the composer and the technologist

Often in North America, composers are expected to create their own technological tools, learn computer languages and program their patches themselves.  In other parts of the world, namely Europe, composers more often than not team up with audio technologists, partnering up in collaboration across a variety of media and applications, both in the studio and in live performance.  This frees up both roles, allowing the composer to “be” the composer, and the technologist to “be” the technologist.  While it is good (and often crucial) for composers to understand the technology that they are utilizing, certain barriers may prevent a composer from venturing down a path that is genuinely above their heads, technologically speaking.  Often, the minute one asks for help  knowledge is gained, understanding results and progress follows.  Then the composer sees that technology is not just engineering, but a pool of philosophy designed for solving problems and creating imaginary worlds.

Hebert Brun wrote an excellent article (1970) on the affairs of technology and the composer, showing us how old this relationship really is:

“The story of music and technology tells of a very old couple which composers keep visiting in order to have their dreams materialize, their intentions implemented, their problems solved…”

“As the composer meets technology through the computer, both have a chance to see one another far more clearly than the usual barriers, namely sound and industry, permit. The composer has begun to recognize that technology is not merely the provider of instruments, of devices, of conveniences; in short, the composer is learning that technology is not just techniques and engineering. The composer now defines technology as the science and art of applying knowledge to the desire for problem solving and I, for one, concede that technology would have a far more beneficial impact on society if its potentials were controlled by technologists rather than by industrialists and politicians.”

“…I soon found out that the composition of music, is, in fact, relevant to the thoughts I consider important at any given time. Finally, I asked myself: What if it were true that composition simply is the generator of relevance, and that composers, no matter of or in what, are people who desire that whatever they create be relevant to whatever they consider important? If this were true (and I stipulate it is), then I could go on and state: The thoughts I consider important, and the medium in which I try to create what otherwise might never happen, are related through my desire for relevance…”