The Macauley Circuit

twelve-tone work which is probably the most demanding, unplayable bit of music ever written. It was no harder for the synthesizer to counterfeit its notes than those of a Strauss waltz, of course, but a human violist would have needed three hands and a prehensile nose to convey any measure of Hohenstein’s musical thought. I activated the playback of the synthesizer and fed the tape in.

The music burst forth. Kolfmann watched the machine suspiciously. The pseudo-viola danced up and down the tone row while the old pianist struggled to place the work.

“Hohenstein?” he finally asked, timidly. I nodded.

I saw a conflict going on within him. For more years than he could remember he had hated us because we had made his art obsolete. But here I was showing him a use for the synthesizer that gave it a valid existence—it was synthesizing a work impossible for a human to play. He was unable to reconcile all the factors in his mind, and the struggle hurt. He got up uneasily and started for the door.

“Where are you going?”

“Away from here,” he said. “You are a devil.”

He tottered weakly through the door, and I let him go. The old man was badly confused, but I had a trick or two up my cybernetic sleeve to settle some of his problems and perhaps salvage him for the world of music. For, whatev­er else you say about me, particularly after this Macauley business, you can’t deny that my deepest allegiance is to music.

I stopped work on my Beethoven’s Seventh, and also put away Macauley’s diagram, and called in a couple of technicians. I told them what I was planning. The first line of inquiry, I decided, was to find out who Kolfmann’s piano teacher had been. They had the reference books out in a flash and we found out who—Gotthard Kellerman, who had died nearly sixty years ago. Here luck was with us. Central was able to locate and supply us with an old tape of the International Music Congress held at Stockholm in 2187, at which Kellerman had spoken briefly on The Development of the Pedal Technique: nothing very exciting, but it wasn’t what he was saying that interested us. We split his speech up into phonemes, analyzed, rearranged, evaluated, and finally went to the synthesizer and began feeding in tapes.

What we got back was a new speech in Kellerman’s voice, or a reasonable facsimile thereof. Certainly it would be good enough to fool Kolfmann, who hadn’t heard his old teacher’s voice in more than half a century. When we had everything ready I sent for Kolfmann, and a couple hours later they brought him in, looking even older and more worn.

“Why do you bother me?” he asked. “Why do you not let me die in peace?”

I ignored his questions. “Listen to this, Mr. Kolfmann.” I flipped on the playback, and the voice of Kellerman came out of the speaker.

“Hello, Gregor,” it said. Kolfmann was visibly startled. I took advantage of the prearranged pause in the recording to ask him if he recognized the voice. He nodded. I could see that he was frightened and suspicious, and I hoped the whole thing wouldn’t backfire.

“Gregor, one of the things I tried most earnestly to teach you—and you were my most attentive pupil—was that you must always be flexible. Techniques must con­stantly change, though art itself remains changeless. But have you listened to me? No.”

Kolfmann was starting to realize what we had done, I saw. His pallor was ghastly now.

“Gregor, the piano is an outmoded instrument. But there is a newer, a greater instrument available for you, and you deny its greatness. This wonderful new synthesizer can do all that the piano could do, and much more. It is a tremendous step forward.”

“All right,” Kolfmann said. His eyes were gleaming strangely. “Turn that machine off.”

I reached over and flipped off the playback.

“You are very clever,” he told me. “I take it you used your synthesizer to prepare this little speech for me.” I nodded.

He was silent an endless moment. A muscle flickered in his cheek. I watched him, not daring to speak.

At length he said, “Well, you have been successful, in your silly, theatrical way. You’ve shaken me.”

“I don’t understand.”

Again he was silent, communing with who knew what internal force. I sensed a powerful conflict raging within him. He scarcely seemed to see me at all as he stared into nothingness. I heard him mutter something in another language; I saw him pause and shake his great old head. And in the end he looked down at me and said, “Perhaps it is worth trying. Perhaps the words you put in Kellerman’s mouth were true. Perhaps. You are foolish, but I have been even more foolish than you. I have stubbornly resisted, when I should have joined forces with you. Instead of denouncing you, I should have been the first to learn how to create music with this strange new instru­ ment. Idiot! Moron!”

I think he was speaking of himself in those last two words, but I am not sure. In any case, I had seen a demonstration of the measure of his greatness—the willingness to admit error and begin all over. I had not expected his cooperation; all I had wanted was an end to his hostility. But he had yielded. He had admitted error and was ready to rechart his entire career.

“It’s not too late to learn,” I said. “We could teach you.”

Kolfmann looked at me fiercely for a moment, and I felt a shiver go through me. But my elation knew no bounds. I had won a great battle for music, and I had won it with ridiculous ease.

He went away for a while to master the technique of the synthesizer. I gave him my best man, one whom I had been grooming to take over my place someday. In the meantime I finished my Beethoven, and the performance was a great success. And then I got back to Macauley and his circuit.

Once again things conspired to keep me from full reali­zation of the threat represented by the Macauley circuit. I did manage to grasp that it could easily be refined to eliminate almost completely the human element in musical interpretation. But it’s many years since I worked in the labs, and I had fallen out of my old habit of studying any sort of diagram and mentally tinkering with it and juggling it to see what greater use could be made of it.

While I examined the Macauley circuit, reflecting idly hat when it was perfected it might very well put me out of a job (since anyone would be able to create a musical interpretation, and artistry would no longer be an oper­ ative factor) Kolfmann came in with some tapes. He looked twenty years younger; his face was bright and clean, his eyes were shining, and his impressive mane of hair waved grandly.

“I will say it again,” he told me as he put the tapes on my desk. “I have been a fool. I have wasted my life. Instead of tapping away at a silly little instrument, I might have created wonders with this machine. Look: I began with Chopin. Put this on.”

I slipped the tape into the synthesizer and the F Minor Fantaisie of Chopin came rolling into the room. I had heard the tired old warhorse a thousand times, but never like this.

“This machine is the noblest instrument I have ever played,” he said.

I looked at the graph he had drawn up for the piece, in his painstaking crabbed handwriting. The ultrasonics were literally incredible. In just a few weeks he had mastered subtleties I had spent fifteen years learning. He had dis­covered that skillfully chosen ultrasonics, beyond the range of human hearing but not beyond perception, could expand the horizons of music to a point the presynthesizer composers, limited by their crude instruments and faulty knowledge of sonics, would have found inconceivable.

The Chopin almost made me cry. It wasn’t so much the actual notes Chopin had written, which I had heard so often, as it was the unheard notes the synthesizer was striking, up in the ultrasonic range. The old man had chosen his ultrasonics with the skill of a craftsman—no, with the hand of a genius. I saw Kolfmann in the middle of the room, standing proudly while the piano rang out in a glorious tapestry of sound.

I felt that this was my greatest artistic triumph. My Beethoven symphonies and all my other interpretations were of no value beside this one achievement of putting the synthesizer in the hands of Kolfmann.

He handed me another tape and I put it on. It was the Bach Toccata and Fugue in D Minor; evidently he had worked first on the pieces most familiar to him. The sound of a super-organ roared forth from the synthesizer. We were buffeted by the violence of the music. And Kolfmann stood there while the Bach piece raged on. I looked at him and tried to relate him to the seedy old man who had tried to wreck the synthesizer not long ago, and I couldn’t.