DTM(Desktop Music), covers greater areas of music making than
the old time idea of computer music. When people say computer
music, it included music entry and playback with use of computer
and sometimes it meant computer-assisted composition or arrangement
of music. Those electronic music written by Stockhausen and other
avant-garde composers were also called computer music. Computer
music and DTM are different things and while with computer music,
performers were replaced by computer, DTM provides broader range
of capabilities from data processing including editing, performing
and analyzing, to arranging and printing music. All these works
are done on hand processing MIDI signal data only with computer
and digital instruments and devices laid out as a system on a
desk.
Every school has a special room for music education where a piano
and audio system are set up. They are also equipped with a blackboard
with stave, and not all but generally sound-proof walls and a
ceiling. In a room next to music room, a large selection of brass
and woodwind instruments, percussions and accordions are accommodated
for lesson. Music teachers have, in many cases, a small desk either
in the corner or center of the preparatory room. But they seldom
use the desk for teaching. It can often happen that small things
are put or only tea or coffee is served on the desk. DTM system
should find its place here.
Then, what does DTM in futuristic music preparatory room? One
case is that it can be a quite powerful music workstation for
teachers. It can happen any time that a teacher picks up a band
music that seems to be good for the level{ of his students for
a concert, but it's written for older time band and doesn't fit
today's instrument formation. He has to re-write some pan scores
written in C to Bb, or arrange several phrases. The problem is
that he is unable to have a definite image of the music as a result
of these works. If he has an accessible DTM, he plugs in a computer
and enters original scores with help of image scanner. Any editing
and correction works can be done clicking with a mouse seeing
the display. When he prefers easier data entry, he can enter melody
just by scatting it through a microphone in hand. All the data
come out instantly as a band music. What happens had he found
no way out? No problems, just press 'HELP' key. The display turns
to advise mode and gives him helpful instruction to get out of
a mess. Finally, he can get beautiful scores printed out from
the system. The plugged MIDI sound system performs the completed
music exactly. Any music produced on the workstation can be stored
in disks ready for instant search and output any time when necessary.
Another case is that music teachers can produce piano accompaniment
pieces for music lesson. He enters data into a DTM to be automatically
performed on digital piano or the Piano Player. Given the fact
that not all music teachers are good at playing the piano, but
playing the Beyer pieces at best, DTM can be a good partner helping
him accompany piano performance in any desired tempo and key whenever
data entry is done correctly even if he can't perform given music
himself.
Soon, we may see more capable music software that allows us to
notate music from live piano performance or CD orchestra instantly,
or, automatic music performance can be done simply by reading
scores with image scanner. It may become also possible to print
out ensemble scores from music written for electronic organ.
DTM has a great future. It can support and complement music teachers
to be used as a medium for CMI (Computer Managed Instruction)
or, even CAI (Computer Aided Instruction) when there are good
enough number of computers for individual student in classroom.
Music education for children has had a significant obstacle so
far because they find greater difficulties to understand relationship
of scores and notes. They hardly have distinctive image of sound
in relation to notes and vice versa. It's far remote for children
to know rudiments of music than learning language or figures.
A very recent open lesson at Ibo Elementary School in Tatsuno-shi,
Hyogo-ken, has proven the effectiveness of DTM to help support
children's understanding of music.
As increasingly computers are introduced in elementary and junior
high schools throughout Japan, studies and open lessons of mathematics,
physical science and cultural studies based on computer are already
reported. I feel that music has come to join these subjects at
last.
Looking back to the history, promotion of music and music education
has achieved significant success thanks to long sighted efforts
of the musical instrument industry involving all concerned in
local communities. Piano and band instruments have greatly been
promoted owing to the total dedication and commitment of the industry.
My columns will follow on the following subjects; 1. production
of teaching materials, 2. analysis of production material, 3.
teaching assistance, 4. extra-curricular music programs, 5. self
motivation for music teachers, 6. simulated performance, 7. evaluation
of music performance, S. and more. . . . . . I hope they are of
help for front-line people heavily promoting music education and
great benefit of DTM.
Music teachers are responsible for music education, and majorities
of them are female. There's a general belief that women aren't
good at machines. Mr. Etsuro Nita, who teaches at Ibaragi University
Education Dept. attached elementary school wrote about it in his
doctorate thesis this year. He conducted a survey of 228 music
teachers in Ibaragi Prefecture in hopes of knowing how they see
computer and music education. Here are some interesting results:
Q1. Have you ever felt that music performed with synthesizer sounded
bad or unnatural?
A. 78.95% replied No.
Q2. Do you have any specific idea using synthesizer and computer,
if you have them?
A. 62.72% answered Yes.
Q3. Do you want to use any electronic musical instrument freely
at your will?
A. 89.04% replied Yes.
Q4. Have you ever seen any musical performance and music composition
with held of computer?
A. Only 7.45% replied Yes. ('85 Tsukuba Science Expo. was held
in Ibaragi Pref.!)
Q5. Have you ever felt that synthesizer and computer can be of
your help in performing complicated music?
A. 35.53% said Yes.
Q6. Do you think that it would be fun, composing or performing
music with use of computer?
A. 62.72% replied Yes.
Q7. Have you ever had computer in your classroom, making your
children experience music lesson and playing with it?
A. 7.1% replied Yes.
Q8. Do you want to use computer in music lesson, if you can?
A. 57.02% answered Yes.
Q9. Do you think that computer can be a helpful tool in music
education?
A. 44.73% replied Yes.
Q10. Are you interested in using computer for controlling teaching
curriculum and evaluation of students?
A. 76.75% replied Yes.
Q11. Have you ever produced test papers and texts on word processor
or computer?
A. 42.54% replied Yes.
Q12. Do you see that computer and word processors are important
tools for your future teaching career?
A. 89.04% answered Yes.
(This survey was conducted in July, l989.)
The survey, the first of its kind ever, depicts some interesting
facts. How affirmative the teachers are about the last question
tells us that they see computer can't be bypassed in their teaching.
The survey also tells us that the teachers don't have sufficient
information and knowledge on computer in relationship with music
and education. While the answers for the questions 6, 8 and l0
reveal their enthusiasm and expectation toward computer, the replies
for the questions 5 and 9 suggest that larger percentages of the
teachers are afraid of their incapability. They are not pessimistic
and hoping to be capable of using digital musical instrument and
equipment as a first step to be involved in hi-tech music education
as shown in questions 3 and l0. More encouraging fact is that
over 50% of the respondents have definite ideas to carry their
music lesson with computer and synthesizer.
All these findings tell us that almost all music teachers whatsoever
they had studied, piano, vocal, etc. feel computer becomes a very
important and effective tool in music education, though they have
never experienced through their days in school and workplace.
The survey didn't show any difference of consciousness about computer
and digital instrument by age and sex among the respondents. However,
men and women have different tendencies. Men identify things in
a way of overall view. On the other hand, women have, say, 'microscopic
view'; seeing world around themselves with minute scrutiny as
if through a microscope. They recognize every sequence of things
in a series happens in front of them. This difference is evident
in every household. Usually mother fills in home report for school,
those things like family members, but father or brother writes
map from home to school. Generally speaking, women find difficulties
to have bird's-eye view or way of thinking of that type. On the
other hand, women are good at doing things in process, from one
step to another. They can do much better computer programming
than men in this respect. I'm saying this simply to clarify the
difference of men and women as human being, the difference of
nature, but not of sexual superiority. I don't mean to discriminate
women. It's just the way we are.
Otherwise, marriage and love won't exist. Our society relies on
two different sexes, men and women. The teachers of a variety
of age groups, whether they are male or female, showed no specific
difference of recognition on computer and digital equipment, but
only characteristics of individual. I will write more about it
in my next article. One thing I want to let you know is that it's
nothing but a distorted and discriminated understanding to say
that women have difficulties to operate and control computer and
synthesizer.
As majorities of typists were female in older times, we have
had an image of typist almost exclusively belongs to woman. Similarly,
pianists also remind us of feminine gender. Women have been known
for their excellent manual skills and precise memory. These traits
are fostered through repeated practice and training. I call this
'L-type' study pattern. The L stands for Learn. On the opposite
to the L-type study pattern is S-type that comes from Study. Anyone
who is S-type accomplishes study, learn rules and theory of things.
The S-type is likened to be software, while the L-type, useware.
Women are likely to explain things in the way of direct method.
Consequently their talks sound vivid and lively s they convey
tales exactly as they have heard and try to repeat stories with
no modification and amplification. It tells us that women are
very concerned about 'procedure'. In music playing, the L-type
diligently follow 'correct' playing and fingering of music in
many cases.
On the contrary, men are more likely to speak in indirect method.
They try to convey stories they have heard trimmed and simpler.
It may not sound vivid, but they are more concerned about telling
'extract' of stories. We may find more S-types among men.
When music teachers put their hands on DTM, there's a greater
difference in attitudes between the S-type and L-type. Both types
have ideas what to do with DTM. However, their reaction splits,
accept or reject, according to where their primary concerns are:
which have priority, tasks or procedures?
Japan's Ministry of Education has set a new goal this year to
install computer to every elementary and junior high school in
Japan. At this moment, 21% of elementary schools and 44.8% of
junior high schools throughout Japan have computers. The effect
will be tremendous. When schools have equipped with computer,
the most presumable usage will be a word processor, or data storage
for controlling test results of students. As long as computer
is used for these purposes, there will be no teachers who oppose
or resist it. Even so, possibly, some 'capable' teachers are recruited
for data entry and output. In case they are the L-type, they tend
to rely on any specific application software available on market
since they are passive in nature. As increasingly different software
programs are introduced, they may stick to a few selected ones
they feel easy to handle. They even don't care about interrelationship
among software, nor time sharing for work with their colleague.
It can happen in worst case that they put teachers who don't or
can't use computer away.
On the other hand, innovative S-type teachers are able to expand
software packages matched to different purposes in the frame work
of CMI (computer managed instruction) or CAI(computer aided instruction)
to promote entire scheme of school. They are sure to have a total
view not restricted to their subjects but to introduce required
software and usage systematically.
Looking into software for word processor, we have so many to choose
today. The L-type teachers may pick up a series of software to
be controllable by the same FEP (front end processor, Japanese
dictionary format). In my case, being S-type, I have a variety
of software for different works, for example, those for letter
writing, figures and table, and have all texts converted into
MS-DOS text files for printout on 48 dot high-speed
In other words, the L-type teachers can be identified as environment-adapted,
while the S-type teachers, environment-developer. The former tries
to adjust its feet to shoes, but the latter tries to find best
comfortable shoes for feet. When environment-adapted teachers
select software, their colleague can expect set up of a system
commonly used by all teachers and students, however, it often
lacks flexibility to be applicable to specific purpose and creative
works. In this system set up, the most innovative part of music
arrangement and composition is left to DTM, but not to operators.
The environment-developers may set up a system that has some missings
or more devices of the same capabilities, but, it will be a more
characteristic and flexible system. This type of system leaves
of DTM those tasks including printing out of music and automatic
music performance.
Unfortunately, we have no shoes that just fit to everyone. Scissors
work good to cut papers, but not wood. A saw can cut wood easily,
but not a thin paper. It goes the same with DTM. We have to select
hardware and software matched to individual purpose. To save inconvenience
of using a multiple of different tools, there are increasing numbers
of DTM software including MS-DOS text file that allow users to
convert files produced on different tools to the same DTM these
days.
The L-type teachers are more excellent operating and understanding
hardware, but the S-type teachers are more capable in application
of hardware in many ways. The best environment for school is to
have both L-type and S-type teachers in a good balance. As increasingly
female teachers join education field in Japan, however, the numbers
of L-type teachers are increasing.
How many of us could have imagined of children today who manipulate
ten keys, mouse and joy stick with no difficulties? They are called
home-computer generation, or simply a new human kind. For those
children and young people, computer represents a toy and stationery
like pencils and erasers.
When home computers began to sell more, young people ceased playing
mahjong at mahjong house in town. Children found home computer
more fun than playing with friends when every one of them was
accustomed to go to 'jyuku' (after-school private tutorial institutions).
All these changes emerged as today's society has changed. Children
staff their life and build their standard of life habits in a
society and social environment they are born. Children's culture
is different and changes from time to time.
Every period of history has had 'gadgets' and 'gimmicks'. But
such 'intelligent' ones didn't exist before. Children of these
days face an enormous stress from ever increasing amount of study.
Since children have same level of capability in whichever age
they are born, today's children have to much rely on 'gadgets'
than before. As we saw electric calculator replaced simple calculating
board, no one can stop that CD-ROM and optical disk take place
of printed materials.
In many cases' children at school and 'jyuku' are plagued by machine-like
learning by memory and training. In extreme, Japanese learning
system matches to memory-conscious society that provides more
opportunities for L-type (learning) students typically found at
the so-called high-ranked universities. The established system
that evaluates human characters simply by how much knowledge one
has definitely prevents children to have innovative and characteristic
ideas.
Knowing - understanding - can do
This is the best presumable procedure of studying. Today's Japanese
entrance examination system is designed simply to evaluate the
first stage of this study chart. It only helps encourage present
unbalanced education that stresses acquiring knowledge and technology.
I don't mean to say that children don't need to study to acquire
knowledge and technology, of course. Nothing develops without
them. However, large percentage of knowledge and technology can
be handled by computer today, because we can take advantage of
it for storing data. The critical point of using computer is that
it does nothing how-much-ever data is stored unless we know how
to capitalize on the data systematically. Education shouldn't
stop here.
To understand things is achieved as a result of sorting, generalizing,
categorizing and evaluating the acquired knowledge. It requires
editing and realigning huge data. It's totally different from
converting one file to another. With this process, entered data
is reformed and reborn.
Japanese education almost ignores this 'understanding' factor.
For instance, students learn C major scale by pitch names of Do,
Re, Mi. Music teachers don't make children understand that pitches
are transposed in parallel in different scales. That's why children
become allergic to scales and loose interest in music. They have
an image that minor scales are hard to handle, because they don't
learn the basic of minor scale that E and A in major scale turn
to minor scale simply by lowering them by half note. I find no
music software available on the market that turns major scale
into minor one, or vice versa.
When DTM is used as an only 'gadget' to withdraw stored data exactly
as they are, we can't find any valuable means of education with
DTM. Articulation can be entered into computer as data, but it's
useless when children don't know what it means. DTM plays no important
role in music education under this circumstance.
I quoted that 'L-type' learning is much concentrated on procedure
sequence in my previous article. Music itself represents sequenced
file of note data lined up in order in a certain period of time.
Just controlling input and output of notes into computer, as DTM
is involved now, can only encourage 'L-type' learning. When we
have different type of music software for DTM that allows entering
and reproducing data as a result of understanding structure of
music and difference of tunes, but not creating music simply by
entering notes as advised, music education with be more 'S-type'
(studying). More than that, we should be concerned about greater
value of DTM in music education, that is to lead children a step
higher to the level so that they 'can' express or tell themselves
with the acquired knowledge and skills.
Voices calling for education that raise characteristic children
are ever increasing. However, many are not for sure what should
be characterized or more individualistic. What needs characterization
is what to study and aim of study. What needs to be more individualistic
is how lesson is carried out with eyes on individual child. Standardized
and leveled-out education throughout Japan to this day calls for
some adjustments. We know that teaching in same level and speed
at every classroom at public school has brought a considerable
number of dropouts. Introduction of computer including DTM in
education is expected to encourage characteristic and more individualistic
study. Music education assisted with DTM is designed to complement
drawbacks of present education system and provide children with
characteristic and creative study matched to capability and study
level of individual child, while assuring them individualistic
and rational approach to music.
Long ago, school played a key role in local cultural community.
It had most advanced facility and equipment not found in household.
It could enlighten general public with cultural guidelines and
vision toward future. Today, school has nothing but old-fashioned
teaching tools and materials. It no longer provides us with fascinating
drama focusing on our future.
Children are born active and quite enthusiastic about everything
around them. Any teaching tools and materials that fail to attract
children's interest and stimulate their enthusiasm for study only
represent garbage. Children are never inspired, nor continue studying
unless they are interested. More than that, there develops no
progress and advancement where there's no definite themes and
objectives. For example, the 'Dragon Quest' computer game software,
one of the most favorite among children, is designed to encourage
children not to give up or to be disappointed while playing, providing
them with a variety of keys and well-organized objectives toward
the goal.
Children show such attitudes as 1.enjoying, 2. seeking better
approach, 3. trying innovative idea, 4. cooperating with friends,
and 5. enduring, whenever they are quite positive. These attitudes
are very common when children playing with any favorite computer
video game, but rarely found in music lesson at classroom. I think
the reason for less-inspired attitude of children in school music
education is largely due to teacher-guided music lessons that
often discourage children to try their own idea and spontaneous
studying. It's likely to happen more often when teachers are excellent
performer of any musical instrument. Japanese music education
at public schools doesn't aim to raise professional players. However,
the reality is ever closer to this. Music teachers press children
to highly professional level of study. Such music lessons to confine
children in repetitive and technique-oriented training which seem
to be more appropriate for professionals are sure to fail to attract
interest of children. A survey tells us those lower graders of
Japanese elementary school name music as the most favorite
among all subjects. As they grow to upper grades, children reject
music, naming it the least attractive subject. The situation gets
worse in classroom at junior high schools. Sometime ago, journalism
wrote a lot about violence in junior high schools throughout Japan.
Remember, it was in music class that students' first turned violent.
Why do they become outrageous? No one wants to be forced to do
anything without an objective. No one wants to study when he has
no interest and affection. Children resist when they are crammed
against their will without tasting fruit of music. They get furious
because they are in the midst of adolescence and right on the
time to establish their self consciousness.
I don't mean to blame music teachers. All of us teaching music
at school know that music room turns to a mess of noise when individual
student makes sound simply because we handle sound in music lesson.
More characteristic sound students produce, more annoyance to
all in the same classroom. The problem was that we didn't have
any effective measure other than playing same note in unison to
avoid the sound chaos.
The appearance of electronic music generator brought us a dramatic
breakthrough in music education. Headset has freed us from hazardous
noise and realized quiet environment for playing music without
bothering others. Small as it is, but headset evolved as a revolution
of the 20th Century music education, a great revolution of 'closed
circuit.' For today's Walkman-generation, a headset is part of
their daily life. Using digital musical instrument for sound source,
DTM (desk top music) system is expected to be an ideal tool for
characteristic and individualistic music education.
Children can speak and understand Japanese before they start studying
written Japanese. Literal studies of Japanese help accelerate
linguistic ability of children. Nevertheless, language which children
most need in their daily life comes first. That is why not a few
people are unable to speak English in Japan, though they study
the language for a considerable time from junior high to college.
Similarly, Japanese music education is far from children's daily
life. Any study with no relationship with actual life does nothing
to children.
Children appreciate music to 1. ease their solitude, 2. inspire
them, 3. cuddle nerves, 4. heighten themselves, 5. give value
to their times, and 6. communicate with friends. Music represents
sympathy, catharsis, charisma and common language for children.
They find music of any field the same value.
Outside school, music network linked by MIDI has been in operation.
Whatever style it will be, children, who are familiar with music
from their nature, are eager to have free and flexible study of
music and to share the world of skilled music making which has
belonged to a limited number of professionals so far. It's DTM
that can satisfy them. We had long dreamed of a relaxed relationship
of music and ourselves, not art, nor technique-oriented, but as
a natural culture in our life. History has proved that poetry
evolves from that environment. Notes turn to music in that environment.
To realize ideal musical environment backed by that idea, we have
to be well-prepared for how to select best conceivable hardware
and software and to coordinate them under a total concept of DTM.
During summer in 1990, I had a chance of visiting overseas
countries to observe reviews of educational research works. I
was especially impressed by a review on the electronic technologies
and their applications on music education presented at ISME convention
in Helsinki, Finland. At this convention, Carnegie-Melon Univ.
of U.S. made a presentation on the theme of "Use of Computer
in the Piano Instruction for the Beginners," in which an
AI software program completed by Roger Dannenberg and other was
featured. This program was introduced to Japan last year, and
I'm well acquainted with it as I was at the presentation in Japan.
It enables automatic accompaniment to the performance of any tempo
on MIDI instrument by the prepared data of the program.
The program sensor eight direct sound data before and past the
data being performed at the instant and automatically makes adjustment
for irregularities and errors of tempo. The AI takes care of such
tempo irregularities and errors natural to the beginners. It's
very useful as an instruction system. Similar method has been
already practiced at my college and at Naruto Teachers' College
for the piano instruction, however, we could not have yet solved
the tempo irregularities. Since the program was presented by a
video, it seemed that most attendants could not understand it
well. I knew the basic principles of his research, and found that
the program has now attained a high-degree of completion.
In England, efforts have been directed for the past two years
toward including music curriculum into the regular school education.
Of all UN member nations, only 7% or so have music curricula in
the regular school education. It's not hopeful to have the curricula
in the U.S. or in France for quite sometime yet. Following the
example of advanced music education in Japan, U.K. is now trying
to re-structure the school curriculum, in which the country is
now planning to place the "informational music," that
is, computer music. It's been reported that, in U.K., a circuit
bus, called "Technology Bus," with a load of high-tech
equipment goes around to the elementary schools. In Sweden, eight
of the same sort of bus are now in operation, and they use such
traditional instruments as recorder and other acoustic musical
instruments, however, the focus is placed on the electronic instruments
and other new equipment such as computer to cope with the modernization
of music. The educators of Sweden said that there is no trouble
as the children are used to computer from their elementary school
days.
At Siberius Music institute, where the educational convention
was held, there is a course for computer music. However, nothing
seems to be prepared for the students of music theory and computer.
At Singapore University, on the other hand, computer and other
equipment are offered to all students of music. At the University,
a great MIDI system has been constructed, and the network with
Macintosh and Atari computers as main frame is in operation at
the University's Extra- Curricula Music Activities Center.
Now, back to the ISME Convention. Most of the reviewers used IBM,
Macintosh, or Atari and unexceptionally MT-32D as tone generator.
However, their talks on the software programs were just reading
out the operation manuals aloud and nothing more. I had a doubt
if such reviews could be truly called the research reviews. Nobody
presented their original program. They were all applications of
the pre-prepared programs. Although, there was one review on a
teaching material by use of CD-ROM. It was presented by Australian
party. Their presentation demonstrated synchronization of music
to the notated display and to the still images by connecting the
original material to computer. I felt that it represented a new
DTM medium for music education. I understand that Rittor Music
will soon release an inexpensive CD-ROM system through co-development
with NEC. I wish they would also help develop educational materials.
A large-scaled data base is needed when DTM is conceived for music
education. There is nothing more appropriate than the CD-ROM.
After the ISME convention, I visited STEIM, a national research
laboratory at Amsterdam of Holland. This institution is yet unknown
in Japan, but is staffed by researchers comparable to those of
IRCAM of France and they are engaged in development of MIDI controllers
for various progressives live performances of music. These new
controllers included mechanical hand-like device, a device with
a look of cobweb, etc. These unique control systems offer many
hints to the music education, I think. The patterns and pattern
recognition are always associated with music and sounds. In a
research in pattern recognition, Pennycock and others of McGill
College of Canada have made advanced results. To sum up the results
of their research: (1) To transform music into notes, (2) To transform
notation into music, (3) To organize musical patterns into information,
(4) To organize ideas into information, (5) To build a data bank
from music and its contents, (6) To form an interface between
the player and music information, (7) To study systems necessary
for music education, etc. Some of these results have already been
marketed as software, however, the most important ones are yet
to come.
Almost all the application software for DTM now available on
the Japanese market are designed around some specific models of
computer. It's because of unexceptional environment in Japan where
all those Japanese hardware manufacturers including NEC, Fujitsu,Toshiba
and Hitachi exclusively share every conceivable market of Japan
from office use to personal hobbies, and they are further extending
their hands over to school markets. The problem is that the majority
of these Japanese-made computers only find a market in Japan.
It's not because of their capability, but simply attributed to
the Japanese language on which they are run.
Outside Japan, IBM, Macintosh, Atari and Amiga computers has dominant
market share, and the software programs designed for this hardware
have excellent data and program compatibility. Only Yamaha has
the C1 music computer in Japan, which provides benefits in terms
of free compatibility with these offshore computers and software
programs. On the other hand, it lacks communication means between
other Japanese-made computers including NEC and Fujitsu. As a
result, the C1 users are obliged to buy additional foreign-made
hardware to get access to wider range of software. It discourages
consumer's buying interest of the C1. Larger percentage of the
owners of the NEC PC-9800 series computers depends on 'Ichitaro',
'Hanako'. or other software written in Japanese language.
As the operation system as the MS-WINDOWS has been widely used
these days, more foreign-made software programs including the
Aldus Page Maker and Master Track Pro (MTP) exclusively designed
for the MS-WINDOWS system are compatible with upper class models
of the PC-98 series. The only but very critical burden to get
full advantage of the MS-WINDOWS system is that users are requested
to buy those fast-processing machines using 16 to 32-bit 80286
or 80386 CPU. in many cases they need additional expensive devices
including expansion memory and specific disks. A total system
consisting of these devises and a laser printer cost enormous
enough, equivalent to a full Macintosh system. The situation will
be more complex when you run a computer on high-resolution display.
Most of the music software on the market becomes useless since
it has to share internal memory with extra channels. For example,
though the MTP is originally designed to be capable of displaying
editing works at maximum efficiency in high-resolution mode, even
an advanced model slows down processing to a normal mode when
it's coupled with the Roland MPU-PC98 as an interface. That is,
memory sharing occurs between mouse interface and extra channels.
It's just like driving a very high-speed racing-type sports car
in town.
Another problem on DIM is that MIDI standard format hasn't been
fully regulated yet. While IBM and other foreign manufacturers
have cleared the matter and standardized MIDI format, Japanese
computer manufacturers have yet failed to regulate even MIDI signal.
It's no wonder that a B maker's musical instrument produces extremely
loud sound or the other way around when it's operated with an
A maker's computer data. It happens because velocity data of the
A and B are different.
Most frequently used instrumental voices are hardly classified
in a standard format. Since different voices are assigned to a
certain number of program by different sound system, you are always
requested to reassign voices to program numbers, seeing voice
charts.
I feel a kind of embarrassment every time when I 'm asked which
system I recommend for DTM. in the aforementioned circumstances,
I find extreme difficulties to give him a persuasive advice. A
variety of music magazines list new DTM software every month.
It extends a great variety from a very expensive program to be
retailed at \120,000 to a simple one easy to be copied into an
inexpensive blank disk. The selection of DTM system well reminds
us of making a decision which car to buy.
The only logical answer is systematic selection of necessary hardware
and devices matched to individual purpose.
The best hardware definitely depends on which task you want. Furthermore,
I've heard myself that a user who had purchased a best appropriate
software, but was unable to use it because the operation manual
was written in English. In this respect, I'd like to show you
a simple (may be unrealistic for practical selection, though)
guide-lines for buying a computer for music education below:
Size: Smaller the better. Either composite type or lap top model
is recommended. However, system expansion, color display and some
other capabilities must be compromised.
Price: Cheaper the better. Atari and Amiga computers are far inexpensive
than Macintosh. The difference of them seems to be stemmed from
different CPU and memory capacity.
CPU: Either 68 type or 86 type is recommended. I say that the
68 type is more a computer. The 86 types incorporate some inefficiencies
as a computer. They are regarded as a somewhat upgraded electronic
calculator.
Display: It can be beautifuller and in high-resolution mode. But,
Japanese-made software doesn't operate perfectly in high-resolution
mode. Macintosh provides beautiful display, but monochrome mode
is more practical. The total cost will climb to enormous level
when you set up a full-color system. It's wiser to buy a Japanese-made
computer and buy extra devices with the same budget.
Speed: Faster the better. The H98 operates at an incredible processing
speed of 33 mega byte. Speed is critical. Faster machine saves
your time. I had to wait for hours after 'Wait for a moment, please'
message is displayed when I entered music real time using the
Ballad!
Selection of hardware may differ greatly upon what kind of
system you want to set up, an exclusive system for DTM, or DTM
task added to any existing system, etc. It's rather easy to turn
Macintosh and NEC PC-98 computers to include DTM function. Based
on Excel or Multiplan calculation software and that DTP software
as PageMaker and matched word processing system, some software
for music purpose including a MIDI (interface) units make those
computer systems well DTM set up. While, the Yamaha C1 can't be
included in the same group as Macintosh and PC-98, because it
isn't compatible with Japanese language. Though, it runs on MS-DOS.
I'm sure that exclusive DTM system leaves music teachers at school
not a few frustrations and inconveniences. Also you have to take
future communication possibilities of system into consideration.
Here are 5 cases for different purposes.
Exclusive machine or general hardware?
You hardly find a computer exclusively designed for DTM in the
market today, while we are familiar with word processing computers.
What's the difference between computer and the so-called word
processor? First, it depends on whether a machine provides us
with an instant access capability to produce letters and documents
and program files without any specific knowledge.
With a word processor, you are guaranteed against easy operations
of word data entry, edit, storage and printing, selecting desired
menu unconscious of any computer involved in the processes. You
are requested to have very basic knowledge such as correct insertion
of floppy disks, however, there's no way for you to have an expertise
on computer. Word processor is designed to be friendly to computer
amateurs, doing a professional operation itself with its own system
and software. It's quite good for ordinary letter writing and
production of documents. What about designing original programs
to match specific needs? No good. Only a computer designed on
DOS (Disk Operating System) can meet your request.
Some latest word processors have built-in calculation and communication
capabilities. They are more of a computer than ever, but the calculation
abilities of those machines are much slower and memory density
isn't good
enough.
Those Japanese language software including Ichitaro allow user
to exchange or transmit data on MS-DOS but with an extensive knowledge
on computer. The Ministry of Education set a new guideline sometime
ago to introduce personal computer into every school from elementary
level to senior high level. I suspect that future environment
of school will be split into two: skilled and unskilled, according
to knowledge level of teachers about computer.
Although the Japanese language word processors allow user to select
any desired style of data entry among 6 different ways, majorities
of manufacturers design their computers on alphabet letter means
for data entry. As with this case, any exclusive machines have
some horoughly tailored operation system. That requests user not
a small compromise, and to fit their feet into shoes.
Music data entry is possible in many ways on the DTM software
programs now available in the market. They are on 1. hardware
keyboard, 2. music keyboard, 3. step writing. 4. mouse, 5. MIDI
signal, 6. cursor, 7. optical sensor unit, etc. From standpoint
of music production, data entry playing music keyboard is the
best, because it doesn't disturb flow of music. The problem is
that it's only good for trained keyboard player. In a widely spread
assumption that those skilled musicians don't want DTM, music
data entry almost exclusively relies on MIDI keyboard or typewriter
style keys.
Latest DTM software provides greatly
improved note resolution capability. With the former programs,
a quarter note is divided into 24, that is a sixth note is expressed
in 6 resolutions. Those notes under sixth can only be shown as
a triplet of sixth. We have now pretty much efficient software
that can resolve a quarter note into 480! That means they are
more musical in terms of expressing subtle nuances by length of
note and timing of voicing. There's not much problem entering
ordinary chords, however, when you designate the chord to be played
in arpeggio, you have to express subtle timing of voicing. Any
software having efficient resolution capability can does a better
job in this case.
Another important aspect of today's DTM is that enormous number
of tracks is provided. An ensemble score requires to store performance
data of some different parts. In case of music for string quartet,
you need 4 tracks. Sequencers of earlier times had only 2 to 4
tracks. When more tracks were required, we did a kind of ping-pong
recording, transferring data of a track to another with unused
memory capacity left, just as the case of recording music with
a tape recorder. The result was a mixed up storage of performance
data of multiple of tracks in one. Correction of any specific
part becomes an exceptionally hard task.
With the Yamaha C1 music computer, you have 200 tracks for simultaneous
play back and another 200 track for editing works, totaling amazing
capacity of 400 tracks. As it is a l28-note polyphony machine,
you can produce a full score of l28-member orchestra. Numbers
of tracks vary according to software: 64 for the Master Tracks
Pro, 18 for the RCM and l0 for the Ballad. How much does difference
of that software bring in making music? How-many-ever tracks are
provided, you have maximum of l6 MIDI channels to which music
data are transferred. Even those latest DTM machines having A
and B output ports allow you to get access to 32 channels of voice.
In other words, you can produce up to 32 voices in maximum. 32
voices are good enough to express every part of a full orchestra,
however, in case with the Ballad 2 software, the l0th track is
exclusively allowed for rhythm section. 9 tracks are left for
9 parts. It's impossible to enter music even of a small orchestra.
In addition to this restraint, the exclusive sound generator for
the Ballad 2 is 8-note polyphonic. It further reduces capability.
On the other hand, the Yamaha C1 provides 8 MIDI output ports.
Individual sound generator allows you to play 16 voices, that
is a total of 128 voices are provided. When you make a combo jazz
music or rock band tunes, 8 voices will be good enough. However,
a music performed in more than 8 parts and in different instrumental
voices, obviously you need more tracks and output ports.
The "Tool de Music" software is capable of transferring
256 tracks through its A and B ports. That means you can produce
3a instrumental voices using two l6-note polyphonic multi-timbral
sound generators. In what case do we need 200 tracks, then?
In multi-track recording, full-bodied string ensemble sound can
be produced recording melody of the 1st violin several times over.
Mr. Isao Tomita reportedly produced his earlier work after 80
times of layered recordings for a violin part. He had 24-track
or 32-track tape recorder at best then. He had to mix-down a finished
part onto another track. Today's DTM machine having more than
200 tracks came out as a solution for this pains-taking recording
works. However, the problem is that when finished music is played
back, sound of a track just sounds as plain music no matter how
many music data are down-loaded in one track. We can understand
this fact better when we think of a recording on tapes. The total
effect of playing back multiple of same music data copied onto
multiple of tracks is just same as music produced from a single
track and played back in monaural mode.
Chorus and ensemble music are collective mass of differences produced
by a multiple of performers. It doesn't produce any effect how
many times of music layering are done unless you designate differences
of timing of voicing, sound, level of pitch, vibrato, sound locality,
etc. on individual track. To accomplish this, you need sound sources
equivalent to number of available tracks. It's not practical at
all, and you will need enormous money to have this system. To
compensate the situation, some manufacturers have introduced PCM
sound generators that incorporate a sound voice with those differences
preprogrammed. You are free from a headache to have to have huge
number of tracks and sound generators.
The C1 has tempo LFO, which is designed to produce differences
of tempo by tracks, to create ununiformed timing of voicing and
level of pitch automatically. Though, it doesn't always work as
well as said.
Summing up this subject, machines with fewer tracks are suitable
for pop music, while those with a host of tracks are better for
production of classical music.
As it was typical for the earlier times
of DTM, the first works assigned to computer are entering single
melodies and performance of them. Music education at Japanese
elementary school isn't designed to try younger children learns
reading or writing scores. The situation is the same as their
linguistic environment. The 1st graders speak Japanese without
difficulties in their daily life, however, they are unable to
read or write Japanese. The course of study regulates words that
children are required to learn during each year. Music education
takes the same course; study of score step by step.
In many cases, children don't have any idea about written notes.
Unlike numbers of 1, 2, 3, etc., which are widely used in everyday
life, pitch names of Do, Re, Mi and so on are only a mean to recognize
difference of individual note. Being marks only used in music,
we can sing a song not knowing pitch names, and even play the
musical instrument. What makes the situation worse at school is
that a great number of music teachers in Japan are inclined to
teach Solfeggio in C major with no regard of at which pitch names
they are written. As a result, children are confused, not understanding
difference of pitch names and syllable names.
The point is that expressing pitch names on conventional music
staff is nonsense except for C major. Pitch names of Do, Re, Mi
and so on just tell pitch relationship of main note and others
in letters for convenience sake. In other words, they are rather
likened as numbers showing inter-relationship of notes, but off
an idea of pitch. We can definitely write absolute notes on music
staff, but we need a major note that becomes a standard note when
we want to express relative notes on the staff.
In teaching musical sense on DTM, we can't ignore this. I remember
a small-key keyboard that incorporated 'naming pitch' function
as a fun feature that was introduced some time ago. It won't be
any help unless you want to teach children absolute pitch. Absolute
pitch may poison students when they study any theory of music
including chord and counterpoint, in which relative pitch is deeply
involved.
The 'Hanauta-kun' software is designed to change entered vocal
to MIDI chord with help of the built-in pitch-to-MIDI A/D converter.
What they call pitch means absolute pitch. It's not helpful to
learn sense of relative pitch. While the system at Carnegie Mellon
University in the U.S. is capable of producing relative pitches
detecting major note with help of AI technology. It's naturally
capable of adding chord accompaniment automatically based on functional
harmony. Not marketed yet, however, it's expected to be introduced
as an automatic accompaniment performance system not in the distant
future.
Ibo Elementary school at Tatsuno City, Hyogo Prefecture, has been
teaching DTM using the Logo System. In the music creation lesson
of 3rd and 4th graders, two children share one computer in the
classroom. Music creation doesn't necessarily mean compositions,
however, the children are requested to study the idea of functional
harmony, as part of melody making in their terms of 'lasting music'
and 'ending music' . Computer displays set up for the children
show an 8-measure music with blank ending notes on staff, which
are loaded from a 3.5 ' floppy disk. The children can know the
music by individual note and phrase or a group of harmony by moving
a turtle. They work together to complete the music entering notes
matched to the blank part.
They can experiment as many times as they want with no fear of
bothering their classmates since they listen to music through
headset. A big excitement soars among children when they demonstrate
produced music to the whole class, but not on computer display
staff. Playback of music with only a touch of a return key had
never been realized with the conventional style of music presentation
either in written scores or in real time performance. In this
way of study, children who are not good at performing the musical
instrument or making music into scores actively join music lesson.
Started with completing 4-measure music with closing notes, the
music program expands to include filling works of initial notes
and middle notes. They learn relationship of notes and written
music unconsciously as they continue studying. The advantages
of this program include;
I found that DTM is an ideal educational
tool of teaching basic studies of score and production of music,
seeing the children enjoy music lesson at the school in the same
feeling as playing a computer game. This type of note and vocal
entering away from conventional theoretical study really helps
children to acquire a musical ability while enjoying all the processes
of music making.
In the previous column Ｉ wrote that children
acquire a feeling of lasting or ending music selecting notes that
make them comfortable in relation to neighboring ones. What's
important in this study is feeling sound. Music creation may sometimes
rely on thinking theoretically, however, I'm confident that there's
an ultimate difference between feeling natural flow of music and
thinking music as a structure in making sound. Children have a
feeling that a music is ending is definitely a feeling, and something
beyond musical theory. I think that children should acquire natural
sense for sound in the initial stage of music education at school.
Teaching absolute pitch is primarily designed to make children
acquire an ability to tell pitch of individual note. Except modern
music, majorities of music written on tonality are based on interval
of multiple of notes rather than pitch of individual note and
feelings such relationship of interval brings. This is what music
teachers have to teach children. It's known by experiences that
children who have learned playing keyboard instrument by age of
5 or 6 acquire absolute pitch almost without exception.
On the other hand, it's also widely known that school music education
isn't helpful to make children acquire the ability. Despite the
fact, sight-reading on C major and naming notes by white keys
are everyday occurrences in music classes of elementary school.
This shouldn't be ignored and is the point which Mr. Seiichi Higashikawa
has been warning these days. Mr. Revez of Holland is the one who
recognizes the importance of relative pitch as a real sense for
tone.
We are surrounded by many examples of universal relative pitch;
door chimes sound in major third and motor horns alert in minor
third everywhere in the world. They come in different keys, but
we apparently feel interval of these sounds. One more example,
ambulances squeak in major third, too. You may find more of this
kind. Not a few of us will be no doubt frustrated if we are only
allowed to express interval by absolute pitch. Well, DTM helps
effectively solve this problem.
Someone may remember the Yamaha HS-501
Handy sound small-key keyboard. It incorporated a music game mode
that encouraged players to tell name of keys discerning sound
provided by the instrument according to several musical levels.
Children having absolute pitch had no difficulties and it was
a fun game, however, for those who don't have the ability, they
were supposed to have known standard note and remember it precisely
to tell right keys in relative pitch.
The game can be produced on computer when it's plugged with a
sound generator without any help of music software but only with
simple programming works. Yet, it doesn't provide any good effect
from a stand point of music teaching. I propose a more educationally
creative program instead. Majorities of DTM software with a note
entering capability have key transpose function. And an ability
of key transposes is referred to an ability of absolute pitch.
In the first step, advise children to enter any designed interval
starting Do of C major on display staff and make them play. It
will be more an effective lesson when C major scale is already
entered before asking them questions. The second step is to give
them a note and make them write in another note with the same
interval above. The point is to make them feel a note, but not
just write from knowledge. Any software that produces sound when
children give an instruction by mouse or move note on display
is recommended.
If not available (currently not with almost all software), then,
advise children to transpose original scale. It clearly shows
children that a scale can be transferred to another one in parallel
visibly on display and audibly by sound. After children have mastered
making an interval of two notes, you can go further to study of
melody transpose. The key issue of this practice is to encourage
children to feel music. Don't let them think music. It's quite
possible to make it happen as you instruct them to transpose a
whole melody. These are protective doses that you must keep in
daily lesson:
1. Pay attention to guide children to be conscious about basic
note (Do) of transposed scale and determine following notes in
relationship with basic note. Avoid just transferring note in
parallel,
2. Don't rely too much on score in lesson. Learning by ear is
the key. I recommend that you provide backings in as many keys
as possible when singing. Unfortunately a very illogical myth
that C' major scale is the easiest to teach music still lives
in school. Almost all music staffs for younger graders are expressed
in C major, accordingly. While, take account of playing, it's
no doubt easier to understand fewer 5 black keys than 8 white
keys. You are well-aware of that. You know that anyone can play
'Tramping Cats' (Japanese popular tune for beginner pianists)
even with no experience on piano, but what if it's written? A
very complicated music with 6 sharps or flats are the answer.
A keyboard with MIDI capability will instantly solve the problem
because key transposes can be done easily when backing singing
in classroom. The Software for the Yamaha Disklavier can also
cope with the key transpose problem without difficulties.
Too primitive to say it is composition,
but it's possible to instruct 1st or 2nd graders of elementary
school to try to make or sing original simple melody. In earlier
times when music education is designed on 5 objectives, singing,
instrumental music, music creation, listening and rudimental study,
many people misconceived "music creation" as "composition."
They approved only written music as created products. Thus, so
many children lost interest in music. It's not an old story. In
fact, in my town Kobe, the municipality continues to sponsor a
kind of nonsense "Composition Competition" every year
and encourage elementary school children to take part. The applicants
compete to make melody to a given lyric. Without doubt it's a
strange competition where children (most of them are girls) struggle
searching sound while playing recorder or keyboard harmonica.
DTM can dramatically and totally change the scene. Music becomes
a major obstacle for music activity. Who can feel and create own
music in the flood of noise produced by neighbors? This ridiculous
atmosphere is the everyday occurrences without any warnings at
music classes at school. Music room of a school has traditionally
existed as a place for mass tutoring, but not for individual study.
Thoughtful teachers have tried to divide a class into several
groups and made them practice at each corner of a room. With only
4 corners in a room, groups over 4 had to be expelled.
The greatest advantage of making melody on DTM lies in totally
individualized study. DTM assures it. Using headset, children
can study in quiet environment, free from neighboring sound, and
not bothering classmates. It's quite effective in creation of
music. In addition to that, DTM can cope with level and speed
of study of individual student in given time.
Not all, but most DTM software has note entering capability. Student
can enter imagining music data by mouse and confirm entered sound
playing it back. That beginner-helpful software as "Hanauta-kun"
that allows vocal data entry and another for real time data entry
is also provided. The concept of "no sound" music class
apparently satisfies requirement for individualized and characteristic
guidance suggested by the Course of Study. It's time to be freed
from 100 year tradition of mass tutoring system, and a starting
point toward a brighter future.
DTM is an effective tool, but can never
be a flawless mean in melody making. The biggest obstacle is that
the work of confirming image. Children's first define an image
of music to be created. A kind of solfege in their brain. As we
always experience, the first idea can't always be excellent. They
have to compare the second and third ideas, accordingly. Compare,
adjust and determine. No music software capable of satisfying
this requirement is available on the market.
Because they don't have a buffer or memory in which first idea
is stored, students must tentatively enter melody first come into
mind on display. Adjusting and editing data is only possible playing
entered music back on display. The works, comparison of various
ideas on melody and harmony, the most sensitive part of music
creation, can't be done. If it's possible to program some measures
of music into the internal memory with push of a button, it will
provide you with more educationally helpful and human-like works.
Any music software developed for educational purpose should be
more user-friendly, allowing students to keep several alternatives
in memory for comparison. Some software has solved the problem
with "cut & paste" capability, but not good for
storing multiple of ideas.
Another problem is that almost all music software aren't designed
to produce sound when patching notes on staff by mouse. It will
be a great help for students if they can confirm by ears image
of designated notes by cursor on the display just by pressing
a key. Ironically, most sequencer have no display but are equipped
with this capability. Professional musicians will be sure to be
benefited from this function as they can confirm their ideas.
I'm greatly encouraged to hear affirmative
voices from many readers against my last article in which I wrote
that we needed sound monitoring capability in DTM to confirm notes
entered. It's quite logical because the situation we now face
is likened to a practice on a silent piano. Not only me, but so
many teachers have been frustrated with lack of monitoring capability.
Here in this article, I give some more suggestions helpful to
improve DTM environment at school.
- 1. Size of music on display
- We often come to a need of changing gate time and velocity of entered notes on Ballad 2 and other software. The problem in this case is that only 2 measures of music are shown on the display. One drag of mouse allows us to edit just 2 measures of music. With tens of measures to edit, we have to repeat dragging many times until we get tired. If we have a similar type mode available as Aldus Page Maker that can compress display size, the work will be done with one single operation of mouse dragging. Some software including Prelude has layouting capability, but no editing mode.
- 2. Separation of entered parts
- Some software like Myujiro and Ballad 2 display music in great staff on display as with piano scores. However, notes are displayed either on treble or bass staff according to tonal range. Can it be possible to designate music played by only right hand to treble staff? If possible, music entering by left and right hands separately and completing it to a perfect piano score will be readily available for print out for practical use. In case this idea isn't acceptable, how about incorporating edit capability that enables operator to separate music written in great staff either to treble or bass staff after it is entered? Also C clef or C staff is requisite for students of classical music.
- 3. Instant edit
- Mistakes often occur when entering notes. We can continue working on RCM and other software capable of entering data by numerical means. Just correct any misloaded numbers and it can be done instantly. It's another problem of note entry type software. We have to delete the once entered notes and reenter correct ones. Then, the program keeps us waiting tens of seconds, especially when it's the beginning part of music. We need this to be improved anytime soon.
Any capabilities allowing us to click wrong notes simply with mouse and place them to right position on staff to change tonal pitch (note monitoring by sound at the same time is preferable) and move horizontally to designate length of notes freely will greatly improve data entry works. The idea seems to be close to the edit function of word processor.
- 4. Total edit
- Only transposition function can edit designated notes in one operation as a group. With the Yamaha QX3, you can adjust velocity and gate time to any required level instantly, but there is no DTM software that can satisfy this requirement. When computer is introduced into music class at school, teachers will have to correct massive wrong music data entered by children. Total edit function will greatly reduce work burden of teachers. It's critical in class teaching. I suppose that music teachers will be very often benefited from this capability as they will face all the time to need to change fourth notes into eighth notes and the like. Another frequent case will be changing notes designated in piano to forte.
- 5. Part designation in quantize mode
- Almost all music software allow us to load data real time in association with quantize capability. It's usual to quantize the shortest note of given music as a standard. However, I've never achieved satisfactory quantize to this day. The problem lies in limited quantize capability of software. When music contains trills and ornaments graces, which are sources for quantize, longer notes can have incorrect quantize, or when longer notes are designated as standard for quantize, the same thing occurs to shorter notes. This error can be only prevented with edit capability of any designated notes on display. A host of software with quantize mode now available on the market can degrade quality of works. Teaching children with poor finger training experience will be greatly improved with quantize correction capability because spotting wrong notes and instructing them to correct is possible.
- 6. Free assignments of control signals
- Music study on computer may propose experiments such as adding expressions to simply entered music without such control marks as crescendo and decrescendo. In such studies, a function that allows us to add and change volume and velocity at will will greatly enhance the result. The Yamaha QX3 has this capability and some other software including RCM provides a helpful mean, to enter control changes on different track or channel. It may be realized somehow on DTM, too.
- 7. Problem solving capability
- It will be good for students if they can rely on help or 'return to start' functions whenever they have trouble on computer without calling for the help of music teacher in classroom.
Certain software produced domestically
depend on the family of CPU built in NEC, Fujitsu, Toshiba, Hitachi,
Epson and other machines, and are therefore compatible of programs
and data among this hardware. Some of them have compatibility
with IBM-PC. Sharp machines are built with the CPU same as that
of Macintosh, and therefore have no compatibility with aforementioned
machines. However, it is most intimate with the imported software.
Almost all domestic hardware are dependent on MS-DOS and inherit
its recessive character. This recessive character is mirrored
by software, and there is the rub.
MS-DOS has been improved to a certain degree by the recent release
of WINDOWS Version 3. It suffered from limited 640K memory, which
did not allow very complexed software program because of its limited
capacity, and only one kind of the screen font, which produced
but only very limited screen information. Macintosh, which has
become a main stream overseas, does not make its users conscious
of the concept of DOS, and, in this regard, has realized truly
"easy operation" imperative for the educational DTM.
One typical DTM software "Finale" for Macintosh is the
summit program for the DTM, as judged by this writer's experiences.
Although, this valuation is given for its functions. No elementary
school children nor junior high students could practically use
this software. Its price is also forbiddingly high for the students,
comparing with the domestic products.
There is another software called Aldus "Page Maker,"
a DTP program, which performs equally on NEC and Macintosh. The
"Master-track Pro," a DTM software, runs the same way.
That is to say, when WINDOWS is implemented onto MS-DOS. If all
hardware, be it domestically produced or imported, could attain
same level of operational conditions, the DTM software, be it
domestic or imported, could pervade with the same somewhat excellent
functions.
In a recent collection of ISME essays,
the writer found an essay titled "An Eclectic Approach to
the use of Computer Technology in Music Education" by a Robin
Stevens. In this 4,500-word essay, Stevens advocates the following
points-(1) the utilization of computer in music education in the
United States has been centered on CAI (Computer-Assisted-Instruction)
for trainings of musical theory and ears; (2) in England, on the
other hand, it has been applied to creative music makings (composition
and performance); (3) Ear training by CAI is 50% more effective
than that without it. The reasons are; individualistic instruction,
instantaneous and private feedback, quick and comprehensive assistance,
possibility of selecting "drill-execution" type test
programs, judgment of correct and fair nature upon students' responses,
proper adjustment of proficiency level to the students' performance,
assembly of students' performance data for teacher's minute scrutiny,
upgrading the students' learning motivation, emphasizing joy of
study and elimination of students' anxiety for competition with
the classmates; (4) Computer utilization should be taken into
consideration upon the basis of cognitive theory in such aspects
as: a creative tool, performance (including composition and arrangement)
tool, printing tool, learning by user control, acquiring musical
sensitivity, and learning by discoveries. (further contents omitted);
(5) An eclectic utilization means an eclectic means good for students'
needs stated in (1) and (2) and those of teacher.
In this essay, Stevens apparently points out the DTM activities
in the United States and England standing at two opposite poles.
As a typical software for (1), he mentions Macintosh "Listen"
as an example. For (2), he introduces CD-ROM masterpieces series
by Macintosh Hypercards as well as simplified software and Composer
programs such as "Concertware+." "Creator,"
"Master Track Junior," "Sequencer," "Performer,"
etc.
In Japan, Kawai is producing type (1) software, and Logo Japan
is making use of a certain types of software. However, many of
those type (2) programs in this country are not good enough for
the DTM education, as the writer pointed out in the former article.
So, a conclusion this writer could or at present, for the sake
of avoiding unnecessary investments on the part of the readers,
will be that they'd better wait a while.
Man developed musical notes that determine
relative lengths of tone only 700 years ago. In the medieval times,
people bad neumes to express difference of tone length in some
ways, though not perfect. However, when in ensemble music with
multiple of music part where to be played in parallel, entire
music should sound according to absolute tempo, and each part
to be performed with a synchronized beat. Dance music needs time
signatures to solicit players timing of passages.
These musical factors that could be hardly symbolized by marks
or written words allow no ways but to acquire by physical sense.
Beat is basically sorted out into two types, based on time of
a sequence consisted of an up and down movement of body and duple
time that comes from walking rhythm. Triple time belongs to the
first one and can be expressed by a circle movement. Children
are possible to express duple time rhythm when they begin walking
themselves. Before that, they feel single time typified by comfortable
movement of cradle.
Kindergartens and nursery schools operate at their own curriculum,
but not under guidance of the Ministry of Education, and it's
quite natural for them to encourage children to acquire the feeling
of rhythm while playing. The teachers provide a variety of programs
based on that aim, to teach children's sense of pitch and rhythm.
When teaching little children's rhythm, body language is a requisite.
Unfortunately, DTM system we have today lacks a link with body
movement and hardware. Timing and accents play an important role
in recognition of the sense of rhythm. The play around program
in association with a kind of dance helps children acquire the
sense effectively. Singing songs also precede children to understand
the ideas of tempo, pitch and timing in vocal terms of music.
Computers are unable to respond to, neither recognize movements
of children. A very impractical interface developed on biofeedback
technology is available but it hardly looks possible to be applied
to children, because the system requires children to place numerous
electric taps throughout their body surface to detect movement
of muscle beneath skin. Sometime ago, I found an interesting musical
toy at a department store, which was an 80 cm by 200 cm vinyl
sheet with some islands printed in different colors. I don't remember
which manufacturer designed it, but the sheet produced Do, Re,
Mi, etc. by sound, when children stepped on any of the islands,
though I wasn't sure whether they were absolute pitches or not.
We may be able to develop data entry system designed on body movements
of children in forms of a sheet or pad instead of keyboard of
computer. When children are good at that system, they can play
melody jumping on them. Or different data entries such means as
tapping or stomping may be developed. In all, only children with
basic knowledge on tempo and rhythm will be benefited from that
style of learning, but younger children will be excluded because
they can hardly respond to music with parts of their body.
The key is that children can acquire the sense of rhythm unconsciously
while playing games and dance. Software manufacturers are requested
to design programs based on child psychology. Music educators
unanimously point out the importance of rhythm training that should
be started at earlier times so that children can acquire right
sense for rhythm. I believe that DTM can play a greater role in
this respect. Children study music sitting at the desk in most
cases at elementary schools. When rhythm training is done on DTM,
children are supposed to express rhythm with their fingers or
hands. To serve this purpose, many musical instrument manufacturers
are providing a variety of products, those with small drum pads
beaten by sticks, desk top machines with pads and buttons controlled
with fingers, and electronic keyboards that incorporate percussion
voices.
These electronic instruments are good companions to computer to
teach children music visually on computer display. Brunner theorizes
on recognition as, 1. Recognition by activities, 2. Recognition
by visual (or acoustic) means, 3. Recognition by theory and regulated
symbols and marks. No. 1 approach is applied to little children.
At elementary schools, teachers try to teach by number 2. Upper
graders of elementary school and junior high school students study
music on scores and by theory, that is the step number 3.
In the advanced study of music, teachers rely more on student'
general understanding of mathematics. For example, a fourth note
is divided into two eighth notes. It's further divided into triplet
or 4 sixteenth notes and so on. Students can recognize these rudiments
upon their acquired knowledge on mathematics. Children at higher
grades of elementary school study more complexed rhythms on tables
and algebra that they are based on division and linkage of a beat.
I don't believe the saying that Japanese in general are less sensitive
to rhythm. Traditional drum performance inherited in some local
cities in Japan has dynamic rhythm and some are quite unique in
terms of rhythm tyle.
Sense for rhythm determines musical expression itself. That's
why I expect much in DTM, what it may contribute in this area
of music education.
Some people believe that chord is a kind
of tone color. The idea seems to be legitimate in some extent
because major and minor chords sound different and we can tell
the difference immediately as they are voiced. Originally, conception
of harmony deeply rooted in the idea of 'functional harmony' until
19th century. People were more concerned about supplemental functions
such as ending, suspension and rest of melody, or a medium to
support transposition or tonality than real effect brought by
individual harmony.
Today, we have many DTM software programs having chord name entering
mode available, however, they are designed to provide composite
parts for harmony from the standpoint of keyboard harmony. Certain
models of synthesizer incorporate a function to produce chord
matched to played melody automatically. The most efficient system
based on AI (Artificial Intelligence) technology seems to be the
product of Mr. Dannenberg of Carnegie Melon University. Even though,
you are required to enter necessary knowledge on basic chord progression
into the system before use. In this term, it's not a perfect automatic
backing system.
Automatic backing capability is indispensable for music education
using DTM, and a good system is longed for. Though we are able
to get a basic idea of harmony in theory, it's too complicated
to program harmony in algorithm, because it has too many fuzzy
aspects. Dopple dominante and the kind may be programmable, but
automatic productions of a counter line, determination of inverted
chords or progression of bass line are all deeply related to human
feelings. These factors can hardly be theorized and programmed
under a certain regulated rule. Nevertheless to say, it won't
make any good effect to students in music lesson.
I say that the ABC (Automatic Bass Chord) system incorporated
in the Yamaha Electone organs is well designed and expected to
be a helpful tool for students to experience the idea of harmony.
You will find that automatically played backing patterns often
give images of preferable chord to be played next. Presumably,
Yamaha has successfully programmed frequently used chord progression
in algorithm. In music class, teachers are expected to teach students
chord progression somehow regulated from experience. For example,
when chord I is regulated to use at the end of music, choosing
chords IV or V before the last makes a basic algorithm. Because
any DTM software now available on the market don't have the chord
algorithm, they are inappropriate in teaching harmony. Kawai Music
Drill software provides a function named 'music board' that allows
students to enter data by mouse or keyboard and make it play music.
While this try and error type learning provide capabilities to
help students understand relationship of notes and music staff
visually and audibly, it incorporates no means to judge and determine
which chord is best suitable.
Study of harmony is always associated with study of bass chord
progression. Students must determine bass line before they select
harmony. To do this, they are required to have a knowledge of
movable Do. Every algorithm of the Yamaha ABC system is supposed
to have been designed upon bass line. That means harmony training
software must include bass chord training in the first stage.
Students are guided to select bass chord matched to melody, and
harmony matched to chosen bass chord next. The software is required
to have a capability to judge whether entered bass chord is correct
or not. It's widely conceived that Japanese lack good sense for
harmony simply because of poor training of bass chord. We must
take an action immediately to start comprehensive training of
bass chord for younger graders of elementary school. Unfortunately,
not a few rock musicians take electric bass just as a simple rhythm
instrument. They may give children who listen to that bad music
all the time an adverse effect.
Looking back to the history, concept of harmony progressed from
l. primitive sustained bass sound called Orgelpunkt, to 2. functional
sustained bass sound in the name of organum, and to ideas of 3.
homophony and 4. polyphony thanks to acoustical effect of echo
typically found in stone structures of Western world. The best
way to study harmony starts from tracing the course our ancestors
proceeded.
Japanese living environment has traditionally been far from the
idea of polyphony. Typical Japanese buildings and houses using
wood and paper material produced nearly an anechoic space. Under
these circumstances, it was quite natural that our forefathers
had hardly have an idea of music in harmony that is produced on
harmonic series. Even though, we can find a kind of organum in
some Japanese traditional music produced by BIWA (stringed instrument)
and when SHAMISEN, also stringed instrument, is played in open
strings. SHO (vertically blown wind instrument) can produce harmony
in the same way as those heard in jazz music.
Elementary school children of this age were born and raised in
abundance of so called Western music. They are naturally familiar
with the sense of harmony. We often encounter middle-aged businessmen
with a kind of marveled eyes watching young people sing in harmony
at karaoke bars. Has school music education helped raise those
children? If so, music lesson in ensemble might have been commended.
However, mass media probably inducted the greatest influence over
them. Taking DTM a medium of communication, it can be more influential
providing children with richer musical possibilities.
In October 1991, I made a trip to Montreal,
Canada to attend ICMC (International Computer Music Conference.)
On my way home, I spent a few extra days visiting MIT, Stanford
University and some other leading high-tech institutes in the
U.S. I must confess that I found almost nothing of innovative
ideas and technology in terms of computer music there. They continued
experimenting a sort of avan't-garde music. But they showed me
some interesting ideas on sound making.
Majorities of them are based on DSP technology. Unlike the conventional
approaches by means of l. sine wave synthesis, 2. signal filtering,
3. sound modulation or 4. sound sampling, they are more inclined
to DSP processed by operation. The material sound sources for
processing are kinds of sampled, sine wave, etc. however, you
can design and process sound source in anyway on display screen
using mouse. This type of sound processing has eliminated complicated
controls of knobs and buttons that were typical on conventional
synthesizers, and enables you to try unrestrained approaches to
sound creation and designing. It's becoming a mainstream.
While most DTM software are designed to handle data entry and
storage like MIDI Manager, a new software named MAX from IRCAM
engineer group looked quite promising to me. It's capable of handling
even contents of files, and programming details of music play.
For example, you can designate instrumental voice, pitch bend,
tempo, dynamics and other musical parameters simply by connecting
relative blocs of commands with lines. Thus editing works can
be done instantly. This is already available in Japan. Given the
simplicity of the system, I believe that it will find comprehensive
number of users.
I also found that NEXT computers are becoming widely accepted,
and silicon graphics that writes FFT in high speed seems to find
larger market, especially in the field with greater importance
on graphic capability. Japan will be a prospective market for
this kind of product.
One software I was greatly impressed was one that a doctor course
student of MIT was developing. Run on a Sun computer, controlling
64 MIDI channels, it's designed to display sequence data by blocs
of tone range in horizontal bar graphs, just like Mastertrack
Pro software. With this software, all edit works can be done with
simple operation on the display screen. You can select desired
bloc with mouse for play, cut and paste at will, move any part
you want and make it play, or transpose simply by moving the bloc,
change tempo, sequence, etc. It helps composers and players as
well because they can compose music confirming visually on the
display screen. Quite appealing it was, but impractical from some
points. Firstly, it runs on very expensive Sun computer, and secondly,
chances are slim that the software to be marketed anytime soon.
Somewhat disappointed, but I found a much more attractive and
sophisticated software at the next visit to Cal Arts (California
Institute of Art) in the suburbs of Los Angeles! Morton Subotnic,
who's a kind of celebrity in synth world, heads study of computer
and music at this I5-year old young school.
The "Interactor" software that I am referring to runs
on Macintosh. It has remarkable capabilities far excessing the
MIT software. Besides moving blocs by mouse and duplicating them,
all those works of composers like completing music collecting
pieces of motives written tentatively and randomly on different
parts of scores can be done on the display screen. I'm sure that
the software can be applicable to any level of music education
from elementary school to music college.
The Interactor has 1. same capabilities incorporated in conventional
sequence software, 2. perfect functions to do edit works on the
display screen with mouse immediately after music is entered with
keyboard as the entered music is shown by graphics as sequence
data, 3. linking capability of sequence data which are named and
stored by bloc with use of mouse, 4. real-time tempo control capability
by keys and other means, 5. a controller which allows operator
to play music without touching musical instruments. In all, it's
really a fantastic software developed with music in mind and designed
for such works as "music playing," "music writing,"
and "transcription." I have learned that Dr. T's of
the U.S. schedule to start distribution of this software very
soon.
I'm optimistic about the future of DTM dominated by NEC PC-98
series computers in Japan as the 98 series users are increasingly
familiar with Windows 3.0. It will enable them to get access to
foreign-made excellent software including the Interactor soon.
Brighter days ahead, yet we have still serious burdens. One is
that we are unable to use mouse and MIDI interface simultaneously
in high resolution mode. Another is that we have fewer software
for music and music education.
As far as I know, the Interactor seems to be the only one reliable
software that doesn't disturb creative work while in operation,
is easy to manage and programmable of every musical expression.
To my regret, Japanese DTM software incorporates a multiple of
functions, however, lack ideas to coordinate these capabilities
in truly musical way. Surprisingly, Ballad software developed
for Macintosh and sold in the U.S. has far more excellent capabilities,
though it was originally written in Japan.
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