Since comprehensive moment-by-moment specification of sound can be tedious, control is gained in two ways: 1) from the instruments in an orchestra, and 2) from the events within a score. An orchestra is really a computer program that can produce sound, while a score is a body of data which that program can react to. Whether a rise-time characteristic is a fixed constant in an instrument, or a variable of each note in the score, depends on how the user wants to control it.
The instruments in a Csound orchestra are defined in a simple syntax that invokes complex audio processing routines. A score passed to this orchestra contains numerically coded pitch and control information, in standard numeric score format. Although many users are content with this format, higher level score processing languages are often convenient.
The programs making up the Csound system have a long history of development, beginning with the Music 4 program written at Bell Telephone Laboratories in the early 1960's by Max Mathews. That initiated the stored table concept and much of the terminology that has since enabled computer music researchers to communicate. Valuable additions were made at Princeton by the late Godfrey Winham in Music 4B; my own Music 360 (1968) was very indebted to his work. With Music 11 (1973) I took a different tack: the two distinct networks of control and audio signal processing stemmed from my intensive involvement in the preceding years in hardware synthesizer concepts and design. This division has been retained in Csound.
Because it is written entirely in C, Csound is easily installed on any machine running Unix or C. At MIT it runs on VAX/DECstations under Ultrix 4.2, on SUNs under OS 4.1, SGIs under 4.1, and on the Macintosh under ThinkC 4.0. With this single language for audio signal processing, users move easily from machine to machine.
The 1991 version included many new features. I am indebted to others for the contribution of the phase vocoder and FOF synthesis modules. That release also charted a new direction with the addition of a spectral data type, holding much promise for future development. The 1992 release is even more significant for its addition of MIDI converter and control units, enabling Csound to be run from MIDI score-files and from external MIDI keyboards. Since the newest RISC processors bring to computer music an order of magnitude more speed than did those on which it was born, researchers and composers now have access to workstations on which realtime software synthesis with sensing and control is now a reality. This is perhaps the single most important development for people working in the field. This new Csound is designed to take maximum advantage of realtime audio processing, and to encourage interactive experiments in this exciting new domain.
B.V.