially developed his Groove system on this graphical patching languages, synchronization be- machine, and was kind enough to give it to MIT tween natural and synthetic sound in composition, when I joined the faculty. It was a well-worn piece and advanced music languages. In 1976, the EMS of hardware, but I was ably assisted in its mainte- hosted an international conference on computer nance and software development by MIT graduate music; in 1981, Mr. Vercoe encouraged the MIT Steve Haflich. Press to take over publication of Computer Music That computer was put into the basement room Journal beginning with Volume 4. In 1985, the at the far end of Building 26, just at the time they EMS was integrated into the new MIT Media Labo- started constructing Buildings 36 and 38, the new ratory to carry on its work in a new, cross-disci- EE [Electrical Engineering] buildings. There was plinary context of multimedia research. lots of construction going on next door to Building At the Media Lab, Barry Vercoe has directed re- 26; they had to dig down deep. The roads here search groups on music and cognition, synthetic aren’t too high above the water level and the river, so there was lots of flooding. I think when they Computer Music Journal, 23:4, pp. 9–17, Winter 1999 drove in the piles for the new buildings, Building 26 © 1999 Massachusetts Institute of Technology. actually cracked a little. Anyway, we had basement Lefford 9 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892699559968 by guest on 29 September 2021 Figure 1. Barry Vercoe. This coincided with Professor [Amar] Bose mov- ing out of some space on the third floor of Building 26. He had stopped doing research at MIT at that point; he had been given what I think remains the only post of a full professor at MIT who teaches just one class and doesn’t do any research on campus. He moved out of his lab, and we promptly moved in because it had a nice acoustic treatment and was a much better environment for the new PDP-11. For the next twelve years, this was the area that the composers lived in. Lefford: What influenced your decision to build an all-digital experimental music studio? Did you draw from the experiences you had at other institutions? Vercoe: As a composer, I had no experiences in electronic music whatsoever in New Zealand where I did my undergraduate degrees. When I ar- rived at Ann Arbor, Michigan in 1962, there was a flooding. Fortunately, the DDP-24 was high enough visiting composer by the name of Mario off the ground that we never had problems from the Davidovsky who had helped Ross Finney do some six or eight inches of water that we would some- work at the Columbia University studios. Ross times find in the studio. That was our first place! asked Mario to come and help set up the studio at At the time, the composers taking my composi- Ann Arbor. tion class were primarily MIT students, plus a So for my three years at the University of Michi- couple of outsiders. They were actually generating gan, there was an analog studio under develop- sound using my Music 360 program, which ran on ment. I had a little bit of experience with the the IBM 360 or 370 system in the adjacent build- cut-and-splice technique, but I wasn’t really enam- ing. Mostly, they lived in the keypunch room in ored of that—although Mario was clearly a master the EE computer facility, but used our DDP-24 for at that classical studio method of constructing digital-to-audio conversion. pieces, and I admired his music. In fact, years In 1973, after spending two years developing a later, on several occasions, I conducted his music, real-time digital synthesizer design—which I still which I still like very much. think was the best thing I ever did at MIT—I re- In parallel with this, I was supporting myself as ceived an offer from Jerry Weisner [president of a grad student at the University of Michigan work- MIT at the time] to have Digital Equipment (DEC) ing as a statistician. My degree in mathematics got build this machine for us. This would have been me a job in human genetics and muscular dystro- the world’s first real-time digital synthesizer, but I phy research. I learned to program out of sheer never followed up on it because along came an- need. Fortran wasn’t around; well, maybe it was, other offer, from Jerry and Ed Fredkin, who was but I learned to program using the Michigan Algo- the head of the Computer Science Lab at the time. rithmic Decoder (MAD) language. So, this MAD Jerry and Ed asked DEC to give us an entire language got me first into computing. PDP-11/50, the top of the line at the time, so that By this time I was finishing my doctoral work at we could use it to build the whole synthesizer in Ann Arbor, and had accepted a teaching job at software. We would never have to worry about Oberlin Conservatory; but I was already familiar hardware obsolescence, and this had a certain ap- with the possibilities of digital sound synthesis, peal to me. So I accepted that solution in the sum- and spent the next summer at Princeton with mer of 1973. Godfried Winham. There was no DAC there, so we 10 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892699559968 by guest on 29 September 2021 would travel to Bell Labs to do digital-to-audio Vercoe: Yes, in the sense that I’ve always practiced conversions from a big 2,400-foot reel. By the end that. Whenever I’ve run summer workshops for of the summer, I had written parts and pieces of composers, I’ve forced them to come to grips with things that ended up getting incorporated into real the computer language. It’s not very difficult to pieces I wrote later that year as the composer-in- patch oscillators and filters together using some residence for the city of Seattle. I wrote a big piece kind of symbolic representation. Some of them find for the Music Educators National Convention, it difficult to get into, but if they have some degree which was in Seattle that year, for a very large or- of control over their instrument, they are able to chestra: wind ensemble, brass band, string en- intuit more naturally, to be more imaginative and semble, two choirs (one singing Latin, the other a to be more creative. text by the Japanese Toyohiko Kagawa), percus- Moreover, they have faith in the system, and be- sion ensemble, soloist, and computer sounds [Di- lieve it will be able to do what they want it to do. I gressions, recorded on Crest Records, 1968]. Those think when you buy an innovative but shaky computer sounds had come from my work at black box—particularly computing devices that Princeton that summer.
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