Max Mathews

Max Mathews on his 80th birthday

Max Vernon Mathews (November 13, 1926 – April 21, 2011) was an American pioneer of computer music.

BiographyEdit

Max Mathews playing one of the electronic violins he built, in his analog electronics lab at Bell Telephone Labs (c. 1970)

Max Vernon Mathews was born in Columbus, Nebraska, to two science schoolteachers. His father in particular taught physics, chemistry and biology in the Peru High School <ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref> of Nebraska, where he was also the principal.<ref name=":0">Template:Cite journal</ref> His father allowed him to learn and play in the physics, biology and chemistry laboratories, where he enjoyed making lots of things from motors to mercury barometers. At the age of 9, when students are usually introduced to algebra, he started to study by himself the subject with few other students. That was because the vast majority of population there were farmers and their sons weren't interested about learning algebra, since it isn't useful for the everyday work. In the same way he studied calculus, but he never graduated from high school.<ref name=":0" />

After a period as a radar repairman in the navy, where he fell in love with electronics, Mathews decided to study electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology, receiving a Sc.D. in 1954. Working at Bell Labs, Mathews wrote MUSIC, the first widely used program for sound generation, in 1957. For the rest of the century, he continued as a leader in digital audio research, synthesis, and human-computer interaction as it pertains to music performance. In 1968, Mathews and L. Rosler developed Graphic 1, an interactive graphical sound system on which one could draw figures using a light-pen that would be converted into sound, simplifying the process of composing computer generated music.<ref name="holmes2008"> Template:Cite book</ref><ref name="roads1980" /> Also in 1970, Mathews and F. R. Moore developed the GROOVE (Generated Real-time Output Operations on Voltage-controlled Equipment) system,<ref name="groove"> Template:Cite journal</ref> a first fully developed music synthesis system for interactive composition and realtime performance, using 3C/Honeywell DDP-24<ref name="vercoe"> {{#invoke:citation/CS1|citation |CitationClass=web }}</ref> (or DDP-224)<ref name="bogdanov2001" /> minicomputers. It used a CRT display to simplify the management of music synthesis in realtime, 12bit D/A for realtime sound playback, an interface for analog devices, and even several controllers including a musical keyboard, knobs, and rotating joysticks to capture realtime performance.<ref name="holmes2008" /><ref name="bogdanov2001"> Template:Cite book</ref><ref name="roads1980"> Template:Cite journal
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Although MUSIC was not the first attempt to generate sound with a computer (an Australian CSIRAC computer played tunes as early as 1951),<ref name="CSIRAC"> {{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Mathews fathered generations of digital music tools. He described his work in parental terms, in the following excerpt from "Horizons in Computer Music", March 8–9, 1997, Indiana University:

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File:Max Mathews Radio Baton demo 1, SF MusicTech Summit VI, May 17, 2010.ogv

Radio-Baton demonstration by Mathews on SF MusicTech Summit 2010

In 1961, Mathews arranged the accompaniment of the song "Daisy Bell" for an uncanny performance by computer-synthesized human voice, using technology developed by John Kelly, Carol Lochbaum, Joan Miller and Lou Gerstman of Bell Laboratories. Author Arthur C. Clarke was coincidentally visiting friend and colleague John Pierce at the Bell Labs Murray Hill facility at the time of this remarkable speech synthesis demonstration and was so impressed that he later told Stanley Kubrick to use it in 2001: A Space Odyssey, in the climactic scene where the HAL 9000 computer sings while his cognitive functions are disabled.<ref name="bell labs hal"> {{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Mathews directed the Acoustical and Behavioral Research Center at Bell Laboratories from 1962 to 1985, which carried out research in speech communication, visual communication, human memory and learning, programmed instruction, analysis of subjective opinions, physical acoustics, and industrial robotics. From 1974 to 1980 he was the Scientific Advisor to the Institute de Recherche et Coordination Acoustique/Musique (IRCAM), Paris, France, and from 1987 was Professor of Music (Research) at Stanford University. He served as the Master of Ceremonies for the concert program of NIME-01, the inaugural conference on New interfaces for musical expression.

Mathews was a member of the National Academy of Sciences, the National Academy of Engineering and a fellow in the American Academy of Arts and Sciences, the Acoustical Society of America, the IEEE, and the Audio Engineering Society. He received a Silver Medal in Musical Acoustics<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> from the Acoustical Society of America, and the Chevalier de l'ordre des Arts et Lettres, République Française.

The Max portion of the software package Max/MSP is named after him (the MSP portion is named for Miller Puckette, who teaches at UC San Diego).

Mathews died on the morning of 21 April 2011 in San Francisco, California of complications from pneumonia. He was 84. He was survived by his wife, Marjorie, his three sons and six grandchildren.

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Max Mathews

Contents

BiographyEdit

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