Consider this. Arriving at your studio, a young student sits down at a computer with a synthesizer keyboard in front of it. Putting on the headphones, he begins his ritualistic playing of the Minuet in G using a harpsichord setting on the synthesizer. After yielding to the temptation to punch all of the buttons on the synthesizer (which is always amusing), he puts a disk into the computer and does rhythm drills. (He’ll tell you that doing rhythm drills with the drum sounds of the synthesizer is much better than hand clapping.) At the end of his private lesson, you suggest that he drill his IV chords using the harmony program. Meanwhile a high school student, at the computer and synthesizer of course, is
putting the finishing touches on his original composition. It’s a piece for piano, violin and synthesizer. He was able to enter all of the parts from keyboard and is now editing the notated score that appears on the computer screen. After his lesson he’ll have the computer print out the violin part. Rehearsal is tomorrow and he wants to get feedback from the violinist . . .This is not a scenario from the twenty-first century. It’s happening today.

Found in Computer Applications in Music: A quick lesson in basic technology and terminology by Randall Faber.

Source: American Music Teacher, Vol. 37, No. 6 (June/July 1988), pp. 22-23, 54

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