/FONT#0=NGR30
␈¬␈↓ ↓H
␈¬␈↓ βZThe 'SCORE' Program for Musical Input to Computers␈↓ ↓H
 ␈↓ ↓H
␈↓ ¬⎇Leland Smith␈↓ ↓H
␈↓ ¬LStanford University␈↓ ↓H
 ␈↓ ↓H
␈↓ ↓H
 ␈↓ ↓H
Abstract:␈↓ ↓H
 ␈↓ ↓H
␈↓ α(The␈α∩score␈α∩program␈α∩has␈α∩been␈α⊃in␈α⊃use␈α⊃at␈α⊃Stanford␈α⊃for␈α⊃about␈α⊃ten␈α⊃years␈α⊃now.␈α⊃What␈↓ ↓H
␈↓ ↓Hbegan␈α∞as␈α∞a␈α∞system␈α∞for␈α∞generating␈α∞parameters␈α∞for␈α∞a␈α
particular␈α
piece␈α
of␈α
music␈α
has␈α
evolved␈↓ ↓H
␈↓ ↓Hinto␈α⊃a␈α⊃general␈α⊃purpose␈α⊃musical␈α⊃input␈α⊃language␈α⊃that␈α⊃has␈α⊃been␈α⊂used␈α⊂at␈α⊂several␈α⊂computer␈↓ ↓H
␈↓ ↓Hmusic␈α∂centers.␈α∂Since␈α∂the␈α∞program␈α∞is␈α∞in␈α∞FORTRAN␈α∞it␈α∞is␈α∞not␈α∞machine␈α∞dependent.␈α∞SCORE␈α∞can␈↓ ↓H
␈↓ ↓Hbe␈αadapted␈αto␈αcreate␈αnote␈αlists␈αfor␈αa␈αvariety␈αof␈αcomputer␈αsound␈αgenerating␈αprograms.␈↓ ↓H
␈↓ ↓H
␈↓ α(With␈α∂SCORE␈α∂it␈α∂is␈α∂possible␈α∞to␈α∞use␈α∞much␈α∞of␈α∞the␈α∞standard␈α∞terminology␈α∞of␈α∞music␈α∞when␈↓ ↓H
␈↓ ↓Hdealing␈α∃with␈α∃pitch␈α∃and␈α∃rhythm.␈α∃However␈α∃SCORE␈α∃by␈α∃no␈α∃means␈α∃limits␈α∃one␈α∃just␈α∃to␈α∃the␈↓ ↓H
␈↓ ↓Htempered␈α∩scale␈α⊃and␈α⊃conventional␈α⊃rhythms.␈α⊃This␈α⊃discussion␈α⊃will␈α⊃give␈α⊃an␈α⊃overview␈α⊃of␈α⊃the␈↓ ↓H
␈↓ ↓Hprincipal␈α⊗features␈α⊗of␈α⊗SCORE␈α⊗with␈α⊗emphasis␈α∃on␈α∃the␈α∃program's␈α∃newer␈α∃features.␈α∃These␈↓ ↓H
␈↓ ↓Hinclude␈α∪an␈α∪added␈α∪capability␈α∪to␈α∪aid␈α∪in␈α∪the␈α∪simulation␈α∪of␈α∪musical␈α∪phrasing␈α∩and␈α∩increased␈↓ ↓H
␈↓ ↓Hflexibility␈αin␈αregard␈αto␈αthe␈αuse␈αof␈αseveral␈αdifferent␈αprocedures␈αin␈αa␈αsingle␈αparameter.␈↓ ↓H
␈↓ ↓H␈↓ ↓H
 ␈↓ ↓H
␈↓ α≥____________________________________________________________␈↓ ↓H
 ␈↓ ↓H
␈↓ ↓H
␈↓ ↓H
␈↓ α(The␈α⊗Stanford␈α⊗sound␈α⊗generating␈α⊗system,␈α⊗in␈α⊗use␈α⊗from␈α⊗the␈α∃late␈α∃'60s␈α∃until␈α∃1979,␈↓ ↓H
␈↓ ↓Hevolved␈α∞from␈α∞a␈α
form␈α
of␈α
Max␈α
Mathews'␈α
MUSIC4␈α
into␈α
what␈α
came␈α
to␈α
be␈α
known␈α
as␈α
MUS10.␈α
In␈↓ ↓H
␈↓ ↓Hthe␈α⊃late␈α⊃1970s␈α⊃Stanford␈α⊃put␈α⊃into␈α⊃operation␈α⊃Peter␈α⊃Samson's␈α⊃real-time␈α⊂digital␈α⊂sythesizer,␈↓ ↓H
␈↓ ↓Hthe␈α⊃"Samson␈α⊃Box."␈α⊃These␈α⊃two␈α⊃systems,␈α⊃along␈α⊃with␈α⊃the␈α⊂well-known␈α⊂MUSIC5␈α⊂and␈α⊂several␈↓ ↓H
␈↓ ↓Hother␈α∂computer␈α∂music␈α∂systems,␈α∂use␈α∂for␈α∂input␈α∞some␈α∞kind␈α∞of␈α∞list␈α∞of␈α∞"instrument"␈α∞definitions␈↓ ↓H
␈↓ ↓Hfollowed␈α∃by␈α∀note␈α∀lists␈α∀which␈α∀include␈α∀a␈α∀name␈α∀or␈α∀number␈α∀which␈α∀refers␈α∀to␈α∀a␈α∀particular␈↓ ↓H
␈↓ ↓Hinstrument␈α∂followed␈α∂by␈α∂a␈α∂list␈α∂of␈α∂parameters␈α∂which␈α∂convey␈α∂detailed␈α∞information␈α∞about␈α∞the␈↓ ↓H
␈↓ ↓Hnature␈α
of␈α
each␈αsound␈αto␈αbe␈αproduced.␈αIn␈αa␈αvery␈αsimple␈αcase␈αthere␈αmight␈αbe␈αas␈αfew␈αas␈αfour␈↓ ↓H
␈↓ ↓Hparameters:␈α∀begin␈α∀time,␈α∀note␈α∀duration,␈α∪pitch,␈α∪amplitude.␈α∪However␈α∪we␈α∪often␈α∪work␈α∪with␈↓ ↓H
␈↓ ↓Hinstruments␈α∞which␈α∞have␈α∞as␈α
many␈α
as␈α
99␈α
parameters.␈α
These␈α
added␈α
parameters␈α
will␈α
refer␈α
to␈↓ ↓H
␈↓ ↓Hthings␈α∩such␈α∩as␈α∩quadriphonic␈α∩position,␈α∩envelopes,␈α∩vibrato,␈α∩reverberation,␈α⊃glissando␈α⊃limits,␈↓ ↓H
␈↓ ↓Hvarious␈αways␈αof␈αcreating␈αdifferent␈αtimbres,␈αetc.,␈αetc.␈↓ ↓H
␈↓ ↓H
␈↓ α(A␈α∂rather␈α∂short␈α∂piece␈α∂of␈α∂music␈α∂can␈α∂include␈α∂more␈α∂than␈α∂1000␈α∞notes.␈α∞Clearly␈α∞then␈α∞we␈↓ ↓H
␈↓ ↓Hare␈α∂faced␈α∂with␈α∂a␈α∂massive␈α∂typing␈α∂job␈α∂unless␈α∂we␈α∂can␈α∂get␈α∂the␈α∂computer␈α∞to␈α∞help␈α∞us␈α∞to␈α∞deal␈↓ ↓H
␈↓ ↓Hwith␈α∞the␈α∞many␈α
redundancies␈α
which␈α
are␈α
inherent␈α
in␈α
music.␈α
SCORE␈α
has␈α
been␈α
created␈α
for␈α
the␈↓ ↓H
␈↓ ↓Hpurpose␈αof␈αfacilitating␈αinput␈αto␈αthe␈αcomputer␈αof␈αdata␈αfor␈αany␈αmusical␈αstyle.␈↓ ↓H
␈↓ ↓H
␈↓ α(For␈α∀example,␈α∀the␈α∀begin␈α∀time␈α∀(parameter␈α∀1)␈α∀of␈α∀each␈α∀successive␈α∀note,␈α∀or␈α∀sound␈↓ ↓H
␈↓ ↓Hevent,␈α∃for␈α∃a␈α∃given␈α∃instrument␈α∃is␈α∃usually␈α∃dependent␈α∃on␈α∃each␈α∃preceding␈α∃note␈α∀duration␈↓ ↓H
␈↓ ↓H(parameter␈α→2).␈α→Thus,␈α→after␈α→stating␈α→an␈α_instrument's␈α_initial␈α_begin␈α_time,␈α_P1␈α_is␈α_always␈↓ ↓H
␈↓ ↓Hgenerated␈α∞automatically␈α∞by␈α∞SCORE.␈α∞Any␈α∞parameter␈α∞that␈α∞is␈α∞to␈α∞remain␈α∞unchanged␈α∞need␈α
only␈↓ ↓H
␈↓ ↓Hbe␈αstated␈αonce.␈αIf␈αall␈αthe␈αnotes␈αin␈αa␈αsingle␈αvoice␈αwere␈αto␈αbe␈α.1"␈αlong,␈αthe␈αstatement␈↓ ↓H
␈↓ ↓H␈↓ ↓H
␈↓ ε-P2 .1;␈↓ ↓H
␈↓ ↓H
␈↓ ↓Hcould␈αgenerate␈αthe␈αdurations␈αfor␈αthousands␈αof␈αnotes.␈↓ ↓H
␈↓ ↓H
␈↓ α(However␈α
we␈αusually␈αwant␈αa␈αlittle␈αmore␈αvariety␈αthan␈αthat,␈αat␈αleast␈αin␈αthe␈αparameters␈↓ ↓H
␈↓ ↓Hof␈α∞rhythm␈α∞and␈α∞pitch.␈α∞SCORE␈α∞allows␈α∞you␈α∞to␈α∞specify␈α
strings␈α
of␈α
input␈α
for␈α
any␈α
parameter.␈α
The␈↓ ↓H
␈↓ ↓Hrequired␈α⊃syntax␈α⊃for␈α⊃this␈α⊃is␈α⊃that␈α⊃a␈α⊃parameter␈α⊃number␈α⊃be␈α⊃given,␈α⊃followed␈α⊃by␈α⊃one␈α⊃of␈α⊃the␈↓ ↓H
␈↓ ↓Hspecial␈α
code␈α
words␈α
and␈α
then␈α
the␈αdesired␈αsequence␈αof␈αdata.␈αThere␈αare␈αseveral␈αcode␈αwords␈↓ ↓H
␈↓ ↓Hthat␈α
can␈α
be␈α
used␈α
in␈α
this␈αregard.␈αI␈αwill␈αgive␈αbrief␈αexamples␈αof␈αthe␈αthree␈αmost␈αoften␈αutilized,␈↓ ↓H
␈↓ ↓HNUM,␈αRHY,␈αNOTES␈↓ ↓H
␈↓ ↓H
␈↓ α(A␈αstring␈αof␈αtime␈αvalues,␈αin␈αseconds,␈αmight␈αbe␈αentered␈αas␈αfollows:␈↓ ↓H
␈↓ ↓H␈↓ ↓H
␈↓ ∧*P2 NUM/ .5 / .2 // 1.3 / 6.2 / .1 //// 4;␈↓ ↓H
␈↓ ↓H
␈↓ ↓HThe␈α∂slashes␈α∂are␈α∂delimiters,␈α∂and␈α∂when␈α∂no␈α∂new␈α∂number␈α∂appears␈α∂between␈α∂slashes,␈α∞the␈α∞last␈↓ ↓H
␈↓ ↓Hone␈α
seen␈α
is␈α
repeated.␈α
The␈α
semicolon␈α
is␈α
always␈α
the␈αterminator.␈αThere␈αare␈αseveral␈αfeatures␈↓ ↓H
␈↓ ↓Havailable␈αto␈αindicate␈αvarious␈αkinds␈αof␈αrepetition.␈↓ ↓H
␈↓ ↓H␈↓ ↓H
␈↓ ¬
P2 NUM/ .35 / .12X8 / 1.5;␈↓ ↓H
␈↓ ↓H
␈↓ ↓HIn␈αthis␈αcase␈αthe␈αduration␈α.12"␈αwill␈αrepeat␈αeight␈αtimes.␈↓ ↓H
␈↓ ↓H
␈↓ α(Usually␈α⊃when␈α⊃we␈α⊃use␈α⊃the␈α⊃code␈α⊃word␈α⊃NUM␈α⊃we␈α⊃are␈α⊃dealing␈α⊃with␈α⊃real␈α⊃time␈α⊂values␈↓ ↓H
␈↓ ↓Hwhich␈α⊃will␈α⊃not␈α⊂be␈α⊂transformed␈α⊂in␈α⊂any␈α⊂way.␈α⊂However␈α⊂if␈α⊂we␈α⊂prefer␈α⊂to␈α⊂enter␈α⊂time␈α⊂data␈α⊂in␈↓ ↓H
␈↓ ↓Hterms␈α∩of␈α∩musical␈α∩rhythmic␈α∩notation␈α∩we␈α∩will␈α∩be␈α∩dealing␈α∩with␈α∩relative␈α∩time␈α∩values␈α⊃which␈↓ ↓H
␈↓ ↓Hbecome␈α
real␈α
time␈α
values␈α
only␈α
after␈α
being␈α
multiplied␈α
by␈α
a␈α
tempo␈α
factor.␈α
The␈α
default␈α
tempo␈↓ ↓H
␈↓ ↓Hfactor␈α⊃in␈α⊃SCORE␈α⊃is␈α⊃1,␈α⊃or,␈α⊃in␈α⊃musical␈α⊃terms,␈α⊃MM=60,␈α⊃i.e.␈α⊃there␈α⊃will␈α⊂be␈α⊂60␈α⊂quarter␈α⊂notes␈↓ ↓H
␈↓ ↓Hplayed␈α⊂per␈α∂minute␈α∂-␈α∂one␈α∂per␈α∂second.␈α∂This␈α∂mode␈α∂of␈α∂input␈α∂is␈α∂invoked␈α∂with␈α∂the␈α∂code␈α∂word␈↓ ↓H
␈↓ ↓HRHY.␈α∃Now␈α∀the␈α∀numbers␈α∀entered␈α∀will␈α∀be␈α∀the␈α∀denominators␈α∀of␈α∀musical␈α∀fractions;␈α∀/4/=a␈↓ ↓H
␈↓ ↓Hquarter␈αnote,␈α/8/=an␈αeighth,␈α/1/=a␈αwhole␈αnote,␈αetc.␈αA␈αdot␈αcan␈αbe␈αplaced␈αafter␈αany␈αnumber␈↓ ↓H
␈↓ ↓Hto␈α∞increase␈α∞its␈α∞time␈α∞value␈α∞by␈α∞50%.␈α∞(Several␈α∞dots␈α∞can␈α∞be␈α∞added␈α∞if␈α∞desired.)␈α∞However␈α∞dots␈↓ ↓H
␈↓ ↓Hfollowed␈α⊂by␈α⊂numbers␈α⊂are␈α⊂taken␈α⊂as␈α⊂decimal␈α∂points.␈α∂/.5/␈α∂represents␈α∂a␈α∂double␈α∂whole␈α∂note.␈↓ ↓H
␈↓ ↓H/.5./␈αrepresents␈αa␈αdotted␈αdouble␈αwhole␈αnote!␈↓ ↓H
␈↓ ↓H
␈↓ α(Any␈α_complex␈α_rhythmic␈α_relationship␈α_can␈α_be␈α_expressed.␈α_A␈α↔half␈α↔note␈α↔tied␈α↔to␈α↔a␈↓ ↓H
␈↓ ↓Hsixteenth␈α∞would␈α∞be␈α∞/2␈α∞16/.␈α∞An␈α∞ordinary␈α∞triplet␈α∞is␈α∞a␈α∞/12/␈α∞(there␈α∞are␈α∞twelve␈α∞of␈α∞them␈α∞in␈α∞a␈↓ ↓H
␈↓ ↓Hwhole␈α
note);␈α
a␈α
quintuplet␈α
is␈α
a␈α
/20/.␈α
Each␈α
note␈α
in␈α
a␈α
group␈αof␈αseven␈αin␈αthe␈αtime␈αof␈αa␈αdotted␈↓ ↓H
␈↓ ↓Hquarter␈αwould␈αbe␈αa␈α/18.6667/.␈α(This␈αlatter␈αis␈αarrived␈αat␈αby␈αmeans␈αof␈αa␈αsimple␈αformula:␈↓ ↓H
␈↓ ↓H ␈↓ ↓H
␈↓ ε→R=n*4/T␈↓ ↓H
␈↓ ↓H
␈↓ ↓Hn␈α
is␈α
the␈α
number␈α
of␈α
equal␈α
units␈α
to␈α
be␈α
heard␈α
in␈α
the␈α
time␈α
span␈α
of␈αT␈αquarters.␈αIn␈αthe␈αexample␈↓ ↓H
␈↓ ↓Habove␈αwe␈αhave␈αn=7␈αand␈αT=1.5;␈α18.6667=7*4/1.5␈α.)␈↓ ↓H
␈↓ ↓H
␈↓ α(Of␈α∩course␈α∩all␈α∩these␈α∩numbers␈α∩are␈α∩relative␈α∩time␈α∩values.␈α∩SCORE␈α⊃produces␈α⊃the␈α⊃real␈↓ ↓H
␈↓ ↓Htime␈α∪values␈α∪by␈α∪dividing␈α∪the␈α∩number␈α∩into␈α∩4␈α∩and␈α∩then␈α∩dividing␈α∩the␈α∩result␈α∩by␈α∩the␈α∩tempo␈↓ ↓H
␈↓ ↓Hfactor.␈α∂Thus␈α∂the␈α∂real␈α∂time␈α∂value␈α∂of␈α∂an␈α∂eighth␈α∂note␈α∂at␈α∂a␈α∂tempo␈α∂of␈α∂MM=60␈α∂is␈α∂1/2␈α∂second.␈↓ ↓H
␈↓ ↓H[(4/8)/1=.5]␈α⊂At␈α⊂a␈α⊂tempo␈α⊂of␈α⊂MM=120␈α⊂it␈α⊂would␈α⊂be:␈α⊂(4/8)/2=.25␈α⊂second.␈α⊂SCORE␈α⊂provides␈↓ ↓H
␈↓ ↓Hthe␈α
capability␈αof␈αfrequent␈αtempo␈αchanges,␈αritardando␈αand␈αaccelerando␈αat␈αany␈αrate.␈αThere␈αis␈↓ ↓H
␈↓ ↓Heven␈α∪the␈α∪possibility␈α∪of␈α∪having␈α∪different␈α∪streams␈α∪of␈α∪tempo␈α∪changes␈α∩in␈α∩each␈α∩voice.␈α∩The␈↓ ↓H
␈↓ ↓Htempo␈α∂feature␈α∂can␈α∂be␈α∂used␈α∂both␈α∂with␈α∂the␈α∂RHY␈α∂and␈α∞NUM␈α∞code␈α∞words,␈α∞but␈α∞then␈α∞of␈α∞course␈↓ ↓H
␈↓ ↓Hthe␈α→data␈α→given␈α→after␈α→NUM␈α→will␈α→also␈α→be␈α→treated␈α→as␈α→relative␈α_values␈α_which␈α_will␈α_be␈↓ ↓H
␈↓ ↓Htransformed␈αby␈αthe␈αtempo␈αfactor.␈↓ ↓H
␈↓ ↓H
␈↓ α(At␈α∀Stanford,␈α∀P3␈α∀is␈α∀usually␈α∀reserved␈α∀for␈α∪pitch␈α∪input.␈α∪SCORE␈α∪has␈α∪three␈α∪different␈↓ ↓H
␈↓ ↓Hmodes␈α∂for␈α∂pitch␈α∂input.␈α∂The␈α∂NUM␈α∂code␈α∂word␈α∞can␈α∞be␈α∞used␈α∞if␈α∞frequency␈α∞numbers␈α∞are␈α∞to␈α∞be␈↓ ↓H
␈↓ ↓Hused.␈α≠This␈α≠mode␈α≠would␈α≠have␈α≠to␈α≠be␈α≠used␈α≠for␈α≠micro-tonal␈α≠scales␈α~of␈α~an␈α~irregular␈↓ ↓H
␈↓ ↓H(non-tempered)␈α∪nature.␈α∪If␈α∪the␈α∪conventional␈α∪tempered␈α∩scale␈α∩is␈α∩used␈α∩the␈α∩ordinary␈α∩letter␈↓ ↓H
␈↓ ↓Hnames␈α
of␈α
the␈α
notes␈α
are␈α
used.␈α
A␈α
suffix␈α
of␈α
S␈αis␈αused␈αfor␈αsharps␈αand␈αF␈αfor␈αflats.␈αThe␈αoctaves␈↓ ↓H
␈↓ ↓Hare␈α⊂numbered␈α⊂by␈α⊂a␈α⊂system␈α⊂which␈α⊂sets␈α⊂the␈α⊂lowest␈α⊂C␈α⊂on␈α∂the␈α∂piano␈α∂keyboard␈α∂as␈α∂C1.␈α∂This␈↓ ↓H
␈↓ ↓Hmakes␈α∂middle␈α∂C␈α∂into␈α∂C4␈α∂and␈α∂the␈α∂highest␈α∂C␈α∂into␈α∂C8.␈α∂It␈α∂is␈α∂easy␈α∂to␈α∂keep␈α∂track␈α∂of␈α∞these␈α∞by␈↓ ↓H
␈↓ ↓Hremembering␈α
that␈α
the␈α
low␈α
C␈α
of␈α
the␈α
cello␈α
is␈α
C2,␈α
the␈α
low␈α
C␈α
of␈α
the␈α
viola␈α
is␈α
C3,␈αthe␈αhigh␈αC␈αof␈↓ ↓H
␈↓ ↓Hthe␈α
bassoon␈α
is␈αC5,␈αthe␈αhigh␈αC␈αof␈αthe␈αtrumpet␈αis␈αC6,␈αand␈αthe␈αhigh␈αC␈αof␈αthe␈αflute␈αis␈αC7.␈αOnce␈↓ ↓H
␈↓ ↓Han␈α
octave␈α
number␈α
has␈α
been␈α
stated␈α
it␈α
need␈α
not␈α
be␈α
typed␈α
again␈α
unless␈αthe␈αnotes␈αmove␈αinto␈↓ ↓H
␈↓ ↓Ha␈αnew␈αoctave␈αrange.␈αThe␈αcode␈αfor␈αa␈αmid-range␈αEb␈αscale␈αwould␈αappear␈αas␈αfollows.␈↓ ↓H
␈↓ ↓H␈↓ ↓H
␈↓ ∧⊗P3 NOTES/ EF4/ F/ G/ AF/ BF/ C5/ D/ EF;␈↓ ↓H
␈↓ ↓H
␈↓ α(A␈α∞third␈α∞mode␈α∞of␈α∞pitch␈α∞input␈α∞allows␈α∞for␈α∞the␈α∞establishment␈α∞of␈α
microtonal␈α
scales␈α
made␈↓ ↓H
␈↓ ↓Hup␈α
of␈α
any␈α
number␈α
of␈α
equal␈α
tempered␈αsteps␈αto␈αan␈αoctave.␈αThis␈αkind␈αof␈αinput␈αrequires␈αthree␈↓ ↓H
␈↓ ↓Hparameters.␈α↔The␈α↔fundamental␈α↔pitch␈α↔is␈α↔given␈α↔in␈α↔P3.␈α↔This␈α↔can␈α↔be␈α⊗stated␈α⊗as␈α⊗either␈α⊗a␈↓ ↓H
␈↓ ↓Hfrequency␈α
number␈α
or␈α
the␈α
letter␈α
name␈α
of␈α
any␈α
note␈α
of␈α
the␈α
ordinary␈αtwelve␈αnote␈αscale.␈αThen␈↓ ↓H
␈↓ ↓Hin␈α
two␈α
higher␈α
parameters␈α
we␈α
must␈α
give␈α
the␈α
number␈αof␈αequal␈αdivisions␈αof␈αthe␈αoctave␈αand␈αa␈↓ ↓H
␈↓ ↓Hlist␈α∂of␈α∂the␈α∂particular␈α∂scale␈α∂steps␈α∞desired.␈α∞In␈α∞the␈α∞following␈α∞example␈α∞we␈α∞will␈α∞give␈α∞the␈α∞code␈↓ ↓H
␈↓ ↓Hfor␈αa␈αseventeen␈αtone␈αscale␈αstarting␈αfrom␈αa␈αbasic␈αpitch␈αof␈α440␈αhertz.␈↓ ↓H
␈↓ ↓H␈↓ ↓H
   P3 440;␈↓ ↓H
   P21 MICRO 17;␈↓ ↓H
   P20 NUM/0/1/2/3/4/5/6/7/8/9/10/11/12/13/14/15/16/17;␈↓ ↓H
 ␈↓ ↓H
␈↓ α(Both␈α∞the␈α∞basic␈α∞pitch␈α∞in␈α
P3␈α
and␈α
the␈α
scale␈α
division␈α
number␈α
in␈α
P17␈α
can␈α
be␈α
changed␈α
as␈↓ ↓H
␈↓ ↓Hoften␈α∞as␈α∞desired.␈α∞In␈α∞P20,␈α∞minus␈α∞numbers␈α∞can␈α∞be␈α∞used␈α∞for␈α∞notes␈α∞which␈α∞descend␈α∞below␈α
the␈↓ ↓H
␈↓ ↓Hbasic␈αpitch.␈↓ ↓H
␈↓ ↓H
␈↓ α(Time␈α∂does␈α∂not␈α∂permit␈α∂a␈α∂full␈α∂description␈α∂of␈α∂all␈α∂the␈α∂features␈α∂of␈α∞the␈α∞SCORE␈α∞program.␈↓ ↓H
␈↓ ↓H(Much␈α∪of␈α∪this␈α∪is␈α∪covered␈α∪in␈α∪my␈α∪article␈α∪"SCORE␈α∪-␈α∪A␈α∪Musician's␈α∪Approach␈α∪to␈α∩Computer␈↓ ↓H
␈↓ ↓HMusic"␈α∀which␈α∪first␈α∪appeared␈α∪in␈α∪the␈α∪Journal␈α∪of␈α∪the␈α∪Audio␈α∪Engineering␈α∪Society,␈α∪January␈↓ ↓H
␈↓ ↓H1972,␈α∪and␈α∪later␈α∪in␈α∪NUMUS␈α∪West,␈α∪l973.)␈α∪However␈α∪I␈α∪would␈α∪like␈α∪to␈α∪give␈α∩examples␈α∩of␈α∩a␈↓ ↓H
␈↓ ↓Hcouple␈αof␈αthe␈αnewer␈αfeatures␈αof␈αSCORE.␈↓ ↓H
␈↓ ↓H
␈↓ α(One␈α⊃of␈α⊃the␈α⊂most␈α⊂difficult␈α⊂problems␈α⊂in␈α⊂computer␈α⊂music␈α⊂is␈α⊂to␈α⊂achieve␈α⊂good,␈α⊂musical␈↓ ↓H
␈↓ ↓Harticulation␈α⊃and␈α⊂phrasing.␈α⊂SCORE␈α⊂helps␈α⊂to␈α⊂solve␈α⊂this␈α⊂problem␈α⊂by␈α⊂giving␈α⊂complete␈α⊂control␈↓ ↓H
␈↓ ↓Hover␈α∃the␈α∃"duty␈α∀factor,"␈α∀that␈α∀is,␈α∀the␈α∀actual␈α∀duration␈α∀of␈α∀each␈α∀note␈α∀irrespective␈α∀of␈α∀the␈↓ ↓H
␈↓ ↓Hperceived␈α
rhythm␈α
as␈α
defined␈α
by␈α
the␈α
time␈α
interval␈α
between␈α
attacks.␈α
The␈α
time␈αvalues␈αgiven␈↓ ↓H
␈↓ ↓Hin␈α
P2␈α
are␈α
the␈α
intervals␈α
between␈α
the␈α
attacks.␈α
The␈α
actual␈αnote␈αdurations␈αare␈αestablished␈αby␈↓ ↓H
␈↓ ↓Huse␈α∞of␈α∞the␈α∞code␈α∞DF␈α∞used␈α∞in␈α∞conjunction␈α∞with␈α∞other␈α∞SCORE␈α∞code␈α∞words.␈α∞Take␈α
for␈α
example␈↓ ↓H
␈↓ ↓Hthe␈α∀conventional␈α∀musicial␈α∀situation␈α∀where␈α∀we␈α∀find␈α∀a␈α∀string␈α∪of␈α∪quarter␈α∪notes␈α∪with␈α∪the␈↓ ↓H
␈↓ ↓Hindication,␈α∂"poco␈α∂a␈α∂poco␈α∂piu␈α∂staccato."␈α∂Here␈α∂the␈α∂attack␈α∂interval␈α∂remains␈α∂constant␈α∂but␈α∂the␈↓ ↓H
␈↓ ↓Hsounding␈αduration␈αof␈αeach␈αnote␈αbecomes␈αless␈αand␈αless.␈αThis␈αcould␈αbe␈αnotated␈αin␈αSCORE:␈↓ ↓H
␈↓ ↓H␈↓ ↓H
   P2 RHY/ 4X12 ;␈↓ ↓H
   P15 DF NUM/ 1/ .93/ .86/ .79/ .72/ .65/ .58/ .51/␈↓ ↓H
   .44/ .37/ .3/ .23;␈↓ ↓H
 ␈↓ ↓H
␈↓ α(In␈α⊂this␈α⊂case␈α⊂the␈α⊂duty␈α⊂factor␈α⊂list␈α⊂will␈α⊂serve␈α⊂as␈α⊂a␈α∂simple␈α∂multiplier␈α∂applied␈α∂the␈α∂real␈↓ ↓H
␈↓ ↓Htime␈α
values␈α
produced␈α
by␈α
P2.␈α
For␈α
the␈α
third␈α
note␈α
the␈α
output␈α
of␈α
SCORE␈α
will␈α
give␈α
P1␈α
as␈α
time␈↓ ↓H
␈↓ ↓H2␈α∂even␈α∂though␈α∂the␈α∂previous␈α∂note␈α∂began␈α∂at␈α∞time␈α∞1␈α∞and␈α∞the␈α∞value␈α∞.93␈α∞was␈α∞found␈α∞in␈α∞P2.␈α∞In␈↓ ↓H
␈↓ ↓Hother␈αwords,␈αa␈αrest␈αof␈α.07␈αseconds␈αhas␈αbeen␈αinserted␈αat␈αthe␈αend␈αof␈αthe␈αsecond␈αnote.␈↓ ↓H
␈↓ ↓H
␈↓ α(It␈α∪is␈α∪also␈α∪possible␈α∪to␈α∪create␈α∪a␈α∩legato␈α∩effect␈α∩by␈α∩increasing␈α∩the␈α∩duty␈α∩factor␈α∩to␈α∩a␈↓ ↓H
␈↓ ↓Hnumber␈α∩greater␈α∩than␈α∩1.␈α∩Since␈α⊃the␈α⊃actual␈α⊃duration␈α⊃of␈α⊃the␈α⊃note␈α⊃is␈α⊃greater␈α⊃than␈α⊃the␈α⊃time␈↓ ↓H
␈↓ ↓Hbetween␈α⊃attacks,␈α⊃this␈α⊃causes␈α⊃any␈α⊃given␈α⊃note␈α⊃to␈α⊃overlap␈α⊂with␈α⊂the␈α⊂following␈α⊂note.␈α⊂In␈α⊂the␈↓ ↓H
␈↓ ↓Hnext␈α∞example␈α∞the␈α∞MOVE␈α∞feature␈α∞causes␈α∞DF␈α
to␈α
gradually␈α
decrease␈α
from␈α
4␈α
to␈α
.08.␈α
This␈α
will␈↓ ↓H
␈↓ ↓Hcause␈α∩the␈α∩passage␈α⊃to␈α⊃begin␈α⊃with␈α⊃extreme␈α⊃legato␈α⊃and␈α⊃progress␈α⊃to␈α⊃the␈α⊃point␈α⊃where␈α⊃the␈↓ ↓H
␈↓ ↓Hnotes␈αare␈αso␈αshort␈αthat␈αthey␈αare␈αheard␈αalmost␈αas␈αclicks.␈↓ ↓H
␈↓ ↓H␈↓ ↓H
     TOOT 0 20;  P2  .12;      <Tape example 1>␈↓ ↓H
     P3 NOTES/ EF/ F;          < These 2 notes will repeat.␈↓ ↓H
     P4 .6;  P5 F6;  P8 F1;      < Amplitude, envelope, timbre␈↓ ↓H
     P9 .05;                       < 5% reverberation␈↓ ↓H
     P10 DF MOVX/ 16  4  .08;  < Move exponentially from 4 to␈↓ ↓H
     END;                          < .08 during 16 seconds.␈↓ ↓H
 ␈↓ ↓H
␈↓ α(In␈α⊃the␈α⊃cases␈α⊃described␈α⊃above␈α⊃the␈α⊃duty␈α⊂factor␈α⊂was␈α⊂a␈α⊂simple␈α⊂multiplier.␈α⊂There␈α⊂are␈↓ ↓H
␈↓ ↓Hseveral␈α∩other␈α∩ways␈α⊃of␈α⊃using␈α⊃the␈α⊃duty␈α⊃factor.␈α⊃A␈α⊃fixed␈α⊃amount␈α⊃of␈α⊃time␈α⊃can␈α⊃be␈α⊃added␈α⊃or␈↓ ↓H
␈↓ ↓Hsubtracted␈α
from␈α
the␈α
notes␈α
in␈α
a␈α
string␈α
of␈α
varied␈α
P2␈α
values.␈α
Or␈αthe␈αsounding␈αduration␈αof␈αthe␈↓ ↓H
␈↓ ↓Hnotes␈α∞can␈α∞be␈α∞set␈α∞to␈α∞a␈α∞constant␈α
without␈α
regard␈α
to␈α
the␈α
time␈α
between␈α
attacks.␈α
This␈α
last␈α
can␈↓ ↓H
␈↓ ↓Hbe␈α∞especially␈α∞useful␈α∞when␈α∞dealing␈α∞with␈α∞undamped␈α∞bell-like␈α
sounds.␈α
The␈α
following␈α
example␈↓ ↓H
␈↓ ↓His␈α⊃made␈α⊃up␈α⊃of␈α⊃glockenspiel␈α⊃sound.␈α⊃The␈α⊃wave␈α⊃form␈α⊃used␈α⊃is␈α⊃a␈α⊃simple␈α⊃sine␈α⊂wave␈α⊂and␈α⊂the␈↓ ↓H
␈↓ ↓Henvelope␈α∂is␈α∂an␈α∂exponential␈α∂curve.␈α∂The␈α∂rhythm␈α∂of␈α∂the␈α∂attacks␈α∂includes␈α∂fixed␈α∂values,␈α∞20th␈↓ ↓H
␈↓ ↓Hand␈α⊃12th␈α⊂notes,␈α⊂etc.,␈α⊂as␈α⊂well␈α⊂as␈α⊂some␈α⊂random␈α⊂elements.␈α⊂(This␈α⊂will␈α⊂be␈α⊂explained␈α⊂below.)␈↓ ↓H
␈↓ ↓HThe␈α⊂pitches␈α⊂and␈α⊂amplitudes␈α⊂are␈α⊂chosen␈α⊂at␈α⊂random␈α⊂from␈α⊂fixed␈α⊂ranges.␈α∂The␈α∂duty␈α∂factor␈α∂is␈↓ ↓H
␈↓ ↓Hestablished␈αin␈αa␈αuser-added␈αsubroutine␈αwhich␈αcauses␈αthe␈αsounding␈αtime␈αof␈αeach␈αnote␈αto␈αbe␈↓ ↓H
␈↓ ↓Hdependent␈αon␈αthe␈αrandomly␈αchosen␈αpitch;␈αthe␈αhigher␈αthe␈αpitch,␈αthe␈αshorter␈αthe␈αnote.␈↓ ↓H
␈↓ ↓H␈↓ ↓H
       <Tape example 2>␈↓ ↓H
     TOOT 0 24;  P2 RHY/ 20X5/ P12// 12/// P12/ 36/ P12;␈↓ ↓H
     P3 1 G4, C7;   P4 1  .05, .6;␈↓ ↓H
     P5 F5;  P8 F1;  P9 .05;␈↓ ↓H
     RD  .1;             <Random deviation of attack = + or - .1".␈↓ ↓H
     P11 DF SUBR;     <Call subroutine to set the duty factor.␈↓ ↓H
     P12 1  1, 4;       <Choose random numbers between 1 and 4.␈↓ ↓H
     END;␈↓ ↓H
 ␈↓ ↓H
          <Crucial lines of subroutine.>␈↓ ↓H
              X=P(3)-69                ;69=GS5 (C5=61)␈↓ ↓H
              IF(X.LT.0)X=0             ;USES RANGE GS5 TO DS7 (88)␈↓ ↓H
              IF(X.GT.20)X=20          ; SETS NOTE DURATION␈↓ ↓H
              P(IPAR)=207.-5.*X/20. ; FROM 2" TO 7"␈↓ ↓H
 ␈↓ ↓H
␈↓ α(In␈α∞the␈α∞example␈α∞you␈α∞will␈α∞notice␈α∞that␈α
P12␈α
appears␈α
at␈α
three␈α
places␈α
in␈α
the␈α
rhythm␈α
list.␈↓ ↓H
␈↓ ↓HWhen␈α∀SCORE␈α∀sees␈α∀a␈α∀secondary␈α∀parameter␈α∀designation␈α∀within␈α∀one␈α∀of␈α∪its␈α∪lists,␈α∪it␈α∪then␈↓ ↓H
␈↓ ↓Hplaces␈α∂whatever␈α∂the␈α∂current␈α∂value␈α∂of␈α∂that␈α∞parameter␈α∞may␈α∞be␈α∞in␈α∞the␈α∞list.␈α∞In␈α∞this␈α∞case␈α∞the␈↓ ↓H
␈↓ ↓Heffect␈α
was␈α
that␈α
a␈α
rhythm␈α
of␈α
longer,␈α
varied␈α
duration␈α
was␈α
inserted␈α
at␈α
several␈α
points␈αin␈αP2's␈↓ ↓H
␈↓ ↓Hstring␈αof␈αvalues.␈αThis␈αis␈αa␈αbit␈αlike␈αusing␈αthe␈αfermata␈αsign␈αin␈αconventional␈αmusical␈αnotation.␈↓ ↓H
␈↓ ↓H
␈↓ α(In␈α∞the␈α∞next␈α∞example␈α∞secondary␈α∞parameter␈α∞calls␈α
are␈α
made␈α
in␈α
the␈α
pitch␈α
list,␈α
P3.␈α
First␈↓ ↓H
␈↓ ↓Hof␈α⊃all␈α⊃a␈α⊃string␈α⊃of␈α⊃10␈α⊃tempered␈α⊃scale␈α⊃notes␈α⊂is␈α⊂established␈α⊂as␈α⊂motive␈α⊂"Z".␈α⊂Following␈α⊂this,␈↓ ↓H
␈↓ ↓HP12␈α⊂is␈α⊂called␈α∂upon␈α∂five␈α∂times␈α∂in␈α∂succession.␈α∂Looking␈α∂down␈α∂to␈α∂P12,␈α∂we␈α∂find␈α∂that␈α∂this␈α∂will␈↓ ↓H
␈↓ ↓Hproduce␈α⊂randomly␈α⊂chosen␈α⊂notes␈α⊂between␈α∂F6␈α∂and␈α∂D7.␈α∂Then␈α∂the␈α∂statement␈α∂/@Z-1/␈α∂brings␈↓ ↓H
␈↓ ↓Hback␈α
motive␈α
"Z",␈α
but␈α
1/2␈α
step␈α
(-1)␈α
lower.␈α
After␈α
this␈α
P13␈α
will␈α
be␈α
called␈α
upon␈α
for␈α
the␈αnext␈↓ ↓H
␈↓ ↓H7␈αnotes,␈αrandom␈αfrequencies␈αbetween␈α1200␈αand␈α1400␈αhertz.␈αAnd␈αso␈αforth.␈↓ ↓H
␈↓ ↓H␈↓ ↓H
       <Tape example 3>␈↓ ↓H
     TOOT 0 17.7;  P2 .1;       <Will play 177 notes.␈↓ ↓H
     P3 NOTES/ Z( F6/G/A/FS/EF7/DF/G6/B/D/GS) / P12X5 / @Z-1 /␈↓ ↓H
          P13X7 / @Z9 / P12X4 ;   <The string cycles until end.␈↓ ↓H
     P4 .5;  P5 F6;  P8 F1;  P9 .05;␈↓ ↓H
     P10 DF NUM/ 1X10 / .1X5 / 2X10 / 1.5/ 1.3/ 1.1/ .9/ .7/␈↓ ↓H
          .5/ .2/ .1;␈↓ ↓H
     P12  1  F6, D7;   P13  1  1200, 1400;␈↓ ↓H
     END;␈↓ ↓H
     TEMPO/ 70;          < Converts attack durations to .085"␈↓ ↓H
 ␈↓ ↓H
␈↓ α(The␈α⊂last␈α⊂tape␈α⊂example␈α⊂incorporates␈α⊂all␈α⊂the␈α⊂features␈α∂I␈α∂have␈α∂discussed.␈α∂The␈α∂timbre␈↓ ↓H
␈↓ ↓Hinput␈α
for␈α
all␈α
the␈α
notes␈α
in␈α
this,␈α
as␈α
well␈α
as␈α
all␈α
my␈α
previous␈α
examples,␈α
is␈α
a␈α
simple␈αsine␈αwave.␈↓ ↓H
␈↓ ↓HI␈α∩hope␈α∩this␈α∩will␈α∩serve␈α∩to␈α⊃demonstrate␈α⊃that␈α⊃a␈α⊃relatively␈α⊃wide␈α⊃variety␈α⊃of␈α⊃sounds␈α⊃can␈α⊃be␈↓ ↓H
␈↓ ↓Hattained␈α∞from␈α∞very␈α∞limited␈α∞means.␈α∞In␈α∞all,␈α∞three␈α
different␈α
envelopes␈α
are␈α
used,␈α
a␈α
sine␈α
wave,␈↓ ↓H
␈↓ ↓Hand␈αthe␈αfeatures␈αof␈αthe␈αSCORE␈αprogram.␈↓ ↓H
␈↓ ↓H ␈↓ ↓H
         <Tape example 4>␈↓ ↓H