Conducting the MIDI Orchestra: Integrating the synthetic performer with the Acoustic Ensemble

The commercial adoption of the Musical Instrument Digital Interface (MIDI)—a protocol that provides the syntax and structure for meaningful communication between virtually any computer and any digital synthesizer—brought a powerful set of tools for music composition, notation, sound design, and real-time performance from the university research labs to the private studios of the individual artist in the form of an affordable, powerful, and portable MIDI-based music workstation. Since its inception 7 years ago, MIDI has had a far reaching impact on virtually every aspect of professional music making. From the recording studio to the college classroom, MIDI-based workstations are playing a major role. Most importantly, however, is that MIDI has brought real-time computer-controlled and computer-generated sound to the concert stage. This paper addresses the question of how a composer today might integrate this computerized virtual instrument with traditional acoustic instruments. From the innovative use of commercial software, to the specialized applications of new computer interfaces such as Max Mathews' Electronic Stradivarius, Daton MIDI conducting surface, and Robert Boie's Radio Drum, this live musical demonstration will draw from the author's compositions Three Chapters from the Book of Dreams (1985), Shadows (1987), from Temporal Silence (1988), and Solemn Song for Evening (1989) to present a variety of practical and personal solutions.