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\begin{document}

% 1. Title and author of the report.

\title{Put your title here \hfill {\small \bf MUS-15}}
\author{Your name}
\date{\today}

\maketitle

\paragraph{Guidelines}
\begin{itemize}
\item What is the problem/objective?
\item History, dates, names, places
\item Which papers/documents are you presenting? Why?
\item What is the state of the art? Competing solutions?
  Technical approach? What are the ideas?
\item Technical description. Results
\item Conclusions
\item References
\end{itemize}


Ethics:
\url{http://www.informatik.rwth-aachen.de/Studium/Studierende/Pa/Formulare/honor-neu.pdf}


\section*{Introduction} 
The problem
\dots

\section*{Blah blah}

Computers have made noises since Eniac was rolled out in 1947. It seems one of
the problems with programming the early systems was knowing that everything
was operating properly. That's why you see computers in 50s science fiction
movies covered in lights. A common trick was to connect a loudspeaker to a key
component in the main processor -- this would give tones of various pitches as
data moved in and out of the accumulator. As long as a program was running,
the tones would change in a random sort of way. A steady pitch meant the
program was caught in a loop and needed to be shut down. That's how beedle
beep became the signifier of computer operation.

The first real music program was written by Max Mathews in the early 1960s. He
was working at Bell labs, a research center run by AT\&T when they were the
phone company. Max was primarily developing more practical things for the
phone company (he invented the little square plug, for instance). But he
worked on music software in his spare time. He called his software MUSIC, with
the different versions indicated by Roman numerals. MUSIC made its first sound
in 1957, playing single line tunes. MUSIC II, a year later, had four part
polyphony. These ran on the most powerful computer of the day, and took
something like an hour of computing time to generate a minute of music. The
sound was similar to the tunes played by some wristwatches today.

\section*{\dots}

\section*{More blah blah}

In 1960, MUSIC III introduced the concept of a "unit generator", a subroutine
that would create a specific kind of sound and only needed a few numbers from
the composer. This simplified the process a great deal, and opened everything
up to more composers. MUSIC IV and V added refinements and improved
efficiency. Composers such as James Tenny, F. B. Moore, Jean Claude Risset ,
and Charles Dodge came to the labs and began creating serious works. Some were
hired as assistants, some just seemed to be around a lot.

These people, who were mostly recent university graduates, moved on to permanent academic jobs and took the program with them. By 1970, computer music was happening at about a dozen schools, and by the end of the decade, there were probably a hundred universities and research centers exploring computer composition and related work.

A typical music research center of the day was built around a large mainframe computer. These were shared systems, with up to a dozen composers and researchers logged on at a time. (Small operations would share a computer with other departments, and the composers probably had to work in the middle of the night to get adequate machine time.) Creation of a piece was a lot of work. After days of text entry, the composer would ask the machine to compile the sounds onto computer tape or a hard drive. This might take hours. Then the file would be read off the computer tape through a digital to analog converter to recording tape. Only then would the composer hear the fruits of his labor.



\begin{thebibliography}{99}

\bibitem{BLAS1}
C.~L. Lawson, R.~J. Hanson, R.~J. Kincaid, and F.~T. Krogh.
{\sl Basic linear algebra subprograms for {F}ortran usage}.
ACM Transactions on Mathematical Software, 5 (1979), pp.~308--323.

\bibitem{BLAS2}
J.~J. Dongarra, J.~D. Croz, S.~Hammarling, and R.~J. Hanson.
{\sl An extended set of {F}ortran basic linear algebra subprograms}.
ACM Transactions on Mathematical Software, 14 (1988), pp.~1--17.

\bibitem{BLAS3}
J.~Dongarra, J.~D. Croz, I.~Duff, and S.~Hammarling.
{\sl A set of {L}evel 3 {B}asic {L}inear {A}lgebra {S}ubprograms}.
ACM Transactions on Mathematical Software, 16 (1990), pp.~1--17.

\end{thebibliography}

\begin{appendix}
  \section*{Appendix 1}
  \dots
\end{appendix}

\end{document}

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