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There is a story about and the way people perâ€" a lady who once asked the (.:eive musical sounds? Why late jazz trumpeter: "Mr irinstrong, whal is jaZk Whereupon, Louis replied : ‘‘Lady, if you gotta ask, you‘l} never get to know!*‘ _ A lady on the University of Waterioo campus is askâ€" ing a good many questions about music including how jazz musicians, or for that matter classical composers, go about creating it. She‘s also asking questions such as: What is the relationship Page 2 â€" Waterloo Chronicle, Wednesday, August 17, 1977 between â€" music â€" theory Prof looks at music, psychology connection SGonittey 0 "WONDNY NIGHT MADNESS" Receive a colour enlargement of your favorite negative with each roll of film processed and printed! ym Waterlioo Square Lower Mail 886â€"1740 Stanley Park Maill, Kitchener 745â€"9081 ©4.95 x VC Second Dinner &1 + QUALITY BRING A FRIEND! NEW YORK SIRLOIN STEAK ~_*"Mr An some reart mare stron AZ% ly ivâ€" imusic than uthers : eplied: â€" How do we perceive musiâ€" CHOICE OF POTATO AND VEGETABLE The lady in question is â€"Dr. Annabel Cohen, an assistant professor for the past two years in UW‘s deâ€" partment of psychology, and her research interests involve bringing music and psychology together. _Over the past couple ot years she has been deâ€" veloping a special lab faâ€" HOMEMADE SOUP from 5:00 p.m. â€" 11 p.m. mermesobensfrseemneniennencenreriens ffrrnnsirsofrtnmerermmnionmnnnmnmmennnen meteirrestentterpeetressrentrisnesetereerorestessssse Mesnsnispremnitotdernftetrecsronenesmnnoessesentobnsonnertinnd HERRREHRErREeprereremreereremessreserenterepenssnsssetsoanes PHOTO Sooter cility on â€" campus _ for these studies. The lab is set for what could turn out to be a long range study into the ‘‘*interface‘‘ between music and psychology ... that is, the points at which the two disciplines come toâ€" gether. The work of Dr. Cohen and her coâ€"researchers will be discussed during the inâ€" ternational conference on *‘Computing in the Humaniâ€" ties" which was held on the Waterloo campus Aug. 2â€"5. **Both music and 6syd|ol- ogy involve the mind ‘‘ she the field of psychology than in the field of music, but consider where music would be without the minds of composers, performers or for that matter listeners. One of our interests is to find out how the listener‘s sayo. _ iuc ie of the imind is probably more obvious in is perceived. ‘"‘This involves finding out more about how people recognize â€" musical â€" patâ€" 6 music terns. As we all know, lots nf _ nannt * 1 don t know anyUiing about music can probably still recognize hundreds of tunes. Recognizing a tune means, essentially, recognizing a pattern. The thing is though, we don‘t know quite how we do it." Dr. Cohen says we‘re apt ic take pattern recogmâ€" tion behaviour for granted until we try to teach a comâ€" nize how difficult it is. She says one of the reasons comâ€" puters still can‘t satisfacâ€" torily do such things as translate from one lan guage to another, or convert spoken language into writâ€" ten language, is that they can‘t recognize complex patterns. ‘"One of the reasons we can‘t teach them to recogâ€" nize complex patterns is that we don‘t quite know how we do it ourselves,"" she adds. ‘‘So it‘s probably up ic psychologists to find out more about human pattern recognition â€" first. . Music recognition is one aspect of the problem."‘ Dr. Cohen says developâ€" ments in computer science have strengthened her inâ€" terest in the relation beâ€" tween music and the mind. The computer is forcing psychologists and musicians to take notice of each other. For example, psychologists and musicians now find themselves using the comâ€" puter to produce sounds. The computer is used in psychological experiments in hearing; it is also being used by modern composers. Further, both psychologists and musicians find themâ€" selves perplexed by what the computer, as an "artifiâ€" cial intelligence," is not able to do in the field of musical abilities. "In other words, the computer provides an inâ€" teresting perspective from which to examine how people _ create, _ analyse and recognize musical patâ€" terns," says Dr. Cohen. ‘Finally, the new music being made possible by the computer as a musical inâ€" strument is â€" challenging both _ traditional _ music theory and psychological 120 KING STREET SOUTH, WATERLOO â€" 886â€"1160 OFFICE FURNITURE e STATIONERY e ART SUPPLIES e GIFTS Open Monday to Saturday till 5:45 The computer raises all to be able to do it. SCHENDEL sorts of questions concernâ€" ciais _ and _ psychologists. It also provides answers by making it possible to do experimental research on the relation between music and the mind. . It is therefore not surâ€" prising that a computer is a key element in Dr. Cohen‘s lab. She uses it to manipulâ€" ate musical sounds; then studies her subjects‘ re Thus, her lab depends on a PDP 11 minicomputer (used by others in the departâ€" ment for a variety of exâ€" periments), controls for manipulating and editing computerâ€"generated sounds, and a couple of soundâ€"proof listening rooms. . C **We feed sound into these rooms, controlled by the computer,"‘ she says. ‘"Our subjects are seated in the rooms, and we ask them to to perform tasks and measâ€" ure their responses."‘ With programs written by Paul Isaacs, the comâ€" puter can take sounds made by voices or musical instruâ€" into digital data or ‘"numâ€" bers‘*; then convert the data back into sound. By changing the numbers around one can edit the sound ...add to it or subâ€" tract from it, put little chunks of sound together to make up new sounds, or tailor it so there will be minute variations so small you can‘t even hear them. Furthermore, the computer will _ graphically â€" display the sound so you can acâ€" tually ‘""see" what a parâ€" ticular sound wave or set of sound waves looks like. Or, one can simply feed numbers into the computer and it will generate sound from these. In order to obtain the ultimate in flexibility and accuracy Dr. Cohen and her coâ€"researchers have recently been taking adâ€" vantage of an extremely powerful, wellâ€"known proâ€" gram for sound synthesis. They convert music into numbersâ€" (and vice versa) using a computer proâ€" gram developed at the Bell Telephone Laboratories in New Jersey, about 10 years ago. This program has been used by many modâ€" {Continued on page 17) STATIONERY LIMITED