Humanization of Computer Music
L eigh M. Smith · The Journal of the Acoustical Society of America · 1970
In most computer music, rhythm has been expressed in real-time seconds. Some flexibility has been achieved by using sub-routines that change the input seconds to varying real durations. The Stanford Computer Music Program Group now includes many features that make it possible to approach rhythm from a musician's point of view. Strict rhythm may be entered from a teletype using either real-time values or a completely musical terminology with no limits on complexity. A supplementary program, RHYTHM, has been written that may be used in several ways. RHYTHM reads real-time input from two telegraph keys. In the simplest case, the specific durations read from the keys are used to replace typed in musical values. Human error and expressive need lead to acute problems when several individual parts are to be coordinated. The main notation program, SCORE, allows the musician to specify at exactly what points each part will be coordinated with the mainstream of the music. After the separate parts are prepared, RHYTHM may be used to “conduct” the entire piece. Each part retains its individual character while at the same time following all nuances of the conductor's beat.