EXPERIENCING MUSIC TECHNOLOGYVIEWPORT V Music Sequencing and MIDI Basics 213 Module 14 How MIDI...

EXPERIENCING MUSICTECHNOLOGY

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David Brian WilliamsIllinois State University

Peter Richard WebsterNorthwestern University

EXPERIENCING MUSIC TECHNOLOGYUPDATED THIRD EDIT ION

Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States

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© 2006, 2008 David Brian Williams and Peter Richard Webster

ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scan-ning, digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher.

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Library of Congress Control Number: 2007942798

ISBN-10: 0-495-56554-7

ISBN-13: 978-0-495-56554-3

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Cengage Learning products are represented in Canada by Nelson Education, Ltd.For your course and learning solutions, visit academic.cengage.comPurchase any of our products at your local college store or at our preferredonline store www.ichapters.com

Experiencing Music Technology, Updated Third Edition

David Brian Williams, Peter Richard Webster

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To Kay and Connie

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vii

Brief Contents

Preface xxi

VIEWPORT I Musicians and Their Use of Technology 1 Module 1 People Making Technology 3 Module 2 People Using Technology 12 Module 3 People Questioning Technology 17 Module 4 People Helping with Technology 21

VIEWPORT I I Computer and Internet Concepts for Musicians 25 Module 5 Computer Operating Systems and Internet Software 27 Module 6 Computer and Networking Concepts 46 Module 7 The Mechanics of Computers and Networking 57

VIEWPORT I I I Digital Audio Basics 75 Module 8 Acoustics, Digital Audio, and Music Synthesis 81 Module 9 Software for Capturing, Editing, and Storing Digital Audio 103 Module 10 Building a No-Frills Digital Audio Workstation 127

VIEWPORT IV Doing More with Digital Audio 143 Module 11 Sonic Realism: MPEG, Surround Sound, and Discs 147 Module 12 Software for Multiple Tracks and Channels 167 Module 13 Hardware for Multichannel Digital Audio 197

VIEWPORT V Music Sequencing and MIDI Basics 213 Module 14 How MIDI Works 216 Module 15 Software Techniques for MIDI Sequencing 229 Module 16 MIDI Hardware: Interfaces, Keyboards, and Sound Modules 250

VIEWPORT VI Doing More with MIDI and Beyond 269 Module 17 Adventures in Sound Shaping and Synthesis 272 Module 18 Extending MIDI: Controllers, SoundFonts, and Timing 311

VIEWPORT VI I Music Notation 331 Module 19 Coding Systems for Music Notation and Performance 335 Module 20 Software for Music Notation 357 Module 21 Notation Hardware: Input Devices, Scanners, and OMR 397

VIEWPORT VI I I Computer-Aided Instruction in Music 403 Module 22 Music Software for Knowledge and Skill Development 406 Module 23 New Directions in Music-Instruction Software 426

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viii BR I E F CO N T E N T S

VIEWPORT IX Putting It All Together 445

Appendix A: Selected Readings by Viewport 449 Appendix B: EMT Workstation Equipment Codes 453

Index 455

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ix

Contents

Preface xxi

So, What’s New With the Update? xxiiBook Content and Goals xxiiiExperiencing Music Technology Online Projects

and Support Website xxivIcons in the Margin of the Book xxivDefi nitions xxvAcknowledgments xxviAbout the Authors xxvii

VIEWPORT I Musicians and Their Use of Technology 1

Overview 1Objectives 1

Online Software Projects 2

M o d u l e 1 People Making Technology 3Ballet of Technology and Music 3Five Periods of Technology History 4

Period I (1600s–mid-1800s) 4

Period II (mid-1800s–early 1900s) 4

Period III (early 1900s–mid-1900s) 5

Period IV (mid-1900s–1970s) 7

Period V (1970s–present) 8

M o d u l e 2 People Using Technology 12The Unexpected Turn 12Innovation and Creativity 13Pacing 15Music Technology in Practice 15

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M o d u l e 3 People Questioning Technology 17Ten Misconceptions 17

No. 1. Does technology refer only to hardware? 17

No. 2. Is there intimidating hidden “knowledge” inside the hardware? 17

No. 3. Will the hardware break if something is done incorrectly? 18

No. 4. Isn’t computer technology really reserved for the technical elite? 18

No. 5. Doesn’t computer technology take too long to learn? 18

No. 6. Isn’t computer technology only for the young? 18

No. 7. Doesn’t technology remove the creative spirit, producing music that is antiseptic or sterile? 19

No. 8. Aren’t computers, digital audio, MIDI, and DVDs, when used for teaching about music, just another expensive set of technological gimmicks that take time and money away from the real business of music education? 19

No. 9. Doesn’t technology, not music, become the focus? 19

No. 10. Isn’t it true that technology replaces musicians’ jobs? 19

Resulting Attitudes 20

M o d u l e 4 People Helping with Technology 21People with Technical Skills 22

Computer Facilities 22

Print and Nonprint Materials 22

Professional Associations 22

VIEWPORT I I Computer and Internet Concepts for Musicians 25



Music Technology in Practice 26

Chi Fan 26

M o d u l e 5 Computer Operating Systems and Internet Software 27 The Desktop: Your Computer and Its Operating System 27

The Function of an Operating System 27

Streams of Information 27

MIDI 28

Printer/Mouse/Keyboard 28

Look and Feel: Graphic User Interface (GUI) 29Staying Organized with Hierarchical File Structure 29

Volumes, Folders, and Files 29

Naming Files 30

Important Work Habits 31Saving Files 31

Importance of Copyright 32

Viruses Defi ned 33

x CO N T E N T S

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Backing Up 34

Additional Good Habits for Computer Maintenance 34

Other Operating Systems 35UNIX 35

Linux and the World of Open Source Code 35

Extending the Desktop: Connecting to the Internet 36Types of Internet Software 36

Web Surfi ng and Searching 37

Browsing Software Support for Other Internet Services 41

Electronic Mail/Listservs 41

Digital Audio Purchasing/Sharing 42

Chat 43

Forums, News Reading, and File Transfers 44

Additional Uses of the Internet with Music Software 45

M o d u l e 6 Computer and Networking Concepts 46Analog to Digital: Computers and the Analog World 46

Counting and Thinking with 1 and 0 47

Computer Bits and Bytes 48

Serial and Parallel: Computers and Their Peripherals 48Expressing Data in Parallel Form 48

Expressing Data in Serial Form 48

Internet Protocols: Computers Connecting to the Internet 49Internet Addressing 50

Server Internet Addresses 50

E-Mail Internet Addresses 51

The Internet 2 Fast Lane 51

File Formats: Sharing Files over the Internet 52Packaging and Compressing Files 52

Exchanging Documents with Universal File Formats 53

Exchanging Digital Audio and MIDI 55

Exchanging Graphics and Video 55

M o d u l e 7 The Mechanics of Computers and Networking 57Computer Hardware Operations and the IPOS Model 57

Interfaces 58

Process 60

Input 62

Output 63

Storage 63

CD and DVD Storage 66

Networking: Routes to Connectivity 67Getting Access 67

Talking among Computers 67

Network Topologies 68

Getting Connected 70

CO N T E N T S xi

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VIEWPORT I I I Digital Audio Basics 75

The Big Picture 75Viewport III Overview 77Music Technology in Practice 78

Nate DeYoung 78

Objectives 78

Kevin Robbins 79


M o d u l e 8 Acoustics, Digital Audio, and Music Synthesis 81Acoustical and Perceptual Dimensions of Sound 81

Vibrations, Frequency, and Amplitude 84

Envelopes 86

Harmonic Spectrum 87

Overtones 88

Harmonic Spectrum and Fourier’s Theorem 88

Summary of the Acoustic Properties of Sound 90

Concepts of Digital Audio and Sampling: Analog to Digital and Back 90Sampling Rates and Quantizing 92

Optimizing the Quality of Digital Audio 92

Formats and Compression for Storing Digital Audio Files 95Sound Compression 96

Increasing Compression While Fooling the Ear 97

Streaming Audio Files for the Internet 98

Varieties of Music Synthesis Techniques 99Analog Synthesis: Additive, Subtractive, and Distortive 99

Physical Modeling 100

Digital Wave Synthesis 101

Granular Synthesis 102

M o d u l e 9 Software for Capturing, Editing, and Storing Digital Audio 103Working with Audio on the Web 103

Obtaining Web Music Files 104

Organizing and Playing Web Music Files 105

Creating and Storing Your Own Web Music Audio 106

Working with Streamed Media 108Streaming Audio in Action 108

Preparing Your Computer for Digital Audio Recording 109PC Computers 109

Macintosh Computers 110

Using Digital Audio Editing Software 110What Is Digital Audio Editing Software? 110

Basic Capture and Display of Digital Audio Editing Software 111

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Basic Editing and File Management 112

Advanced Editing and File Management 114

Effects Processing 118

Advanced Effects Processing 121

Plug-in Support for Digital Audio Editors 125

M o d u l e 1 0 Building a No-Frills Digital Audio Workstation 127IPOS Model 127Basic Digital Audio Hardware: ADCs and DACs 128

Digital Audio Interface 128

Input and Output: Connecting to the Outside World 130

Sound Drivers and Latency: Who’s in Charge Here? 131Sorting Out Plugs and Jacks 132Adding a Mixer and Performance Options with EMT-3 134

Mixer Input Controls 136

Mixer Output Controls 137

Microphones 137Storage Devices for Digital Audio Work 139

CD/DVD-R and -RW Storage 140

Digital Music Players 140

Speakers and Recorders 140

VIEWPORT I V Doing More with Digital Audio 143



John Shirley 144

Aaron Paolucci 144


M o d u l e 1 1 Sonic Realism: MPEG, Surround Sound, and Laser Discs 147Multichannel Digital Audio Formats 147

MPEG 148

Surround-Sound Audio Formats 152

CD and DVD Laser Disc Formats 155General Characteristics of CD and DVD Laser Discs 155

Compact Laser Disc Playables and Recordables 158

Digital Versatile Discs (DVDs) 161

M o d u l e 1 2 Software for Multiple Tracks and Channels 167Important Terms 167

Types of Multiple-Track Software 167

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Tracks and Channels 169

Effects, Inserts, and Buses 169

Preparing Your Computer for Digital Audio and MIDI Input and Output 170PC Computers 170

Macintosh Computers 170

Recording, Editing, and Using Built-In Effects 171Starting a Project 172

Editing 173

Built-In Effects 176

Effects Plug-Ins 179Categories of Plug-Ins 179

How Plug-Ins Are Called into Action 179

Overview of Effects Plug-Ins 180

Loop-Based Software 183Slicing Digital Audio 184

The ACID Scene and Looping Software 184

Other Looping Software 187

Mixing, Mastering, and Distributing 190Mixing and Mastering: Really the Same Thing? 190

Working with Mixing and Mastering 190

Tips for Mixing and Mastering 191

Mixing with Surround Sound 192

Distribution 193

M o d u l e 1 3 Hardware for Multichannel Digital Audio 197IPOS Model for Multichannel Digital Audio 197Superheroes: The DSP Chips 198One-on-One with Digital: S/PDIF, AES/EBU, ADAT, Firewire, and USB 199

S/PDIF and AES/EBU: Close Cousins 199

ADAT 200

EMT Digital Audio Workstation Goes Multichannel 201Expanding to Multichannel Digital Sound 202

Moving up to Surround Sound 205

Recording and Playback in the Digital Realm 206CD and DVD Recordable Drives 207

DAT and ADAT Recorders 207

MiniDisc (MD) Recorders 207

Stand-Alone Digital Recorders 208

Surround-Sound Amplifi ers and Speakers 211

VIEWPORT V Music Sequencing and MIDI Basics 213


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Jeff Shuter 214

Software Projects 215

M o d u l e 1 4 How MIDI Works 216MIDI Sound Structures 217MIDI Performance Language 218

Channel Messages 219

System Messages 220

General MIDI 221Storing and Exchanging MIDI Files 224Experiencing MIDI Software and Hardware 225

M o d u l e 1 5 Software Techniques for MIDI Sequencing 229Basic Design of Sequencing Software 230

What Does Sequencing Software Do? 230

Basics of Using Sequencers with MIDI Data 233Entering MIDI Data 234

Creating the Sequences 237

Editing and Saving Sequences 239

Plug-Ins: Applying MIDI Effects and Software-Based Instruments 243MIDI Effects 243

Virtual Instruments 243

Adding Digital Audio 244Basic Entry and Data Representation 245

Effects Processing 245

Mixing and Mastering 246

Saving Sequencing Files 248MIDI Content Only 248

Mixed Data (MIDI/Digital Audio) 249

M o d u l e 1 6 MIDI Hardware: Interfaces, Keyboards, and Sound Modules 250MIDI Hardware Basics 251

MIDI Interfaces 251

MIDI Networks: Physical and Virtual 252

MIDI THRUs, Mergers, and Patchbays 254

Beyond 32 Channels 254

Basic MIDI Keyboard Controllers and Sound Modules 255MIDI Sound Modules 255

Keyboard Controllers 258

MIDI Workstations 259Keyboard 260

Alternative Controllers 261

MIDI Capabilities 262

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Sound Generation and Drum Kits, Sample Playing, andReal-Time Sampling 263

Drum Kits and Sounds 264

Synthesis and Digital Effects 264

Sequencers 266

Digital Expansion and Connections 267

Workstations—In Conclusion 268

VIEWPORT V I Doing More with MIDI and Beyond 269



Henry Panion III 270

Software Projects 271

M o d u l e 1 7 Adventures in Sound Shaping and Synthesis 272Digital Audio Workstation (DAW) Software 272

Interface Features 273

Editing and Input/Output 279

Plug-In Effects 284

Mixing and Mastering with DAW Software 287

Specialized Plug-In Samplers, Synthesizers, and Virtual Instruments 293How Specialized Plug-Ins Are Used 298

Virtual Instruments 298

Synthesizers 300

Synthesizer/Sampler Combinations 303

“All-in-One” Virtual Studios 304Reason 304

ReWire Connections 307

The Future of “All-in-One” Virtual Studios 308

Programming Environments 308Max/MSP 308

Other Programming Approaches 309

M o d u l e 1 8 Extending MIDI: Controllers, SoundFonts, and Timing 311Controller Cornucopia: Drums, Guitars, Winds, and More 311

Drum Controllers 312

Guitar and String Controllers 314

Voice Controllers 316

Wind Controllers 316

Mind-Expanding MIDI Controllers 317

New Modes of Instrument Expression 318

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Integrating MIDI and Digital Audio 320MIDI Control Surfaces 321

Subjective Factors for MIDI Controllers 323Enhancing the MIDI Sound Palette: GS, XG, SoundFonts, and DLS 323

MIDI SoundFonts 324

MIDI Down-Loadable Sounds (DLS) 324

MIDI and Audio Timing: SMPTE, Word Clock, mLAN, and More 325Who’s Conducting This Group? 325

Keeping the Tape Time 326

Keeping the MIDI Time: MIDI Time Codes 328

ADAT, Word Clock, and Digidesign Sync 328

mLAN Music Network and Word Clock 329

VIEWPORT V I I Music Notation 331


Music Technology in Practice 332Mike Wallace 332

Jouni Koskimäki 333


M o d u l e 1 9 Coding Systems for Music Notation and Performance 335How Is Notation Represented in a Computer? 335

Data Structures for Performing and Display 335

Translating between Performance and Display Data 336

A Simple Music Coding 337Tour of Computer Music-Coding Systems 339

Pre-1950s: Mechanical Music Coding 339

1950s to 1960s: Notation to Feed the First Computer Music Synthesizers 341

Mid-1960s to Mid-1970s: Friendlier Text-Based Music Coding 341

1970s to Early 1980s: Experimentation and Graphic Display of Notation 344

Early 1980s: Personal Computers and Consumer Music Systems 345

Mid-1980s: The Birth of Desktop Music Publishing 346

Late 1980s and 1990s: Intelligent Rule-Based Music-Coding Systems 347

1990s: Seeking Interchangeable Notation-Coding Systems 348

2000s: Web-Based Notation-Coding Systems 351

Music Fonts for Notation 353Bitmapped Versus Outline Fonts 354

Coding Music-Font Symbols 354

Lots of Music Fonts 355

Is WYPWYP Music Software Possible? 355

CO N T E N T S xvii

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M o d u l e 2 0 Software for Music Notation 357Content and Context: What Do You Need? 357Basic Operational Features 360

Help 360

Interface Design 361

Getting Started 365

Score Display 365

Playback, Printing, and Distribution 366

Note Entry and Basic Score Design 368Methods of Note Entry 368

Mass Editing 373

Other Basic Features for Score Design 374

Advanced Editing 376Editing Aids 379

Transposition and Automatic Arrangements 380

Enhancing the Score 381

Text and Lyrics 385

Play, Print, and Save 388Playback Options 388

Print Controls 391

Saving and Distribution 393

Advanced Capabilities 394Additional Capabilities 395

Plug-Ins 395

Finale 2008 395

Sibelius 5 396

M o d u l e 2 1 Notation Hardware: Input Devices, Scanners, and OMR 397Input Devices for Music Notation 397

Text and Key Codes from the Computer Keyboard 397

Graphic Palettes and a Mouse 399

MIDI Controllers 399

Singing in the Notes 400

Scanners and OMR 400Optical Music Recognition (OMR) 400

The Mechanics of a Scanner 401

VIEWPORT V I I I Computer-Aided Instruction in Music 403


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Music Technology in Practice 404Susan Young 404


M o d u l e 2 2 Music Software for Knowledge and Skill Development 406Importance of CAI 406Categories of CAI Software: Approach and Content 408

Drill-and-Practice 409

Flexible Practice 409

Guided Instruction 410

Game-Based 410

Exploratory/Creative 410

Teacher Resource 410

Internet-Based 411

Examples of Knowledge and Skill-Development Software 411Beginning-Skills Software for Knowledge and Skill Development 411

Drill-and-Practice Software Examples 413

Flexible-Practice Software Examples 415

Guided Instruction 420

Game-Based 423

M o d u l e 2 3 New Directions in Music-Instruction Software 426Examples of New Directions in Music-Instruction Software 426

Exploratory/Creative-Software Examples 426

Teacher-Resource Software Examples 434

Internet-Based Software Examples 437

What to Choose: A Matter of Content and Need 442Software from Past Viewports and CAI 443

VIEWPORT X I Putting It All Together 445

Projects and Selected Readings 445Expanding Your Skills and Creative Urge 445Closing Note 447

A p p e n d i x A : Selected Readings by Viewport 449

A p p e n d i x B : EMT Workstation Equipment Codes 453

Index 455

CO N T E N T S xix

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xxi

“By looking for the structure in signals, how they were generated, we go beyond the surface appearance of bits and discover the building blocks out of which image, sound, or text came. This is one of the most important facts of digital life.”

—Nicholas Negroponte, Being Digital (1995)

Welcome to the update for the third edition of Experiencing Music Technology! If you are familiar with the earlier versions of this textbook, we hope you will appre-ciate the changes herein and fi nd this version as useful as the last. If you are a new reader, we hope you will enjoy this introduction to music technology and its role in the contemporary music scene.

Writing about this fi eld is exciting. Many times since the last edition, we have stopped the process of reviewing and testing new software and hardware, remark-ing to each other how truly amazing the fi eld’s achievements have been since our last edition. In 1993, when we fi rst decided to create this textbook, we were moti-vated in large part by the power of music technology to enhance the experience of musicians of all ages and experience levels. As researchers, educators, and musi-cians, we saw the role of music technology as a major force in teaching the tech-nical aspects of music and, perhaps most importantly, encouraging the creative experience of music composition, improvisation, performance, and music listen-ing. More than 14 years later as we conclude this edition, we believe this more than ever before.

Of course, updating such a book presents us with one obvious challenge: the persistence of change. Developments in hardware, software, and even the very culture of music technology itself seem to escalate exponentially. Since 1999, we have seen: (1) major operating-system changes in both PC and Macintosh com-puters, (2) a tripling of the power of personal computers accompanied by major drops in cost, (3) literally hundreds of new music-software titles in every major category produced by companies in the United States and abroad, (4) new hard-ware devices for a variety of music needs at all price points, and (5) major shifts in the way music is acquired and enjoyed by us all. Just a few of the new technolo-gies we have seen emerge include mobile computing, wireless, DVD and surround sound, soft synths and effects, and the prevailing dominance of digital audio, with a bias toward software rather than hardware solutions. All of this has an obvious effect on our ability to do a credible job of accounting for the fi eld, for those both inside and outside academe.

The task is made a little easier because of the approach we have taken since the start. In each edition, we concentrate less on the specifi cs of each software

Preface

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program or piece of hardware and devote most of our space to what to expect in, for example, a good MIDI-keyboard or sequencing program. We do refer to spe-cifi c products that are as current as possible, but we do so with the idea that the specifi cs are of less importance than an overall understanding of how the products function and the future direction of the technology. This approach continues in the third edition.

What also keeps the book current is our attention to the future. In the second edition, for example, we anticipated the growth of the Internet as a resource for teaching and for music productivity. Our design for categorizing computer-aided instruction continues to be valid and useful for bringing order to this important part of music technology. Certainly the tendency for digital audio to be used more pervasively as part of sequencing and notation software has been carried to levels beyond our expectations. Predicted advances in DVD, computer connectivity, and other hardware and conceptual content have come to pass in the last four years. In this edition, we continue to chronicle what is clearly on the horizon for the near term, including such developments as Internet 2 for musicians, wireless and mobile computing, surround sound and MPEG, miniaturization, and software emulation of hardware.

Readers will note that we have also retained our accent on people and how they put technology to use (procedures) as the most important elements of music technology. Based on our continued experience as teachers, consultants, and work-shop leaders, we continue to believe in the critical importance of understanding the underlying concepts and data structures for how music software and hardware function to help us be more musical and use the technology to full advantage. We also have continued to organize topic material into larger sections called Viewports. For us, Viewports are “portals” for “viewing” and organizing major topicsthat refl ect people’s common use of music technology, such as digital audio, nota-tion, and computer-aided instruction. We have created revised modules in each larger section to refl ect the concepts of data structures, software, and hardware.

So, What’s New With the Update?Since our last writing, we have been pleased to hear from many students and instructors who have used the book. Our research shows that the book is the most widely used one in introductory college and university courses and this positive response has been most gratifying. We also fi nd the book used in many other set-tings such as public schools and community colleges and for self-study. We are deeply indebted to the reviewers of the last edition, some known to us and others who remain anonymous. Many have offered extensive and detailed suggestions for change and we have included as many of those suggestions as possible.

In the fi rst version of the third edition, we incorporated many changes and these continue in the current updated edition. For example, we continue our emphasis on music and people. We have retained the structure that begins with overall issues of operating systems and Internet use, followed by several sections on digital audio and MIDI. We move to notation and then end with computer-aided instruction. Throughout the book, we try to refl ect the most leading-edge topics in music software, hardware, and data structures.

This upgrade includes several new features. The majority of screen shots have been completely redone to refl ect the inevitable changes in software and hardware

xxii PR E FAC E

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development in the last three years. We have included new software titles and deleted others, based on our understanding of the changing scenes in music pro-duction and in music instruction software. When appropriate, we have refl ected the changes in major operating systems, including the development of Microsoft’s Vista OS for PC computers and the new Leopard version of OS X for Macintosh. All of the hardware and key concepts have been reviewed, updated where needed, and new technologies and products replaced or added to refl ect the current com-puter and computer music scene.

Perhaps the biggest change has been our decision to move the project tutorials for software from a bundled DVD to online sources. After discussions with many users of the book—both instructors and students—and after considering changes in bookstore procedures and the obvious fl exibility of online distribution, we are happy to provide a set of the most used tutorials in their current version as an online resource. Throughout the text, we include links to the projects in the same way we have always done. For information on access to these step-by-step project tutorials on important music software, consult our book website at http://www.emtbook.net.

Book Content and GoalsExperiencing Music Technology, 3rd Edition, covers the essential topics a musician should consider when exploring the use of computers and technology in the many aspects of the music experience: listening, performing, composing, teaching, and managing. The book is designed as an introductory resource for a wide audience both inside and outside the academic setting. Although it is introductory in scope, it still provides considerable depth of coverage on critical music-technology topics.

Modular in design, the book’s resources can be used in many ways. Although intended as the text for a complete undergraduate or graduate course of study devoted to music technology, it can also serve as a supplemental resource for other courses in the curriculum: general musicianship, piano pedagogy, theory and aural skills, arranging and orchestration, music composition and improvisation, instruc-tional design, and other contemporary topics.

In addition, the book can be easily read and used for self-study by people who are simply curious about and intrigued by the use of computers for music making. Professional musicians, parents, children, computer afi cionados, and lay musicians of all kinds may fi nd the book helpful in increasing their understanding of music technology.

Experiencing Music Technology is designed to meet the following goals:

• Provide a conceptual overview of music and technology with essential study and reference material

• Give a broad perspective of the many ways people can use technology in music applications

• Offer modular organization of the material to provide fl exibility for the reader and the instructor

• Note historic milestones in music computing and technology• Promote a systems approach to computer understanding, planning, and imple-

mentation by stressing fi ve components: people, procedures, data, software, and hardware

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• Emphasize hardware and software unique to music applications• Focus on the conceptual and cross-application features that defi ne current com-

mercial hardware and software• Avoid featuring industry-specifi c products for their own sake, instead emphasiz-

ing features in common or contrast with other products to illustrate their gen-eral application to music experiences.

Experiencing Music Technology Online Projectsand Support WebsiteOnline Web-based Projects are available to provide supportive tutorials to parallel the book material. While the textbook illustrates concepts of music technology with a broad range of software examples, The Online Projects provide hands-on activities focused on specifi c commercial software to parallel the major topics in the book. All of the materials can be easily viewed through a web browser.

Each software activity is a tutorial that features step-by-step directions for using a specifi c software application. A generous number of screen shots are pro-vided to illustrate the steps in the tutorials. Links are included to related materials, including worksheets that students can use to track their progress and teachers can use to evaluate work completed. These worksheets can be viewed and printed right from a web browser. The Online Projects are available as ZIP fi les for down-load at www.emtbook.net, on fi le for each project activity.

Icons in the Margin of the BookTo help you as you progress through each chapter, we have created several icons that will alert you to different levels of help. Watch for these icons:

• LINKS to helpful information related to this topic elsewhere in the book

• TIPS that are especially helpful to those just starting to use computers and music technology

• ASIDES that are interesting notes for reading enjoyment and mind expansion

• Online Project materials: training online at www.emtbook.net that accompa-nies this textbook and provides hands-on experience with software noted in the textbook

O N L I N E P R O J E C T

Watch for the Online Project icon throughout the book for hands-on software experi-ences available at www.emtbook.net

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Defi nitionsIn addition to the term viewport, a few other terms are critical in this book. We need to be sure that you understand what terms like musician, music experience, computer, and technology mean for us.

MusicianThe term musician refers to anyone, at any level of sophistication, engaged in music experiences. This defi nition of musician includes the parent, child, student, teacher, administrator, performer, and composer. We realize that the usual use of this term refers to individuals with advanced skills in music, particularly in perfor-mance. However, in the interest of promoting a view of music computing accessible to the widest-possible audience, we have chosen this more-relaxed defi nition.

Music ExperienceMusic experience refers to the fundamental ways people interact with music cogni-tively, emotionally, and aesthetically. Included in this are the processes of listen-ing to, performing, and composing music, which are the hallmarks of music as art. Throughout this book, we are interested in ways that technology can enhance these fundamental aspects of experiencing music. In addition, we are concerned with how technology can help with teaching and studying music and managing music activities. Although these activities are not primary music experiences, they are vital to music as practiced in our society.

ComputerThe term computer, as used in this book, refers to small computer systems com-monly known as personal computers. In creating our illustrations, we have chosen to focus on the two primary icon-based computing environments used today by musicians: (1) IBM PCs and their compatibles, commonly referred to as either “Windows” or “PC” machines, and (2) Macintosh, sometimes called “Mac,” com-puters. Throughout the book, we refer to these as either “Macintosh” or “PC” machines, or “Macintosh” or “Windows” operating systems, regardless of whether the versions are OS 9, OS X, Windows 2000, Windows NT, Windows XP, Vista or any future versions of these. By icon-based, we mean operating systems that use graphic images or icons for common operations with the computer.

TechnologyThe term technology refers to computers and all of the music and nonmusic periph-erals needed to perform music tasks with computers. These peripheral devices include such hardware as electronic-music keyboards, MIDI controllers, printers, scanners, CD players, and so on.

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AcknowledgmentsFirst, we’d like to renew our thanks to everyone recognized in the two previous editions for their generous help, insights, and guidance in bringing this book proj-ect to fruition. For this third edition and its update, we extend our sincere thanks to James Frankel (Teachers College, Columbia University), Sara Hagen (Valley City State University), Evelyn K. Orman (Louisiana State University), several anonymous reviewers who offered insightful critiques of the second edition, and a number of colleagues across the country who have read portions of the new edi-tion and offered comment, factual accuracy, and revised wording. These include a select group of people who provided technical reviews of our written materials: Frank Clark (Georgia Institute of Technology), Don Byrd (Indiana University), Chris Douglas (Edirol), Scott Genung (Illinois State University), Ken Johnson(M-Audio), Virgil Moorefi eld (University of Michigan) Scott Lipscomb (Univer-sity of Minnesota), and Ken Pohlmann (University of Miami). Then there were those who came through with critical information and support materials at just the right time: James Bohn; John Dunn (Indiana University); Ben Flin, Peter Maund, and Bobbie Thornton (Sibelius); Greg Smith (Hal Leonard); Bill Hanson (Apple Computer); Billee Kraut (AABACA); Tom Lykins (Sound Marketing); Tom Johnson (MakeMusic!); Henry Panion (University of Alabama-Birmingham); Sam Reese (University of Illinois); Perry Roland (University of Virginia); Eleanor Selfridge-Field (Center for Computer Assisted Research in the Humanities), Tom White (MIDI Manufacturers Association); Lee and Laura Whitmore (Sibelius); and Larry Worster (The Metropolitan State College of Denver); and numerous industry contacts who came through with photos and information for us. These professionals have added enormously to the reliability and validity of the material herein. Of course, any errors remain solely our responsibility.

Thanks go to the many students who have taken our courses and to colleagues in our workshops and conference sessions who have offered much help with their thoughtful questions and suggestions over these last three years. A special thanks to Marc Jacoby, Jay Dorfman, and Maria Horvath, who helped with certain tutorial training projects.

To the administrators at our respective universities, Illinois State and North-western, we offer our appreciation for the support given over the past 14 years for our book research and those scholarly activities that work in tandem with this activity.

Our fi nal acknowledgments go to Clark Baxter, Erikka Adams, and Georgia Young. Samirendra Ghosh wonderfully navigated the pressures of the fi nal publi-cation process with exceptional fi nesse. All those at Cengage showed remarkable patience and perseverance with two authors who attempted to interweave writing and research time with many other administrative and teaching responsibilities and they have our thanks!

David Brian Williams, Bloomington, IllinoisPeter Richard Webster, Winnetka, Illinois

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About the Authors

David Brian Williams and Peter Richard Webster have partnered for more than 18 years to provide leadership to the music profession in technology applications; workshops on the application of technology to music and music education; and presentations for state, national, and international conferences, including MENC, CMS, ATMI, and NASM.

David Brian Williams is Emeritus Professor of Music and Arts Technology at Illinois State University. Dr. Williams founded one of the fi rst nationally recognized integrated arts technology programs and served a four-year appoint-ment as Associate Vice President for Information Technology on his cam-pus. He is currently a freelance consultant on computers and music technology(www.coach4technology.net). In the late 1970s, he cofounded Micro Music, Inc., and developed numerous music-education titles for the Apple II and the MMI DAC sound card. He has written extensively in the areas of music education, music psychology, music and arts technology, and instructional development. He has served on the boards of MENC, CMS, Illinois Music Educators Association, and ATMI. He chaired the MENC task force for developing Opportunity-to-Learn Standards for Music Technology and, in 2001, received the Illinois Music Educa-tors Association Distinguished Service Award for his work in music technology.

Peter Richard Webster is the John Beattie Professor of Music Education and Technology at Northwestern University’s School of Music, where he also serves as the Associate Dean for Faculty Affairs, directs doctoral research in music educa-tion, and serves on the music technology, cognition, and music-education faculties. He is the author of Measures of Creative Thinking in Music, an assessment tool designed for children aged 6–10. He has published in numerous professional pub-lications, such as Music Educators Journal, Journal of Research in Music Education, CRME Bulletin, Contributions to Music Education, Arts Education and Policy Review, Research Studies in Music Education, Music Education Research, and Psychomusicology. He has authored chapters in several books, including chapters on creative thinking in music and music technology research in the fi rst and second editions of the Hand-book of Research on Music Teaching and Learning. He has served on the board of CMS and is a past president of ATMI.

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EXPERIENCING MUSICTECHNOLOGY

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EXPERIENCING MUSIC TECHNOLOGYVIEWPORT V Music Sequencing and MIDI Basics 213 Module 14 How MIDI...

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