"A Chronology / History of Electronic and Computer Music and Related Events 1906 - 2015" Doornbusch, P.
Research has shown that people speculated about computers playing music, possibly because computers would make noises, but there is no evidence that they actually did it. The world's first computer to play music was the CSIR Mark 1 (later named CSIRAC), which was designed and built by Trevor Pearcey and Maston Beard from the late 1940s.
Mathematician Geoff Hill programmed the CSIR Mark 1 to play popular musical melodies from the very early 1950s.
In 1950 the CSIR Mark 1 was used to play music, the first known use of a digital computer for the purpose.
Researchers at the University of Canterbury, Christchurch declicked and restored this recording in 2016 and the results may be heard on SoundCloud. Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback.
From the late 1950s, with increasingly sophisticated programming, programs would run for hours or days, on multimillion-dollar computers, to generate a few minutes of music.
The music was never recorded, but it has been accurately reconstructed. In 1951 it publicly played the "Colonel Bogey March" of which only the reconstruction exists.
However, the CSIR Mark 1 played standard repertoire and was not used to extend musical thinking or composition practice, as Max Mathews did, which is current computer-music practice. The first music to be performed in England was a performance of the British National Anthem that was programmed by Christopher Strachey on the Ferranti Mark 1, late in 1951.
Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956-9, manifested in the 1957 premiere of the Illiac Suite for string quartet. In Japan, experiments in computer music date back to 1962, when Keio University professor Sekine and Toshiba engineer Hayashi experimented with the computer.
Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956-9, manifested in the 1957 premiere of the Illiac Suite for string quartet. In Japan, experiments in computer music date back to 1962, when Keio University professor Sekine and Toshiba engineer Hayashi experimented with the computer.
John Chowning's work on FM synthesis from the 1960s to the 1970s allowed much more efficient digital synthesis, eventually leading to the development of the affordable FM synthesis-based Yamaha DX7 digital synthesizer, released in 1983.
Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956-9, manifested in the 1957 premiere of the Illiac Suite for string quartet. In Japan, experiments in computer music date back to 1962, when Keio University professor Sekine and Toshiba engineer Hayashi experimented with the computer.
Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendants, further popularising computer music through a 1963 article in Science.
Ezaki also published an article called "Contemporary Music and Computers" in 1970.
Since then, Japanese research in computer music has largely been carried out for commercial purposes in popular music, though some of the more serious Japanese musicians used large computer systems such as the Fairlight in the 1970s. Early computer-music programs typically did not run in real time, although the first experiments on CSIRAC and the Ferranti Mark 1 did operate in real time.
The programmes were written by Ferruccio Zulian and used by Pietro Grossi for playing Bach, Paganini, and Webern works and for studying new sound structures. In the late 1970s these systems became commercialised, notably by systems like the Roland MC-8 Microcomposer, where a microprocessor-based system controls an analog synthesizer, released in 1978.
John Chowning's work on FM synthesis from the 1960s to the 1970s allowed much more efficient digital synthesis, eventually leading to the development of the affordable FM synthesis-based Yamaha DX7 digital synthesizer, released in 1983.
The programmes were written by Ferruccio Zulian and used by Pietro Grossi for playing Bach, Paganini, and Webern works and for studying new sound structures. In the late 1970s these systems became commercialised, notably by systems like the Roland MC-8 Microcomposer, where a microprocessor-based system controls an analog synthesizer, released in 1978.
In the 1980s, Japanese personal computers such as the NEC PC-88 came installed with FM synthesis sound chips and featured audio programming languages such as Music Macro Language (MML) and MIDI interfaces, which were most often used to produce video game music, or chiptunes.
John Chowning's work on FM synthesis from the 1960s to the 1970s allowed much more efficient digital synthesis, eventually leading to the development of the affordable FM synthesis-based Yamaha DX7 digital synthesizer, released in 1983.
By the early 1990s, the performance of microprocessor-based computers reached the point that real-time generation of computer music using more general programs and algorithms became possible. Interesting sounds must have a fluidity and changeability that allows them to remain fresh to the ear.
"A Chronology / History of Electronic and Computer Music and Related Events 1906 - 2015" Doornbusch, P.
Researchers at the University of Canterbury, Christchurch declicked and restored this recording in 2016 and the results may be heard on SoundCloud. Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback.
"MuSA 2017 – Early Computer Music Experiments in Australia, England and the USA" Perry, Mark, and Thomas Margoni.
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