Manufacturing computers in series was quite a feat in the 1950s. As mathematical as it gets, the machines discussed here were called X1 and X8. The industrial achievement combined with the background in a mathematical research center made the company Electrologica a legend in Dutch computing. The tales in this book are told by those who have a right to tell. Highly engaged professionals take readers back to their pioneering work with the machines and in retrospect unveil some of the values, which went without saying in the 1960s. To disagree, Paul Klint relates the contrasting views on software in Dutch research traditions. ALGOL culture: Frans Kruseman Aretz takes the reader along to the detailed decisions on constructing compilers and shows the values of an ALGOL culture transpiring. Signposts: Dirk Dekker for the first time ‘owns’ his algorithm for mutual exclusion. In particle physics: René van Dantzig’s use case was an Electrologica X8 computer controlling two other computers in three-dimensional detection of colliding particles. Early steps in AI: Lambert Meertens’ tale of the X8 machine composing a violin quartet comes with his original presentation, as well as the code in ALGOL 60. The reflections of first hand experiences combine well with the second thoughts of historical research into archival sources. Historians Huub de Beer and Gerard Alberts offer a view into the boardrooms of the local enterprise Electrologica, and of the electronics multinational Philips. Where pioneers and historians meet in an inspiring dialogue, the reader gains a view on the often implicit decisions constituting the field. Fortuitously, a copy of the X8 was retrieved from Kiel, Germany, and put on display at Rijksmuseum Boerhaave, Leiden. Sparked by the very material presence of an X8, the present book takes stock of the state of historiography of Electrologica. Gerard Alberts is an associate professor in History of Digital Cultures, retired from the University of Amsterdam. Jan Friso Groote is a full professor of Formal Methods at the Eindhoven University of Technology.

This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.

John Weinzweig (1913–2006) was the pre-eminent Canadian composer of his generation. Influenced by European modernists such as Stravinsky, Berg, and Webern, he was the first Canadian composer to employ serialism, thereby bringing a spirit of innovation to mid-twentieth-century Canadian music. A forceful advocate for modern Canadian composition, Weinzweig played a key role in the founding of the Canadian League of Composers and the Canadian Music Centre during a buoyant and expansive period for the arts in Canada. He was an influential force as a teacher of composition, first with the Royal Conservatory of Music and later with the University of Toronto’s music faculty. This first comprehensive study of Weinzweig since his death consists of new essays by composers, theorists, and musicologists. It deals with biographical aspects (the social context of early-twentieth-century Toronto, his activism, his teaching, his early scores for CBC Radio dramas), analyzes his compositional processes and his output (his approach to serialism, his instrumental practice, the presence of jazz elements, the vocal works, the divertimenti), and examines various evaluations of his music (his own – in letters, interviews, talks, and writings – plus those of critics and scholars, of listeners, and of performers). The essays are framed by the co-editors’ portrait/assessment of Weinzweig and a brief personal memoir. Much of the content draws on new research in the extensive Weinzweig Fonds at Library and Archives Canada in Ottawa. Included at the end of the book are a [http://www.wlupress.wlu.ca/General/beckwith-cherney-list-of-works-discography.pdf List of Works by John Weinzweig by Kathleen McMorrow and a Discography by David Olds] both available here as pdfs. Supplementing the volume is an audio CD of extracts (some in their first public release), ranging from a 1937 student work to a song cycle of 1994. Read the [http://www.wlupress.wlu.ca/General/beckwith-cherney-cd-notes.pdf Notes and Texts for the CD.]

Paul Hindemith had a multifaceted career as an internationally acclaimed composer, performer, festival organizer, teacher, lecturer, and writer. Born in Germany in 1895, he was a leading member of the musical avant-garde, and when the Nazis came to power his compositions eventually were banned as "decadent art." In 1938 Hindemith went into voluntary exile in Switzerland and in 1940 migrated to the United States, where he became a citizen. His return to Europe after the war in response to urgent calls for help in rebuilding European musical life gave rise to many inner emotional problems. This selection of letters written by Hindemith spans his entire career, from the First World War until shortly before his death in 1963. Translated and edited by a leading authority on Hindemith, the letters (some of which were written in English) reveal that he was an observant, engaging, and opinionated correspondent who took a keen interest in contemporary culture and politics. The first such selection to appear in English, the letters deal with personal and professional matters and are addressed to his wife, publishers, and friends in both Europe and America. Among the many important personalities with whom he came into contact were the composers Stravinsky and Milhaud, the conductors Mengelberg, Furtwängler, Koussevitzky, and Klemperer, and the choreographers Massine and Balanchine. Published to coincide with the centenary of Hindemith's birth, the letters fill out our portrait of him and provide an absorbing chronicle of his life and times.