Dr. Max V. Mathews

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  www.subliminal.org/flute/dissertation/ch02.html - [Cached Version]
  Published on: 2/19/2008    Last Visited: 2/19/2008  

  The first use of a computer to generate sound was demonstrated at Bell Telephone Laboratories, New Jersey by Max Mathews, whoused the MUSIC4 program running on an IBM mainframe computer, which used a primitive digital to analog converter.Mathews later left Bell Labs to work at Stanford, which became a major center for electronic and computer music.
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  Max Mathews of Bell Labs perfected MUSIC V, a direct digital synthesis language.
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  Also that year, Max Mathews and F. Richard Moore developed GROOVE, a real-time digital control system for analog synthesis, eventually to be used extensively by composers Laurie Spiegel and Emmanuel Ghent in the 1970s.
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  Miller Puckette developed graphic signal-processing software for 4X called MAX (after Max Mathews) and later ports it to Macintosh (with Dave Zicarelli extending it for Opcode) for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background.
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  Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called MAX."
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  Max Mathews perfected Radio Baton to compliment his Conductor program for real-time tempo, dynamic and timbre control of a pre-input electronic score.

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  www.qwartz.org/index.php?/Qwartz-News/Max-Mathews-Qwart - [Cached Version]
  Published on: 3/24/2006    Last Visited: 2/22/2009  

  Max Mathews- Qwartz d'Honneur
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  Max Mathews- Qwartz d'Honneur
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  Max Mathews, the music computer pioneer received the Qwartz d'Honneur [Life Time Achievement]

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  emusician.com/tutorials/electronic_century3/ - [Cached Version]
  Published on: 7/23/2008    Last Visited: 7/23/2008  

  Risset worked at Bell Labs in the early years with Max Mathews and later became head of computer music research at IRCAM in Paris.
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  Max Mathews had finished writing Music I, the first program to generate sounds with a computer, and used it to play a 17-second composition by a colleague, Newman Guttman.
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  John Pierce, head of the department in which Mathews worked, was interested in the possibilities of sound synthesis.
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  With Pierce supporting his work, Mathews and his collaborators made continued improvements to the Music I program over the next several years, resulting in a series of programs that came to be known as the Music-N series: Music II (1958), Music III (1960), Music IV (1962), and the last in the series, Music V (1968).
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  1), who had worked with Max Mathews at Bell Labs in the '60s, was appointed head of IRCAM's computer music department.
  
  EARLY COMPUTER WORKS
  
  The computer music research at Bell Labs and other institutions provided the backdrop to the first round of creative musical work with computers.From the beginning, John Pierce and Max Mathews had been eager to make contact with musicians, and in 1961 Pierce hired composer James Tenney to come and work at Bell Labs.
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  In 1963, Mathews published an influential article on computer music titled "The Digital Computer as a Musical Instrument" in Science.
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  Meanwhile, at Stanford University in 1963, John Chowning also came across Max Mathews's Science article and became inspired to study computer science.

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  www.gingerlabs.com/cont/about.php - [Cached Version]
  Published on: 7/19/2009    Last Visited: 7/19/2009  

  Max Mathews
  
  Max is a Professor Emeritus at Stanford at CCRMA (Center for Computer Research in Music and Acoustics). He has been supportive and influential in the design of soundAMP.
  
  Fifty-two years ago, in 1957, at Bell Telephone Laboratories, Max Mathews demonstrated that the digital computer can be used as a fantastic new music instrument. He created a revolutionary software platform destined to form the basis of all contemporary digital musical systems (Music 1-Music 5).
  
  Known as the "Father of Computer Music", his audacious ideas were driven by the belief that "any sound that the human ear can hear can be produced by a computer". Mathews's mastery of this new instrument revealed new musical horizons and sparked a burgeoning curiosity into the very nature of sound. His comprehension and elaboration made five decades of art and research possible, laying the groundwork for generations of electronic musicians to synthesize, record, and play music.
  
  Today, Max uses a hearing aid on occasion, but does not speak favorably of them.

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  www.radioindy.com/bands/4201/biography.php - [Cached Version]
  Last Visited: 10/4/2009  

  Cat was privileged to work with electronic music pioneer Professor Max V. Mathews at the Stanford University Music Department in the Center for Computer Research in Music and Acoustics (CCRMA). He is known by many as the "Father of computer music. Cat was part of the development team that created the MIDI interface for the 'Conductor'; a real-time computer system for musical performances. Cat also wrote many compositions used in support of Professor Mathews' research work on the 'Conductor.' These compositions were used in many of his worldwide public performances of this revolutionary new system.

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  www.radioindy.com/bands/4201/ - [Cached Version]
  Last Visited: 10/4/2009  

  Cat was privileged to work with electronic music pioneer Professor Max V. Mathews at the Stanford University Music Department in the Center for Computer Research in Music and Acoustics (CCRMA).
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  Cat also wrote many compositions used in support of Professor Mathews' research work on the 'Conductor.' These compositions were used in many of his worldwide public performances of this revolutionary new system.

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  www.computerhistory.org/events/index.php?spkid=1&ssid=1 - [Cached Version]
  Published on: 9/12/2007    Last Visited: 9/12/2007  

  Max MathewsComputer History Museum - Lectures - Biographies
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  Max Mathews
  
  Max Mathews directed the Acoustical and Behavioral Research Center at Bell Laboratories from 1962 to 1985.

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  www.qwartz.org/index.php?/Actualites-Qwartz/Max-Mathews - [Cached Version]
  Published on: 3/24/2006    Last Visited: 2/22/2009  

  Max Mathews- Qwartz d'Honneur
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  Max Mathews, the music computer pioneer received the Qwartz d'Honneur [Life Time Achievement]

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  www.congreso-musica.org/organizacion_sp.html - [Cached Version]
  Published on: 4/25/2007    Last Visited: 4/25/2007  

  Max Mathews (E.E.U.U.)Investigador, Doctor en Música por la Universidad de Stanford.

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  beamfoundation.org/about_board.php - [Cached Version]
  Published on: 12/2/2007    Last Visited: 12/2/2007  

  Max Mathews | Jaron Lanier
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  Max Mathews started it all.Working at Bell Labs in 1962 he taught the first computers to sing (memorialized by HAL singing "Daisy" in 2001 a Space Odyssey) using his program Music V. He is currently Professor of Music Research at Stanford University and continues to pioneer in human machine interfaces and new musical instruments.
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  Max V. Mathews directed the Acoustical and Behavioral Research Center at Bell Laboratories from 1962 to 1985.This laboratory carried out research in speech communication, visual communication, human memory and learning, programmed instruction, analysis of subjective opinions, physical acoustics, and industrial robotics.Mr. Mathews' personal research is concerned with sound and music synthesis with digital computers and with the application of computers to areas in which man-machine interactions are critical.He developed a program (Music V) for the direct digital synthesis of sounds and a program (Groove) for the computer control of a sound synthesizer.Music V and its successors are now widely used in the United States and Europe.His past research included development of computer methods for speech processing, studies of human speech production, studies of auditory masking, and the invention of techniques for computer drawing of typography.He is currently investigating the effect of resonances on sound quality.He was Scientific Advisor to the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), Paris, and is currently Professor of Music (Research) at Stanford University.He holds a Silver Medal in Musical Acoustics from the Acoustical Society of America, and the Chevalier dan l'order des Arts et Lettres, Republique Francaise.Max plays violin.

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