Connectivity and the Domain of Making Music

Suddenly I realized that today a musician's computer is virtually useless unless it is connected to the Internet.

Several years ago, this was not the case. The CPU was almost the exclusive domain of activity, and being connected to the Internet was a convenience, an asset you appreciated, but your musical computing went on, regardless.

Now, musicians cannot function effectively as 21st Century creators without being connected to the Internet. For one thing, computer applications are updated with new features, functionality, and security almost daily. For another, musicians exchange music notation and sound files routinely as they compose and rehearse for performances. The Web can provide an important interactive planning space for performances and productions.

But I think that many of us are ready for a Google-like company in music that understands the concept of distributed computing, so that the computer would connect to a digital music world that erases the proprietary nature of music notation. Cross platform applications in recording and midi technology have made this concept one that can be achieved somewhat easily. But we really have a need for Logic, Cubase, Sibelius, Finale, Pro Tools, and others to become on-line processors where we can connect from anywhere in the world and work on our recordings or musical scores.

This would be the equivalent of a true musical blog, where the blogger creates musical content rather than words.

I realize that this runs counter to traditional models of capitalism, and yet, Google has been able to thrive in the world of distributed computing as a model business venture for the 21st Century. Part of the problem may be that companies that have designed music notation programs have approached these applications in a very conservative manner. These notation programs seem most useful for someone with an existing score to transfer to computer notation. These applications have achieved a phenomenal engraver-like quality and as such, are great for desk top music publishing. But such programs are so rigidly designed that they are quite frustrating for a composer. This approach to notation does not allow for intuitive sketching.

What we need is a musical sketchbook tool that exists like a blogger. It needs to accommodate the traditional notational practices while allowing for innovative interpolation of new notation to include new expressive needs for the 21st Century. More importantly, this sketching tool should reside on the server so that upgrades are maintained at the source and the person working is only concerned with the creative act of making music.