Mozart Piano Concerto No 23 and 27 Serkin Art of Interpretation

Scientist and musician

Manfred Clynes
Groundwork information
Born	(1925-08-fourteen)August 14, 1925 Vienna, Austria
Died	Jan xix, 2020(2020-01-19) (aged 94) Due west Nyack, New York, U.Southward.
Occupation(s)	scientist, inventor, concert pianist
Years agile	1940–2020

Musical creative person

Manfred Edward Clynes (Baronial xiv, 1925 – January 19, 2020) was an Austrian-built-in scientist, inventor, and musician. He is best known for his innovations and discoveries in the interpretation of music, and for his contributions to the written report of biological systems and neurophysiology.

Overview [edit]

Manfred Clynes' work combines music and science, more than particularly, neurophysiology and neuroscience. Clynes' musical achievements cover performance and estimation, exploring and clarifying the function of time forms in the expression of music—and of emotions generally—in connectedness with brain office in its electric manifestations. As a concert pianist, he has recorded versions of Bach's Goldberg Variations and of Beethoven'due south Diabelli Variations. As an inventor, his inventions (about 40 patents) include, besides the CAT computer for electric brain research, the online auto- and cantankerous-correlator, and inventions in the field of ultrasound (Clynes invented color ultrasound.) too as telemetering, data recording, and air current energy. The creative process of calculator realizations of classical music with SuperConductor is based on his discoveries of central principles of musicality. Clynes was the subject of a front page article in the Wall Street Journal, September 21, 1991.

Emotion shapes, biologic primacy laws [edit]

Clynes concentrated on what he saw as the natural and unalterable interlocking of the fundamental nervous system with basic expressive time forms, and on the innate power of those forms to generate specific basic emotions. He recognized that nosotros are all familiar with this interlocking in our experiences of laughter and of yawning, although its scientific importance had been largely swept under the carpet by a Skinnerian bias and still largely is. According to Clynes's experimental research^{[1] [2] [3]} these time forms ("sentic forms"), as embodied in the central nervous arrangement, are primary to the varied modes in which they discover expression, such as sound, touch, and gesture. Clynes was able to prove this by systematically deriving sounds from subjects' expressions of emotions through touch, and so playing those sounds to hearers culturally remote from the original subjects. In one trial, for case, Aborigines in Central Australia were able to correctly place the specific emotional qualities of sounds derived from the affect of white urban Americans. (This experiment was featured on Nova, What Is Music? in 1988). Clynes found in this a confirmation of the existence of biologically fixed, universal, master dynamic forms that make up one's mind expressions of emotion that give ascent to much of the experience within human societies. In 2018, he co-authored a publication with Dr Alicia Heraz in the Periodical of Net Medical Research that demonstrate similar emotional patterns on mobile phones with force sensitivity.^{[2] [3]}

Some of these dynamic forms announced to exist shared by those animals that accept time consciousnesses at a similar rate to humans; hence the intuition of pet owners that their dog or cat understands tone of voice and the emotional form of touch. Anger, love, and grief, for case, according to Clynes, have clearly different dynamic expressive forms. Importantly, a cardinal property of this inherent biologic communication linguistic communication, in Clynes' findings, is that the more than closely an expression follows the precise dynamic grade, the more powerful is the generation of the corresponding emotion, in both the person expressing and in the perceiver of the expression.^[2] Hence, presumably, such phenomena as charisma (in persons whose functioning of emotional expressions closely follows the universal form). His experience with Pablo Casals confirmed for Clynes the importance of this faithfulness to the natural dynamic form in generating emotionally pregnant meaning in musical performance.

Sentic cycles [edit]

Cartoon on these findings, Clynes as well developed an application—a unproblematic touch fine art grade—in which, without music, subjects expressed, through repeated finger pressure, a sequence of emotions timed co-ordinate to the natural requirements of the sentic forms. The 25-minute sequence, called the Sentic Bicycle, comprises: no-emotion, anger, hate, grief, love, sexual desire, joy, and reverence. Subjects reported experiencing calmness and energy. Many also evidenced progress in the consolation of depression, and, to some degree, tobacco and alcohol addictions, as a issue of repeated awarding of this procedure.^{[two] [3] [4]} Thousands of people accept by at present experienced sentic cycles, some for years, some fifty-fifty decades. In the 1980s especially, Clynes taught various groups to behave Sentic Cycles on their ain. Present, the Sentic Bicycle kit is available on the Internet.

Early work developing sentic cycles in the 1970s had convinced Clynes too that information technology is easy with it for most people to proceed from experiencing one emotion to another quite quickly. After 3 or four minutes of one emotion, a person tended to be being satiated with the current emotion. The ready switching to the next emotion with quite fresh experience pointed to the beingness of specific receptors in the encephalon, he suggested, that go satiated with detail neurohormones; this was later confirmed by the identification of a number of such receptors.^[3] This finding links well with the historic tendency of composers to vary emotions every 4 minutes or and so in their compositions. The human need for diverseness is based on encephalon receptor backdrop. As anyone who has seen more than three Charlie Chaplin movies in a row can testify, laughter, too, palls later on prolonged exposure, and it seems to be for the aforementioned reason. Clynes also studied laughter, "nature'due south pointer from appearance to reality".^[2] In (nonderisive) laughter, according to Clynes, a small element of disorder is suddenly understood to exist only apparently matted, inside an actual, larger, gild. He then predicted the existence of soundless laughter,^[2] in which the sound production is replaced past tactile pressure level at the same temporal pattern. In studies at UCSD the mean repetitions of the "ha's" was establish to be approximately 5.18 per 2nd.^[5] Clynes further hypothesized that couples with unmatched speeds of laughter might not be as readily compatible as those whose laughter was harmoniously coordinated.^[5]

Clynes enthusiastically published his realization that beloved, joy, and reverence were always there to exist experienced, capable of being generated through precise expression and attainable past simple means, due to the connection to their biologic roots. Music had ever been a special means for this, merely now, with this touch artform, it was universally accessible. Past this means, fifty-fifty negative emotions, such as grief anger, could be enjoyed in a compassionate non-destructive framework.

In the 1970s and in the 1980s Clynes had started to write poems, a few of which had found their way into his book Sentics. Later, Marvin Minsky quoted from them in his book The Gild of Mind. In the belatedly 1980s and in the 1990s he wrote his 12 Animate being Poems.^[6] Boundaries of Compassion is a substantial fix of poems growing out of his experience in Federal republic of germany while doing experimental work at the Luedenscheid infirmary in the summer of 1985, poems in regard to what Germans call "the Jewish Question."^[7]

Cyborg (cybernetic organism) [edit]

Clynes is credited with developing and coining the term cyborg, which refers to beings with both biological and bogus parts. In other words, cyborgs are beings whose abilities have been enhanced due to the presence and advancement of technology. The term cyborg has go an important concept to technoself studies; an interdisciplinary domain of scholarly enquiry dealing with all aspects of human identity in a technological lodge focusing on the irresolute nature of relationships between the human being and applied science.

Biography and career [edit]

Education and influences [edit]

Early on invention of inertial guidance at age 15 [edit]

Manfred Clynes was born on August 14, 1925, in Vienna, Austria, the son of Olga and Marcel Clynes.^[8] His family unit was Jewish.^[9] His parents emigrated to Melbourne, in September 1938 to escape Nazism. In Australia, at xv, in his last year at high school, having newly learned calculus, he invented the inertial guidance method for shipping using piezoelectric crystals and repeated electronic integration, but Australian authorities denied that it would work. In fact, the same system Clynes had invented was afterward used with smashing success, during the last part of the Second World State of war. The detailed descriptions of this invention equally written by the fifteen-year-old Clynes are rigorous; it was the showtime of his many inventions to come that worked. (Clynes' before try, at the historic period of thirteen, to create a perpetual motion device was naturally a failure). In 1946 Clynes graduated from the Academy of Melbourne having studied both applied science science and music.

Around this fourth dimension he too had lessons with the Polish virtuoso Ignaz Friedman, so resident in Sydney. Having seen Friedman play in concert several times, Clynes approached him by letter of the alphabet and was accepted sight unseen. He hitchhiked from Melbourne as he could non beget the railroad train fare, allow lone the fee charged by Friedman.^[10] His musical talent was recognized by a series of awards, concerto performances and prizes, one of which provided a three-twelvemonth graduate fellowship to the Juilliard School. At Juilliard, he was a piano student of Olga Samaroff and Sascha Gorodnitzki.

He received his MS caste from Juilliard in 1949, after having performed Beethoven's Piano Concerto No. 1 at the Tanglewood Music Festival (in 1948) then under the direction of Serge Koussevitzky in a performance of which the pianist Gerson Yessin, who was nowadays, recently recalled as "monumental." [Yessin: "Manfred played beautifully, outstandingly"]. After graduating from Juilliard (It gave no doctorates then), Clynes retreated to a small log cabin at 6 thousand feet altitude in the confinement of Wrightwood, California. At that place he learned Bach'due south Goldberg Variations and other works. He performed them for the first fourth dimension in October 1949, in Ojai, at Jiddu Krishnamurti's school, and, in 1950, forth with other works, in all the capital cities of Australia, to great acclamation. He presently became regarded every bit one of Australia'south outstanding pianists.

In 1952 he was invited to Princeton University as a graduate student in the Music Department, and issued a greenish carte du jour, to pursue his studies in the Psychology of Music, with a Fulbright and Smith-Mundt Honor. There he became aware of the work of M. Becking, who in 1928 had published a sensitive, if nonscientific, study of distinctive motor patterns associated in following the music of individual composers. It was this piece of work that led, in the late 1960s, to Clynes' scientific sentographic studies of what he termed composers' pulses, as their motor manifestation, in which Pablo Casals and Rudolf Serkin were to be his first subjects.^[xi]

Young Clynes had a personal alphabetic character of introduction to Albert Einstein from an elderly lady in Australia, with whom, in her youth, Einstein had exchanged poems. Soon Einstein invited him repeatedly to dinner at his home, and a friendship sprang up between the 2 men. Clynes played for Einstein on his fine Bechstein piano, especially Beethoven, Mozart and Schubert. He loved Clynes' playing of Mozart and Schubert, calling Clynes "a blessed artist" ("Ein begnadeter Künstler") In May 1953 Einstein wrote Clynes a personal letter by hand to assistance him in his forthcoming European tour.

(Translation of Einstein'due south letter of the alphabet, dated Princeton, May 18, 1953: "Dear Mr. Clynes, I am truly grateful to you for the smashing enjoyment that your pianoforte playing has given me. Your performance combines a articulate insight into the inner structure of the work of fine art with a rare spontaneity and freshness of conception. With all the secure mastery of your instrument, your technique never supplants the artistic content, as unfortunately and so oft is the case in our fourth dimension. I am convinced that you will discover the appreciation to which your achievement entitles you lot. With friendly greetings yours, A. Einstein.")

Concert tours in 1953 Goldberg Variations [edit]

In 1953, helped by the alphabetic character from Einstein, Clynes toured Europe with swell critical success, playing the Goldberg Variations. The tour ended with a solo concert before an audience of 2500 at London'due south Royal Festival Hall, which had simply been built.^[12]

Inventions and scientific discoveries [edit]

In 1954, to provide for his parents and to raise funds necessary to underwrite his musical career, Clynes, on the basis of his scientific preparation, took a job working with a new analog computer, a device about which, at the fourth dimension, both he and his interviewer were ignorant. In short social club, withal, Clynes mastered that computer, and then within a yr created a new analytic method of stabilizing dynamical systems, which he published as a paper in the IEEE Transactions.^[13] Bogue, the visitor he was working for, doubled his salary, later a year, unasked. "Just in America!" was Clynes' reaction. (He became a denizen in 1960.)

In 1955, at Clynes' proposition, Bogue employed his father, then anile 72, from Australia, as a naval architect; the elder Clynes had not been permitted to work in his profession in Australia, because he was non British-built-in. For a time Clynes father and son went to work together every morning (to Clynes' rejoicing).

Equally the result of a gamble meeting, in 1956, Dr Nathan Due south. Kline, Director of the Research Center of Rockland State Hospital, a big mental infirmary, offered Clynes a substantial enquiry job at the Middle, where he in 1956 became 'Principal Inquiry Scientist'. Kline was to become the recipient of two Lasker Awards, and had built up that inquiry center to formidable renown. (It is now called the Nathan Due south. Kline Psychiatric Eye.)

CAT computer [edit]

An autodidact in physiology, Clynes applied dynamic systems analysis to the homeostatic and other control processes of the body so successfully in the next three years, that he received a series of awards, including, for the best paper published in 1960 – Clynes' annus mirabilis (phenomenon yr), the IRE Due west.R.G. Bakery Award (1961).^[xiv] In 1960 he invented the True cat reckoner (Figurer of Boilerplate Transients) a $x,000 portable computer permitting the extraction of responses from ongoing electrical activity—the needle in the haystack. The Cat chop-chop came into use in research labs all over the world, marketed by Technical Measurements Corp., advancing the study of the electric activity of the brain (enabling, for instance, the clinical detection of deafness in newborns). In this style, Clynes made his fortune by age 37.

URS law [edit]

Also in 1960, he discovered a biologic police, "Unidirectional Rate Sensitivity," the subject, in 1967, of a ii-day symposium held past the New York University of Science. This law, related to biologic communication channels of control and data, is basically the consequence of the fact, realized by Clynes, that molecules tin only make it in positive numbers, unlike engineering electric signals, which tin can be positive or negative. This fact imposes radical limitations on the methods of control that biological science can use. It cannot, for example, but cancel a signal by sending a signal of opposite polarity, since there is no simple opposite polarity. To abolish, a 2d aqueduct involving other, different molecules (chemicals) is required. This law explains, among other things, why the sensations of hot and cold need to operate through two carve up sensing channels in the body, why we do non actively sense the disappearance of a smell, and why nosotros continue to feel shocked afterwards a near-miss accident.

1967 NY Times article on Clynes

Also in 1960, in collaboration with Nathan S. Kline, Clynes published the cyborg concept, and its corollary, participant evolution. "Cyborg" became a household word and was misapplied, much to the dismay of Clynes, in films such every bit Terminator. Cyborgology is now a field taught at numerous universities. In 1964 the University of Melbourne awarded Clynes the degree of D.Sc, a caste superior to PhD and rarely given by British universities.

Towards synthesis of scientific and musical work [edit]

1960 NY Times commodity on Clynes

Already in 1960 The New York Times had noted Clynes' remarkable double-stranded gifts. In 1965 he began to offer concerts at his newly caused home on the Hudson, which had a existent pipe organ in the living room, and five acres (ii.0 ha) of land. With the financial stability resulting from his scientific discoveries, information technology became possible for Clynes to render to music. An ardent admirer of the great chief musician Pablo Casals since early on childhood, Clynes now attended all Casals' master classes, many with his family.

In 1966, Clynes played both the Diabelli Variations of Beethoven and Bach'southward Goldberg Variations for Casals, and was invited to join Casals in Puerto Rico for several months to take office in his music and to back-trail some of the master classes at the Casals home in Santurce. Clynes considered this contact with Casals to be a fulfilment of his most cherished lifelong dream. Casals exceeded his expectations in every fashion, and Clynes considered his friendship with Casals to have been the highpoint of his life. As no ane else, Casals had, by Clynes' estimation an immediate contact with the profound in music. After his return to New York Urban center, Clynes performed Beethoven'southward Fourth Piano Concerto and also gave several concerts at his mansion for invited audiences that included Erich Fromm.

Color and the brain [edit]

With his new Cat computer, Clynes studied the relation of color processing in the encephalon and the dynamics to sound, and, jointly with One thousand.Kohn, to colour of the pupil of the centre. He showed that brain electrical responses to the color red from previous black produced like patterns from several distinct brain sites, for all subjects. Other colors produced their own distinct patterns. These results from 1965 went a long way to aid dispel the Skinnerian notion of tabula rasa. By 1968 he was able to show that it was possible to distinguish which of 100 different objects a person was looking at from his electric brain responses lone, with repeated presentations. In other experiments in 1969 he described what he called the R-M part (from Rest to Move) detectable at the noon of the brain for various modalities of stimulation, showing how 2 sets of unidirectionally charge per unit sensitive (URS) channels in series could produce an issue corresponding to the mental concepts Rest and Motility. What could three URS aqueduct sets do in combination? He never found out. But here were the ancestry of the embodiments of mental concepts in a wordless manner—a fashion of representing intuitive concepts to the brain wordlessly.

The brain equally an output device [edit]

His work until around 1967 had been concerned with the brain as an input device i.e. for perception; now he began to study it equally an output device. He turned starting time to the question of the feature pulse in the music of various composers, which had been on his mind since his Princeton years. In 1967 Clynes designed an instrument he called the sentograph to mensurate the motoric pulse. The experiments required outstanding musicians to "conduct" music on a pressure level-sensitive finger residual, every bit they were thinking the music without sound. Rudolf Serkin and Pablo Casals were his first subjects. Soon information technology became apparent that the 'pulse shapes' for Beethoven, Mozart, Schubert, and Mendelssohn were consistently unlike from each another, but like beyond their dissimilar pieces (when normalized co-ordinate to selection of like tempo). Encouraged by these positive findings relating outputs to specific inner states of the brain, first presented at a Smithsonian Conference in 1968 at Santa Inez, Clynes then proceeded to measure the expressive form of specific emotions in a similar way, by having subjects generate them by repeatedly expressing them on the finger rest, thus finding specific signatures for the emotions, which he called sentic forms. As in the example of composers' pulses, the course associated with each emotion consistently appeared for that emotion and was singled-out from the forms of other emotions.

In 1972 Clynes, whose work had long been supported by NIH Grants, received a grant from the Wenner Gren Foundation in Sweden, allowing him to collect data in Central Mexico, Japan, and Bali, using the sentograph to investigate emotional expression cross-culturally. Though considerably more limited in telescopic than the nature of that inquiry would demand, the data were largely confirmatory of Clynes' theories of universal biologically adamant time forms for each emotion. At the invitation of the NY Academy of Sciences, Clynes wrote an all-encompassing monograph on his findings and theories to appointment, which the Academy published in 1973.^[15]

That aforementioned year he accepted a visiting professorship in the music department of the Academy of California at San Diego, where he completed his book Sentics, the Touch of Emotion, which he had begun in 1972. In it he summarized the theories and findings on sentics, and outlined hopes for the future that his piece of work contained. In 1970 and 1971, the American Association for the Advancement of Science held two symposia on Sentics.

Since the sentic cycles all of a sudden helped individuals experience better without drugs, Clynes' work was now deemed reverse to the line of enquiry sponsored at the Rockland Land Research Center, headed by Nathan Kline, whose supporters were the major drug companies. As a result, Clynes was unable to keep the work at that facility. In his new surround, there was no laboratory in which to amass new data. Although dismissed by the NY Times, Sentics was lauded extravagantly in other publications. (The volume is considered a classic today). It was read in manuscript with not bad approving and excitement past several government: Yehudi Menuhin volunteered a foreword, itself a remarkable certificate, welcoming Clynes "as a brother." King Hobcroft, the director of the New South Wales State Solarium in Sydney, the foremost musical establishment in Commonwealth of australia, compared it to Beethoven'southward Opus 111, the last of Beethoven'due south sonatas and held to be his most profound work. (Hobcroft's endorsement appears on the jacket.) Maharishi Mahesh Yogi's resident psychiatrist, Dr. H. Bloomfield joined in.

During his three years at UCSD, in La Jolla, Clynes gave a concert at Brubecker Hall, playing the Beethoven Diabelli Variations, as well as a first performance of a group of 5 songs he composed, called "Sentone Songs," employing the remarkable vocal range of Linda Vickerman who performed them. The songs, in his ain avant garde way, contained many varied syllables simply no known words of any language.

He did studies of laughter at the brain Institute of UCLA at that time, unsuccessfully attempting to measure out the electric analogue in the brain of the moment that initiates laughter. He was the first to notice, in studying voice recognition in 1975 that a speaker's identity, though unimpeded by changes in speed (tempo), was masked past transposition of every bit little as a semitone in pitch.^[xvi] This seemed to indicate that perfect pitch was involved far more than universally than thought possible. He began work on a book on laughter, which, withal, was just two-thirds completed.

In 1977 Rex Hobcroft, director of Sydney'southward New South Wales State Conservatory, who had praised Clynes' Sentics, offered Clynes a substantial position at the Solarium initially connected with the International Piano Contest held at the time in Sydney. Appropriately, Clynes moved to Sydney in what proved to be the first of ten fruitful years of inquiry and music making. In 1978 Clynes gave performances of both the Goldberg Variations and the Diabelli, also as works of Mozart, at the Verbruggen Hall in Sydney. These performances were recorded live and are today regarded as unsurpassed. From a concertizing point of view, there were unusual difficulties: Clynes' two big-metropolis performances had not been preceded by the usual shake-down cruise of smaller venues: Clynes had only one chance to get it right—and did.

Hobcroft and the regime of New South Wales provided Clynes with a Music Research Eye and staff at the Conservatory for his piece of work, supplied be the land of NSW Ministry of Education. The staff were mostly enthusiasts of Clynes' work from the United States.

Predictive amplitude shaping in music [edit]

The following year 1980, at the occasion of the 10th International Congress on Acoustics in Sydney, Clynes and his staff presented no fewer than iv papers. With the aid of his new Dec PDP 23 computer and associated oscillator gear, he discovered the principle of Predictive Amplitude Shaping (a precise rule for how the shaping of each note is influenced by what note is next and when it will occur) applicable to music in full general, a outcome he presented at an international conference in Stockholm at their invitation.^[17]

Encouraged by the enthusiastic reception of this piece of work in Stockholm, Clynes, on his return to Sydney, now made the major spring to discern how a composer'southward unique pulse is manifest in each note. It had been known (Leopold Mozart, C.P.E. Bach) that in the work of many composers of the "classic" period, a grouping of, say, four notes, when notated as, were not meant to be played as. The leap was in treating the four durations and loudnesses not as split up entities, but as a grouping, an interconnected organism, a 'face' in which each component played a unique role, merely all combined together to form a gestalt. To find this gestalt, and how it worked organically in the music, he intuited a specific combined amplitude and timing "warp," then that each such group has a configuration—a gestalt—that is characteristic of the particular composer. (Now in that location was also a link to the motoric pulse, previously identified, which had contained no information nearly single notes just gave a motoric identity to the output of the brain in conducting music of a item composer).

The identification of composers' pulse, and its use in interpreting classical works via computer, was afterward extended past Clynes, according to his knowledge and experience with dynamic forms, to comprise several levels of time construction.

Before long after this, in 1983–84 Clynes, with the programming help of N. Nettheim, constitute a method of assuasive computers to design vibrato suitable for each note, depending on the musical structure, also sometimes anticipating next events.

Further, all these principles could be hands generically adjusted for the requirements of each musical piece. Of course, a work's interpretation was not robotically created: the computer needed to get adjustments to correspond to the concept of the interpreter. The computer did non supercede the human sensitivity, information technology empowered it instead.

When Clynes' longtime close friend and supporter Hephzibah Menuhin had launched his book Sentics in 1978 in Australia, small-scale symptoms of her developing throat cancer had fabricated their first appearance. Ms. Menuhin died in 1981, and Clynes gave a memorial concert for her in the Verbruggen Hall, of the last three sonatas of Beethoven, Op 109, 110, and 111. He had learned Beethoven'due south Opus 110 especially for that occasion, never having performed information technology before. Intensive exercise resulted in his losing an exquisite living place in Vaucluse and his subsequent relocation to an apartment in Point Piper, an adjacent suburb in Sydney.

In 1982, Clynes undertook further extensive studies on the nature of the expression of emotions through touch. Subjects were touched on the palm of the hand, from backside a screen, with specific emotional expressions, to detect whether they could identify the emotion. In fact, they could. Clynes and Walker extended this piece of work in a research trip to central Australia, to the Yuendumu Reservation, to test if Aborigines would recognize emotions expressed by touch of white urban dwellers when transformed into sounds that conserved the dynamic shape of the touch.

The test was highly positive: the Aborigines did in fact successfully place the emotions expressed by the touch, of white urban subjects, from which were produced (through a uncomplicated transformation, preserving the dynamic shape) the sounds they heard. The American television program Nova reenacted this experiment in 1986, effectively linking the expression of emotions through touch to musical expression, using Beethoven'due south Eroica Funeral March to exemplify grief, and a Haydn sonata for joy.

In 1986, Clynes gave his (or anyone'south) first classical concert played entirely past computer, according to the three principles he had discovered, to a full house in a free concert at the Joseph Post Hall of the Sydney Conservatory. Every bit a result of the application of those principles, the music, ranging from Bach to Beethoven to Robert Schumann and Felix Mendelssohn was musically expressive and meaningful, even though all sounds, except for the piano, were produced by computer-controlled oscillators, and so did not stand for familiar instruments—the real time expressive modification of the canonical orchestral sounds remained elusive until 1993.

In 1986, the Fairlight Company, a maker of superlative-of-the-line synthesizers in the hundred thousand dollar range, immediately opted to license what they chosen "the all-time sequencer in the world." Clynes, at that time, did not even know what a sequencer was. Fairlight started paying royalties on the patent; all the same, not long later, the company went broke, having lost government subsidies through a change of government, before bringing the product to market.

Reaching retirement age in Sydney, Clynes left to exist professorial associate in the Psychology Section at Melbourne University and became Sugden Boyfriend at Queen's College, which he had attended equally an undergraduate.

He stayed for three years. During that time he found an analytic equation for an egg, incorporating fractals, which also provided, with some modification of the equation, beautiful shapes of flowers and of vases. He also performed as pianist, in a Sunday series at Queens College, twelve of the Beethoven sonatas, lecturing to the Physics Department on Time, (starting with a poem beginning, "What fourth dimension is it?") and to the Medical Faculty on the biologic nature of dynamic expressive forms.

Composers' pulses [edit]

Also during this period, Clynes undertook a large statistical study with diverse groups of the perception of composer'due south pulse. In the study, Clynes played four different pieces past computer, past each of iv different composers (sixteen in all), with what his studies had determined to be the composer'southward own pulse and three times the aforementioned with a 'wrong' composer's pulse, to see which ane subjects actually preferred. There were four groups of subjects: internationally well-known pianists, Juilliard graduate students, students at the Manhattan Schoolhouse of Music, and college students at the University of Melbourne, altogether some 150 subjects. The results, published in the periodical Knowledge,^[18] showed that the "correct" pulse was preferred in all groups; more pronouncedly then the higher the musical standing of the subjects. (Among the 'famous pianist subjects' were friends of Clynes, Vladimir Ashkenazy and Paul Badura-Skoda.)

Clynes returned to the United States in 1991 and settled in Sonoma, California. Non long after his return he was featured in a large front-page article of The Wall Street Journal, an outgrowth of his invitation to a Canadian meeting on music. This highly favorable article opened many doors. Ii vice presidents from Hewlett Packard flew separately to Clynes' home to learn well-nigh his findings. When they arrived, Clynes played versions of the same Mozart sonata Thousand 330 past six famous artists, including Vladimir Horowitz, Alicia de Larrocha, Claudio Arrau, and Mitsuko Uchida, and included the computer operation at a random position among them. The visitors from HP not merely could non identify the estimator version, but they rated information technology second best of the seven. (MIDI versions were considered too musically crude to be included).

As a result, Clynes received a development contract that would for the first time enable the expressive implementation of real instrumental sounds other than the piano, using a workstation fabricated available to him by HP, a $forty,000 computer, which was, at 150 MHz, barely fast enough to do this. Clynes enlisted his gifted son Darius as software engineer on the HP team to help brand it possible. Ix months afterward, a critical demonstration took place to show that the principles Clynes had discovered would work well with existent instruments, not merely with oscillators, to enable music played with meaningful phrasing and expression.^[19] Clynes and the assembled HP researchers first heard the sound of flute, violin, and cello from the HP workstation performing a Haydn trio expressively in real time over the loudspeakers of the vast halls of the HP Research Building. The inanities of MIDI had been conquered.

In one case Clynes had successfully adult a real-time implementation of his principles for musical interpretation via computer, using UNIX, HP gave Clynes' company, Microsound, Intl, a second development contract to bring this chapters into the burgeoning world of personal computers (PCs), which, in 1994, functioned at 60 MHz. A French division of HP, then in accuse of PC development, supported this enthusiastically. Clynes was fortunate to obtain the assist of Steve Sweetness, a programmer, to conduct out the conversion. However, soon thereafter, HP transferred the PC piece of work to a new division in the United States whose director favored pop music.

SuperConductor [edit]

Henceforth, with the assist of Steve Sweet, Clynes developed the software program, called SuperConductor himself. By 1996 they had a fully working version, incorporating all the new principles, with which they interpreted, first, all the Brandenburg Concertos of Bach, and then all of Bach'due south solo violin and cello works and the terminal 6 quartets of Beethoven. All these works were recorded on CDs.^[11]

Clynes further expanded SuperConductor'southward capacity for real life expressive interpretation of music with a fourth principle he called "Self-tuning Expressive Intonation," which unfixes the equal temperament tuning and permits the sharpening of the leading tone and other modifications of the sort executed by fine players of stringed instruments and other instruments whose intonation is actively controlled in the playing; now fifty-fifty a piano could exhibit this technique—past ways of a laptop calculator and synthesizer. Since information technology is a melodic tuning, depending on intervals, no transposition was required. The same interval going up received a unlike small pitch increase from that interval going downwardly. Moreover, similarly to known use in tones similar the leading tone, Clynes plant it appropriate to provide quite small, specific increments to all melodic intervals, 24 in all (twelve up and twelve different ones down). A new patent [US 6,924,426] was granted in 2006. This now made information technology possible for all computers and synthesizers to benefit from expressive intonation, a non-static, dynamic tuning, in which the same note has a slightly different pitch depending on the melodic construction (the demise of equal temperament).

After a four-year absence in Thailand, Steve Sweet returned to Sonoma and resumed his development work with Clynes, incorporating the new functionality into SuperConductor 2. (ref to mp3s on the webpage of SuperConductor)

With SuperConductor, Clynes performed Beethoven's Emperor Concerto at MIT'southward Kresge Auditorium in 1999 to the astonishment and wonder and thunderous applause of over two thousand people.^[20] In 2006, using Self-tuning Expressive Intonation, he performed the Schubert Unfinished Symphony and Beethoven'due south Eroica Symphony at the University of Vienna in the Kleine Konzertsaal.

It became Clynes' aim gradually to brand music better than had always been possible before: to empower the computer in an enterprise of historic proportions to incrementally improve, and increase in profundity, the musical interpretations of great works of our music heritage. With computers, this work of increasing musical perfection could span years, decades, and even centuries.

Clynes has also kept up his own playing of the piano. In 2002, he gave a very substantial concert programme (of which a videotape exists)^{[ where? ]} every bit a memorial for a prominent resident of Sonoma. The plan included including Liszt'south Sixth Hungarian Rhapsody, Campanella and Beethoven'south Waldstein Sonata as well as several major works of Chopin. In 2007, at the age of 82, Clynes has developed new exercises for pianoforte playing away from the piano, which may permit the improvement of piano technique even for octogenarians. In 2007 he applied for iii new patents related to SuperConductor, to enhance computer interpretation of music, through: (1) increased mathematical subtlety of note shaping and resulting timbre variations, as earlier, dependent on musical construction, resulting in (2) 'instant rehearseless conducting', and (3) importation of note-specific vibrato and shaping from SuperConductor into MIDI files. [patent numbers when bachelor]

Clynes married in 1951, divorced in 1972 and has three children and eight grandchildren. He died in West Nyack, New York in January 2020, at the age of 94.^[21]

References [edit]

1. ^ Clynes, Yard., Sentics: biocybernetics of emotion communication, Register of the New York Academy of Science, Vol. 220, Fine art, iii: 55–131, 1973.
2. ^ ^{a b c d due east f} Clynes, M., Sentics: The Affect of Emotions, 250 pp, Doubleday/Anchor, New York, 1977.
3. ^ ^{a b c d} Clynes, M., Generalised emotion, its production, and sentic bike therapy, in Emotions and Psychopathology, K.Clynes and J. Panksepp, eds., pp. 107–170, Plenum Press, New York, 1988.
4. ^ Clynes, M., Essentic grade-aspects of control, role and measurement Proceedings of the 21st annual Briefing of Technology in Medicine and Biology. Houston, Texas. November 1968.
5. ^ ^{a b} Clynes, Grand., The advice of emotion: theory of sentics, in Emotion: Theory, Research and Experience, Vol. i Theories of Emotion, R. Plutchik, H. Kellerman (eds.), pp. 271–300, Academic Press, New York, 1980.
6. ^ Dr. Manfred Clynes Archived November 13, 2007, at the Wayback Machine
7. ^ Farewell to Australia < Boundaries of Compassion
8. ^ Debrett'due south Handbook of Australia and New Zealand. 1984. ISBN9780949137005.
9. ^ http://www.rebprotocol.cyberspace/senmanfredclynes2.pdf^{[ bare URL PDF ]}
10. ^ Allan Evans, Ignaz Friedman: Romantic Primary Pianist, p. 322
11. ^ ^{a b} Tedeschi, Bob. "How Would Dandy Composers Play It? Some Clues", The New York Times, February 22, 2000. Retrieved January 2, 2008.
12. ^ < Dr. Manfred Clynes
13. ^ Clynes, M. East. (1956). "Uncomplicated analytic method for linear feedback system dynamics". Transactions of the American Institute of Electrical Engineers, Part II: Applications and Industry. 74 (6): 377–383. doi:10.1109/TAI.1956.6367116. S2CID 51657556.
14. ^ "IEEELevel Awards, meet nether section IEEE Prize Newspaper Awards" (PDF). IEEE. July 2010. Archived from the original (PDF) on June 29, 2011. Retrieved November 19, 2010.
15. ^ Clynes, Thousand., Sentography: dynamic forms of communication of emotion and qualities, computers in Biology & Medicine, Vol, iii: 119–130, 1973.
16. ^ Clynes, Chiliad., Speaker recognition by the central nervous system, Social club for Neuroscience, Abstruse, New Orleans, November 1975.
17. ^ Clynes, M., Expressive Microstructure in Music, linked to Living Qualities in Studies of Music Operation, J. Sundberg (ed.), Publication of Purple Swedish University of Music No. 39, pp, 76–181. Stockholm.
18. ^ Clynes, Chiliad., Microstructural Musical Linguistics: composer'due south pulses are liked all-time by the best musicians, COGNITION, International Periodical of Cerebral Science, 1995, vol. 55, pp. 269–310.
19. ^ Riordan, Teresa. "Patents", The New York Times, April 18, 1994. Retrieved Jan ii, 2008. "Dr. Clynes, whose algorithms are being adult commercially in cooperation with Hewlett-Packard, said his technology would permit a musician to instruct a computer to play a given score with certain phrasings every bit well as changes in volume, tempo, timbre and rhythm."
20. ^ Wright, Sarah H. "Pair of Media Lab events showcase toys and inventions", Massachusetts Found of Engineering printing release, dated October 27, 1999. Retrieved Jan 2, 2008.
21. ^ Manfred Edward Clynes

External links [edit]

• Manfred Clynes discography at Discogs

morganfifended.blogspot.com

Source: https://en.wikipedia.org/wiki/Manfred_Clynes

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