IEEE Kansai Section第16回技術講演会
IEEE Kansai Section第16回技術講演会
The 16th IEEE Kansai Section Lecture Meeting
記
技術講演会概要
講演会テーマ(Title)
"The early history of computer music at Bell Labs from 1957 to 1970Social Interactions with Information Technology"
講演者(Lecturers)
Prof. Max Mathews (CCRMA, Stanford University)
日時(Time & Date)
2002年1月30日（水）13:10～15:00
場所(Place)
NTTコミュニケーション科学基礎研究所 大会議室(3F)
NTT Communication Science Labs. Conference Room (3F)
〒619-0237 京都府相楽郡精華町光台2-4
（NTT西日本 京阪奈ビル C棟3階 会場地図は下記ホームページを参照）
http://www.kecl.ntt.co.jp/rps/ja/keihanna.html
言語(Language)
英語(English)
講演内容（Abstract)
Computer performance of music was born in 1957 when an IBM 704 in New York City played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to write Music II through Music V .At that time I worked in the research area of the Bell Telephone Laboratories. My music programs were a byproduct of research on new speech coders and the use of digital computers as an acoustic research tool.
These programs contain algorithms that are still important in computer music. These include wave-table synthesis, block diagram compilers to allow the musician to create his own instruments and timbres, the use of a compiler program (Fortran) to extend the useful live of my programs, and scores with the musical notes written in a general form as a sequence of separate records.
The IBM 704 and its siblings were strictly studio machines--they were far too slow to synthesize live music in real-time. In the late 1960's I developed Groove as a live performance system. Groove was a hybrid digital-analogue system. It used a digital computer to generate control signals that were then sent to an modular analogue synthesizer which could generate music in real-time.
After 1970 computer music has thrived, particularly for popular music. Today almost every group uses a digital synthesizer. Many people have made important contributions to the technology. Many companies make and sell equipment. Computers have become inexpensive and powerful so anyone can afford equipment that is able to make rich music.
My own interests since 1980 have focused on how to control and play the new synthesizers. I have developed the Radio-Baton as a controller and the Conductor Program as a way to play music more expressively.
講演者略歴(Biography)
Max Mathews
1926年生まれ。1950年カリフォルニア工科大学卒（電気工学）
1954年マサチューセッツ工科大学博士課程修了（電気工学）。ベル研究所にてデジタ
ルコンピュータを用いた音と音楽の合成や、音合成プログラム（Music V）、音合成
のコンピュータ制御プログラム（Groove）などを開発。Music Vやその後継機種は現
在、アメリカ、ヨーロッパ、日本の音楽業界で広く利用されている。また、コンピュータ
を用いた音声処理、人間の音声生成などを研究。
1962年から1985年には音声によるコ
ミュニケーション、ヴィジュアル・コミュニケーション、人間の記憶と学習など物理
的な音響学の研究を行う。
1987年、スタンフォード大学CCRMA教授に就任。音響心理
学の教鞭をとる。
現在、電子ヴァイオリンの開発、実時間コンピュータシステムの音
楽への利用、楽音の心理音響学的知覚の研究を進めている。
Max V. Mathews was born in 1926.
He received the following degrees in the field of Electrical
Engineering:
B.S. in 1950 from California Institute of Technology;
M.S. in 1952 and Sc.D. in 1954 from Massachusetts Institute of
Technology.
He joined the staff of AT&T Bell Laboratories research area in 1955.
His research is concerned with sound and music synthesis with digital
computers and with the application of computers to areas in which
man-machine interactions are critical. He developed a program (Music V)
for the direct digital synthesis of sounds and, a program (Groove) for
the computer control of a sound synthesizer. Music V and its successors
are now widely used in music departments in the United States, Europe,
and Japan.
His past research included development of computer methods for speech
processing, studies of human speech production, studies of auditory
masking, and the invention of techniques for computer
drawing of typography.
He directed the Acoustical and Behavioral Research Center from 1962 to
1985.
This laboratory carried out research in speech communication, visual
communication, human memory and learning, programmed instrumction,
analysis of subjective opinions, and physical acoustics.
In 1987 he joined the Stanford University Music Department in the Center
for Computer Research in Music and Acoustics as Professor of Music
(Research) where he is currently doing research in the areas of:
1. Electronic violins, specifically the use of electronic reasonances
instead of the natural resonances of the normal violin body.
2. Musical uses of real-time computer systems, specifically the use of
scheduled programs in which it is possible to program both commands and
the precise times the commands are to executed. Applications include
the Radio Baton and the Conductor Program.
3. Psychoacoustic perception of musical sounds including the perception
of differences between various musical sales (just vs. equal tempered);
perception of changes of loudness (crescendos and diminuendos);
accuracy of violinists' pitch productions; synthesis and perception
of slurred musical phrases.
With John Pierce he developed and taught a course,
The Psychoacoustics of Music, at Stanford.
He is now teaching a new course at Stanford on human-computer
interfaces.
In the course musicians and other nonengineering students are taught
to design and build their own electronic muscial instruments.
参加費 (Fee)
無料 (Free）
参加申込み先 (Contact for registration)
619-288 京都府相楽郡精華町光台2-2
ATRメディア情報科学研究所 本庄由美子
Yumiko Honjo (ATR MIS Labs.)
Tel: (0774) 95 1404
Fax: (0774) 95 1408
E-mail: honjo@atr.co.jp
会場準備の都合上、参加ご希望の方は、所属、お名前（ふりがな）およびIEEE会員番号を上記参加申し込み先まで Email（Faxでも結構です）にて8月5日（月）までにお知らせください。
Please register in advance. E-mail or fax IEEE member ID, your name and affiliation by August 5 (Mon).
本件連絡先 (For further information)
IEEE Kansai Section Technical Program Committee Secretary
間瀬 健二（ATRメディア情報科学研究所）
Kenji Mase (MIS Laboratories)
E-mail: mase@atr.co.jp
