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9ns
C.*utu»\ pholi'
A music major uses the M.ic Plus computer attached to a synthe
siser hi the lab lor technology and music instruction to practice
his aural skills. The music school hopes to e\ entualb network the
computers and run them off a hard disk.
Computers modernize
composing, performing
Most musicians re
member the
many hours
spent practicing scales on a
piano or playing phrases of
notes again and again
searching for precision.
Practice is still a key ele
ment in a musicians life. But
there’s an easier way to train
the ear to recognize the deli
cate sounds.
Last January the School
of Music opened two new
computer labs. One, a lab
for technology and music in
struction, provides a work
shop for students to develop
aural skills and a place for
GTFs and professors to cre
ate lessons and work on pa
pers and handouts.
The second Ian is a music
composing lah, where stu
dents use a Mac lki and a
series of sound modules to
synthesize the music the
composer creates.
“\X'e want to lx* ahle to
provide an environment for
students, faculty and guest
composers that will allow
them to produce wonderful,
aesthetic work," says Jeffrey
Stolet, director of the com
posing lah.
The lahs have actually
been around for many years
but were incomplete and un
usable.
“When I got here two
years ago, the studio was a
disaster. There was no hope
of producing anything like
art. Now that is a possibil
ity," Stolet says.
Assistant Professor (iary
Karpinski was hires! by the
school in 1987 to teach and
coordinate the aural skills
program. When the school
received additional funds in
the fall of 1989, Karpinski
was asked to help reopen the
technology lab.
I he tec hnology lab con
tains three Apple IIs, three
Mac Pluses, one Mac Ilex
and a Pitch Master. Each
computer is also hooked to a
synthesizer.
The Mae Ilex, designated
as the GTF faculty work
station, has programs tor
composition, word process
ing, desktop publishing and
transposing music. It's inte
grated for writers and musi
cians.
"Computers should be
used to support things we’re
doing in classes," Karpinski
says. The goal of the School
is to eventually network the
computers and run off of
hard drives.
"1 hope to really expand it
so theory classes will be able
to use it," Karpinski says.
"There are all kinds of appli
cations that seem to come
up as time goes on."
Karpinski also writes pro
grams that are useful to mu
sk students and says there
are many aspects to learning
music.
“Students need to become
intuitively familiar with the
grammar of music,” he says.
“Technology is an impor
tant aspect of any profes
sion," says Stolet. "Musk
isn't any different.”
Last June, Karpinski
and Stole! won the
Mai Hi i now in the
composing lab by submitting
a music grant proposal to
Apple Computers, Inc.
I he Mac I Is i is six times
faster than the Mac Plus pre
viously used in the lab and
also allows the operator to
do direct-digital synthesis.
“Computer composers de
sign instruments by synthe
sizing sound,” Stolet says.
A composer first compos
es the notes, then he bal
ances the volumes and
speeds acting as a conductor
then he shapes the phrases
like a performer, Stolet says.
“It’s all-encompassing
and, because it’s all encom
passing, a very rewarding ex
perience," he says.
—Anna Rembecki