.

ers

•
USIC
uca or •

i, A Curriculum ·cind
" .
Resource Guide
..

David Mash
Assistant Dean of Curriculum for A c ademic Tr9 rhnn [nrty ,
Berklee College of Music. ii
4 _ _ _ ----'
Computers
and the
Music
Educator
A Curriculum and Resource Guide

David Mash
Assistant Dean of Curriculum for Academic Technology,
Berklee College of Music.
Credits:

Editor: Andrew Colvo

lIIustroftons: Dovid Mash
Cover: Christoph Diermonn, Toby Richords
Graphic Design and loyout Mark Wilcox, Toby Richards

Spedol thanks to Roelene Hourany and John Bigus for their assistance.
© 1991 by Digidesign Inc.

All rights reserved. No port of this book sholl be duplicated in whole or in part, stored in
oretrieval system, or transmitted by any meons, electronic, mechanicol, photocopying,
recording, or otherwise, without the written permi~ion from Digidesign Inc. No potent
liability is ossumed with respect to the use of the informanon contained herein. While
every precaution has been token in the preparation of this book, Digidesign Inc. and
David Mash assume no responsibility for errors or omi~ions. In no event will Digidesign
or Dovid Mash be liable for ony direct, indirect, spedal, incidental or consequenflal
damages resulnng from the use of this book and the information contained herein.

All trademarks are property of their respective holders. All features and specificaflons
subject to change without nonce. All prices listed are in US Dollars. Pricing may vary from
country to country.
Digidesign Inc.
1360 Willow Rd. Suite 101
Menlo Pork, CA 94025
(415) 688'()600
 --~

Preface
Incorporating new technologies and ideas isn't always an easy
task. And with the advent of computer based teaching tools, many
educators find themselves lost and intimidated. Some music educa-
tors feel like the computer may replace them, both as a teacher and
as a musician. Nothing could be farther from the truth. The com-
puter may be the most revolutionary teaching tool in an educator's
arsenal, but we can never replace the teacher.

We believe that by using a computer in your curriculum, you

can produce better educated, more proficient musicians. And at a
time when school funding for music is low, finding innovative new
methods of teaching that produce better results could be critical to
maintaining, developing, and justifying your music programs.

But where do you start? We wanted to help the music educator

enter into this new world by providing specific real-world examples,
curriculum, and resources to draw upon. So we called upon David
Mash, the Assistant Dean of Curriculum for Academic Technologies
at Berklee College of Music. He has been instrumental in developing
Berklee's program which is now the finest school in the world for
incorporating new technologies into the music curriculum. And he
has written a clear, concise guide for you to start with.

Bu t is this book for you? If you teach theory, ear-training,

counterpoint, jazz or classical performance, appreciation, orchestra-
tion or electronic music, this book will give you concrete examples
on how to use the computer as a tool to enhance your students
performance. Whether you integrate this technology in the c1ass-

CoqIuters Cild the Musk Ecbcdor

room, set up a lab, or use the computer in a practice room setting,
you'll find your students will spend more time learning with this
interactive tool. The immediate response and feedback of a com-
puter, the fast repetition it allows, and it's ability to never grow tired,
accelerates the overall musical growth of the student.

We hope you'll look at this book as a starting point for your

investigations. We have included a curriculum guide with course
ideas and lesson plans that are ready to implement, and a resource
guide with many avenues for you to explore. But most of all, we
hope you'll seriously consider updating your schools' resources to
provide your students with tools that can really make a difference,
because after all, teaching students is what it all comes down to.

Best of luck in your teaching endeavors,

Andrew Calvo
Educational Program Director
Digidesign

fi
Introduction

This book is designed as a resource for music educators who

want to integrate the latest computer technologies into their music
curriculum. This book will answer some of the most common
questions raised by music educators:

• Why should I incorporate a computer into our

curriculum - what benefits will I see and what
advantages will be gained by students?

• What hardware and software are available, and how

do they relate to my current curriculum?

• What types of courses benefit from technology - and

are there new courses I should teach?

• How do I get started - what do I need, and where

can I find information and help?

There are many ways that new computer technologies can

assist us as music educators, and many new products from which to
choose. There are so many possibilities that it is easy to become
confused and discouraged. This book will seek to explain the
various technologies available in both software and hardware
configurations, separate reality from myth, and focus specifically on
applications for the music educator.

I have attempted to make this guide both simple and practical.

It is organized into three sections; the first provides a brief back-

Qquters CIld the Music Educator m

ground to the development of computers and synthesizers in music
and an overview of what technology is currently available, the
second part addresses specific curricular issues and ways to inte-
grate technology into the teaching and learning processes, and the
third contains details on individual products and offers suggested
sources of reference and assistance.

I have assumed the reader has no prior experience in using the

technology, and have therefore tried to explain thoroughly each
application. Readers with some experience in technology should still
find benefit in sections two and three, which provide specific cur-
ricular solutions, examples of courses, lesson plans, and suggestions
for possible musical project assignments, as well as reference
sources.

It is never possible to include every product by every manufac-

turer in this vast field, so I will present general categories of software
applications and concentrate on those specific hardware and soft-
ware configurations that work best in the educational environment.
Products represented in this guide have shown themselves to be
reliable, durable and well-supported by their manufacturer.

The Apple Macintosh™ is the computer of choice due to its

easy to use graphical interface, consistency of "look and feel"
between applications, and the myriad of available professional level
software packages. This book will then examine the various Macin-
tosh models and configurations, and focus on new hardware and
software specifically designed for music now available for the
Macintosh.

All prices, addresses, phone numbers, and contact names are

current as of this publication date.

Iv
 Contents
Section I: Background and Overview

ABrief Bockground on Computers and Synthesizers in Music ................... 1

Technology in the Music Profession Todoy .............................................7
Softwore ........................................................................................ 13
Curricular Implicoftons ......................................................................21

Section II: Integrating Technology into the Curriculum

The Music School of the Future .......................................................... 24
The Clossroom of the Future ............................................................. 28
The Lob of the Future .......................................................................30
The Proctice Room of the Future ........................................................ 32
The Contemporary Music Curriculum ................................................... 34
Curriculum for Music Technology ........................................................ 42
Stamng 0 Progrom .......................................................................... 50

Section III: Reference

Choosing 0 Mocintosh ...................................................................... 53

Port I: Configurofions if You Own or Hove Access to 0 Moc................... 54
Port II: Selecting 0 New Macintosh for Music ...................................... 56
Internal Sound Modules ................................................................... 59
Digital Audio Recording and Editing Systems ........................................ 60
Recommended Mulfitimbrol Synthesizers ............................................ 66
Sound Modules ...............................................................................68

Con1JUters (lid the Musk EMafar

Computer Music Peripherols .............................................................. 69
MIDI Controllers .............................................................................. 70
Teaching lab Systems ...................................................................... 72
Instrument Manufacturers ................................................................. 74
Hardware/Software Manufactures ..................................................... 76
Hardware ....................................................................................... 82
Resources for Music Educators ........................................................... 83
Texts, References ............................................................................85
Conferences and Associations ............................................................ 87
Music Educator Seminars .................................................................. 88
Centers of Advanced Studies ............................................................. 89
Electronic Bulletin Boards .................................................................. 90
 Section I:
Background and OvervieYl

It is difficult to ignore the growing presence of technology in

the music profession today. What had been a limited specialized
genre of music only twenty years ago now affects virtually every
facet of the music industry. ElectroQic and computer music have
now emerged from the laboratory and today pervade music for
television, films, recordings, and live performance. Synthesizers and
computers are no longer the huge, expensive, monstrous beasts they
once were. Powerful microcomputers and multitimbral polyphonic
synthesizers have now become consumer-level products, reduced in
both size and price to make personal desktop music production a
reality. The music industry has widely adopted these technologies
because they empower musicians and producers to more effectively
realize their creative ideas. The time is now right for music educa-
tors to harness the power of these technologies to both teach music
more effectively and to better prepare our students for the challenges
they face in pursuing a career in the music profession.

A Brief Background on Computers and

Synthesizers in Music

While today's microcomputers and synthesizers are powerful

desktop tools for music composition, performance and production,
they have their roots in large complex systems which had far less
utility for general musical applications. Computers and synthesizers
have been used to create music for over thirty years, but have gained

Computers and the Musk Educator

widespread popularity only within the past five years. The rapid
technological explosion which has occurred in the last decade has
brought us more powerful, yet easier to use machines. It is no longer
necessary to learn complex languages to use a computer. Today's
software is designed for the "end-user" musician. We need no
longer think of programming the computer, but rather can concen-
trate on creating music. Still, it is helpful to know a bit about how
this technology has developed, as this background may help us to
better understand the current state of the technology and foresee
future developments.

Throughout the history of instrument development, the

primary focus has always been to build instruments which produce
a beautiful sound and allow the musician to exercise great control
over the sound while performing. It therefore makes sense that the
early pioneers of electronic music were searching for new sounds
and new forms of performance control. The development of our
current instruments can be traced through two parallel technological
paths beginning in the 1950s and 19605, and which began to merge in
the late 19705 and early 1980s. These two technologies are often
referred to as "analog" and "digital."

Analog synthesis techniques are based on creating sound by

manipulating the continuous flow of an electrical current. An
analogy, therefore, is made between changes in that current (voltage)
and the resultant changes in sound. Analog recording then, is the
technique of capturing audio as a continuously fluctuating electro-
magnetic field stored in metallic particles held on a plastic tape film.
The roots of analog synthesis can be traced back to the 1950s with the
invention of the RCA Electronic Music Synthesizer, and to the first
commercially available synthesizers from Bob Moog in the early
1960s. Electronic waveforms rich in harmonics produced by oscilla-

2
tors could be passed through a variety of signal processors to alter
the pitch, timbre, and loudness of a sound. Control voltage could be
applied to these signal processors to create sounds which change
over time, making for more sonic interest as the sound evolves.
Using this technology, these instruments introduced an entirely new
family of musical sounds. This new generation of electronic sounds
had their own unique character, and became integrated into the
palette of musical timbres for film music as well as for live perfor-
mance and popular recorded music.

These early synthesizers were huge machines, with vast

numbers of knobs, sliders, and switches for controlling the creation
of the sound. For all the intricacy and promise of these new instru-
ments however, only a few musicians were drawn toward their use.
These e~rly synthesizers were capable of only monophonic keyboard
performance, and normal physical playing gestures - such as striking
a key harder - did not result in any corresponding change in sound.
Pianists, accustomed to their instruments responding to subtle
nuances of touch and inflection, were not attracted to performing on
synthesizers that "ignored" their usual playing techniques.

Some composers, however, became quite interested in the

notion that by mastering a single performance technique (in this case
keyboard skills) they could access a variety of available timbres. The
possibility of realizing their work using synthesizers capable of
producing this wide range of sounds, and storing each monophonic
part on analog multitrack tape sparked an interest which foreshad-
ows our modern-day sequencing. For all the potential which these
analog synthesizers promised, however, most musicians still pre-
ferred the sounds and musical nuance associated with acoustic
instruments.

Computers and the Musk Ecbator 3

 Meanwhile, the generation of sound by computer was develop-
ing on a parallel track. Max Matthews created the first programs for
sound synthesis at Bell Labs in the 1960s using large mainframe
computers. Matthews showed that computers could generate a
wide variety of complex musical timbres by manipulating large sets
of discreet numbers (hence the term "digital") and with greater
precision than with the fluctuating voltages of analog systems.

Exacting control of entirely computer-generated music could

also be achieved through the use of this new computer language.
However, there were also drawbacks associated with generating
music by computer. First, access to the kinds of computing environ-
ments capable of this level of computational power was limited to
those working at large academic institutions already employing
computer installations for science, mathematics, and administrative
purposes. Although research and development conducted at these
institutions has greatly contributed to the current state of music
technology, the general musician population was precluded from
involvement at that time. Secondly, the musician needed to learn a
completely new and somewhat complex foreign language in order to
communicate instructions to the computer. This may have been the
single biggest deterrent for most musicians who were more inter-
ested in further developing their musical skills than in acquiring new
computer skills. Fi~ally, it took the machines a long time to compute
the numerous instructions necessary before a single note could
sound. This time lag between the specification for sound on input
and the subsequent hearing of the sound output removed any
immediacy of performance for most musicians.

The paths of analog and digital techniques began to converge

in the late 1970s with the integration of the microprocessor chip into
the architecture of the analog synthesizer. This new built-in digital

4
computer control brought polyphony, touch sensitivity, and pro-
grammable memory to synthesizers. This improvement in synthe-
sizer playability attracted greater numbers of performing musicians
to the use of these instruments, and expanded audience awareness
for synthesized sounds.

In the early 1980s, the computer and synthesizer worlds

witnessed two major revolutions. First came digital sampling, a
technology which transforms an acoustic sound into a stream of
numbers that can be stored in memory for later playback, editing,
and performance. Borrowed from developments in computer music,
this technology broadened the palette of musical sounds possible
with synthesizers to include those of acoustic instruments. Over the
past ten years, this technology has progressed to the point that it is
now common for most inexpensive synthesizers to contain over a
hundred digitally-stored high-quality acoustic instrumental timbres.

The second revolution was the creation of a single standard for

communications between electronic instruments; MIDI - the Musical
Instrument Digital Interface. This standard allows musicians to
connect computers and synthesizers into a customized environment
for creating music. Hard ware devices from various manufacturers
can be assembled into a personalized system under control by a
personal computer running software optimized for music composi-
tion, performance, and production. The potential for using a single
performance technique to access a vast number of digitally-stored
electronic and acoustic instrumental sounds is finally a reality as
MIDI keyboard, wind, percussion, guitar, and string controllers are
all now available. This synthesizer power coupled with the preci-
sion of control and editing which computers offer, combines to make
using technology for making music extremely attractive to a growing
number of professional musicians.

s
 The same technological explosion has now also impacted the
music recording process, including mixing, signal processing, and
disc mastering. Analog recording with its inherent problems of
noise and lack of ease in editing is now being succeeded by digital
hard-disk-based recording. Using the Macintosh computer and
specialized hardware from Digidesign, audio can be recorded with
CD-quality sound at the desktop. Instead of capturing audio as a
continuously changing electro-magnetic field, the audio is stored as a
large stream of discreet numbers. Once recorded and stored to disk,
any point in the music can be instantly accessed for editing pur-
poses. Using powerful digital signal processing techniques, the
sound can now be equalized, effects can be added, and all processes
can be auditioned and altered in real-time. Finally, direct digital
mastering to CD media is possible through new hardware from
Digidesign.

These powerful systems are now available for less than the cost
of a decent new grand piano, and allow the musician to realize their
music in a friendly, intuitive manner. A musician can now sit at a
single workstation to write and produce a complete multi-instru-
mental musical performance. The power and ease of these new
technologies enable the musician to see and hear music as they
compose and perform in a way never before possible. This revolu-
tion has changed the way in which professional musicians conceive
of and produce their music. It has even changed the way audiences
listen to music. It has been a short history in terms of time, but
today's powerful music technologies have progressed light-years to
provide us with the professional tools currently available.

6
Technology in the Music Profession Today

Now that we have taken a brief look at the developments

which have led to our current technologies, let's explore exactly
what technologies are available today, and how they are used for
making music. Lets begin with the hardware - computers and
synthesizers.

Computers

Personal computers usable for music are now available from a

number of manufacturers. There are basically four computer
platform standards in use today; M5-DOS-based computers such as
IBM PCs and IIclones," Atari computers, the Commodore Amiga,
and the Apple Macintosh. Most professional musicians have chosen
the Macintosh for music work, and I especially recommend the
Macintosh for educational environments for a number of reasons;
first, its operating system is based on an intuitive graphical environ-
ment where you use a mouse (a pointing device) to select what
operation you wish to perform. Many tasks usually controlled by a
specific software application on other computer platforms are
handled by the Mac's operating system, providing a common '100k
and feel" to all Macintosh software programs. Once you have
learned to use one program on the Macintosh, you can easily adapt
to using other programs because of the developed familiarity with
menus, buttons, dialog boxes, and other common user interface
items. This is especially important in the educational environment,
where you want to place the emphasis on learning to make music,
not learning how to use the computer. The Mac's graphical orienta-
tion and screen resolution is also ideally suited to the complex

Computers and the Musk Educator 7

routines needed for music notation. Finally, there are far more
professional-level music products, both hardware and software,
which are designed for the Macintosh than for any other computer
platform.

The Macintosh now comes in two basic groupings: compact

systems and modular systems. In the compact line are the Macin-
tosh Plus and Macintosh SE (both now discontinued), the Macintosh
SE/30 and the new Macintosh Classic. The modular line consists of
the Mac !l, Mac !lx, and Mac !lcx (all now discontinued), the Mac
!lei, Mac llfx, and the new Mac !lsi and Mac LC. For musical appli-
cations I recommend the Macintosh SE/30 from the compact line
and the Macintosh ITei from the modular group, because both of
these machines provide the best performance to price ratio, and can
utilize digital audio products. However, it is important to note that
the modular line will give you the greatest number of music options
and potential for growth.

Apple Mocinto5h (omputer5

Mar llei with Porlrail Display Mar Sf/3D

8
Expansion Cards for Musk
Digidesign offers a full line of hardware products which add
high quality audio capabilities to the Macintosh. These products can
be categorized into two groups; internal sound modules and digital
recording and editing systems. In the internal sound module
category are the MacProteus and SampleCell cards. MacProteus is a
thirty-two voice polyphonic multitimbral synthesizer card based on
E-Mu's popular Proteus sound module. Combined with sequencer
software, this card can produce high quality synthesized sound from
within the Mac. SampleCeU is a high-quality sixteen voice poly-
phonic digital sample player, capable of playing back 44.1 kHz
sixteen bit stereo (CD-quality) samples created using Digidesign's
Sound Tools or Audiomedia software. Included with SampleCeU is
a 630 megabyte CD-ROM disk containing a wide variety of acousti-
cal instrument timbres and useful sound effects.

Digidesign offers three levels of digital recording and editing

systems; Audiomedia - an entry-level multi-track system with MIDI
playback, Sound Tools - a professional-level stereo recording and
editing mastering system, and Pro Tools - a professional-level multi-
track digital recording and editing environment. Each system
contains specific hardware for audio input and output, and special-
ized software for recording and editing digital audio.

The Audiomedia system consists of the Audiomedia card - a

NuBus expansion card for Mac II family computers - for stereo
analog audio input and output, and Audiomedia software for
recording and processing sound. Add Digidesign's DECK software
and Audiomedia becomes a four track system for recording digital
audio and for playing back MIDI sequence files. The Sound Tools
system consists of the Sound Accelerator card - which provides
advanced digital signal processing and high quality sound output

Computers and the Musk Educator 9

from the Mac, a choice of one or more of three available sound input
devices - AD IN for analog audio input, OAT i/O for digital audio
input, or Pro I/O for high quality professional analog input and
output, and Sound Designer II software for stereo audio recording
and editing. Pro Tools consists of the Audio Interface unit for high
quality multi-channel analog and digital sound input and output,
Audio Card for real-time digital signal processing, and ProDeck and
ProEdit software for multi-track digital audio and MIDI recording
and multi-channel digital audio editing.

For a complete listing of Digidesign hardware complete with

suggested configurations, please see Section III: Reference. Com-
bined with various Digidesign software packages, these hardware
packages turn the Macintosh into a full-featured workstation for
digital audio and music production.

Audlomedla SoundToola Pro Toola

HardwaR!
Sound Aa:elerator Card Audio Interface
lIIJ1Id
OutpJd
....
Audlomed~ Cud
Choice of: Audio Card
AD IN
OAT 1/0
Pro 110
~waR!

lnellUW Audlomed~ Sound Designer D ProDec:k

Sound Access Sound Acx:ess ProEdft
SoftSynth
Optioruzl Deck Deck Sound Designer D
TurboSynth TurboSynth Deck
TurboSynth

Synthesizers and MIDI

By adding a MIDI interface to the Macintosh, you can connect

any number of synthesizers from various manufacturers to your
Macintosh music workstation, allowing for unlimited expansion of
your music system. Synthesizers come in basically two configura-
tions: integrated units which contain a keyboard, performance
controllers, and a sound generating system; and sound modules -

10
usually rack-mountable units which contain just the sound genera-
tion system and have provision for MIDI input for performance
control. All of these should have MIDI input and output jacks as
well as audio output in either monophonic, stereo, or multiple
channel output configurations. Sound generation techniques will
vary between units and manufacturers, but usually fall into one or
more of the following categories of syntheSis method: additive,
subtractive, FM, sampling, or hybrid combinations. We will explore
these various synthesis types in Section" as we examine various
educational applications for these workstations.

The following are two possible configurations for Macintosh

music workstations

(on figura/ion 1

The above diagram shows a Mac" computer with Digidesign's

SampleCell and MacProteus cards installed . A keyboard synthesizer
is attached to the Macintosh via a MIDI interface. Audio outputs

~er, II1d !he Music Educat.. 11

from the SampleCell, MacProteus and MIDI synthesizer are con-
nected to a mixer, stereo amp, and speakers. With sequencing and
notation software, this is a full-featured MIDI and Macintosh music
workstation capable of producing forty-eight (48) simultaneous
timbres using synthesized and sampled sound sources.

(onfiguralion 2

J Guitar
Q ( onholler

Per(Ussion
• (onlroller
Woodwing
• Controller

This system is much like the first configuration, but instead of

the MIDI keyboard synthesizer, there are two rack-mounted sound
modules and it rack-mounted MIDI interface. Performance is
entered via one of the MIDI instrumental controllers - guitar, wood-
wind, or percussion, and playback is from the MacProteus, Sample-
Cell, or MIDI synthesizer modules.

12
Software

Music Notation

Music notation software is probably the most easily understood

type of software'available for musicians, since it relates directly to
skills we all know and value. Likened to a word processor for music
graphics, these packages allow you to enter notation onto the screen
either from input using the keyboard and mouse, or by real-time
performance on a MIDI controller. Most of the recent software will
transcribe MIDI performance input into reasonably "correct" music
notation and produce MIDI performance output from notation
entered.on the screen. Once music is entered, these packages also
allow for printing of portions of or a whole score, for transposition
and extraction of individual parts, and for the creation of piano
reductions from full scores. Some packages even translate tradi-
tional music symbols into performance nuance, for example -
entering a crescendo marking in a score actually produces a gradual
increase in loudness during the MIDI performance.

Perhaps the most powerful yet easy to use packages for nota-
tion are from Coda Music Software: Music Prose and Finale.

Asomple Slreen shot (rom Codo's Music Prose

,
4

~lefS III1d !he Music Educalor 13

Sequencers

The sequencer is perhaps the most popular tool for producing

music at a desktop workstation. The sequencer allows a musician to
play music into the computer and store it for subsequent editing and
playback. Sequencers often emulate the multitrack recording
process, aIIowing music to be entered one part at a time, but capture
data about the performance (what notes were played when, etc.)
rather than the sound itself. This distinction between capturing
performance versus recording sound is important, because the
instrumental sound can be changed on playback allowing various
timbres to be auditioned in real-time.. Most sequencers offer many
IItracks" for storing music - some provide as many as one hundred
polyphonic multitimbral tracks, and allow you to edit entire tracks,
smaIIer regions, or to zoom down to the microscopic detail including
adjusting the pitch, timing, and loudness of each individual note.
Whole sections can be transposed, inverted, played backwards, or
corrected for timing inconsistencies. Tempo can be changed without
changing pitch. Individual tracks can be muted or soloed, and
complex mixes can be created using graphic emulations of mixing
consoles.

Popular low-end sequencers are Passport's Trax and Opcode

Systems' EZ Vision. For the professional, Opcode Systems' Vision
and Studio Vision, Mark of the Unicorns' Performer, and Steinbergs'
Cubase are excellent packages.

14
 Ascreen shot from Opcod., Studio V'lSion

~--~-+------t----~ .. ---~-----+------·t------+- -~

Patch EditorjLibrarians

Patch librarian software is most useful for those who use

MacProteus or who make extensive use of MIDI synthesizers_
Librarians allow you to off-load patch data (not the sounds them-
selves) from the synthesizer into the computer for storage, organiza-
tion, and retrieval. Once the patches are in the computer, you can
move them around into useful groupings, for instance - a bank of
orchestral instrument sounds, a bank of jazz and popular music
sounds, or a bank of sound effects_ Librarian packages also allow
you to quickly audition many different sounds, create a bank of
sounds appropriate for your individual work, and store them on a
floppy disk so that each time you return to work on a given project,
you can quickly load in your bank of sounds and continue working_

~lef5 ood !he Musi< E""'mor IS

 Patch editing software goes a step further, and replaces the
front panel of the MIDI synthesizer (with its usual small display and
few controls) with a graphic representation of the synthesizer
parameters. When using MacProteus, this software provides front
panel controls and allows for editing sounds. Usually, all param-
eters and their respective values can be viewed at once and changed
through various graphic controls.

Popular packages for the Macintosh include Opcode editorI

librarian packages for individual instruments, Opcode Galaxy and
Galaxy Plus Editors universal editorllibrarian packages.

AsompIs screen sbollrom 0pc0Je sGalaxy Plus EtIiIm

Sound design
Sound design software allows you to create or edit the sound
itself using the computer, then download the sound into a synthe-
sizer or sampler for performance. Professionals use this software to

16
create new and exciting sounds and to edit samples with better
accuracy than most samplers provide. The benefit to using this type
of software is that it allows you to focus on sound design concepts
rather than on specific instrumental implementations. Also, the
software enables student independent exploration and discovery.
With most synthesizers, you must know which parameter you wish
to edit before you can adjust the sound. You must then navigate to
that parameter through a menu of options, and once you have
reached the parameter, you then enter a numeric value, usually on a
scale of 0 - 99 in some arbitrary scheme of values. With the com-
puter and sound design software, you see a picture of how the
sound is being made, and you can move a control and hear what
happens. This discovery is an important part of the learning process
that is difficult if not impossible to achieve with today's synthesizers.

Macintosh software for sound design includes Digidesign's

SoftSynth, Turbosynth, and Sound Designer II software packages.

ASDmple screen shot from OigiJesign's SoltSynth

.. File [dlt SmertSynth Options Sempler

Untitled ~

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ltl1ttl+llllllllltl1ttl+llllllll
1214567891011121114151617181920212221242526272829101112

ean.rters CIId the Musk EcUator 17

 ASIlmple screen shot from OigiJesign's Turbosynth

Recording and production

This software allows the computer to act like a recording

studio, complete with mixing console, effects devices, and transport
controls. More importantly, these packages provide access to the
powerful Digital Signal Processing capabilities of Digidesign's
hardware for the Macintosh. Graphic and parametric equalization,
compression/limiting/ expansion, pitch shift with time correction,
and time compression/expansion up are but a few of the powerful
tools provided with these software packages.

Popular software for the Macintosh includes DECK, Sound

Designer II, and ProEdit/ProDcck, from Digidesign.

18
 Asample screen shol from Digidesign 's DECK

Asample screen shol from Digidesign 's Sound Designer"

~Iers II1d the Music EliKalo< 19

New software categories
There are a number of new types of software products that
have been introduced over the past two years, which are beginning
to grow in use and popularity and do not fit into one of the above
categories. Max from Opcode Systems is an object-oriented pro-
gramming environment optimized for music and multimedia. With
Max, you choose graphical objects which perform specific tasks -
sliders, knobs, keyboards, and mathematical processors - and
connect them by drawing lines between inputs and outputs. MIDI
performance processing is one application among countless possi-
bilities. While Max is an intuitive environment for those familiar
with programming concepts, the majority of musician users will
have a steep learning curve.

Scorpion Systems Group's sYbil is real-time performance

processing software. sYbil allows you to set up "identity maps"
which provide alternative output for MIDI performance input. You
can send out any four notes on any combination of MIDI channels
for any note input, and any note played can trigger a number of
"toggles" which can perform useful events such as program changes,
transpositions, changes in identity maps, and sustain changes. sYbil
has a very intuitive user interface with which most musicians should
feel immediately comfortable. While not as completely configurable
as Max, sYbil offers great functionality with incredible ease.

HyperCard is a multimedia authoring environment originally

created by Apple Computer, and now distributed by Qaris Corpora-
tion. By adding MIDI capability through either Opcode Systems'
MIDI Play or Ear Level Engineering's HyperMIDI external command
sets, HyperCard becomes a very friendly way to build useful MIDI
tools or educational courseware. Routines are also available from

20
Apple and Voyager to include control over audio from a CD player,
allowing you to define precise regions for playback from any com-
mercial audio CD recording. Digidesign also provides a HyperCard
stack called Sound Access that allows you to record and playback
high quality digital audio from within HyperCard. By using a
simple scripting language called HyperTalk and graphic objects such
as buttons and pictures, you can assemble MIDI, CD, and hard disk-
based digital audio presentations and interactive courseware that
look and feel like professionally created programs.

Curricular Implications

The practice of music has changed dramatically over the past

ten years. More music is being produced for the recorded medium,
and live performance has been affected by technology through
expanded use of synthesizers and MIDI instrument controllers,
interactive computer perfonnance processing, and by the inclusion
of sequenced and prerecorded musical elements into concert music
performance settings. The benefits of this technology for musicians
is clear - sequencers provide a valuable aural experience during the
writing process and notation software enhances the writing process
by simplifying editing, re-writing, transposition, and part extraction,
as well as improving overall output print quality. Digital audio
recording with the Macintosh provides non-destructive editing,
random access to any point in the music, and provides an excellent
storage medium for archival purposes.

New career paths in music are possible through technology,

and existing musical roles are constantly shifting. It is a natural
tendency to make use of the most powerful tools to accomplish a
given task. It should be expected that musicians would want to take

Computers CIld the Musk Educator 21

advantage of these new tools in the same way that other professions
have adopted the new tools of technology for their respective fields.
Word processing has virtually replaced the typewriter as a tool for
writers, the medical profession has seen many advancements in
diagnostic and treatment technologies, and robotics have automated
many assembly lines. We owe it to our students to prepare them for
the challenges facing them in a career in the music profession.

It is important then to reconsider what and how we are teach-

ing our students. What skills will students need to successfully face
the challenges of a career in music in the twenty-first century? How
can we most effectively help them develop these skills? As we spend
the next few years re-examining our current practice of teaching
music in light of these changing trends of music-making, it is helpful
to begin to immediately integrate the technology into our curriculum
in areas where dear need can already be demonstrated. This way,
we begin our own progress up the learning curve as we examine
potential new teaching techniques which make maximum benefit of
these new technologies.

It is important to begin teaching students how to use the

technology which already is in current practice in the music indus-
try. Whenever possible, this training should be integrated into the
teaching of standard music courses. Sequencing and notation with
computers can be taught within music theory and composition
courses and used to enhance the teaching and learning processes of
those course materials. Instrumental training can be augmented by
incorporating sequenced examples as accompaniment for student
performance practice. Specific applied instrumental skills can be
enhanced through computer-assisted instruction programs. Record-
ing and production techniques can now be taught in a relatively
inexpensive environment compared to full tape recording studios.

22
 Music theory, history of music, music appreciation, jazz
studies, composition, orchestration, instrumental performance, ear
training, electronic music, recording, mixing, editing and digital
mastering, broadcasting, and music archival are all areas which can
benefit immediately through incorporating these new advances in
music technology. The following section will examine specific ways
that technology can be integrated into your music curriculum, and
provide suggestions for courses, lessons, and project ideas which
may be helpful for getting started.

Seclion II: Integrating Technology

into the Cumculum

Why incorporate these new technologies into our teaching?

First, because technology can help us teach our existing courses more
effectively. For students, the ability to immediately hear music as itts
written is an invaluable aid as they learn to connect symbol to sound
and vice versa. The technology eliminates the time lag between
conceptualizing and hearing, and thus removes one of the most
difficult obstacles in the learning process. For the teacher, the ability
to create music for the class, project it on a screen, and play it back
with high fidelity audio is made easier with these new technologies.
High quality handout materials, participatory class lessons, and
interactive homework assignments help improve our classroom
l
delivery and stimulate students interest and excitement about
music.

Ccxi1IUfers CIId the Music Ecbator 23

 Secondly, technology permits a new and exciting method of
teaching; one where the student is actively involved in the learning
process rather than simply a passive listener. The teacher can leave
the role of deliverer of knowledge and grader of tests and become
more of a guide, mentor, and a role model.

Lastly, we owe it to our students to provide them with the

skills to meet the challenges of a career in the music profession. The
technology is here to stay, and today's students will need to know
how to use it in order to be successful in tomorrow's job market.

How can we incorporate this new technology into our curricu-

lum? How will it impact the way we teach our courses and the
manner in which our students learn? What do the classroom,
laboratory, and practice rooms of the future look like and how are
they configured to take advantage of these powerful new tools?
What courses can benefit from these technolOgies, and are there new
courses which we should be offering? These are questions which
will be addressed this section.

The Music School of the Future

We are all familiar with current classroom aids for teaching

music. We use audio recordings to play examples for students
because the student can hear the full impact of the actual sound. We
use slides or overhead projections to show musical scores. When
these two systems do not provide the answer for the immediate
needs of a class, we use the blackboard to write notes and then play
an example at the piano. The tools we use today may work for us,
but they are not the optimal solutions for our classroom delivery
needs. Every tool presents its own individual benefits and draw-

24
backs. But because our present ---
_-classroom aids are
.. -
~p~~~etOQls, __
they provide iSolatec:t solutions rather than integrated systems for
assisting the teaching and learningpro-cesses=='=~-'---

Recorded examples present many problems which we have

come to accept as a fact of life. We have worked around the prob-
lems for so long that we forget there may in fact be better solutions.
Using recordings provides the necessary sound for the student to
listen to while reading a projected or printed score, but the recording
is not linked to the music notation. Furthermore, the teacher must
already have a prerecorded example, then manually change slides or
transparencies while the music plays. Finding a precise location in
the score and recording in order to make a specific point about a
passage is most often tedious and frustrating. Neither the score nor
sound can be easily changed, and if a change can be made in either,
the other is not automatically updated to reflect the alteration. New
technologies permit us to--"-.link the sound with the..-.---
_ _------.--....... ~4------·-·
notation. A ch.~~g~,
. . -.---,----.-----
~-

.. made in the notation may be immediately auditioned and evaluate?

Any change in the musical sound is reflected in the notation. ~an­
dom access to any point in the score or sound is immediate, editing
is simple and interactive, and the pages of music tum automatically
in synchronization with music playback.

The piano is an excellent tool for spontaneously generating and

playing an example in class. It is also easily used by both teacher
and student (provided they have developed some keyboard skills)
for obtaining a rough idea about the sound of a piece of music. I say
rough idea, because the piano produces only a single timbre, and
while useful for hearing how piano music sounds, it provides only
the crudest approximation of how the music would sound for any
other instrumentation. We can hear melody, harmony, and rhythm,
but interplay of timbre, issues of range, and orchestrational aspects

Computers CIld the Music Educator 25

of the music are lost. Using synthesizers and computers, a much
more realistic approximation of the piece is possible, allowing both
teacher and student to make critical judgement about musical
decisions and their resultant effect.

Imagine the following scenario:

You walk into class and tum on the computer. You type in
your personal identification code and are automatically connected
via high speed network to all the files in your home computer, your
office computer, and a large database of examples generated by
faculty who also teach this course. The computer also knows which
class you are teaching, because it knows the day, time, and room,
and has accessed the school's scheduling database so it now connects
you to your roll and grade record books as well. With a few clicks of
the mouse, you have taken roll, and attendance records for each
student are automatically updated.

You begin talking about Beethoven's use of motivic develop-

ment and want to use his Ninth Symphony as an example. A click of
the mouse and the score is projected in front of the class. Another
mouseclick and the music plays, the pages of the score automatically
turning in synchronization with the music. After playing one
section, you want to compare the use of a given motif with the way
Beethoven uses it later in the piece. You click and the motif sounds.
You click again and the next occurrence shows on the screen and
then plays. 'A student says that this motif reminds her of a popular
recording she once heard. You search the database and find two
occurrences of popular recordings based on themes taken from
Beethoven's Ninth. You audition a sound clip from each, and the
student recognizes the second example as the recording she remem-
bered. You dick on the example and the sheet music appears and

26
the recording plays. The class compares Beethoven's use of the motif
to the popular version and makes observations about rhythmic
variation and hannonic treatment. You also point out orchestration
issues. A lively conversation ensues, with students making critical
judgement on each version.

You steer the conversation to various other development

devices, and begin to discuss the concept of retrograde inversion.
You enter a short motif from the keyboard with a trumpet sound.
You then select retrograde inversion from the edit menu, and the
motif is rewritten. Immediately, the new version is played. The
class discusses the two examples and decides to try a few more.
Each student enters a motif, plays it in original form, then in retro-
grade inversion. The class discusses the technique's effect, and how
the ear recognizes the motif even though changed. Discoveries are
made. You give the class a homework assignment to create a short
piece of music in four parts using trumpet, flute, violin, and piano
which demonstrates retrograde inversion as a development tech-
nique. Next class, the students return with their disks, each in tum
playing their project, with the class commenting on the musicality
and the success of the project in satisfying the required task. You
comment on their work dealing with aesthetic issues, and make
helpful suggestions for improving each student's project.

Is this scenario just fantasy or science fiction? The technology

is here today to build this type of creative environment for teaching
and learning depicted in the above scenario. Lets examine what this
futuristic classroom is like, and how we can implement an interac-
tive teaching and learning environment using equipment available
today.

Cantuters CIId the Musk Educator 27

The Classroom of the Future

The classroom of the future consists of an interactive computer

music workstation which features high quality sound and image
projection. It is interactive in that the sounds and notation are
linked, and both can respond at any time to changes which you
initiate. The heart of the system is the Macintosh computer, outfitted
with internal audio expansion cards from Digidesign, and is con-
nected to a large video projection screen. The computer also has a
CD-ROM drive attached for randomly accessing recorded works and
large amounts of stored information. A keyboard synthesizer is
attached to the computer via a MIDI interface. The outputs of the
internal computer cards, CD-ROM player, and synthesizer are all
attached to a stereo sound system. Ideally, we would also be
connected to a high speed fiber-optic network, but for for the pur-
pose of this example, we will focus on a single classroom teaching
workstation. Networks and their use and benefits will be addressed
later in this section.

Rear View

o 0

••
front View
SlereoAm
Mac Uri
CPU (O·RDMDri'le

,--
h... ~
~~~~~~~M1DllnltlIO(e
""~~,~d
tno-..
L _ _ 3== tno ...- 111111"11111"1111111""1"11

28
 The primary benefits of using this type of teaching workstation
will be immediately apparent, even if you do not yet take advantage
of the interactive teaching style alluded to in the above example.
Standard classroom delivery techniques are improved - no fumbling
with cassettes to find the right starting point for your example, no
accidentally scratching the record as you drop the arm while trying
to find the exact starting groove. Compact discs can be indexed
down to 1 /75th of a second, and digital audio stored on hard disk
can be accessed down to sample accuracy -1/44100th of a second.
With simple to use software such as HyperCard, you can specify the
exact start and end points for a section. The piece will start and end
exactly at the speified points every time you click on the "play
button." No more hassling to find the right slide or transparency
while trying to keep time with the music, only to find that the slides
or transparencies are not in correct order. Too many of us have
fought to make that immediate repeat back to page four only to
accidentally drop the entire pile of transparencies on the floor.

We can use this technology to help us teach today, and we can

be freed of the shackles of our old tools. We can change our roles as
teachers - we can inspire our students and involve them with their
own learning, preparing them to continue learning even after they
leave our classes. This is the most promising and exciting aspect of
incorporating the technology into our classrooms - that these new
tools can allow us to teach in a more effective and productive
manner.

Computers cmd the Music Echatar 29

The Lab of the Future

The lab is a facility for teaching and learning that consists of a

teaching workstation as depicted in the classroom of the future,
along with a number of student workstations of similar configura-
tion. This environment allows for a hands-on learning experience
under the direct supervision of the teacher. Students learn while
doing in the classroom setting, then return to the lab outside of class
time to complete their assigned homework projects. There is an old
Chinese proverb which says, "I hear and I forget. I see and I remem-
ber. I do and I understand." This is the guiding philosophy of the
lab facility, that students learn more effectively when they perform
the work themselves.

The lab should be set up so that all audio is mabixed to a

teacher control station. In this way, the teacher can play examples
for the class, students can work individually on class aSSignments,
and the teacher can listen in on any student and speak directly to
them in their individual headsets. Any student's work can be
immediately routed to the classroom monitor speakers, so that the
class can hear and comment on each other's work. With a simple
AppleTalk network and appropriate software, the teacher's work can
appear on any or all of the the students' screens, or the teacher can
view the screens of each individual student. If the network also
contains a file server (a dedicated Macintosh acting as a traffic
controller and central storage area), teachers can leave homework
assignments or study notes for students. Students can tum in
completed homework to their teacher by using electronic mail.
Students can also share their insights or questions with their fellow
students by creating specialized bulletin boards on the file server.
With a matrixed MIDI system, students can access additional sounds
at adjacent stations for more complex work than a single workstation
might allow. During class, the teacher can also obtain feedback as to

30
students' understanding of material presented by having them
perform in response to questions.

There are many networking products with excellent potential

for the educational lab setting. Screen sharing and remote control
software allows the above-mentioned capability of showing the
teacher's work on students' screens or vice-versa. Microcom's
Carbon Copy and Farallon's Timbuktu are excellent packages for
screen sharing. Pacer Software's PacerForum is a groupware bulle-
tin boarding package which allows for messaging between groups
(such as faculty and students). Electronic mail is available with CE
Software's QuickMail and Microsoft's Microsoft Mail packages. The
field of educational applications for networks is new, and exciting
developments are breaking new ground each month.

The following diagram illustrates a possible configuration for a

lab setup. Four student stations are depicted, but that number can
be expanded to meet your individual needs.

- - AppIeTaIk Cabling
- - Ml!lICables
- - Audio MaIIix Cable

~ters CI1d the Musk Educator 31

The Practice Room of the Future

The practice room environment can also benefit from the

inclusion of computer music workstations. Such a workstation can
provide the performance student with accompaniments for pieces
they are studying. Using a MIDI sequencer version of the "Music-
Minus-One" concept, a single accompanimental piece can be used by
a number of available instruments. A bass player can mute the
appropriate track to practice the bass part, while the piano player
can leave the bass track sounding and mute the piano track. Tempo
can be slowed without changing pitch, so that students can work at
their own pace, gradually raising the tempo as they achieve profi-
ciency. Once they have mastered a piece in a given key, they can
also practice it in other keys simply by selecting the transpose
option. Automated rhythm section generators such PG Music's
Band-In-A-Box allow students to type chord symbols into measures,
select a tempo, style, and key, and the software automatically creates
a full accompaniment with bass, piano, and drums. By exporting the
Band-In-A-Box accompaniment as a standard MIDI file and import-
ing it to either Digidesign's DECK or Opcode's Studio Vision, you
can have the student record their part as a digital audio file for the
teacher's review and assessment. Students can also use this type of
software to hear projects created for harmony class, or to use in the
"Music-Minus-One" approach as mentioned above.

Specialized computer-assisted instruction (CAl) software is

available for students to practice ear training, keyboard skills,.timing
accuracy, and to test their accuracy in performing specific pieces.
One such piece of software called Practice Room from CODA Music
Software, allows the student to perform any music entered in either
Music Prose or Finale, and have their performance graded according
to pitch and timing accuracy. An instructor could enter musical

32
works using the music notation software, and students could prac-
tice on a MIDI controller (keyboard, guitar, woodwind, violin, or
percussion) and get feedback from the computer as to their perfor-
mance accuracy. Students could practice rudiments for proficiency
examination, with critical input from the computer to monitor their
personal progress.

In lieu of the above-mentioned lab facility, these single work-

stations can also serve as a place for students to work on homework
assignments. The set up of one of these workstations is essentially
similar to the student workstations in the lab, except that these
should be connected to speaker systems for playback.

Deciding on how you will integrate technology into your

curriculum will be based on a number of issues dependant on your
specific circumstances. The size and scope of your current program
will be a major factor. How much room is there in your curriculum
for additional courses? Will you choose to add new concentrates or
majors to deal specifically with technology and its applications to the
professional music career, or will you change your existing courses
to include these new technologies? Will computers be used simply
to augment students' study resources or will students be expected to
use computers, MIDI, and synthesizers to produce assigned home-
work projects? Will you implement the classroom, lab, or practice
room models?

You will need to set realistic goals. How extensively involved

will your initial venture be? Do you already have qualified teachers,
or will faculty need training to use technology? How much space
can be allocated to these facilities? Will you need additional room
security measures? How will students be monitored during lab use
outside of classes?

Computen and the Musk Educator 33

 The answers to these questions, among others, will give you a
starting point for integrating technology into your curriculum. If
you decide to have students work in a hands-on environment and
expect them to produce assigned projects using MIDI, computers
and synthesizers, you may wish to offer a special one-semester
introductory course that gives students the necessary skills to
successfully operate the digital audio computer music workstation.
Once students have learned the basic operation of the workstation,
you can proceed with incorporating the technology into existing
courses, and adding new courses as appropriate to your curriculum.

The Contemporary Music Curriculum

Once you begin to incorporate computers and synthesizers into

your curriculum, you will find many of the courses you currently
offer can benefi t from using these tools. The following is a brief
overview of specific ways that technology can impact the contempo-
rary music curriculum.

Musk theory and ear training

Much of the material for music theory courses is fairly straight-
forward and easy to understand, but requires a lot of repetitive drill
for students to assimilate the information to a point where the
knowledge can be successfully applied. There are a great number of
available computer-assisted instruction software packages designed
to help the student with drills in key signatures, clefs, intervals,
chord construction, even form and analysis. The best of these
packages learn from the student and create specialized drills to work
on identified areas of deficiency. Generally, these packages are used
outside class in either a lab or practice room environment, with the

34
student working interactively with the computer as personal tutor.
In-class use of computers helps to demonstrate theory examples as
well as assisting with classroom dictation and sight-reading exer-
cises.

Similar CAl software exists for ear training, allowing for

dictation and sight-singing drills. Interval, melody, harmony, and
rhythmic dictation examples can be tailored by the teacher to fit
classwork, or can be generated by the computer in response to
student input. Game-like environments can be created which help
motivate students to work on otherwise boring and repetitive
assignments. Pitch detection technologies can be used to help
students develop a strong pitch sense by singing or playing an
instrument into a microphone. The margin of acceptable error can
be set by the teacher to tailor such drills by level of student profi-
ciency.

MUSK history
Music history classes can employ CD-ROM technology to
access recorded works connected to large databases of information
about the work and the composer. Commercially available CD-ROM
packages allow for student exploration of great works, learning
about the composer, historical background, and musical techniques
demonstrated by the piece. These packages are also easily designed
by faculty using "off-the-shelf" discs and simple to use authoring
tools such as HyperCard. These tools can be used by the teacher in
the class setting to automate the delivery system, or by students in
lab or practice room settings. This exciting environment for discov-
ery stimulates the student to search for more information and learn
about the work, rather than to passively listen to assigned pieces.

Corrfuters CIld the Musk Educator 35

Writing courses

Composition courses can benefit from any or all of the three

facilities listed here: The classroom setting can be used for analysis of
music and for interactive classes in writing techniques. The lab
environment is conducive to group interaction while writing. Using
sequencer software, the students can hear their work as they write,
and music notation software can be used to prepare scores and parts
for instrumental performance. Algorithmic composition is an
entirely new subject which can be taught using a computer music
workstation.

Orchestration courses can benefit from the immediate access to

a wide variety of instrumental timbres. Various instrumental
combinations can be auditioned and possibilities explored in an
interactive teaching approach. From the delivery standpoint,
multiple versions of pieces can be immediately compared and
contrasted, for example, a piano version of an orchestral piece, or a
guitar transcription of a cello composition. Each example can be
played with a click of the mouse, then compared to another recorded
version.

You could write an example in the class, using a motif created

by one of the students, then write a counterline and immediately
hear the result. If the student doesn't like beat three of bar two, the
class can rework that bar and immediately hear the changes, com-
paring the examples and making critical judgement about the
success of the changes. If the class decides that the flute should play
the counterline and the trumpet the melody instead, you simply
change instrument assignments and immediately hear the result.
The classroom is changed from a lecture hall to an experimental
laboratory and students become active participants in the learning
process.

36
Performance
Performance classes can benefit from using MIDI "Music-
Minus-One" type applications. Teachers can create accompaniment
parts using the sequencer for students to use while practicing.
Classical music instructors can sequence the piano accompaniment
of a Mozart concerto for their violin students. The student can then
slow the tempo for practice, gradually bringing up the speed as they
gain proficiency. Once the piece is mastered, the student can record
their part into DECK or Studio Vision for the teacher's critique.
Teachers of jazz can enter the chord changes for a piece and have the
students practice improvisation. The student can work on playing
the piece in the assigned key, then once mastered, easily transpose
the piece and practice soloing or comping in every key. Again, a
final perfonnance can be recorded and given to the teacher for
criticism and suggestions.

Synthesizers also offer new potential for real-time control in

performance settings. Courses can explore issues of phrasing and
effect using pitch bend, wheels, foot controllers and switches, and
other new types of controls. Opcode's Max and Scorpion Systems
Group's sYbil can be used for performance processing to explore the
new concepts of extended instruments."
lI

(ourse ideas
The following pages give some ideas for using technology in
music courses. If you are planning to have students use synthesiz-
ers, MIDI, and computers to complete assigned homework projects,
you may wish to offer a one semester course as an introduction to
using the hardware and software. This way, students will be pre-
pared to concentrate on the musical issues in the courses that follow,
and use the technology to create their work.

Computers and the Music Educator 37

Course disdpline:
Introduction to music technology

Ohiective:
Upon satisfactorily completing this course, the student will
be able to operate a Macintosh computer and MIDI synthe-
sizer to produce completed musical examples in notation
and sequenced formats. Students will complete a final
project which demonstrates their ability to effectively utilize
the hardware and software in creating a finished musical
production.

Suggested hardware:
Mac IIei, Apple Portrait Monitor (full page display>
Digidesign MacProteus
Digidesign SampleCeU
MIDI keyboard synthesizer
MIDI interface: Opcode Studio Plus 2 or Studio 3
Digidesign hardware for recording and playback of sound
(Sound Tools or Audiomedia)

Optional hardware:
External Synthesizers of choice

Software:
Sequencing - Opcode EZ Vision or Vision
Notation - Coda Music Software Music Prose or Finale

Class Topics:
Introduction to computers
Sound expansion cards
Introduction to synthesizers
Introduction to MIDI
Using sequencing software
Using music notation software
Electronic music synthesis production techniques

38
Suggested Prolects:
Enter an existing composition (standard literature or original
composition) into the sequencer. Use MIDI controllers to
add musical nuance and expression. Transfer the piece via
standard MIDI file format to a notation program, "correct"
the score and print parts.

Enter an existing composition (standard literature or

original composition) into music notation software. Extract
parts and print score. Transfer the score to a sequencer
program using the standard MIDI file format.

Course discipline:
Music writing

Obiectives:
Students will improve their grasp and understanding of
course materials through aural experience-based projects.
Students will write original pieces using sequencing and
notation software, hearing their work as they learn, and
apply various compositional and orchestrational techniques.

Suggested hardware:
Mac IIci, Apple Portrait Monitor (full page display)
Digidesign MacProteus and SampleCell
MIDI keyboard syntheSizer
MIDI interface: Opcode Studio Plus 2 or Studio 3

Optional hardware:
External Synthesizers of choice
Digidesign Sound Tools

Computers (lid the Music Educator 39

Software:
Sequencing - Opcode EZ Vision or Vision
Notation- Coda Music Software Music Prose or Finale

Class Topics:
Demonstrate compositional devices such as inversion,
retrograde, repetition, augmentation, diminution, etc. by
entering a short motif into the sequencer, performing
various edits, and listening to the variations. Audition
various orchestra tiona I ideas by changing sounds on synthe-
sizer modules as the sequence plays back.

Discuss notation and its relationship to performance by

entering notation on screen and listening to MIDI playback.
Transfer the file to the sequencer using the standard MIDI
file format, and begin adding MIDI performance controllers
to bring the piece to life. Discuss the importance of musical
nuance and the imperfection of notation systems.

Suggested Proiecls:
Orchestrate a provided sequence. Choose the various
instrumental timbres for each musical line. Add nuance to
bring each part to life.

Compose a work using music notation software. Export the

completed score to a sequencer. Use the sequencer to add
nuance and expression, orchestrate the parts, and produce a
final work on tape.

40
(ourse discipline:
Music performance - Jazz or Classical

Obiectives:
Through the use of a computer music workstation, the
student will improve overall performance skills. Improvisa-
tion and performance of written pieces will be practiced
with computer-generated accompaniment. Final perfor-
mances will be digitally recorded for teacher review.

Suggested hardware:
Mac IIci and any monitor
Digidesign MacProteus and SampleCell
AudioMedia

Optional hardware:
MIDI interface: Opcode Studio Plus 2 or Studio 3
Sound Tools
External Synthesizers of choice

Software:
Sequencing: Opcode EZ Vision, Vision or Studio Vision
Digidesign DECK
PG Music Band-in-a-box

Class Topics:
Demonstrate the use of sequencers and rhythm section
generators for "Music-Minus-One" type applications.
Demonstrate the benefits of looping difficult passages for
repetitive practice.

Suggested Proiects:
Provide students with previously-sequenced play-along
assignments. Have them remove an instrumental part (mute
a track) and perform the part with the computer accompani-

~ CIld the Music Educator 41

 ment. Have them start at a slow tempo, then gradually
speed up the playback (the pitch remains the same) until
they can perform adequately at the fast tempos. Then have
them transpose to a new key and repeat the entire process.

Curriculum for Music Technology

If your curriculum will allow for additional coursework by

students (credit load, faculty availability, room access, etc.) you may
want to offer students the opportunity to learn more about using the
technology in their musical careers. Alternatively, you may want to
offer new majors, specializing in the application of music technology
in specific fields of sound design and music synthesis, music produc-
tion and engineering, film scoring, and psycho-acoustics.

Sound design and music synthesis

The digital audio computer music workstation is the perfect
tool for teaching sound design. The graphics capability and high
quality sound available when using the Digidesign Sound Accelera-
tor board allow us to focus on the concepts of synthesis rather than
on a specific instrument's implementation and user interface. The
old adage which says "a picture is worth a thousand words" has
never been more applicable than to electronic musical instruction.
Today's synthesizers are designed to provide the greatest feature set
for the price, and necessitate the sparse user-interfaces which are
provided. Even graphic editors do not help much, for they provide
only a picture of the specific synthesizer parameters rather than
general concepts of sound. At best we can improve our ability to

42
teach the given instrument. We need tools which allow us to teach
concepts applicable to all instruments. Digidesign gives us these
tools through their various powerful hardware and software sys-
tems. Through the graphic capabilities of the Macintosh computer,
we can teach synthesis concepts of acoustics, signal flow, and almost
any form of sound design technique.

Most missing from today's synthesizer is the capability for

exploration and discovery. In the "olden days" <pre-1986), synthe-
sizers had knobs, sliders and switches for every parameter. A
student could explore the various parameters by grabbing a control,
changing the value, and hearing the result. This discovery leads to
personal understanding, more meaningful than any written words
can ever convey. With today's synthesizer, the student must already
know what parameter they want to adjust, navigate to the proper
page in the edit menu, then enter a numeric value. As many param-
eters of sound are interdependent on other parameters, the process
becomes tedious and the student makes little personal discovery.
Experimentation is not possible, as the student must already know
what parameter to adjust before finding it. Immediate response in
both graphic and sound is the key to connecting complex concepts
and internalizing understanding. The hardware and software
provided by Digidesign provide this immediacy.

Digidesign software allows us to teach the concepts of additive,

subtractive, FM, sampling, and hybrid synthesis techniques. The
course outlines which follow will demonstrate some possible ap-
proaches to teaching sound design with computers.

Computers and the Musk Educator 43

Digital audio recording, engineering, and production
With the digital audio computer music workstation, the
desktop becomes a powerful recording studio for stereo and multi-
track recording directly to hard disk, random access non-destructive
editing, digital signal processing, and CD mastering. Basics of
digital audio can be taught in a graphic environment using
Digidesign's Turbosynth. This software can display sound in both
the time and frequency domains, and changes made in one view are
immediately updated in the other. Teaching acoustics is made easier
with graphic depictions of sound, and the ability to manipulate
sound and hear it change in real-time is an extremely exciting
revelation for students. Software is available that can capture
acoustic audio signals and then act as an oscilloscope or spectro-
graph, displaying the sound in real-time.

Basic recording techniques can be taught and editing is avail-

able at both macro- and microscopic levels. Digital signal processing
available in either DECK or Sound Designer II allow you to demon-
strate graphic and parametric equalization, pitch shifting, time
compression and expansion, and amplitude compression and
limiting. By using the graphic computer interface, the black box of
various signal processors can be opened, and students can see then
understand how the effects really work.

With Digidesign hardware and software as well as with

software from Opcode, you can combine the two normally separate
worlds of acoustic and synthesized music. MIDI allows us incred-
ible power through sequencing, but as realistic as synthetic sounds
have become, the ability to capture an acoustic musician's sound and
performance (phrasing and nuance) brings new life and excitement
to the electronic music world. DECK allows a previously recorded

44
sequence to be played as you record and playback acoustic perfor-
mances. This process is akin to what many musicians do in large
recording studios; preproduce the music using synthesizers and
sequencers, then come to the studio and synchronize the tape to the
sequencer while live musicians record to tape. DECK removes one
complete step in the process, eliminating the need for complex
synchronization techniques by integrating the playback of the
sequence with recording the acoustic tracks to hard disk.

Studio Vision from Opcode Systems takes this concept one step
further by allowing you to record audio directly into the sequencer.
This allows you to use the same editing techniques on audio and
MIDI data at the same time. If you copy and paste an entire four-bar
section from one phrase to another, both the MIDI and audio data
are duplicated, but without using up additional space on the hard
disk. By providing a "hot link" between Studio Vision and Sound
Designer II, Opcode allows you to select a portion of the audio track
and choosing "Edit Soundfile" from the menubar, automatically
open Sound Designer II with the selected region intact and ready for
processing. This link makes for a completely seamless integration
between MIDI sequencing, audio recording, and digital signal
processing and editing techniques.

Digital Mastering

Combine the digital audio computer music workstation with

the Yamaha PDS compact disc recording system, and you have a
totally digital mastering studio. You can teach advanced students
concepts of disk mastering and pressing, thereby taking them
through the entire recording and production process. If your school
prepares an annual recording of student and/ or faculty work for

Comput8fS GIld the Music Educ:ator 45

distribution or library archival, the PDS system allows you to do the
entire recording, production, and mastering process in-house,
thereby reducing overall cost and improving your control over the
quali ty of the product. It is possible to recover the cost of the entire
system in the first year of use, and the system can be used for other
curricular applications when not used for the CD mastering process.

Another application for the PDS system is to archive old tapes

in your music collection to prevent further deterioration. Many
libraries have large collections stored in analog tape format. Each
successive play causes wear on these recordings, and deterioration
from permanent archival storage itself is a major problem. Creating
a permanent set of recordings in compact disc format is now a real
possibility with this system. Recording the materials onto hard disk
and then off-loading to compact disc media is as simple as a few
mouseclicks, and the result brings permanent storage with no further
degradation from successive playbacks.

The following are suggestions for possible courses in teaching

the technology itself.

Course discipline:
Sound design techniques

Obiectives:
Students will create sounds using additive, subtractive, FM,
sampling, and hybrid synthesis techniques. Concepts of
signal generation, processing, and control will be examined
through hands-on interactive assignments. Students will
explore concepts of signal flow as they recreate various
commercially available synthesizers in block diagram format
in software.

46
Suggested hardware:
Mac IIci, Apple Portrait Monitor (full page display)
Digidesign Sound Tools

Optional hardware:
MIDI interface: Opcode Studio Plus 2 or Studio 3
External Synthesizers of choice, preferably with sample
RAM, Suggested model: Korg T series
Digidesign MacProteus
Digidesign SampleCell

Software:
Digidesign Turbosynth
Digidesign SoftSynth
Digidesign Sound Designer II

Course Topics:
Additive synthesis: definitions, explanations and examples
using Digidesign SoftSynth software. Concepts of envelop-
ing pitch and amplitude, and mixing harmonic partials.

Subtractive synthesis: definitions, explanations and ex-

amples using Digidesign Turbosynth software. Concepts of
modules and signal flow, time and frequency graphs, and
MIDI Sample Dump Standard.

PM synthesis: definitions, explanations and examples using

Digidesign SoftSynth and Turbosynth software.

Sampling: definitions, explanations and examples using

Digidesign Turbosynth and Sound Designer II software.
Concepts of waveform editing, looping, and soundfile
mixing and merging.

Con1IUters CIld the Musk Ecbator 47

Suggested Proiects:
Students will create sounds using the various synthesis
techniques. Have them download the sounds to a MIDI
synthesizer such as the Korg T series instruments using the
MIDI Sample Dump Standard, then play the sounds from
the synthesizer keyboard. Assign students to analyze the
structure of various popular commercially available synthe-
sizers, then create a Turbosynth patch to emulate the archi-
tecture. Try making a sound using the software emulation,
then duplicate the sound on the given instrument (assuming
you have access to these instruments).

(ourse discipline:
Techniques of digital audio

Obiectives:
Students will learn the basic concepts of digital audio
(analog to digital conversion) and will apply this under-
standing to sound recording, mixing, processing, and
editing.

Suggested hardware:
Mac lId, Apple Portrait Monitor (full page display)
Digidesign Sound Tools

Optional hardware:
MIDI interface: Opcode Studio Plus 2 or Studio 3
Digidesign Pro Tools

Software:
Digidesign Sound Designer II
Digidesign DECK

48
(oune Topics:
Basic concepts of digital audio: sampling, analog to digital
and digital to analog conversion, and hard disk recording.
Editing concepts such as cut/copy/paste, waveform draw-
ing, looping, and trimming. Concepts and applications of
digital processing techniques including graphic and para-
metric equalization, time compression/ expansion, ampli-
tude compression and limiting, pitch change, and sample
rate conversion. The Edit Decision List (EDL) concept will
be examined along with the general concepts of regions and
splicing.

Suggested Proiects:
Students will record directly to hard disk from analog and
digital source material. Students will create a new piece
from existing source material using cut/copy/paste, regions,
and EDL techniques. Projects will involve students demon-
strating the use of specific digital signal processing tech-
niques on existing source material. Students will also create
a complete multi-track digital audio recording, mixed to
stereo.

Computers and the Musk Educator 49

Slarling a Program

How do you begin a program within an existing curriculum?

The basic issues will center around space, equipment, courses,
curriculum, faculty, and budget. Assuming you have the space to
allocate to a specialized program or can share lab space with another
department, the issues of facility design and equipment have been
addressed, and additional information can be found in Section ITI:
Reference. The previous section has focused on courses and cur-
ricula, leaving two big issues remaining - faculty and budget.

If you do not currently have faculty who are equipped to teach

this new technology you will face the issue of either hiring addi-
tional teachers or developing your existing faculty members. Faculty
training in the use of technology is an investment well worth mak-
ing. Both the institution and the faculty member gain from a devel-
opment program. If you have in-house talent, then you can design
your own program of faculty instruction. Otherwise, you can bring
in outside consultants to train faculty or send teachers out to external
programs. Many institutions sponsor faculty to attend summer
workshops aimed at training teachers specifically in the use of
technology. The reference guide in Section In lists several of these
programs, as well as associations, journals, periodicals, and confer-
ences dedicated to technology in education.

Budgeting is a fairly difficult issue to address here, since every

institution is unique in its handling of such matters. There are grants
available for developing these types of programs, and most music
instrument manufacturers are sympathetic to educational institu-
tions and will offer special discounts or leasing arrangements. Apple
Computer offers a number of educational programs providing
discounts in the 30% to 40% range. The benefits to the institution in

so
student recruitment and retention should be weighed against the
initial start-up costs of such a program. This argument should not be
overlooked when submitting proposals to school administrators.
Section III lists the costs for equipping a workstation (by manufac-
turers suggested retail price) and there is a worksheet for custom
configuring a sample station and for estimating actual costs.

Summary

There are many good reasons for integrating technology into

your music curriculum: Students respond positively and increase
their learning with computers in an interactive hands-on setting.
Computers bring a sense of "fun" into learning and practicing music.
The interactive environment stimulates creativity for both student
and teacher, and transforms traditional roles into a more positive
relationship. Studies show that computer use increases physical
coordination and response, and both attributes strongly contribute to
general instrumental skills and technique. Our obligation to teach
real world skills to students also cannot be overlooked.

The suggestions for curriculum and courses contained in this

section are obviously just ideas to get you started. Once you begin to
use the technology, many applications will become apparent to fit
your Specific curriculum. You can start as simple as you want, and
build up to as in-depth a curriculum as is appropriate for your
program. At Berklee College of Music, our Music Synthesis Depart-
ment offers almost twenty different courses in using the technology.
These are in addition to the specialized courses offered in the Music
Production and Engineering Department which focus on the record-
ing and production aspects of technology. Within the first year that
we began teaching sound design with the Digidesign hardware and
software, we noticed an immediate improvement in students'

Computers CIId the Music Educator S1

conceptual understanding, an enhanced ability to move between
different synthesizers without the usual steep learning curve, as well
as vastly improved student problem solving skills.

Our Professional Writing Division has its own MIDI lab for
students to learn to write music using sequencers, notation pro-
grams, MIDI and synthesizers. Our Professional Performance
Division has its own lab for teaching MIDI controllers and their use
in live performance. We also have a number of specially outfitted
rooms for ensembles which use synthesizers and computers as well.
Virtually every aspect of our curriculum has been impacted by
technology, and more faculty are becoming involved each year.
Students and faculty both find the opportunities for improving the
teaching and learning environment are many and great. Good luck
with starting your program!

52
 Section III: Reference

This section is meant to serve as a reference guide for music

educators seeking additional information. In this section you will
find additional product information, details on various models and
configurations, suggested methods for making configuration deci-
sions, and references to sources of additional information. Many
companies will offer direct support to educational institutions, most
will recommend a local dealer for sales and educational discounts.
When making a difficult and expensive decision in outfitting a music
program and lab, it is important to try out a variety of setups to see
which will best suit the particular needs of your program. There are
many sou.rces for further information, you will find some of them
listed throughout this section.

Choosing a Macintosh

Selecting the right computer is an important decision which is

complicated by the many models available today. Assuming you
have made the initial decision to use the Macintosh as your music
platform, the remaining decisions will be based on the applications
for your program. Will you be using digital audio? Will you be
using internal sound hardware? Will processing speed be a critical
factor? Will screen size affect your working style? Do you need
color for your applications? Many of you may already own a
Macintosh, or have access to Macs through another department in
your school, and need to know what is available for the specific
model to which you have access. I will divide this section into two

Cantuters and the Musk Educator S3

components, the first part for those who already own or have access
to a Macintosh, and the second for those who are contemplating
purchasing a new computer.

Part I: Configurations if You Own or Have

Access to a Afac

This section should explain what your options are if you own
one of these systems and don't plan to replace it - what hardware
and software packages are available, and how they should be
configured.

A. Compad systems
There are a number of compact models which are no longer
available, but which you may already own or have access to. The
original 128K, 512K, and 512Ke Macintosh are not very useful for
music, as the processing power and memory capacity are insufficient
for professional level applications. Owners of these machines should
consider purchasing the Apple Macintosh Plus logic board upgrade,
or purchasing a newer machine.
Macintosh Plus owners can use most music sequencing pro-
grams and given enough RAM (at least 2.5 megabytes is recom-
mended), can also run notation packages such as Coda's Music
Prose. As the Macintosh Plus does not have an expansion slot (or the
processing power), internal boards for digital audio are not possible.
Using a MIDI interface and multitimbral polyphonic synthesizer,
however, the Plus can be a valuable tool for sequenced musical
production and can be a valued addition to a music writing or
performance course.

54
 The Macintosh SE does have an expansion slot, and can use the
Digidesign Sound Accelerator card although not with full band-
width stereo. In mono, full CD quality sound is possible, and when
combined with SoftSynth or Turbosynth, the Macintosh SE can be a
very valuable tool for teaching about sound and synthesis. Coupled
with a MIDI interface and multitimbral polyphonic synthesizer, the
Macintosh SE is a great asset for teaching writing and performance
courses.

The Macintosh SE/30 is the most powerful of the compact

family, and can use Digidesign's Sound Accelerator card for full
bandwidth stereo audio. This machine is also excellent for music
notation, although the small screen can be a drawback. With an
optional expansion chassis card cage, you could also run a larger
screen monitor as well as audio expansion cards thus getting the
portability of the compact line when you don't need to carry the big
screen, and the flexibility of the modular family when working in the
classroom, lab, or studio. A diagram illustrating a simple music
system setup using the Macintosh SE/30 is shown in the next section
on purchasing a new system.

B. Modular Systems
There are also a number of modular machines no longer
offered by Apple; the Mac II, Mac IIx, and Mac IIcx are all powerful
machines for music, with expansion slots available for internal audio
playback. The Mac II and Mac IIx can be upgraded to a Mac IIfx
with an Apple provided logic board swap, and the Mac Hex can be
likewise upgraded to a Mac IIci. A full description of the Mac H line
and possible configurations for music is provided in the section on
purchasing a new Macintosh below.

Computers and the Music Educator 55

Part II: Selecting a New Macintosh for Music

Assuming that you have decided to purchase a new Macintosh,

your first decision will be between the compact or modular families.
The benefits of the compact systems are low cost, appliance-like ease
of setup, and transportability. The drawbacks are screen size - the
nine inch screen makes doing page layout for musical scores difficult
- and lack of expandability. If your use will require moving the
system regularly (beyond simply rolling equipment between rooms),
you may wish to choose a compact system to simplify the repetitive
packing and setup processes. The benefits of the modular systems
are expandability, computational speed and power, and a wide
choice of available screens: color, monochrome, gray scale, full page,
and two page displays. The options for including audio in your
Macintosh workstation increase dramatically with the modular
systems.

A. Compad systems
If you do choose a compact system for music, the next decision
is choosing between the two currently available models: the Macin-
tosh Oassic and the SE/30. The Classic is a good low cost machine
for basic tasks like word processing and basic level sequencing, but it
lacks the required processor power for heavier computational tasks
such as music notation and digital audio. The Oassic does not have
expansion ~lots, so adding any hardware for internal audio is
precluded. The list price for the Oassic'is $1499 for a 2 megatbyte
RAM, 40 megabyte hard drive configuration.

The Macintosh SE/30 uses the Motorola 68030 processor and

68881 math co-processor running at 16 megaHertz for handling more

56
demanding computational tasks. The SE/30 also has a single
expansion slot called the Processor Direct Slot (PDS) which is
incompatible with the NuBus cards for the Mac II line. Digidesign
does offer the Sound Accelerator card for the SE/30 Processor Direct
Slot. The list price for the SE/30 is $3369 for a 2 megabyte RAM, 40
megabyte hard drive configuration.

If you choose the Macintosh SE/30 for music, then a simple

configuration would be illustrated by the following diagram:

Audio
Input
Level
Control

Opcode Studio 3
MIDllnlerfoce

Multftimbral
Polyphoni(
Synth~izer

B. Modular Systems
If you elect to purchase a modular system, there are three
models from which to choose. The Mac IIsi is the smallest of these
modular systems, with only a single slot. In order to use it, you must
first purchase one of two adapter cards which allow the IIsi to
accepts either NuBus or Processor Direct Slot cards. These adapters
also contain the Motorola 68881 math co-processor. The Mac IIsi

Computers CIld the Music: Educator

uses the Motorola 68030 processor running at 16 megahertz for
roughly the same computing speed and power as the Macintosh SE/
30. Choosing the PDS configuration limits your choice of internal
music cards to the Digidesign Sound Accelerator, choosing the
NuBus adapter allows you to choose between all of the Digidesign
music hardware cards. The current list price for the Mac IIsi is $3769
for a 3 megabyte RAM, 40 megabyte hard drive configuration.
(Monitor is not included.)

The Mac IIci offers three NuBus expansion slots if you use the
internal video, or two if you choose to add a video expansion card
(only necessary if you wish to do 24-bit color). The Mac IIci has a
Motorola 68030 processor and 68881 math co-processor both running
at 25 megaHertz, offering approximately a 40% improvement in
performance over the Mac IIsi. With three available slots the Mac
llci becomes a powerful music workstation. The list price for the
Mac lId is $5969 for a 5 megatbyte RAM, 80 megabyte hard drive
configuration. (Monitor is not included.)

The Mac Ilfx is the fastest most powerful Macintosh

available,using the Motorola 68030 and 68881 processors running at
40 megaHertz, and providing seven expansion slots. The current list·
price for the Mac Ilfx is $8069 for a 4 megabyte RAM, 80 megabyte
hard drive configuration. (Monitor is not included.) With the Mac
IIfx, you could configure a workstation which would include
SampleCeU for internal audio playback, and have a sixteen channel
recording setup with the Pro Tools system. Combined with the
Yamaha PDS CD-recorder, you could master your own audio CD's
right at the desktop.

A complete listing of Macintosh products and pricing is

provided at the back of this section in worksheet format. That

58
worksheet is provided to assist you in configuring an entire system
and for estimating total cost. Remember that all these prices are list,
and that your actual cost will be between 30% and 40% less with
Apple Educator Discount programs.

Digidesign's Products

Digidcsign offers a full line of hardware products which add

high quality audio capabilities to the Macintosh. These can be
categorized into two basic groups; internal sound modules and
digital audio recording and editing systems.

Internal Sound Modules

Ma(Proteus
MacProteus is a polyphonic multitimbral synthesizer card
based on the popular Proteus sound module built by E-Mu Systems.
MacProteus contains 192 sounds stored in on-board memory and
features thirty-two voice polyphony. The product is shipped with
Opcode Systems' software for front panel and patch librarian
operations. Combined with sequencer software, this card can
produce high quality synthesized sound from within the Mac. List
price $895

SampleCell
SampleCell is a high-quality digital sixteen voice polyphonic
multitimbral sample player, capable of playing back 44.1 kHz sixteen
bit stereo (CD-quality) samples created using Digidesign's Sound
Designer II software. Included with SampleCeIl is a 630 megabyte

S9
CD-ROM disk containing a wide variety of acoustical instrument
timbres and useful sound effects. SampleCell can be configured with
up to eight megabytes of on-board memory for instant access to a
wide variety of sounds. List price $1995 with no memory (Sample-
Cell uses standard 1 Meg SIMMs), or $2995 with eight megabytes
RAM.

Digital Audio Recording and Editing Systems

Audiomedia system

Audiomedia is a low-cost, entry-level system for multi-track

audio recording and MIDI sequence playback for the Mac II family
of computers. The Audiomedia system consists of the Audiomedia
board for analog audio input and output, Audiomedia application
software and Sound Access, a HyperCard stack for sound recording
and playback directly within the HyperCard environment. DECK
software can be added to expand the capabilities of the system into a
four track recording and editing system with MIDI file playback.
Current list price is $995.

Audiomedia Card
Audiomedia is a Nubus card which provides a low cost solu-
tion for audio input and output from the Mac II family of computers.
Audiomedia provides for both stereo input and output.
Audiomedia software provides for graphic waveform editing.

DECK Software
DECK offers four tracks of digital audio recording and editing,
with an intuitive console-like user interface. DECK features fully

60
automated equalization and mixdown, built-in signal processing,
and MIDI file playback. List price is $349

Sound Tools system

The Sound Tools system consists of the Sound Accelerator card,
a choice of one or more of three audio input devices including the
AD IN, DAT I/O, and Pro I/O units, and Digidesign's Sound
Designer II software. Add DECK software as listed above to add the
functionality of four track digital audio recording and editing.
Sound Tools provides a flexible system which can grow to meet your
changing needs. The individual components are listed here first,
followed by common system groupings with special package
pricing.

Sound Accelerator
Sound Accelerator uses a Motorola Digital Signal Processing
chip to provide two channels of high quality (44.1 kHz, 16 bit) audio
playback directly from the Macintosh. Sound Accelerator is
available in various card formats which work with the Macintosh SE,
SE/30, and Mac II model lines. List price is $1295.

AD IN
AD IN is a two-input stereo analog to digital converter. Con-
necting to the Sound Accelerator card listed above, the AD IN box
accepts line level audio sources for recording directly to the Macin-
tosh computer's hard disk. Front panel controls and LEOS allow
you to optimizc incoming signal levels and to select stereo or mon-
aural recording. List price is $995.

Computers CIld the Music Educator 61

DAIIIO
The DAT I/O is a bidirectional digital stereo audio input and
output interface. This unit allows you to bring audio into the
Macintosh for storage, editing, and playback while remaining solely
within the digital domain. The DAT I/O supports the industry
standard AES/EBU and S/PDIF data formats. The OAT I/O may be
connected directly to the Sound Accelerator card listed above, or
may be used in conjunction with the AD IN interface. List price is
$995.

Pro 1/0
The Pro I/O provides professional level analog to digital
conversion in a one space rack mount unit. Using the finest in audio
components, this interface delivers the finest performance of any
stereo AD/DA device on the market. List price is $2995.

Sound Tools systems are usually grouped in packaged bundles

for ease of purchase and setup. The following lists the most common
package groupings:

Analog only system

AD IN
Sound Accelerator
Sound Designer II software.
List price is $3285

Digital only system

DATI/O
Sound Accelerator
Sound Designer II software.
List price is $3285

62
Pro Analog only system
.PRO 1/0
Sound Accelerator
Sound Designer II software.
List price is $5285

Analog and Digital system

AD IN
DATI/O
Sound Accelerator
Sound Designer II software.
List price is $4280

Pro Analog and Digital system

PRO 1/0
DATI/O
Sound Accelerator
Sound Designer II software.
List price is $6280

Pro Tools system

The Pro Tools system begins with four channels of digital and
analog input and output, and can be expanded to up to sixteen
channels in groupings of four. The system includes the Audio Card,
Audio Interface, and ProDeck and ProEdit software. Pro Tools
features balanced XLR analog input and output, and AES/EBU and
S/PDIF digital input and outputs. The system offers unlimited
virtual tracks with fully automated real-time parametric equalization
and digital effects processing. The Pro Deck software offers MIDI
recording, playback and event editing, with graphical non-destruc-
tive editing of digital audio and MIDI tracks. List price is $5995.

Computers and the Musk Educator 63

Pro Tools Audio Card
The Pro Tools Audio Card provides extremely high quality
multi-channel audio output from the Mac II model line.
Configurations are available for four, eight, twelve, or
sixteen channels of CD~uality audio. The Pro Tools Audio
Card is available only in Nubus format.

Pro Tools Audio Interface

The Audio Interface connects to the Pro Audio Audio Interface
Card listed above for multi-channel audio input and output. Each
one space rack mount unit contains input and output connecters for
four channels of analog and digital audio. Up to four of these
interfaces may be connected (a System Accelerator card is required)
to create a digital sixteen channel multitrack recording and editing
system.

In addition to these recording and editing systems, Digidesign

offers additional hardware add-ons for the Macintosh and music -
The Pro Store series of hard drives and the Yamaha PDS CD
mastering system. Each of the Pro Store drives is a high-capacity
SCSI (Small Computer Systems Interface) drive for connection
directly to the SCSI port of your Macintosh. The drives are all rack
mounted in three space units, and come in three capacities:

Pro Store 660 megabytes List price $3495

Pro Store 1 gigabyte List price $4495
Pro Store Optical List price $4995

The Pro Store Optical uses 650 megabyte removable erasable

magnetCK>ptical cartridges for flexibility in backing up files, trans-
porting large files between workstations, or for recording directly to
disk a full hour of stereo CD quality sound.

64
 The Yamaha PDS system allows for mastering write-once
compact disks directly from Sound Tools or Pro Tools files. This
$24,995 system produces discs playable by any standard CD player,
complete with track indexes, catalog codes, copy prohibit codes, and
song offsets. The PDS system consists of the Yamaha YPE301
encoder and YPR201 recorder. Additional recording units (up to
fourteen) can be chained together for larger production runs, each
additional unit costing $14,995. The system includes Digidesign's
Master List PDS software for organizing the order of music from any
number of hard disks. The playlist can be auditioned in real-time,
and edits are quick and non-destructive. The PDS is ideal for
archiving library recordings or for creating school-produced student
or faculty recordings.

Combined with various Digidesign software packages, these

hardware packages tum the Macintosh into a full-featured worksta-
tion for digital audio and music production.

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~Iers CIld the Music E""alor 65

Recommended Multitimbral Synthesizers

There are many models of synthesizers available today, and

new ones hit the streets almost daily. This listing, while not compre-
hensive, will serve as an introduction to some of the better
multitimbral polyphonic instruments commercially available. These
products have been selected to be represented here because of sound
quality, reliability (a major issue when selecting instruments for a
student environment), and overall value for the price. Prices listed
are manufacturers suggested retail prices, but many dealers offer
educational discounts. Products are listed alphabetically by manu-
facturer.

Integrated Synthesizers

Kawai K4
The Kawai K4 is a sixteen voice polyphonic multitimbral
keyboard synthesizer based on samples and subtractive synthesis
technology. The keyboard consists of sixty-one notes and is velocity
and pressure sensitive. The K4 contains 256 waveforms of sampled
and synthesized sounds which can be combined into sixty-four
single and sixty-four multi-patches. The instrument can play up to
eight timbres simultaneously up to the sixteen voice polyphony
limit. The K4 provides thirty-two internal effects for processing the
internal sounds to stereo outputs. list price is $1445.

Kora Ml
The Korg Mt is a sixteen voice polyphonic multitimbral
keyboard synthesizer based on sample and subtractive synthesiS
technology. Up to eight different timbres may be played simulta-

66
neously. The memory consists of four megabytes of sixteen bit
samples, organized into 100 single and 100 multi-patches. Two
digital effects processors are included for processing internal sounds.
Stereo and two direct outputs are provided for flexible mixing
configuration. An eight thousand note sequencer is provided on-
board for full work-station type activity. List price $2749

Korg Tl, T2, T3

The T series synthesizers are the ''big brothers" to the Mllisted
above. The only real difference between the three T series instru-
ments are the keyboards; eighty-eight note weighted, seventy-six
note unweighted, and sixty-one note unweighted respectively. All
three keyboards are velOcity and pressure sensitive. The T series
have twice the amount of samples as the Ml, and have an expanded
50,000 note on-board sequencer. The T series instruments are 16
voice polyphonic multitimbral synthesizers based on samples and
subtractive synthesis. Two full-featured digital effects units with a
variety of configurations supply output to stereo and two additional
outputs. List prices: T1 $5839, 1'2 $4195, and T3 $3250

Kurzweil K1200
The Kurzweil K1200 is a twenty-four voice polyphonic
multitimbral keyboard synthesizer based on sample playback.
Containing primarily acoustic instrument samples, the Kurzweil is
most famous for its excellent grand piano sound. The eighty-eight
note keyboard is weighted, and is velocity and pressure sensitive.
The twenty-four voices can be dynamically allocated to any of the
sixteen available MIDI channels, each channel responding with a
separate timbre. There is no internal signal processing, and only
stereo outputs are provided. List price $2995

Roland U-20
The Roland U-20 is a thirty-voice polyphonic multitimbral
keyboard synthesizer based on sample playback technology. The U-

Computers CIId the Musk Educator 67

20 can playa maximum of seven timbres simultaneously (six instru-
mental parts with additional percussion part) up to the thirty voice
polyphony limit. The keyboard has sixty~ne keys and is velocity
and pressure sensitive. The U-20 comes with 128 preset sounds
representing the basic instrumental and synthetic sound groups.
Two card slots are provided for accessing additional sounds. Digital
reverb and chorus effects are built in. The U-20 provides a pair of
stereo outputs, with an additional four direct outputs for further
signal processing. List price $1795

Yamaha 5Y99
A thirty-two voice polyphonic multitimbral (sixteen sampled
sound voices and sixteen PM voices) keyboard synthesizer based on
samples and PM synthesis. The SY 99 provides two pairs of stereo
and eight individual polyphonic outputs. Combining samples with
the distinctive Yamaha PM synthesis sounds in the digital domain
with four effects processors allows for a wide variety of acoustic and
synthetic sounds. List price $3995

Sound Modules

Kawai K4r
The K4r is a one space rack mount synthesizer based on the
Kawai K4 keyboard synthesizer listed above. Specifications are
essentially similar between the rack mount and keyboard versions
except the sound module has no internal effects and instead pro-
vides six individual outputs as well as stereo outs. Ust price $995

Korg MIREX
The MIREX is based on the Ml keyboard synthesizer listed
above, but with the expanded number of sounds contained in the T

68
series instruments also listed above. This three space rack unit
provides the on-board sequencer of the M1, and both stereo and two
additional direct outputs. List price $2500

Roland U-220
The U-220 is a one space rack mount synthesizer based on the
Roland U-20 keyboard synthesizer listed above. Specifications are
essentially similar between the rack mount and keyboard versions.
List price $1095

Kurzwed 1200PRO
The 1200PRO is a two space rack mount synthesizer based on
the Kurzweil K1200 keyboard synthesizer listed above. Specifica-
tions are essentially similar between the rack mount and keyboard
versions. List price $1595

Yamaha TG 77
The TG77 is a three space rack mount version of the SY 77. List
price $3495

Computer Music Peripherals

Roland PC-200
The PC-200 is a four octave velocity sensitive MIDI keyboard
for data input into the computer. The keyboard offers pitch bend
and modulation controllers. Ust price $350

JL Cooper Control Stations

The JL Cooper CS-1 and C5-10 control stations provide direct
hardware-based control input for Digidesign recording and editing
packages. The CS-1 provides transport controls, a jog wheel, and

CoqMrters CIId the Music Educator 69

four assignable function keys for controlling various parameters in
AudioMedia, Sound Tools, or Pro Tools systems. The CS-1 is an
ADB (Apple Desktop Bus) device and plugs directly into the Macin-
tosh for fast input to the software.

The CS-10 provides all of the features of the CS-1 with the
addition of eight sliders with assignable buttons (for mutes, etc.), five
additional function keys, and six rotary potentiometers. The CS-10
connects to the Mac's serial port for added speed for input and
output, and provides a serial through port for connecting a MIDI
interface as well. These two devices provide the feel of mixer
controls and tape transport buttons which enhance the physical
control of these software systems. list price for the CS-1 is $599.95,
and the CS-10 is $1295.

MIDI Controllers

Wind Controllers

Yamaha WIll /WTll

The Yamaha MIDI wind controller system consists of the WX11
controller and WT sound module which is optimized for wind
control. The wn 1 is eight-note polyphonic, using PM synthesis
technology. The WTll comes with 144 voices, thirty-two of which
are user-programmable. The WX11 uses standard Boehm fingering,
and provides wind and lip sensing. The range of the instrument can
be shifted over five octaves. List price $995

Casio DH-200
The Casio Digital Horn is a breath sensitive MIDI controller
with six preset tones and built in speaker. As a MIDI controller, the

70
DH-200 provides MIDI out with breath control, portamento control,
and key transpose features. List price $189.50

Akai~1 1000/2000
The Akai Electronic Wind Instrument consists of the EWI 1000
controller and the EWV 2000 sound module. The controller sends
breath and lip sensor data, pitch bend, and can select the range over
seven octaves. The sound module uses subtractive synthesis tech-
nology to produce a two oscillator monophonic voice. List price
$1400.

Percussion Controllers

Roland Odapad II
The Octapad II (also known as the Pad 80) consists of eight
velocity sensitive pads and inputs for six additional triggers. The
internal software allows you to assign up to two layers of MIDI key
numbers for each pad. Velocity scaling, curves, pitch bend, and
velocity switching are available and can be saved to memory loca-
tions. List price $850

KAT DrumKat
The DrumKat features ten pads and nine trigger inputs. Up to
three notes can be layered per pad. The internal software allows you
to scale velocity, map channels, and sends pitch bend and sustain
infonnation. List price $1099

KAT Mallet Controller

The Kat mallet controller comes as a one octave master unit
with extra octaves available at incremental cost. Up to three notes
can be layered per key. Keys are velocity and pressure sensitive and
a sustain pedal is provided. Setups can be stored to internal memory
and 256 setups are provided. Ust price for the master unit is $1195.
Extra octaves are $695. A four octave unit is $3142

Con.,uters cmd the Musk EUafar 71

Guilar (onlrollers

Casio MG51 0
The MG510 can function independently as an electric guitar
and guitar MIDI controller. The guitar sends velocity, MIDI volume,
pitch bend and octave transposition. Transduction is through pitch
to MIDI conversion. List price $899

Roland GK2/GR50
The GK2 is a pickup for detecting pitch from any guitar
(mounting is necessary). The GK2 tracks pitch bend from the strings
and sends MIDI pitch bend data. The GRSO is a pitch to MIDI
converter and sound module. Sounds are based on samples and
subtractive synthesis technology. List price $1549.50

Zela Mirror 6
The Zeta Mirror 6 is a MIDI guitar and converter system which
employs pitch to MIDI and wired frets to discern MIDI note informa-
tion. Pitch bend and velocity information are sent along with MIDI
note numbers. List price $3500

Teaching Lab Systems

Korg
The Korg GEC comes in two configurations:
Group Education Controller: The GEC-8 is an eight student
console and the GEC-16C is a sixteen student console. Both feature
front panel control and include the ability for computer control via a
standard RS432 connector. The student station interfaces are sold

72
separately so that you can configure only he number of stations you
need, and can add more as your needs grow. The Student Commu-
nications Interface (SCI) provides stereo inputs for the student
instrument, stereo outputs for headset (included with the SCI) and
input for student microphone. Also included on the SCI is a head-
phone level control and call button to contact the instructor. The
GEC system can be controlled via IBM or Macintosh computers and
features multiple class templates and a graphic interface for connect-
ing students and archiving lab activities. The console features inputs
for the teacher'S instrument, auxiliary inputs, and allows for config-
uring students into groupings of two to four students for ensemble
practice. The system is stereo throughout.
Prices are as follows:

GEC-8: $1199
GEC-16: $1599
SCI: $150

Roland Tl-16
The Roland TL-16 Teaching Laboratory system consists of the
TL-16 console, TLC-1 student interface connectors, T-5, 15, and 20
connector cables, and RH5-200 headsets. The system components
are sold separately so that you can configure only the number of
stations you need and add more stations as your needs grow. The
TL-16 will handle up to sixteen students in a single group or up to as
many as four sub-groupings. Inputs are offered for teacher instru-
ment, tape deck, and auxiliary devices. The system is monophonic
between the students and the teacher, but provides stereo output
from the teacher console (for tape playback). Prices are as follows:

Computers and the Musk Educ:ator 73

 n-16 console: $1600
nC-l $40
~200 $160
T5 (16' cable): $20
TI0 (32' cable): $36
TIS (48' cable): $50

Yamaha MLA-16
The Yamaha MLA-16 is a sixteen student system which sup-
ports stereo playback from the teacher station and mono communi-
cation between teacher and students. The MLA-16 is sold in a
complete package including all necessary cables, interface units, and
headsets. Teacher station inputs include stereo inputs for instrument
and auxiliary devices. Suggested price for the system is in the $4896
range.

Instrument Manufacturers

Akai
Akai Professional
1316 E. Lancaster
Fort Worth, TX 76114
(817) 336-5114

Casio
Casio Inc.
570 Mt. Pleasant Avenue
POBox 7000
Dover, NJ 07801
(20t) 351-5400

14
JLCooper
JL Cooper Electronics
13478 Beach Avenue
Marina Del Ray, CA 90292
(213) 306-4131

Kat
Kat MIDI Controllers
515 Washington Avenue
West Hempstead, NY 11552
(413) 594-7466

Kawai
Kawai America Corporation
2055 East University Drive
Compton, CA 90224-9045
(800) 421-2177
(213) 631-1771

Kurzwed
Young Chang America, Inc
13336 Alondra Boulevard
Ceritos, CA 90701
(213) 926-3200

Korg
Korg USA, Inc.
89 Frost Street
Westbury, NY 11590
(516) 333-9100

Computers and the Musk Educator 75

Roland
Roland Corp US
7200 Dominion Circle
Los Angeles, CA 90040-3647
(213) 685-5141

Yamaha
Yamaha Music Corporation, USA
6600 Orangethorpe Avenue
Buena Park, CA
(714) 522-9011

Zeta
Zeta Music Systems
2230 Livingston Street
Oakland, CA 94606
(415) 261-1702

Hardware/Software Manufactures

Software

Coda Musk Software

Tom Johnson
National Sales Manager
Coda Music Software
1401 East 79th Street
Bloomington, MN 55425-1126
(612) 854-1288

76
 Coda designs and markets fine software for music notation.
Music Prose is an easy to use entry-level program which offers up to
thirty-two staves, MIDI transcription and playback, PostScript
output, part extraction and upward compatibility with their high-
end Finale software. Finale is a professional-level music notation
and page layout program for high quality publishing applications.
While difficult to learn, Finale has the power to do most any music
notation you can imagine.

Digidesign
Andrew Calvo
Higher Education/Developer Relations
1360 Willow Road, Suite 101
Menlo Park, CA 94025
(415) 688-0600

Digidesign makes excellent software for sound design, audio

recording, digital signal processing, mixing, editing, and mastering.
Combined with Digidesign hardware products, these software
packages turn the Macintosh into a full-featured digital audio
workstation.

Softsynth allows you to perform additive and FM synthesis

techniques using up to thirty-two partials or operators. Using a
graphic interface which is friendly and easy to understand, and
hardware which allows the sound to be auditioned as it is being
created, SoftSynth is the only practical way to teach the concepts of
additive and FM synthesis.

Turbosynth is a modular synthesis package which emulates

synthesizers with oscillators, filters, and envelope generators totally
within the digital domain, and with a beautiful graphic interface.

~ers CIld the Musk Educator 77

Modules can be connected with patch cords, and every parameter
can be adjusted and auditioned in real time. Turbosynth is the .
perfect software for teaching synthesis concepts without the burden
of teaching specific instrument implementations.

Sound Designer II is a two-track stereo recording and

sample editing package. Macro-type editing such as graphic and
parametric equalization, pitch transposition, and time compression
can be applied to entire tracks or selected regions. Waveforms can
be edited down to sample accuracy. The user interface is well
thought-out and intuitive. Edit Decision List editing is also friendly
and powerful with the region edit commands. ProEdit software
extends Sound Designer II's stereo recording and editing features
into the multitrack domain.

DECK is a four-track mixing, processing and recording

environment for emulating a four-track tape machine inside the
Macintosh. MIDI sequence file playback can be synchronized to
digital audio recording, and the entire process can be locked to
SMPfE time code for professional level productions.

Dr. T's
Evette Murray
Sales Representative
100 Crescent Road, Suite IB
Needham, MA 02194
(617) 455-1454

Dr. Ts is a full-line software distributor for Atari, Commo-

dore, PC's, and Macintosh software. Beyond is a MIDI sequencer
with thirty-two channel MIDI support featuring real time editing,
MIDI time code support, and graphical song display and editing.

18
 X-oR is a universal patch editor and librarian, supporting
most popular MIDI synthesizers. Compatible with file formats from
Opcode Systems, as well as with IBM, Atari, and Amiga systems,
this software allows the user to configure an entire studio into a
simple bank-like setup.

M is algorithmic composition software originally designed

and sold by Intelligent Music, now available through Dr. T's. M is a
powerful package which turns the Mac into an intelligent musical
instrument for composing and performing. Jam Factory is another
package from Intelligent Music which provides four intelligent
players in an algorithmic composition performing environment for
the Mac. UpBeat is a Rhythm Sequencer with automated variation
generators and instantaneous feedback so you can hear your
rhythms as you create them.

Mark of the Unicorn

John Mavraides
Marketing Director
222 Third St.
Cambridge, MA 02142
(617) 576-2760

Mark of the Unicorn's Professional Composer was the first

notation package for the Macintosh, and has matured over the years
to now include MIDI input and output. PostScript output is avail-
able through the optional Adobe Sonata font. Performer was the
first really powerful and intuitive MIDI sequencer for the Macintosh.
The newest versions support editing in three views; list editing,
graphic editing, and notation editing. The program uses a non-
standard Macintosh interface which provides art deco-like windows,
menu bars, and dialog boxes. A new version of Performer which
supports stereo audio recording using Digidesign hardware is soon
to be released.

Computers and the Music Educator 79

Opcode Systems
Paul Debenedictis
Marketing Director
3641 Haven Drive
Suite A
Menlo Park, CA 94025
(415) 369-8131

Opcode is the leading supplier of patch editing and librarian

software. Individual packages are available for most popular
synthesizers. Galaxy is a universal librarian which offers the support
of most synthesizers through installable modules. Modules can also
be custom-written by users through the simple to use PatchTalk
language provided with Galaxy. Galaxy Plus Editors is as it appears,
the entire Galaxy librarian package with editor module for most
popular synthesizers as well. EZ Vision is an entry-level sequencer
with an intuitive user interface and enough power for most teaching
environments. Vision is the professional version which supports
SMPTE time code, OMS (the Opcode MIDI System - a graphic
environment for simplifying complex studio setups), and up to 480
MIDI channels. Using both graphic and list editing, Vision offers
enough power and ease of use for any professional or educational
application. Studio Vision is Vision with the ability to record and
edit up to sixteen channels of audio using Digidesign's hardware.
Studio Vision is a unique and exciting package which combines the
worlds of acoustic instruments and MIDI synthesizers into the same
graphic environment. MIDI Play is a set of routines for playing back
MIDI sequences from HyperCard. The Book of MIDI is a HyperCard
stack for teaching and or learning about MIDI and synthesizers.

80
Passport Designs
Jeannie Ditter
Execu tive Director Of Sales
HalfMoon Bay, CA 94019
(415) 726-2254

Passport offers three levels of sequencing power with a built

in growth path through its Trax, Master Tracks, and Pro 4 sequenc-
ers. All feature graphic editing and up to sixty-four tracks. Trax
supports sixteen MIDI channels, and both Master Tracks and Pro 4
support thirty-two MIDI channels. Both Master Tracks and Pro 4
offer external synchronization through MIDI and SMPTE time codes.
Pro 4 also adds sliders, mixing, instrument naming, and list editing
to the features offered by Trax and Master Tracks.

NoteWriter II is a full-featured graphics package for music

notation which offers PostScript compatibility but no MIDI input or
output. Encore builds on Notewriter II's graphics capability and
adds transcription of MIDI input, MIDI file notation, and MIDI
playback. Encore will open all Passport sequence files for direct
transcription.

Alchemy and Sound Apprentice are sample editing pack-

ages. Alchemy supports a Distributed Sample Network (DAN)
which can send samples to a wide variety of samplers. Alchemy also
supports the Digidesign Sound Accelerator and Audiomedia cards
for sample playback. Sound Apprentice is a scaled down version of
Alchemy for the Audiomedia board.

Computers and the Music: Educator 81

Scorpion Systems Group
Steve Shepard
18899 Twelve Mile Road
Lathrup Village, MI 48076
(313) 356-7241

sYbil is a real-time performance processor for the Macintosh.

Through an intuitive graphic user-interface, you set up "identity
maps" which allow you to control what note or notes sound upon
playing a given pitch. Specific pitches can also be set up to change
between identity maps, create transpositions, tum sustain on or off,
set record and playback loops, and many other powerful controls.

Hardware

Apple Computer
20525 Mariani Avenue
Cupertino, CA 95014
(800) 732-3131
Education: extension 450
Higher Education: extension 430

Digidesign
Andrew Calvo
Higher Education/Developer Relations
1360 Willow Road
Suite 101
Menlo Park, CA 94025
(415) 327-8811

82
Resources for Music Educators

Joumals and Periodicals

The (omputing Teacher

The International Society for
Technology in Education
1787 Agate Street
Eugene, OR 97403-1923
(503) 346-4414

(omputer Music Journal

MIT Press Journals
55 Hayward Street
Cambridge, MA 02142-9949
(617) 253-2866
ISSN 0148-9267

Musk & (omputer Educator

T AMEE Publications
807 East Jericho Turnpike
Huntington Station, NY 11746
ISSN 1050-0642

ARRAY
Computer Music Association
POBox 1634
San Francisco, CA 94101-1634
(817) 566-2235

(omputer Music Source Book

Computer Musician Coalition
1024 West Wilcox Avenue

~ CIld the Musk Educator 83

 Peoria, IL 61604
(309) 685-4843
ISBN 0-945505-00-0

Journal of (ompuling in Higher Education

NERComP, Inc
350 Lincoln Street
Suite 215
Hingham, MA 02043
(617) 740-0001

Keyboard Magazine
Miller Freeman Publications
20085 Stevens Creek Blvd.
Cupertino, CA 95014
(408) 446-1105
ISSN 0730-0158

Eleclronk Musician
ACT III Publications
6400 Hollis Street #12
Emeryville, CA 94608
(415) 653-3307
ISSN 0884-4720

Mix Magazine
Act III Publications
PO Box 41094
Nashville, TN 37204-9830
(615) 370-5643

84
Texts,re'erences

Foundations of Computer Music

Curtis Roads
John Strawn
The MIT Press
Massachusetts Institute of Technology
Cambridge, MA 02142
ISBN 0-262-68051-3

Computer Music • Synthesis, Composition,and Performance

Charles Dodge
Thomas A. Jerse
Schirmer Books
866 Third A venue
New York, NY 10022
ISBN 0-02-873100-X

Synthesizers and Computers

Brent Hurtig
Hal Leonard
8112 West Bluemound Road
Milwaukee, WI 53213
ISBN 0-88188-716-1

Digital Electronic Music Synthesizers

Delton T. Horn
TAB BOOKS
Blue Ridge Summit, PA 17214
ISBN 0-8306-2695-6

Computers and the Music Edutator 85

1H Art of Electronic Musk
Tom Darter
Greg Armbruster
Quill
105 Madison Avenue
New York, NY 10016
ISBN 0-688-03106-4

Electronic Music - Systems, Techniques, and Controls

Allen Strange
Wm. C. Brown Company
Dubuque, Iowa
ISBN 0-697-03602-2

Synthesizer Basics
Tom Darter
Hal Leonard
8112 West Bluemound Road
Milwaukee, WI 53213
ISBN 0-88188-289-5

MIDI · The Ins, Outs, and Thrus

Jeff Rona
Hal Leonard
8112 West Bluemound Road
Milwaukee, WI 53213
ISBN 0-88188-560-6

Music and the Macintosh

Geary Yelton
MIDI America
941 Heritage Hills
Atlanta, GA 30033
ISBN 0-9623397-6-8

86
The Science of Musical Sound
John R. Pierce
Scientific American Books
W. H. Freeman and Company
41 Madison Avenue
New York, NY 10010
ISBN 0-7167-1508-2

Conferences and Associations

The (omputer Music Association

P.O. Box 1643
San Francisco, CA 94101-1634
(817) 566-2235

International Association of Jazz Educators

Box 724
Manhattan, KS 66502
(913) 776-8744

Musk Educators National (onference

1902 Association Drive
Reston, VA 22091
(703)860-4000

Association for Technology in Music Instruction

Dr. Ann Blombach
Ohio State University
110 Wiegel Hall
1866 College Street

Computers (lid the Music Educator 87

 School of Music
Columbus, OH 43210

International MIDI Association

Lachlan Westfall
5316 West 57th Street
Los Angeles, CA 90056
(213) 649-6434

International Sodety for Technology in Education

ISTE
1787 Agate Street
Eugene, OR 97403-1923
(503) 346-4414

MacAdemia Conference
Apple Computer
20525 Mariani A venue
Cupertino, CA 95014
(800) 732-3131
Education: extension 450
Higher Education: extension 430

Music Educator Seminars

Berklee College of Music

John Hagon
Chair, Music Education Department
Berklee College of Music
1140 Boylston Street
Boston, MA 02215
(617) 266-1400

88
Duquesne University (various sites)
Larry Allen
Director of Summer Programs
Duquesne University
120 Sylvan Dr.
Valparaiso, IN 46383
(219) 464-3390

Centers of Advanced Studies

IRCAM
31 rue Saint-Merri
75004 Paris, France
42-77-12-33, extension 48-21

Center for Computer Research in Music and Acoustics (CCRMA)

Department of Music
Stanford University
Stanford, CA 94305

The Bregman Electronic Music Studio

Dartmouth College
Hanover, NH 03755

Computer Audio Research Laboratory (CARL)

University of California, San Diego
La Jolla, CA 92093

(enter for New Music and Audio Technologies (CNMAT)

University of California, Berkeley
1750 Arch Street

Coqxders Cltd the Musk Edutator 89

 Berkeley, CA 94709
(415) 643-9990

The Media Lab

Massachusetts Institute of Technology
Cambridge, MA 02142-9949
(617) 253-0300

Electronic Bulletin Boards

PAN
Perry Leopold
SysOp
POBox 162
Skippack, PA 19474
(215) 584-0300

Mac Users at Berklee (MUB BBS)

Richard Boulanger
Faculty Advisor
Berklee College of Music
150 Massachusetts Avenue
Boston, MA 02115
(617) 266-1400

CampuServe
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 David Mash is the Assistant Dean of Curriculum
for Academic Technology at 139rklee College
of Music in Boston, Massachusetts, where he
has taught since 1976. In 1984 David began
designing the Music Synthesis Department at
Berklee , a program which has gained interna-
tional recognition as one of the finest avail-
able courses of study in music technology.
David left his position as Chairman of the
Music Synthesis Department last year to
assume his current post, in which he is respon-
sible for all c urricular applications involving
technology at Berklee, the largest indepen-
dent college of music in the country with over
2700 full-time music students. David is a
recognized leader in this area and has spoken
at major conferences throughout the United
States, published extensively on the subject,
and has p resented dozens of clinics around
the world inc luding Argentina, Japan, Spain,
It aly , a nd Germany.

Computers are n't just for compute, science departments anymore.

If you teach:

Classical Performance. Jazz Performance. Vocal Pe rfo rmance . Instrumentol

Performance. Orchestro+;on • Thpory • Ear Tra ining . Composition . Recording
Techniques. Electronic Music
yr.-v could be using computers to accelerate the learning process of your students.
Creative educators are now utilizing the power of computers to turn learning from
a passive to active experience. These new comput er technologies will help you as
an educator by providing interacth!e tools for your students to practice and learn
with . Computers also seNe as invaluable teaching aids In the classrooms, provrd
ing immediate and varied rTiusical examples at the touch of a mouse.
But where do you start1 W;tr r the variety of computers, hardware and software
available today, making an educated decision is essential. David Mash's book,
Computers and the Music Educator, is designed to aid all music educators
through their first step in integrating new technologies by providing specific
curriculum, product descriptions, lessons plans, course ideas, budget scenarios
and a resource guide. This book will give you ideas on classrooms, labs, and
practice rooms of the future and how the computer will impact them positively.
We believe by incorporating these new computer technologies, you can revitalize
your own teaching methodology, regain the excitement of seeing students
actively involved in the pursuit of knowledge, and have fun in the process!