When outsiders heard the melodies of Johann Sebastian Bach in a
single-voice, monophonic square wave, no harmony, they were
universally unfazed
When outsiders heard the melodies of Johann Sebastian Bach in a
single-voice, monophonic square wave, no harmony, they were
universally unfazed. Big deal! Three million dollars for this
giant hunk of machinery, and why shouldn”t it do at least as much
as a five-dollar toy piano? It was no use to explain to these
outsiders that Peter Samson had virtually bypassed the process by
which music had been made for eons. Music had always been made
by directly creating vibrations that were sound. What happened
in Samson”s program was that a load of numbers, bits of
information fed into a computer, comprised a code in which the
music resided. You could spend hours staring at the code, and
not be able to divine where the music was. It only became music
while millions of blindingly brief exchanges of data were taking
place in the accumulator sitting in one of the metal, wire, and
silicon racks that comprised the TX-0. Samson had asked the
computer, which had no apparent knowledge of how to use a voice,
to lift itself in song–and the TX-0 had complied.
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