Monday, March 26, 2012

a few thoughts on music and computer programming

Greg Linch started a discussion recently on Twitter regarding music and coding. The apex of the conversation was Zed Shaw pointing to his own well-stated comments on the matter.

I got back just over a couple hours ago from a weekly rehearsal, so I've got a number of things I'd like to mention swimming around in my head. Here are a few:

  1. To "Linguistic Skills" I'd add that musical notation is specifically built to enable certain domain-specific elements. Its staved nature allows a high degree of parallelism. I can't think of any other common language that succinctly expresses multiple concurrent paths in a readable format. One can glean a great deal of information about independently moving pieces from something like an orchestral score very quickly, in ways that we cannot with programming or other languages. Thinking concurrently is increasingly important in our contemporary computing environment.

  2. Musical notation is evolving rapidly. If one studies modern music, one will be constantly presented with new types and forms of instruction. In a way, this is like introducing new op-codes or programming constructs and can help form a desirable malleability of mind. Consider the notation, for example, in Penderecki's "Threnody for the Victims of Hiroshima" or much crazier looking things by composers such as Xenakis. Sometimes learning a single piece requires understanding the structure of an entirely new language.

  3. Music encourages team playing. In a chamber ensemble, one is expected to become so in sync with the other members that you do things like breathe together. A well-rehearsed group will practice such things as playing notes slowly to try and achieve better temperament (consistent intonation which should result in more commonly placed overtones) and vibratos that waver at the same rates. Communication is rehearsed in the form of breaths, nods, eye contact, and other physical gestures (chamber players cannot over-communicate). Most chamber music involves a lot of passing back and forth of musical phrases, which can be analogous to message passing in a synchronous computing system.

  4. Interpretation of a piece is largely subjective and therefore requires lots of compromise in order to become cohesive. This sort of compromise doesn't just mean allowing someone else to have his or her way, but means accepting and buying into it once a decision is made. If a member of my group plays a passage a certain way, I'm now expected to play that passage in a similar manner. Once a design decision is agreed upon, the impetus is on the players to accept and use it to improve the overall structure.

2 comments :

  1. Thanks for posting this! The first point strikes me as really incisive -- lots to think about there.

    I also didn't realize how much musical notation continues to evolve. I'd be curious to read more about that. The Xenakis composition kinda blew my mind.

    Have you seen this visualization? I need to take some time to find more like this:

    http://vimeo.com/31179423

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  2. Interesting stuff.

    I know there has long been research suggesting a connection between aptitude for math and music. (Here's one meta-study I found with a quick Google search: http://www.jstor.org/stable/3333641. Also found some suggestions (eg http://rchrd.com/weblog/pivot/entry.php?id=190) that it's more common for math-oriented people to be good at music than the other way around.

    I'm intrigued by the idea there are ways to combine coding and music-making ... but whether or not that floats your boat, I think the two are nicely complementary.

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