Software Vault: The Gold Collection/Software Vault - The Gold Collection (American Databankers) (1993).ISO/cdr43/glossa21.zip/GLOS21.ASC

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                TERMS USED IN MIDI-COMPUTING

                        Introduction

          This reference provides a listing of terms
     important to the activity of MIDI-computing.

          In its simplest usage, computing involves the use
     of computers (programmable electronic devices) to
     process data.  For example, storing, editing, and
     retrieving information.

          MIDI-computing is distinguished by the application
     of a device known as a MIDI, which stands for:

            Musical Instrument Digital Interface

          By means of a MIDI electronic circuit, musical
     instruments--like keyboard synthesizers--can be
     connected to computers, or connected to other
     synthesizers.

          The result?  Messages can be sent back and forth--
     messages that produce melodies, harmonies, changes of
     pitch and volume...  To illustrate:  One musical
     message, like a piano melody played on a keyboard, can
     be "recorded," (that is, encoded) on a track in
     computer memory, then another message can be layered--
     superimposed--on the melody line.  The other message
     might be, for instance, the sounds of an orchestral
     string ensemble.

          Captured by this process are the elements of a
     digital recording, like that of a compact disc.  Gone
     are the scratches and other noises of the traditional
     phonograph record.  Gone is the wow and flutter often
     associated with tape recording.

          This musical arrangement (melody, harmony, tempo,
     pitch, etc.) can then be edited on the computer screen.
     Errors can be corrected, specific notes deleted, chord
     changes introduced.

          Then, the ultimate product--a performance, a
     musical score--can be printed by the computer, using
     standard musical notation.

          That's what MIDI can do.

          This document is designed to explain and define
     many of the terms currently used in MIDI-computing.


     Version 2.0, May 1992


                 Introduction to Version 2.1

          Like the previous version (2.0), this compilation
     of terms used in MIDI computing is designed for the
     novice, who is not sure what MIDI is all about.

          Dan McKee helped immeasurably with Version 2.0,
     but he is not responsible for my stumbles, like
     referring to Pitch "Blend" or to Compact "Disks."

          Frank Marousek recommended an expansion of the
     Glossary, which has become Version 2.1.

          As always, suggestions for additions or
     corrections are welcome.


     Version 2.1, September 1992




     Eugene A. Confrey, Ph.D.
          70732,301



    A


          ACCENT:  Stress given to a musical tone.

          ACCIDENTALS:  In music, these are sharps, flats,
     or naturals that are not indicated in the key
     signature.  MIDI software programs tend to represent
     accidentals as sharps (F-sharp, rather than G-flat).

          ACCESS:  In computing, the verb is more often
     encountered than the noun.  Synonomous phrase:  To
     communicate with.  Illustration:  A sequencer that lets
     one directly access hardware.

          AFTERTOUCH:  The change in pressure on a key after
     the initial attack.  Determines vibrato and other
     characteristics.

          ALGORITHM:  A step-by-step procedure for problem-
     solving.

          APPLE MACINTOSH:  Apple computers were among the
     earliest computers to offer MIDI-computing capacity.
     Others now in the field include IBM-compatible PC's,
     Atari, and Amiga.

          ARTICULATION:  The percentage of a note's duration
     that actually plays.  This could represent the
     difference between a staccato and a legato effect.

          ATTACK:  When the musical note begins.  Antonym:
     Release.

          AUDIO:  Sound, or its transmission and
     reproduction.

          AUTO ACCOMPANIMENT:  (Sometimes called
     "Orchestration" or "Auto Chord.")  The rhythmic styles
     that sound when a fingered or one-finger mode is
     selected.  Auto Accompaniment usually comprises a drum
     pattern, a bass line, and other enhancing sounds, like
     a piano arpeggio or a strummed guitar.


     B

          BAR:  A synonym for measure--musical time, a
     grouping of beats.

          BEAT:  Literally, a single stroke or pulsation.
     Tempo is expressed in beats per minute.  The beat value
     affects the metronome.  [See also:  TEMPO.]

          BUFFER:  A temporary storage area in memory.

          BULK DUMP:  Denotes a series of system-exclusive
     messages.  Sometimes, this involves transferring a mass
     of data, like several choruses of a song that have been
     stored in memory from the keyboard to the sequencer or
     vice versa.  Settings at both ends must be coordinated.
     A keyboard "bulk dumps" to a sequencer as a system
     exclusive message (Syex).  Conversely, a keyboard can
     receive such data as a system exclusive message.


     C


          CANCEL:  An often-misunderstood command.  It does
     not mean delete (e.g., the file) or "send it to the
     moon."  It usually means, simply,  turn off the display
     now on the screen.

          CHANNEL:  In ordinary language, a channel is a
     path for passing data.  In MIDI, channels are used to
     separate different sections of a song that are going to
     play together.  Each channel is assigned to a single
     instrument in any particular instant of time.  One
     channel is usually reserved for a percussion voice.  To
     channelize means to move to another channel.

          CHOKING:  What happens when the sequencer receives
     too much continuous data.  Result:  Tempos slow down
     and speed up randomly.

          CHORD:  Three or more tones sounded simultaneously-
     -preferably harmonious.

          CLASSICAL MUSIC:  A broad umbrella term, usually
     contrasted with jazz, folk music, pop-music.  The
     "classical" tradition is best illustrated by examples:
     symphony, opera, chamber music.  [See also:  JAZZ,
     ROCK.]

          CLEF:  It's that sign at the beginning of a staff-
     -the one that determines pitch.

          CLOCK:  A clock is used to synchronize two
     devices.  In MIDI, the term clock is used to denote a
     single time source, which everything plays along with.
     MIDI clocks are actually special messages that are sent
     24 times (normally) per beat, and are used to
     synchronize two sequencers, or a sequencer and a drum
     machine.  Normally, the sequencer's clock is the
     important one.  Other clock sources are rarely used,
     and, typically, only when doing a final recording.

          CODES:  In MIDI, as in general computing, a code
     refers to program instruction.  One type is a source
     code (human readable).  Another is a machine code
     (executable).

          COMPOSE-ARRANGE:  Two activities that can be
     facilitated by MIDI-computing.  The composer creates
     music.  The arranger enhances it--by scoring for other
     voices or instruments.

          COMPRESSION:  In MIDI-computing, the process of
     compression and expansion refers to changing the range
     of a song.  Compression makes the loud parts softer,
     the soft parts louder.

          CONTINUOUS DATA:  Controllers, pitch bend,
     aftertouch...

          CONTROLLER:  (1)  Most often, it means the
     instrument:  keyboard,  guitar, drums...  (As in Master
     Controller.)  (2)  A second meaning, in sequencing,
     refers to a setting, a parameter, such as Controller 7
     = Volume.  In this sense, a controller is a MIDI event.

          CONTROLLER CHANGE:  This event will be displayed
     in the Event List editor.  It refers to a change in the
     synthesizer setting.  There are 128 controllers.
     Example:  the loudness of notes.  [See also:  PROGRAM
     CHANGE.]

          COUNT IN:  A command in a sequencer that plays a
     metronome for several measures until you are ready to
     record.

          CRESCENDO:  A gradual increase in volume.
     Antonym:  Decrescendo.

          CUT-AND-PASTE:  In word-processing, this function
     means moving text from one place in a document to
     another.  In MIDI, one can copy a section of a musical
     passage and paste it elsewhere.


     D

          DAMPER:  Traditionally, the damper pedal of an
     acoustical piano functioned to stop vibration of a
     piano string.  (In contrast, the SUSTAIN pedal held or
     prolonged the note.)  Unfortunately, sustain pedals on
     electronic pianos are often called "damper" pedals--
     thus blurring the distinction.  [See also:  SUSTAIN.]

          DATA BYTES:  These follow the status byte in a
     MIDI message, e.g., what note has been struck, how
     hard...  [See also:  STATUS BYTE.]

          DEFAULT SETTING:  In MIDI, as in general
     computing, this is a choice made by the program (when
     the user does not specify an alternative).

          DESIGN, PROGRAM:  Two distinct functions.  The
     designer of a sequencing piece of software, for
     example, conceives and plans the product and all its
     functions.  The programmer addresses the issues of
     programming languages, data structures, how data is
     stored and manipulated, etc.

          DIGITAL:  In MIDI, the phrase digital recording is
     contrasted with  analog recording.  Long-playing
     phonograph records are analog recordings.  That is,
     they capture information in a continuously-variable
     form.  A fluctuating waveform.  Telephone lines work on
     the same principle.  Digital, in contrast, involves
     binary numbers--1's and 0's.  MIDI-computing represents
     digital encoding.

          DLL:  A file extension standing for "Dynamic link
     libraries."  A DLL is part of an application's
     executable files, and is often used  to link the
     application to the hardware.

          DOWNBEAT:  The maestro's downward stroke,
     indicating the first beat of a measure.  In contrast,
     the upbeat is unaccented.

          DUBBING:  Making a new recording of sound already
     recorded.  Sometimes used to describe the process of
     mixing sounds from several sources into one recording.

          DURATION:  The length of time (number of beats) of
     a note or chord.

          DYNAMICS:  Variation in the intensity of musical
     notes.


     E

          EDIT:  Editing, in MIDI, involves altering,
     deleting, revising the musical passages that have been
     captured in a digital recording, and are now displayed
     on the monitor screen.  This display will offer two
     options:  (1) The notes are listed by track and number,
     by event (like "Note on"), by the specific note G4, the
     beat, the channel, etc.  (2)  The second option for
     editing is to use a musical notation display.  Here,
     the notes are arrayed in clefs, (a) like a piano-roll.
     or (b) in conventional musical notations.  Editing
     options include changes in notes, measures, transpose,
     volume...  (The piano-roll display is sometimes
     referred to as "graphic notation.")

          ENABLE-DISABLE:  Antonyms, meaning to turn on or
     turn off.  Synthesizers and sequencers have many
     controls requiring such action (like MIDI THRU).

          ENGRAVER-QUALITY:  A complimentary descriptive
     term, meaning a professional-looking job of printing
     music.

          ENTRY-LEVEL:  Beginners (trying to learn MIDI, for
     instance).  They may be devoid of experience in
     computer engineering or in electronic music.

          ENVELOPE:  The changes of a tone, e.g., attack,
     sustain, decay, release.

          ERROR MESSAGES:  The message says "Something's
     wrong!"  In MIDI, you might be told that "Memory is
     full."  Or you've committed a "Track Error."   Or you
     have made a "Protect Error" (attempted to write to a
     protected disk).

          EVENT:  In ordinary language, an occurrence, a
     happening.  In MIDI, the signal that is transmittted--
     like note on, note off, program change, control
     change...  [See also:  PROGRAM CHANGE, CONTROL CHANGE.]

          EVENT-CHASING:  Scans data in a sequence before
     the start-point of the recording.  Looks for patch
     changes, for example.

          EVENT LIST:  An alphanumeric display of all MIDI
     events on a single track.  Examples:  notes, time
     signature, tempo, program changes, control changes...


     F

          FADERS:  Controls for changing effects gradually,
     like decreasing loudness.

          FIELD:  Traditional computing defines this as a
     location in a record.  Examples:  name, address, zip
     code, etc.  Illustrative fields in MIDI:  Song title,
     Track name, Instrument, Channel...

          FILE TYPES:  A MIDI File Type 0 is a single
     (multiple-channel) track.  A MIDI File Type 1 contains
     one or more simultaneous tracks.

          FILTER:  The noun and the verb, in MIDI, are used
     primarily in connection with events (note on, program
     change, tempo change...) and with channel changes.
     Each event is either filtered (deleted), transformed,
     or passed through.

          FINGERED MODE:  Provides automatic rhythm, bass,
     and orchestral accompaniment.  The bass and orchestral
     accompaniment reflect the notes in the chord of the
     left hand.  [See also:  AUTO ACCOMPANIMENT.]

          FSK:  Frequency-shift keying.  Modulation
     involving two different frequencies.


     G

          GANGED:  When tracks are "ganged," they will move
     simultaneously.  (Analogy:  A variable capacitor in an
     early radio receiver.)

          GATE TIME:  The length of a produced sound (e.g.,
     legato, staccato).

          GENERAL MIDI MODE:  A convention specifying how a
     sequence (a song) should be constructed, so that it
     will play on a variety of hardware.

          GLIDE:  This effect plays the sound of a semitone
     below the pitch, then slides up to normal pitch.

          GLOBAL EDITING:  Affecting an entire file or
     program.  Transpose is illustrative.  The contrasting
     function is local editing, like changing one event.

          GUI:  Graphical user interface.  A display that
     permits a user to select commands, menu items--by
     pointing at an icon (with a mouse) and clicking.


     H


          HARDWARE SEQUENCER:  Sequencing can be performed
     by software programs or by hardware.  Hardware
     sequencers also work with synthesizers, controllers,
     sound modules--creating and editing songs.  A hardware
     sequencer is--as the name implies--hardware, containing
     a single-purpose program, one designed to provide
     sequencing.

          HUMANIZE:  A term that is used in the sense of
     introducing random irregularities in note-timing and
     velocities, in order to reduce the mechanical character
     of a performance.  [See also:  QUANTIZATION.]


     I

          IMPLEMENTATION CHART:  Look for the MIDI
     Implementation Chart in the manual of your Master
     Controller (e.g., the  keyboard).  This will tell you
     what is transmitted (or recognized) for the various
     functions, like note number, the velocity (pressure on
     a key), aftertouch (change in pressure), pitch bender,
     control change, program change, system exclusive
     message, etc.

          IMPORT:  To bring data from one program into
     another.  Antonym:  Export, meaning to transfer to
     another program.  (Some sequencer manuals use the term
     "Export" to mean:  Convert and save--as a MIDI file--
     preparatory to transferring elsewhere.)

          INITIALIZATION:  Initial means the beginning.  To
     initialize is to set a program to a starting position--
     to prepare the program for use.

          INSTRUMENTATION:  The selection of instruments in
     a MIDI arrangement.

          INTROS AND FILLS:  The Jazz Man's vamp--a couple
     of measures repeated before a solo.

          INVERSE VIDEO:  The reversal of light and dark on
     a screen character.  Example:  An indication of whether
     Automatic Rewind is on (enabled) or off (disabled).


     J

          JAZZ:  Another umbrella term, often (erroneously)
     defined in terms of volume and tempo.  Its basic
     ingredient is improvisation--accomplished melodically,
     harmonically, or with rhythm changes.  [See also:
     ROCK.]


     K

          KEYBOARD:  Reminder:  In MIDI-computing, one has
     to remember which one is involved in a documentation
     reference--the computer's or the controller's.

          KEY SIGNATURE:  Musical notation shows this in
     terms of sharps and flats after the clef.  Software
     sequencers sometimes show a song key as "F Major/D
     minor," and indicate the number of sharps or flats.  B-
     flat Major/G Minor has two flats, for example.  [See
     also:  ACCIDENTALS.]


     L

          LOOPING:  Used to repeat a section of a recording.


     M

          MARKER:  Something used to record a position.
     MIDI markers indentify, for example, musical cues.
     They work like tab stops in a word-processor.

          MAPPING:  The process of identifying patches and
     keys, so that sound files can be played properly.  A
     key map will translate values for MIDI messages, so
     that the correct keys will be played.  A patch map
     functions to identify the correct patches (sounds,
     instruments).

          MCI:  Media Control Interface

          MEASURE DELETE:  This command removes specified
     measures (like measures 4, 5, and 6).  [See also:
     MEASURE ERASE.]

          MEASURE ERASE:  The contents of specified measures
     are erased, but the length of the song is unchanged.
     [See also:  MEASURE DELETE.]

          MEDIA PLAYER:  Microsoft's term for the Windows
     application that will control the playing of sound
     cards, CD-ROM drives, and videodisc players.  It will
     also play MIDI sequencer files.

          MELODY:  One of the elements of music (the others
     being harmony and rhythm).  Melody is a succession of
     tones--hopefully pleasing.

          MERGE:  To combine or blend into one.  Example:
     Merging two tracks.

          MESSAGES:  The net effect of MIDI-computing is
     sound:  melodies, harmonies, rhythms...  But the MIDI
     message (the MIDI event) itself is not a sound.
     Transmitted are digital commands--about 1,000 events
     per second.

          META EVENTS:  In ordinary language, the prefix
     META often means above or beyond.  In computing, a
     METAcharacter conveys information about other
     characters.  In MIDI, a meta event would be illustrated
     by such things as track name, patch name, tempo, time
     signature, etc.  Meta events are contrasted with data
     streams.

          METER:  The basic pattern of note values, e.g.,
     beats per measure.  [See also:  TIME SIGNATURE.]

          METRONOME:  A device to mark time by producing a
     repeated tick.  The older type--a triangular box with a
     vibrating arm--was succeeded by an electrical unit.  In
     MIDI, the ticks are computer-generated.

          MIDI:  A protocol.  The musical instrument digital
     interface comprises a MIDI card and cables connecting
     the computer to an electronic instrument, such as a
     keyboard.  The MIDI card (a printed circuit board) is
     normally mounted in an expandable slot inside the
     computer.  Keyboard synthesizers can also communicate
     with other synthesizers by means of a MIDI connection.

          MIDIEX FILE:  Created by saving the current
     contents of the buffer.  MIDIEX is a standard format
     containing raw MIDI data without a header (a line
     identifying the program).

          MIDI MAPPER:  Microsoft's utility program, which
     can help in remapping patch, channel, etc. during
     playback.

          MIDI PITCH WHEEL SWITCH:  Determines whether
     continuous controller information (e.g., note on, key
     pressure, control change, program change...) will be
     recorded.

          MIDI SOUND GENERATOR:  For authentic reproduction
     of acoustical instruments.  It uses samples--instrument
     sounds stored as digitized audio.  This is actually
     another term for synthesizer--converting MIDI events
     into real audio sound.

          MIDI THRU:  One of three ports (connections):
     MIDI In, MIDI Out, and MIDI Thru.  MIDI In receives
     information from other equipment.  MIDI Out sends
     information to other equipment.  MIDI Thru duplicates
     the information, and sends it to other equipment.  By
     means of the latter, a synthesizer can echo messages to
     other synthesizers.

          MODULATION:  In music, one usually thinks of
     modulating as passing from one key to another--by means
     of intermediate chords.  In MIDI, modulation usually
     means applying a vibrato effect to a sound.

          MPU-401 COMPATIBLE:  The reference is to a
     standard interface.   (It derives from Roland's initial
     design.)  Importance:  MS DOS MIDI software often
     supports this user base, but not always.

                  MULTI-TIMBRAL:  In sequencing, a multi-
     timbral sound module can play several parts on
     different channels simultaneously.  A multi-timbral
     device is one that is prepared to sound like more than
     one instrument at a time.

          MULTI-TRACK RECORDING:  Normally, one records on a
     single track ("Normal Mode" recording).  Multi-track
     recording is feasible, however.  Example:  From a
     guitar, with each string on a different channel.

          MULTI-VOICE MODE:  A setting on a multi-timbral
     tone generator (such as a keyboard) for receiving
     multiple MIDI channels, each channel having a different
     voice (instrument).

          MUSICAL SCORE:  Most often, the written copy of a
     musical composition.  Compose in MIDI, print the
     notation, and (voila!) there it is.

          MUTE:  A sequencer command to turn off specified
     tracks.  Reason:  So you can listen exclusively to one
     track.  [See also:  SOLO.]


     N

          NOISE:  That disturbance of a signal that might
     occur if your MIDI cables are too long--exceeding 15
     meters in length, for example.

          NORMAL MODE:  When a (controller) keyboard has
     this setting (as contrasted with split, or fingered
     modes), the sounds are all of one voice--from the
     lowest note to the highest.  In this mode, the
     resemblance is to an acoustical instrument.  [See also:
     SPLIT MODE, FINGERED MODE.]


     O

          OCTAVE NOTATION:  MIDI software and electronic
     keyboards use notations like F4 to represent the
     specific note (F) located in the 4th octave of an
     acoustical piano.

          OPEN COMMAND:  Loads an existing disk file.


     P

          PADS:  (Sometimes "Multi-pads").  On keyboards--
     where you store percussive sounds.

          PAN:  To pan is to move the sound between full
     left and full right in a stereo sound field.  It
     resembles the "balance" function of a stereo receiver-
     amplifier.

          PARAMETER:  A tough word to define.  In
     mathematics, it's a variable or an arbitrary constant.
     In MIDI, it's a value assigned at the beginning of an
     operation.  Examples:  pitch bend, sustain, voice
     number, volume, reverb...

          PATCH:  In some early keyboard synthesizers, one
     selected "instruments" to play (e.g., vibraphone,
     clarinet...)  Later, the term "voice" emerged, in part,
     because some of the sounds went beyond instruments
     (police whistles, human voices, etc.).  In contemporary
     MIDI-computing, the word "patch" is prominent--one
     reason being that a single keyboard setting, like 99,
     may encompass a large range of percussive sounds.  In
     any event, to a sequencer, the patch setting will
     determine the nature of the sounds.

          PATCH LAYOUT:  A potential source of trouble for
     MIDI users.  Manufacturers of synthesizers have not
     standardized the correspondence between patches and
     numbers.  On a Roland keyboard, the celesta patch
     number might be 24; on a Yamaha 09.  Microsoft's MIDI
     Mapper is designed to help rectify this.  [See also:
     MIDI MAPPER.]

          PATTERN-RECORDING:  Establishing a pattern, e.g.,
     a bass drum beat, then embellishing it.

          PCM:  Pulse code modulation--a process of digital
     recording.

          PERCUSSION:  A percussive instrument is sounded by
     striking or shaking.  Examples:  Bass drum, snare,
     bongo, cymbal, high-hat...  By extension, the term also
     encompasses so-called "background sounds," like wind
     chimes, thunder, voices...

          PIANO ROLL EDITOR:  A common notation used for
     editing by many sequencers.  The notes of each track
     are shown as horizontal bars--the vertical position
     representing pitch; the horizontal length representing
     duration of the note (or chord).  [See also:  EDIT;
     EVENT LIST EDITOR.]

          PITCH:  The property of a musical tone--determined
     by frequency.

          PITCH BEND WHEEL:  A wheel on the keyboard that
     allows notes to be bent up or down.  (Example:  a
     sliding trombone sound.)  "Pitch bend" is a MIDI
     message.

          PLATFORMS:  Computer hardware.  Some MIDI software
     will run on one platform (e.g., IBM PC's) but not on
     another (e.g., Macintosh).

          PLAYER:  In the realm of MIDI-computing, the
     sequencer is still the Virtuoso.  But MIDI players are
     prominent too.  They play the sound files.  They
     compile Play Lists of songs, and sometimes group them
     into albums.

          PLAY LIST:  A list of tunes to be performed in
     succession.  The sequence is pre-programmed.

          POLYPHONY:  From the Greek, meaning variety of
     tones.  In MIDI, the question is:  "How many notes can
     be played simultaneously?"  Maximum polyphony cannot be
     exceeded.

          PORT:  It's a location in hardware where data is
     passed in and out.  In setting up MIDI, one must make
     port assignments, so that channels can be correctly
     addressed.

          PORT ADDRESS AND INTERRUPT SETTINGS:  Addresses
     are locations within the computer.  These addresses are
     used by devices (such as a MIDI keyboard) to
     communicate with the software.  An interrupt setting
     signals when the device is ready to send or receive
     data.  Addresses and interrupts must be unique for each
     device.

          PPQN:  Pulses per quarter-note.  A measurement of
     time resolution.

          PROGRAM CHANGE:  Like controller change, this
     event will be displayed in the Event List Editor.  An
     illustrative program change would be the introduction
     of a new voice (instrument).  [See also:  CONTROLLER
     CHANGE.]

          PULSE:  The tick of a computer clock is sometimes
     referred to as a "pulse."  Example:  One clock pulse
     might be defined as 1/240th of a quarter-note.

          PUNCH-RECORDING:  A feature that allows automatic
     on-off recording at specified points.


     Q

          QUANTIZATION:  To quantize is to force all notes
     played to fall on the nearest beat specified.  It
     shifts events (like note-on) to an exact rhythmic
     position.


     R

          RADIO BUTTON:  A small circle in a menu display.
     When it is pressed (clicked), it will activate an
     option.

          REAL-TIME:  In MIDI, there are two types of
     recording procedures:  (1) real-time; (2) step-time.
     The former resembles traditional recording--as with a
     tape recorder.  Step-time recording is really
     sequential:  note-by-note, chord-by-chord.

          RECORD:  In the world of sound, to register
     something reproducible on a disk, like a phonograph
     record, or on magnetic tape.  Traditional recording
     captures the amplitude (height) and frequency (number)
     of wave forms.  MIDI-computing does not really
     "record."  It encodes messages, digitally--by means of
     numbers.  Because of established usage, however, the
     words "record" and "recording" often appear in MIDI-
     computing, along with "play," "rewind," "fast forward,"
     etc.  In MIDI-computing, these words are really
     metaphors.  A typical sequencer will "record" all of
     the MIDI events received, along with the time they were
     received.

          RESET:  Keyboards, like computers, sometimes "lock
     up."  To restore normal operation, the System Reset is
     used.  There is another meaning in MIDI software:
     Reset means to return to the first measure.

          REST:  In music, a rhythmic silence.  Examples:  a
     2-beat rest, a quarter-note rest.

          RITARD:  To gradually slacken tempo.  Sometimes
     used at the ending of a song.  (Antonym of the noun:
     accelerando.)

          ROCK:  Like "jazz," a broad umbrella term.  Rock
     is a form of popular music, usually played on
     electronically-amplified instruments, with a heavily
     accented beat.


     S

          SAMPLING:  Emulating the sound of an acoustical
     instrument by digitizing (converting to digital sound)
     the waveforms produced by the instrument.

          SAVE AS...  If no filename has yet been assigned,
     this is the command to use.  If your MIDI file has
     already been christened, and you have edited it, the
     appropriate command is Save.

          SELECT:  Do you want to edit (insert, delete,
     copy, cut...)?  You must first "select," i.e.,
     highlight, block...

          SERIAL:  Appearing in succession--one at a time.
     MIDI messages, for instance, as displayed in an Event
     List.

          SEQUENCER:  So called because such a program
     arranges melodic and harmonic patterns in successive
     positions.  Strictly speaking, one should define a
     sequencer has something that stores note-on and note-
     off events in memory, then plays them back.

          SEQUENCER MEMORY:  It is in RAM (Random Access
     Memory).  It is measured in the number of events that
     can be accommodated.

          SLIDER:  An input-device to increase or decrease
     volume.  Also refers to an on-screen image (like a
     button control) that one can move with a mouse.

          SNAP-TO-GRID:  A grid consists of two sets of
     lines that crisscross.  A snap-to-grid feature
     facilitates step-entry of notes.

          SMPTE:  Usually indicates a standardized time code
     developed by the Society of Motion Picture and
     Television Engineers.  The time code is used in the
     MIDI world as a way of synchronizing MIDI to external
     events.

          SOLO:  If you want to listen exclusively to one
     track, you can mute all other tracks.  Alternative:
     Select a track to "solo" (a feature that some
     sequencing programs offer).  [See also:  MUTE.]

          SONG CLEAR:  To erase the contents of all tracks.
     [See also:  TRACK CLEAR.]

          SOUND DEVICE:  Any device is part of the system's
     hardware.  Examples:  a printer, mouse, modem, etc.  A
     sound device might be, for instance, a MIDI
     synthesizer, a CD-ROM drive, a videodisc player.

          SOUND DRIVER:  Device drivers are software that
     control communication between devices (a mouse,
     printer, modem...) and the computer.  A sound-driver
     controls the sound card or the sound device, such as a
     MIDI-compatible synthesizer.  The sound driver must be
     correctly configured for your computer.

          SOUND MODULE:  The component in a device (such as
     a keyboard) that produces the sound (e.g., a violin
     melody, a drum rhythm).  This is another term for MIDI
     sound generator.

          SOUND RECORDER:  Microsoft's Windows accessory
     that can play, record, and edit sound files in the WAVE
     (non-MIDI) format.

          SPEED; PITCH:  Perhaps the most important capacity
     of a sequencer.  Tempo can be changed without affecting
     pitch.  Thus, a difficult passage can be recorded
     slowly, then played at a faster tempo--with no change
     in pitch.

          SPLIT MODE:  Divides a keyboard into two sections,
     each of which can play a different instrument.
     Example:  From the split-point (like C#3), the left
     hand can be producing the sounds of an organ, while the
     right hand plays a flute melody line.  [See also:
     NORMAL MODE.]

          SPLIT-POINT:  In a split mode, the location on a
     keyboard where one voice (instrument) is
     diffferentiated from another.  G2, for example, might
     be set to allow one voice (say, choir) in the left
     hand, another voice (say, violin) in the right hand.
     [See also:  NORMAL MODE.]

          STANDARD MIDI FILE:  Identified by its extension
     (.MID, sometimes .MFF or .SMF), this is a file that can
     store MIDI messages, such as songs.  The data in a MIDI
     file can be played, manipulated, edited...
     A MIDI file comprises actions performed on an
     instrument (keys pressed, how hard...)  There is a
     standard MIDI file format.  A principal advantage of a
     MIDI file:  It uses comparitively little disk space,
     but, more importantly, it is a standard across
     platforms and sequencers.

          STATUS BYTE:  In a MIDI message, this announces
     what kind of message is being sent, e.g., "note-on."
     [See also:  DATA BYTES.]

          STAVES:  Plural of staff--those horizontal lines
     and spaces.

          STOMP BOXES:  Floor pedals for enhancing tones,
     used principally by guitarists.

          SUSTAIN:  To sustain is to hold a note (or a
     chord).  The musical tones fade out gradually.  [See
     also:  DAMPER.]

          SYNCHRONIZE:  To make synchronous or simultaneous.
     Example:  to synchronize a drum pattern to play with
     melodies and chords on a synthesizer.  MIDI
     synchronization is a coordinating function--involving a
     sync signal.

          SYNCOPATION:  Changing a regular metrical accent,
     e.g., by coming in early or late on a beat.  It is a
     form of rhythmic improvisation.  [See also:  JAZZ.]

          SYNTHESIZER:  (Often shortened to synth.)  A
     device driven by a microprocessor, which contains a
     programmable chip.  Examples of instruments that can
     contol synthesizers:  Guitar, keyboard, wind, string,
     drum controllers.  The keyboard itself does not produce
     musical sound.  A synthesizer circuit, built into the
     keyboard, accomplishes this function.  Originally, a
     synthesizer was so called because it synthesized
     acoustic instruments.  Nowdays, the term refers to the
     sound-generating circuitry of any MIDI gear.  Another
     term is sound module.

          SYSEX:  Short for a System Exclusive Message.
     Illustrative data:  voices, drum patterns...


     T

          TEMPO:  In music, the rate of speed (like
     allegretto).  Electronic keyboards provide controls to
     set or change tempo.  A quarter-note setting may range
     from 40 to 240 beats per minute.  Software sequencers
     also set and change tempo.  Examples of tempo settings:
     Viennese waltz 190 bpm; disco-rock 104 bpm; swing 166
     bpm.  Sequencers display the exact beat (e.g., beat
     number 29) of the music being recorded or played.  [See
     also:  BEAT.]

          TIME BASE:  The number of clock ticks per beat.
     Illustrative range:  120-768.

          TIME SIGNATURE:  In traditional musical notations,
     this is expressed as a fractional sign, like 3/4.  The
     denominator indicates the unit for the beat; the
     numerator shows the number of notes per measure.  [See
     also:  METER.]

          TONE GENERATOR:  Essentially, a synthesizer
     without a keyboard.

          TOUCH RESPONSE:  A feature of some electronic
     keyboards, enabling one to control loudness according
     to how hard the keys are pressed.

          TRACK:  In MIDI, the term "track" designates a
     location where one records or plays back a musical
     message---usually a portion of the total arrangement.
     To illustrate, one might record an oboe melody line on
     Track Two, then record a bowed bass line on Track
     Three.  When played, the sounds can be simultaneous.
     Most MIDI software now accommodates 64 tracks of music,
     enough for a rich orchestral sound.  Important:  Tracks
     are purely for convenience; channels are required.
     [See also:  CHANNEL.]

          TRACK CLEAR:  To erase the contents of a specific
     track.  [See also:  SONG CLEAR.]

          TRACK MERGE:  To merge the contents of two tracks
     and store in a third track.

          TRACK NAMES:  Names like "melody line," "bass
     line," "left hand," etc. are assigned to tracks to help
     determine the instrumentation of a sequence.

          TRANSCRIPTION:  The word has been used extensively
     in music.  Example:  arranging for some instrument or
     voice other than the original.  In MIDI, a common usage
     refers to converting a MIDI file into musical notation
     for printing.  This is accomplished by notation
     software.

          TRANSPOSE:  To perform a musical composition in a
     different key.  Both synthesizers and sequencers can
     carry out this function.

          TUNING:  440 Hertz is the normal tuning value.
     However, the pitch of a synthesizer can be altered--
     raised or lowered.  Changes in the tune value are
     expressed as plus or minus cents.

          TUPLET:  A triplet always designated three notes
     over two beats.  The word "tuplet" is a generic term--
     in fancy language "non-integral duration values."
     Think of quintuplets (5) or sextuplets (6).  (Notes,
     not offspring from a single birth.)


     U

          UNDO:  This command could be a life-saver.  It
     reverses your last mistake, such as inadvertently
     recording or inserting MIDI data.  "REDO" undoes an
     "UNDO."

          USER-FRIENDLY:  A popular "buzzword" in computing.
     Synonym:  Intuitive.  It means directly comprehended.
     For many users, a method of pointing at icons and
     clicking is more "user-friendly" than entering many
     keystrokes to select menu-items, like commands.
     Intuitive programs are more quickly grasped by the
     "computer-naive" (another buzzword).


     V

          VELOCITY:  Velocity is the MIDI way of determining
     how hard a note is pressed on the keyboard controller.


     W

          WAVEFORM:  A representation of a wave's amplitude
     over time.


     Z

          ZOOM:  To magnify the image on a monitor screen--
     especially useful when editing notes in Standard MIDI
     files.







                       MIDI REFERENCES

     Books

          Eiche, Jon F.  What's MIDI?   Hal Leonard
     Publishing Corp.  1990.

          Starr, Greg R.  What's a Sequencer?  Hal Leonard
     Publishing Corp.  1990.

          Microsoft Press.  Dictionary of Computer Terms.
     1991.


     Articles

          Petzold, Charles.  An Introduction to the Musical
     Instrument Digital Interface.  PC Magazine, March 17,
     1992.

          Kendall, Robert.  MIDI Goes Mainstream.  PC
     Magazine, March 31, 1992.

          Wilkinson, Scott.  Sequencing Made Easy, Parts 1
     and 2.  Electronic Musician, March and April 1992.


      Petzold, Charles.  MCI, MIDI, and The Nature of Time.
     PC Magazine, September 29, 1992.  (A more advanced discussion.)