Part 31

Music

The computer has proved itself qualified in a number of fields and professions, but what of the more artistic ones? Not long ago RCA demonstrated an electronic computer as an aid to the musical composer. Based on random probability, this machine is no tongue-in-cheek gadget but has already produced its own compositions based on the style of Stephen Foster. Instead of throwing up their hands in shocked horror, modern composers like Aaron Copland welcome the music “synthesizer” with open arms. Bemoaning only the price of such a computer—about $150,000—Copland looks to the day when the composer will feed in a few rough ideas and have the machine produce a fully orchestrated piece. The orchestration, incidentally, will include sounds no present instruments can produce. “Imagine what will happen when every combination of eighty-eight keys is played,” Copland suggests. Many traditionalists profess to shudder at the thought of a machine producing music, but mathematical compositions are no novelty. Even random music was “composed” by Mozart, whose “A Musical Dice Game” is chance music with a particularly descriptive title, and Dr. John Pierce of Bell Laboratories has extended such work.

Taken from “Illiac Suite,” by L. A. Hiller and L. M. Isaacson, copyrighted 1957, by Theodore Presser Co. Used by permission.

Random chromatic music produced by ILLIAC computer resembles the compositions of some extreme modern composers. ]

In 1955, Lejaren A. Hiller, Jr., and L. M. Isaacson began to program the ILLIAC computer at the University of Illinois to compose music. The computer actually published its work, including “Illiac Suite for String Quartet,” Copyright 1957, New Music Editions, done in the style of Palestrina. All music lies somewhere between the complete randomness of, say, the hissing of electrons in vacuum tubes and the orderliness of a sustained tone. No less a master than Stravinsky has called composition “the great technique of selection,” and the computer can be taught to select in about any degree we desire. Hiller describes the process, in which the machine is given fourteen notes representing two octaves of the C-major scale, and restricted to “first-species counterpoint.” By means of this screening technique, the computer “composed” by a trial-and-error procedure that may be analogous to that of the human musician. Each note was examined against the criteria assigned; if it passed, it was stored in memory; if not, another was tried. If after fifty trials no right note was found, the “composition” was abandoned, much as might be done by a human composer who has written himself into a corner, and a new start was made. In an hour of such work, ILLIAC produced several hundred short melodies—a gold mine for a Tin Pan Alley tunesmith! It was then told to produce two-voice counterpoint for the basic melodies. “Illiac Suite” is compared, by its programmers at least, with the modern music of Bartok.

Purists whose sensibilities are offended by the very notion of computer music point out that music is subjective—a means of conveying emotion from the heart of the composer to that of the listener. Be that as it may, the composition itself is objective and can be rigorously analyzed mathematically, before or after the fact. From a technical standpoint there seems to be only one question about this new music—who composed it, the programmer or the computer?

An interesting sidelight to computer music is its use to test the acoustics of as yet unbuilt auditoriums. Bell Telephone Laboratories has devised such a machine in its Acoustical and Visual Research Department. The specifications of the new auditorium are fed into the computer, followed by music recorded on tape. The computer’s output is then this music as it will sound in the new hall. Critical experts listen and decide if the auditorium acoustics are all right, or if some redesign is in order.

The Machine at Play

The computer’s game-playing ability in chess and other games has been described. It is getting into the act in other fields, spectator sports as well. Baseball calls on the computer to plan season strategy and predict winners. When Roger Maris began his home-run string, an IBM 1401 predicted that he had 55 chances in 100 of beating Ruth’s record. Workers at M.I.T. have developed a computer program that answers questions like “Did the Red Sox ever win six games in a row?” and “Did every American League team play at least once in each park in every month?”

An IBM RAMAC computer is handling the management of New York’s Aqueduct race track, and promises to do a better job than the human bosses, thus saving money for the owners and the State of New York Tax Commission. The Fifteenth Annual Powderpuff Derby, the all-women transcontinental air race, was scored by a Royal Precision LGP-30 computer, and sports car enthusiasts have built their own “rally” computers to gauge their progress. The Winter Olympics at Innsbruck, Austria, will be scored by IBM’s RAMAC, and even bowling gets an assist from the computer in the form of a scoring device added to the automatic pin-setter, bad news to scorekeepers who fudge to boost their points.

An IBM 704 has proved a handy tool for blackjack players with a system for winning 99 per cent of the time, and rumor has it that a Los Angeles manufacturer plans to market a computer weighing only two pounds and costing $5, for horse-players.

Showing that the computer can be programmed with tact is the demonstrator that answers a man’s age correctly if he answers ten questions but announces only that a woman is over twenty-one. Proof that the computer has invaded just about every occupation there is comes to light in the news that a Frankfurt travel agency uses a computer called Zuse L23 as an agent. The traveler simply fills out a six-question form, and in a few seconds Zuse picks the ideal vacation from a choice of 500. Computers, it seems, are already telling us where to go.

Business Outlook

The computer revolution promises to reach clear to the top of the business structure, rather than find its level somewhere in middle management. The book, Management Games lists more than 30,000 business executives who have taken part in electronic computer management “games” in some hundred different versions. The first widely used such game was developed in 1956 by the American Management Association. While such games are for educational purposes, their logical extension is the actual conduct of business by a programmed computer.

In his book, Industrial Dynamics, Dr. J. W. Forrester points out that a high-speed digital computer can be used in analyzing as many as 2,000 variables such as costs, wages, sales, and employment. This is obviously so far beyond human capability that the advantage of computer analysis becomes evident. A corollary benefit is the speed inherent in the computer which makes it possible to test a new policy or manufacturing program in hours right in the computer, rather than waiting for months or years of actual implementation and possible failure. For these reasons another expert has predicted that most businesses will be using computer simulations of their organizations by 1966. Regardless of the timetable, it is clear that the computer has jumped into business with both its binary digits and will become an increasingly powerful factor.

Lichty, © Field Enterprises, Inc.

“Our new ‘brain’ recognizes the human factor, doctor!... After feeding it the symptoms, it gives the diagnosis and treatment.... But YOU set the fee!” ]

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“Men have become the tools of their tools.”

—Thoreau

9: The Computer and Automation

In his movie, City Lights, Charlie Chaplin long ago portrayed the terrible plight of the workman in the modern factory. Now that the machine is about to take over completely and relieve man of this machinelike existence, it is perhaps time for Charlie to make another movie pointing up this new injustice of civilization or machine’s inhumanity to man. It seems to be damned if it does and damned if it doesn’t.

For some strange reason, few of us become alarmed at the news of a computer solving complex mathematics, translating a book, or processing millions of checks daily, but the idea of a computer controlling a factory stimulates union reprisals, editorials in the press against automation, and much general breast-beating and soul-searching. Perversely we do not seem to mind the computer’s thinking as much as we do its overt action.

It is well to keep sight of the fact that automation is no new revolution, but the latest development in the garden variety of industrial revolution that began a couple of centuries ago in England:

Mechanization was the first step in that revolution, mechanization being the application of power to supplement the muscles of men. Mass production came along as the second step at the turn of this century. It was simply an organization of mechanized production for faster, more efficient output.

Automation is the latest logical extension of the two earlier steps, made possible by rapid information handling and control. Recent layoffs in industry triggered demonstrations, including television programs, that would indicate we suspect automation of having a rather cold heart. The computer is the heart of automation.

Remington Rand UNIVAC

Control operations require “real-time” computers that perform calculations and make necessary decisions practically instantaneously. ]