The Continuum Fingerboard or Haken Continuum is a music performance controller and synthesizer developed by Lippold Haken, a professor of Electrical and Computer Engineering at the University of Illinois , and sold by Haken Audio, located in Champaign, Illinois .
89-788: The Continuum Fingerboard was initially developed from 1983 to 1998 at the CERL Sound Group at the University of Illinois, to control sound-producing algorithms on the Platypus audio signal processor and the Kyma/Capybara workstation. In 1999, the first Continuum Fingerboard was commercially sold. Until 2008, the Continuum Fingerboard provided IEEE-1394 (FireWire) connections to control a Kyma sound design workstation , as well as MIDI connections to control
178-582: A CDC 1604 , given to them by William Norris , PLATO III could simultaneously run up to 20 terminals, and was used by local facilities in Champaign–Urbana that could enter the system with their custom terminals . The only remote PLATO III terminal was located near the state capitol in Springfield, Illinois at Springfield High School. It was connected to the PLATO III system by a video connection and
267-529: A Kaoss Pad 3 on stage for the closing medley. For the 2009–2010 tour in support of Black Clouds & Silver Linings , Rudess introduced the Apple iPhone on stage, running an application called Bebot Robot Synth. Rudess originally used Bebot on the studio recording of "A Rite of Passage." In live performances, he utilized it on the same song, as well as in improvised solos featured in "Hollow Years" and "Solitary Shell." On September 24, 2010, Rudess released
356-592: A MIDI synthesizer module. More recently, the Continuum Fingerboard generates audio directly in addition to providing MIDI connections for MIDI modules, software synthesizers , and Kyma (the IEEE-1394 connection that was present on earlier models has been removed). An external control voltage generator permits control of analog modular synthesizers . The Continuum features a touch-sensitive neoprene playing surface measuring approximately 19 centimetres (7.5 in) high by either 137 centimetres (54 in) long for
445-589: A controller and a stand-alone instrument. As of 2008, the Continuum Fingerboard has a new modular digital synthesizer built-in, specifically designed for the Continuum Fingerboard, called The EaganMatrix. The EaganMatrix uses a patching matrix to design synthesis algorithms. The patching matrix interconnects a variety of modules: oscillator , filter , delay , modulation , waveshaping , spectral manipulation , modal physical modeling , waveguide physical modeling , kinetic modeling , granulation , and shape generator . Each three-dimensional performance direction of
534-455: A full-size instrument, or 72 centimetres (28 in) long for a half-size instrument. The surface allows a pitch range of 9350 cents (about 7.79 octaves ) for the full-size instrument, and 4610 cents (about 3.84 octaves) for the half-size instrument. The instrument has a response time of 0.33 ms . Sensors under the playing surface respond to finger position and pressure in three dimensions and provide pitch resolution of one-tenth cent along
623-406: A general tool. The Minneapolis Tribune was unconvinced by their ad copy and started an investigation of the claims. In the end, they concluded that while it was not proven to be a better education system, everyone using it nevertheless enjoyed it, at least. An official evaluation by an external testing agency ended with roughly the same conclusions, suggesting that everyone enjoyed using it, but it
712-645: A guest lecturer both on campus and online during the lockdown (or, as he described it, when the world stopped... for a while). This has been an ongoing effort for quite some time. He has been a lecturer for various seasons at numerous institutes, music schools, and music colleges. Jordan Rudess taught music, with a particular focus on keyboard techniques, at Berklee College of Music in the United States and Swarnabhoomi Academy of Music (SAM) in India, and has conducted guest lectures at Stanford. In 2010, Rudess started
801-467: A human on a per-student basis. PLATO was, therefore, a failure as a profitable commercial enterprise, although it did find some use in large companies and government agencies willing to invest in the technology. An attempt to mass-market the PLATO system was introduced in 1980 as Micro-PLATO, which ran the basic TUTOR system on a CDC "Viking-721" terminal and various home computers. Versions were built for
890-482: A large number of basic science lessons and a self-testing system for first-year students. However the most popular "courseware" remained their multi-user games and role-playing video games such as dnd , although it appears CDC was uninterested in this market. As the value of a CDC-based solution disappeared in the 1980s, interested educators ported the engine first to the IBM PC , and later to web -based systems. In
979-512: A major source of income for CDC as late as 1984. In 1986, Norris stepped down as CEO, and the PLATO service was slowly killed off. He later claimed that Micro-PLATO was one of the reasons PLATO got off-track. They had started on the TI-99/4A, but then Texas Instruments pulled the plug and they moved to other systems like the Atari, who soon did the same. He felt that it was a waste of time anyway, as
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#17327722688311068-411: A meeting about the matter with engineers, administrators, mathematicians, and psychologists. After weeks of meetings they were unable to agree on a single design. Before conceding failure, Alpert mentioned the matter to laboratory assistant Donald Bitzer , who had been thinking about the problem, suggesting he could build a demonstration system. Project PLATO was established soon afterwards, and in 1960,
1157-423: A minicomputer (Williams, M.A. "A comparison of three approaches to the teaching of auditory-visual discrimination, sight singing and music dictation to college music students: A traditional approach, a Kodaly approach, and a Kodaly approach augmented by computer-assisted instruction," University of Illinois, unpublished). This device worked, yet was slow with variable access times. In 1981, Nan T. Watanabe researched
1246-452: A part-time member of the band would have less of an impact on his young family, a choice he was not given with Dream Theater. During his time with the Dregs, Rudess formed a "power duo" with drummer Rod Morgenstein . The genesis of this pairing occurred when a power outage caused all of the Dregs' instruments to fail except Rudess's, so he and Morgenstein improvised with each other until power
1335-441: A potential product. His interest was twofold. From a strict business perspective, he was evolving Control Data into a service-based company instead of a hardware one, and was increasingly convinced that computer-based education would become a major market in the future. At the same time, Norris was troubled by the unrest of the late 1960s, and felt that much of it was due to social inequalities that needed to be addressed. PLATO offered
1424-626: A residency at the Lexington Conservatory Theatre in Lexington, NY. Rudess served as assistant musical director and co-composed scores for the theater productions with Lyons, including the world premiere of The Prevalence of Mrs. Seale by Otis Bigelow . The duo also performed a series of concerts for the Earful concert series throughout the summer. When Bleu Ocean was assembling a team of fellow drummers to perform on
1513-619: A separate dedicated line for keyboard data. PLATO I, II, and III were funded by small grants from a combined Army-Navy-Air Force funding pool. By the time PLATO III was in operation, everyone involved was convinced it was worthwhile to scale up the project. Accordingly, in 1967, the National Science Foundation granted the team steady funding, allowing Alpert to set up the Computer-based Education Research Laboratory (CERL) at
1602-451: A solution by providing higher education to segments of the population that would otherwise never be able to afford a university education. Norris provided CERL with machines on which to develop their system in the late 1960s. In 1971, he set up a new division within CDC to develop PLATO "courseware", and eventually many of CDC's own initial training and technical manuals ran on it. In 1974, PLATO
1691-481: A strong following in certain markets, and the last production PLATO system was in use until 2006. PLATO was either the first or an earlier example of many now-common technologies: Before the 1944 G.I. Bill that provided free college education to World War II veterans, higher education was limited to a minority of the US population, though only 9% of the population was in the military. The trend towards greater enrollment
1780-615: A student at the University of Illinois in 1972, created the first digital emojis on the PLATO IV system. Early in 1972, researchers from Xerox PARC were given a tour of the PLATO system at the University of Illinois. At this time, they were shown parts of the system, such as the Insert Display/Show Display (ID/SD) application generator for pictures on PLATO (later translated into a graphics-draw program on
1869-408: A study that used computer-assisted instruction for rhythm perception. Placek used the random access audio device attached to a PLATO III terminal for which he developed music notation fonts and graphics. Students majoring in elementary education were asked to (1) recognize elements of rhythm notation, and (2) listen to rhythm patterns and identify their notations. This was the first known application of
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#17327722688311958-519: A synthesizers.com modular unit designed by Richard Lainhart and Roger Arrick . Influenced by Lainhart, Rudess was the first well-known keyboardist to bring a Haken Continuum onto a live stage. Rudess kept the Kurzweil for studio recordings and for some of his signature sounds, such as "the pig," which is often played in unison with the guitar or bass guitar. In 2011, Rudess switched from the Oasys to
2047-588: Is Jordan Rudess , keyboardist of the progressive metal band Dream Theater . Each Dream Theater studio album from Octavarium (2005) to A Dramatic Turn of Events (2011) features the Continuum in at least one song. It was a fixture of Rudess' live setup from 2005 to 2014, as seen on the concert DVD releases Score , Chaos in Motion 2007–2008 , Live at Luna Park , and Breaking the Fourth Wall . It
2136-481: The Ayreon album, The Theory of Everything , released on October 28, 2013. While many keyboard players in progressive rock tend to bring numerous keyboards on stage, creating large racks of instruments, Rudess samples sounds from other keyboards he owns and maps them to a single keyboard. Each "setup" assigns different sounds to various layers and key ranges of the keyboard controller; these setups are then arranged in
2225-573: The Federal Aviation Administration retired its PLATO system, the last system that ran the PLATO software system on a CDC Cyber mainframe , from active duty. Existing PLATO-like systems now include NovaNET and Cyber1 .org. By early 1976, the original PLATO IV system had 950 terminals giving access to more than 3500 contact hours of courseware, and additional systems were in operation at CDC and Florida State University . Eventually, over 12,000 contact hours of courseware
2314-729: The Netherlands . On Dream Theater's 2007–2008 " Chaos in Motion Tour ," Rudess expanded his live setup with the addition of a Korg RADIAS , a Manikin Memotron , and a Zen Riffer keytar . Rudess stopped using his Synthesizers.com modular after the European leg of the tour due to its size and weight. He still owns the synthesizer and keeps it in his home studio. During the Progressive Nation 2008 tour, he introduced
2403-538: The TI-99/4A , Atari 8-bit computers , Zenith Z-100 and, later, Radio Shack TRS-80 , and IBM Personal Computer . Micro-PLATO could be used stand-alone for normal courses, or could connect to a CDC data center for multiuser programs. To make the latter affordable, CDC introduced the Homelink service for $ 5 an hour. Norris continued to praise PLATO, announcing that it would be only a few years before it represented
2492-445: The U.S. Air Force's Office of Scientific Research had a conference about the topic of computer instruction at the University of Pennsylvania ; interested parties, notably IBM , presented studies. Around 1959, Chalmers W. Sherwin , a physicist at the University of Illinois, suggested a computerised learning system to William Everett, the engineering college dean, who, in turn, recommended that Daniel Alpert, another physicist, convene
2581-690: The Xerox Star workstation); the Charset Editor for "painting" new characters (later translated into a "Doodle" program at PARC); and the Term Talk and Monitor Mode communications programs. Many of the new technologies they saw were adopted and improved upon, when these researchers returned to Palo Alto, California . They subsequently transferred improved versions of this technology to Apple Inc. As PLATO IV reached production quality, William Norris (CDC) became increasingly interested in it as
2670-511: The 1980s, with the following notable examples: PLATO's communication tools and games formed the basis for an online community of thousands of PLATO users, which lasted for well over twenty years. PLATO's games became so popular that a program called "The Enforcer" was written to run as a background process to regulate or disable game play at most sites and times – a precursor to parental-style control systems that regulate access based on content rather than security considerations. In September 2006
2759-543: The Arabic script. There was no funding for this work, which was undertaken only due to Sherwood's personal interest, and no curriculum development occurred for either Persian or Arabic. However, Peter Cole, Robert Lebowitz, and Robert Hart used the new system capabilities to re-do the Hebrew lessons. The PLATO hardware and software supported the design and use of one's own 8-by-16 characters, so most languages could be displayed on
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2848-601: The CD An Evening With John Petrucci and Jordan Rudess ), as well as backing up Blackfield on their first short US tour in 2005 and playing a solo opening slot for them on their second tour in 2007. He also contributed to Steven Wilson 's albums Grace for Drowning and Insurgentes . In 2010, Rudess composed "Explorations for Keyboard and Orchestra," his first classical composition. It was premiered in Caracas, Venezuela, on November 19, 2010, by
2937-701: The Chacao Youth Symphony Orchestra and guest conductor Eren Başbuğ. Rudess played all of the keyboard and synthesizer parts. On July 28, 2011, in a poll conducted by MusicRadar , Rudess was voted the best keyboardist of all time. Rudess cites his influences as a keyboardist to include Keith Emerson , Tony Banks , Rick Wakeman , and Patrick Moraz . His favorite musical artists and groups include Gentle Giant , Yes , Genesis , Pink Floyd , Emerson, Lake & Palmer , King Crimson , Jimi Hendrix , Autechre , and Aphex Twin . Rudess claims to have perfect pitch . Rudess appeared on
3026-484: The Continuum playing surface can influence each patch point in the matrix. By defining formulas and placing them at points in the patching matrix, the user creates relationships between the finger touching the Continuum playing surface and the flow of sound from patch sources to patch destinations. The EaganMatrix is named after the Canadian composer Edmund Eagan . A major proponent of the Continuum in contemporary music
3115-595: The Continuum. He used the Continuum in a piece he composed for the Changing Notes Concert held in Chennai , and in the song " Rehna Tu " in the 2009 movie Delhi-6 and the new version of " Mile Sur Mera Tumhara ". He also used it in his score of the film Kadal and in the track "Acid Darbari" from the Academy Award -nominated soundtrack of 127 Hours . Rahman was particularly impressed with
3204-495: The PLATO random-access audio device to computer-based music instruction. Study participants were interviewed about the experience and found it both valuable and enjoyable. Of particular value was PLATO’s immediate feedback. Though participants noted shortcomings in the quality of the audio, they generally indicated that they were able to learn the basic skills of rhythm notation recognition. These PLATO IV terminal included many new devices and yielded two notable music projects: By
3293-572: The Top of the World . In addition, he has appeared on the live albums Live Scenes From New York , Live at Budokan , Score , Chaos in Motion , Live at Luna Park , Breaking the Fourth Wall , and Distant Memories – Live in London . In addition to working with Dream Theater, he occasionally records and performs in other contexts, such as a 2001 one-off duo performance with Petrucci (released as
3382-415: The University of Illinois Urbana–Champaign campus . The system was capable of supporting 20 time-sharing terminals. In 1972, with the introduction of PLATO IV, Bitzer declared general success, claiming that the goal of generalized computer instruction was now available to all. However, the terminals were very expensive (about $ 12,000). The PLATO IV terminal had several major innovations: Bruce Parello ,
3471-446: The University of Illinois School of Music PLATO Project. From 1970 to 1994, the University of Illinois (U of I) School of Music explored the use of the Computer-based Education Research Laboratory (CERL) PLATO computer system to deliver online instruction in music. Led by G. David Peters, music faculty and students worked with PLATO’s technical capabilities to produce music-related instructional materials and experimented with their use in
3560-506: The Y-Axis (widthwise) corresponds to a timbre shift, and position on the Z-Axis (vertically) corresponds to a change in amplitude . The Continuum is capable of polyphonic performance, with up to 16 simultaneous voices. Each recent revision has brought more features and sound diversity to the internal synthesizer in the Continuum Fingerboard. As such, the instrument can now be considered both
3649-488: The album's release. After participating in various projects during the 1980s, he gained international attention in 1994 when he was voted "Best New Talent" in the Keyboard Magazine readers' poll following the release of his Listen solo album. Two of the bands that took notice of Rudess were The Dixie Dregs and Dream Theater , both of whom invited him to join. Rudess chose the Dregs, primarily because being
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3738-490: The amount and duration of the "rounding" controllable in real time. The Continuum also provides two additional parameters for the sound: it is able to transmit the finger pressure on the board as a MIDI value, as well as the finger's vertical position on the key. These parameters are independently programmable; a standard configuration is where position on the X-Axis (lengthwise) on the instrument corresponds to pitch, position on
3827-536: The band performed at Hansen Galleries in New York City. "This is music of real interest and vitality, more rhythmic and popularly appealing than most so-called 'serious' music," said the New York Times of the performance, "yet never so blatantly exploitive as to arouse real cynicism." That spring, the band Ocean Star released an album featuring music by Complex. That summer, Rudess accompanied Lyons for
3916-480: The checklists which were reviewed and evaluated later in the training session. In 1978, William H. Sanders adapted Froseth’s program for delivery using the PLATO IV system. Sanders transferred the slides to microfiche for rear-projection through the PLATO IV terminal’s plasma display. In timed drills, trainees viewed the slides, then filled in the checklists by touching them on the display. The program gave immediate feedback and kept aggregate records. Trainees could vary
4005-444: The clarinet. They used a four-track tape recorder interfaced to a computer to provide pre-recorded audio passages. Messages were recorded on three tracks and inaudible signals on the fourth track with two hours of play/record time available. This research further demonstrated that computer-controlled audio with four-track tape was possible. In 1979, Williams used a digitally controlled cassette tape recorder that had been interfaced to
4094-424: The courses even addressed sound design and approaches to arrangement, style, composition, and recording. These courses are available in music stores and on specific websites, including YousicPlay , MacProVideo , Patreon , Pianote , AskVideo , and many others, along with his very own Online Conservatory . In addition to recording videos, eBooks, hardcopy books, and support materials, Rudess has also served as
4183-484: The early 1970s, some people working in the modern foreign languages group at the University of Illinois began working on a set of Hebrew lessons, originally without good system support for leftward writing. In preparation for a PLATO demo in Tehran , that Bruce Sherwood [ eo ] would participate in, Sherwood worked with Don Lee to implement support for leftward writing, including Persian (Farsi), which uses
4272-569: The fact that the Continuum fingerboard could produce Carnatic/Hindustani classical music notes, which is a significant improvement over the piano. In August 2013, Rahman was seen using the Continuum in his song "Soz O Salam" in Coke Studio @ MTV (India) Season 3. The Continuum, ContinuuMini, EaganMatrix Module, and Osmose were used by Hans Zimmer for his score to Dune: Part Two , with instrument design and performance by Guillaume Bonneau, Christophe Duquesne, and Edmund Eagan . The Continuum
4361-404: The feasibility of computer-assisted music instruction using computer-controlled pre-recorded audio. She surveyed audio hardware that could interface with a computer system. Random-access audio devices interfaced to PLATO IV terminals were also available. There were issues with sound quality due to dropouts in the audio. Regardless, Watanabe deemed consistent fast access to audio clips critical to
4450-518: The first system, PLATO I, operated on the local ILLIAC I computer. It included a television set for display and a special keyboard for navigating the system's function menus; PLATO II, in 1961, featured two users at once, one of the first implementations of multi-user time-sharing . The PLATO system was re-designed, between 1963 and 1969; PLATO III allowed "anyone" to design new lesson modules using their TUTOR programming language , conceived in 1967 by biology graduate student Paul Tenczar . Built on
4539-488: The flexibility to set their own practice hours, completed significantly more practice exercises, and did so in significantly less time. In 1967, Allvin and Kuhn used a four-channel tape recorder interfaced to a computer to present pre-recorded models to judge sight-singing performances. In 1969, Ned C. Deihl and Rudolph E. Radocy conducted a computer-assisted instruction study in music that included discriminating aural concepts related to phrasing, articulation, and rhythm on
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#17327722688314628-554: The full-time keyboardist in Dream Theater since the recording of 1999's Metropolis Pt. 2: Scenes from a Memory . He has recorded ten other studio albums with the group: 2002's Six Degrees of Inner Turbulence , 2003's Train of Thought , 2005's Octavarium , 2007's Systematic Chaos , 2009's Black Clouds & Silver Linings , 2011's A Dramatic Turn of Events , 2013's Dream Theater , 2016's The Astonishing , 2019's Distance over Time , and 2021's A View from
4717-533: The genre as the Hammond playing and distorted stylistic expression of Jon Lord . Against the advice of his parents and tutors, he turned away from classical piano and pursued a career as a solo progressive rock keyboardist. After Juilliard, one of his first bands was an "electronic space music band" called Complex. Formed by Rudess and former Juilliard instructor Joseph Lyons, along with Sal Gallina, they began playing college radio and house concerts. In January 1977,
4806-564: The graphics screen (including those written right-to-left). A PLATO-compatible music language known as OPAL (Octave-Pitch-Accent-Length) was developed for these synthesizers, as well as a compiler for the language, two music text editors, a filing system for music binaries, programs to play the music binaries in real time, and print musical scores, and many debugging and compositional aids. A number of interactive compositional programs have also been written. Gooch's peripherals were heavily used for music education courseware as created, for example, by
4895-417: The group receiving traditional instruction in instrument identification. The study did, however, demonstrate that use of random-access audio in computer-assisted instruction in music was feasible. By 1988, with the spread of micro-computers and their peripherals, the University of Illinois School of Music PLATO Project was renamed The Illinois Technology-based Music Project. Researchers subsequently explored
4984-431: The inclusion of keywords, and feedback designed to respond to alternative answers. Rights to market PLATO as a commercial product were licensed by Control Data Corporation (CDC), the manufacturer on whose mainframe computers the PLATO IV system was built. CDC President William Norris planned to make PLATO a force in the computer world, but found that marketing the system was not as easy as hoped. PLATO nevertheless built
5073-417: The length of the scale (the X dimension), allowing essentially continuous pitch control for portamento effects and notes that are not in the chromatic scale , and allowing for the application of vibrato or pitch bend to a note. A software "rounding" feature enables pitch to be quantized to the notes of a traditional equal-tempered scale , just scale or other scale to facilitate in-tune performance, with
5162-521: The mid-1970s, James O. Froseth (University of Michigan) had published training materials that taught instrumental music teachers to visually identify typical problems demonstrated by beginning band students. For each instrument, Froseth developed an ordered checklist of what to look for (i.e., posture, embouchure, hand placement, instrument position, etc.) and a set of 35mm slides of young players demonstrating those problems. In timed class exercises, trainees briefly viewed slides and recorded their diagnoses on
5251-408: The music curriculum. Peters began his work on PLATO III. By 1972, the PLATO IV system made it technically possible to introduce multimedia pedagogies that were not available in the marketplace until years later. Between 1974 and 1988, 25 U of I music faculty participated in software curriculum development and more than 40 graduate students wrote software and assisted the faculty in its use. In 1988,
5340-551: The new flagship Korg Kronos . In 2019, he added a Roland Ax-Edge keytar and a Hammond XK-5 to his live setup, which were used on Dream Theater's 2019 record Distance over Time . His current live rig consists of the Kronos, along with a Continuum, a Hammond XK-5, a Roland AX-Edge, a lap steel guitar , a Harpejji , and an iPad . Since 2001, Rudess has used custom-made swiveling keyboard stands on stage for both Dream Theater and his solo career, which are built by Patrick Slaats from
5429-514: The orchestra and plays Continuum in his ' Game of Thrones Live Concert Experience ' tour, with the Full-size Continuum Fingerboard at his conductor's podium. Composer and performer Matthias Weber used the Continuum in his score for Das Boot (2018). His Continuum solo in the opening of the first episode "conveys a sense of loneliness" and "a sense of vast space that the ocean is – similar to outer space." Throughout
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#17327722688315518-423: The order they will be required for a gig and cycled through with a footswitch. From the 1990s onward, he used a Kurzweil K2600XS during live sets until switching in 2005 to Korg 's Oasys workstation, which he first utilized on Dream Theater's 2005–2006 20th Anniversary tour. He also employed a Muse Receptor hardware VST and a Haken Continuum X/Y/Z-plane MIDI instrument, triggering a Roland V-Synth XT and
5607-461: The private sector. Jordan Rudess Jordan Rudess (born Jordan Charles Rudes ; November 4, 1956) is an American keyboardist, composer, and software developer, best known as a member of the progressive metal band Dream Theater and the supergroup Liquid Tension Experiment . Rudess was born in 1956 in New York. He was recognized by his second-grade teacher for his piano playing and
5696-433: The private sector. Their influence can be traced to numerous multimedia pedagogies, products, and services in use today, especially by musicians and music educators. In 1969, G. David Peters began researching the feasibility of using PLATO to teach trumpet students to play with increased pitch and rhythmic precision. He created an interface for the PLATO III terminal. The hardware consisted of (1) filters that could determine
5785-541: The project broadened its focus beyond PLATO to accommodate the increasing availability and use of microcomputers. The broader scope resulted in renaming the project to The Illinois Technology-based Music Project. Work in the School of Music continued on other platforms after the CERL PLATO system shutdown in 1994. Over the 24-year life of the music project, its many participants moved into educational institutions and into
5874-533: The series he used it "melodically, both for aggressive, distorted colors for the U Boat; and for softer flute-like timbres" and for "musical sound design textures for tension and suspense." Other musicians using the Continuum include John Paul Jones , Lou Reed , Randy Kerber , Amon Tobin , Sally Sparks and Thereminists Rob Schwimmer, Andrew Levine, and Grégoire Blanc . PLATO (computer system) PLATO ( Programmed Logic for Automatic Teaching Operations ), also known as Project Plato and Project PLATO ,
5963-736: The song " Bring the Boys Back Home ," featured on Pink Floyd 's The Wall , he invited Rudess for the sessions, since Rudess had played drums as a child. However, Rudess's performance was rejected by producer Bob Ezrin . At that time, Rudess had already chosen keyboards as his main instrument. Rudess was part of a studio project assembled by bubblegum pop impresarios Jerry Kasenetz and Jeffry Katz , who were also behind The Ohio Express and The 1910 Fruitgum Company . In 1980, they ventured into album-oriented rock with Speedway Boulevard , which also featured touring members of Ram Jam . The group never performed live and disbanded shortly after
6052-588: The song "Krump," an electronica single, on iTunes . It featured the use of the new Roland Gaia, Roland's more recent keyboard. Rudess was frequently asked about private music lessons, but his touring commitments kept him busy. He ultimately developed a course available through a book and video titled "Keyboard Wizardry" and "Total Keyboard Wizardry." He went on to create additional series such as "Keyboard Wisdom" and "Keyboard Madness." These included lessons on composition, improvisation, keyboard playing techniques, rhythm and pitch exercises, and aural training. Some of
6141-453: The study design and selected this device for the study. Watanabe’s computer-based drill-and-practice program taught elementary music education students to identify musical instruments by sound. Students listened to randomly selected instrument sounds, identified the instrument they heard, and received immediate feedback. Watanabe found no significant difference in learning between the group who learned through computer-assisted drill programs and
6230-411: The system unattractive. The reason, he suggested, for these high prices was that CDC had set up a division that had to keep itself profitable via courseware development, forcing them to raise the prices in order to keep their headcount up during slow periods. Intel 8080 microprocessors were introduced in the new PLATO V terminals. They could download small software modules and execute them locally. It
6319-470: The system's value was in its online nature, which Micro-PLATO lacked initially. Bitzer was more forthright about CDC's failure, blaming their corporate culture for the problems. He noted that development of the courseware was averaging $ 300,000 per delivery hour, many times what the CERL was paying for similar products. This meant that CDC had to charge high prices in order to recoup their costs, prices that made
6408-471: The system, and invested in several non-mainstream courses, including a crop-information system for farmers, and various courses for inner-city youth. CDC even went as far as to place PLATO terminals in some shareholder's houses, to demonstrate the concept of the system. In the early 1980s, CDC started heavily advertising the service, apparently due to increasing internal dissent over the now $ 600 million project, taking out print and even radio ads promoting it as
6497-414: The timing of the exercises and repeat them whenever they wished. Sanders and Froseth subsequently conducted a study to compare traditional classroom delivery of the program to delivery using PLATO. The results showed no significant difference between the delivery methods for a) student post-test performance and b) their attitudes toward the training materials. However, students using the computer appreciated
6586-410: The true pitch of a tone, and (2) a counting device to measure tone duration. The device accepted and judged rapid notes, two notes trilled, and lip slurs. Peters demonstrated that judging instrumental performance for pitch and rhythmic accuracy was feasible in computer-assisted instruction. By 1970, a random access audio device was available for use with PLATO III. In 1972, Robert W. Placek conducted
6675-550: The use of emerging, commercially available technologies for music instruction until 1994. Educators and students used the PLATO System for music instruction at other educational institutions including Indiana University , Florida State University , and the University of Delaware . Many alumni of the University of Illinois School of Music PLATO Project gained early hands-on experience in computing and media technologies and moved into influential positions in both education and
6764-538: The user community were keenly interested in games. In much the same way that the PLATO hardware and development platform inspired advances elsewhere (such as at Xerox PARC and MIT), many popular commercial and Internet games ultimately derived their inspiration from PLATO's early games. As one example, Castle Wolfenstein by PLATO alum Silas Warner was inspired by PLATO's dungeon games (see below), in turn inspiring Doom and Quake . Thousands of multiplayer online games were developed on PLATO from around 1970 through
6853-472: Was a way to augment the PLATO courseware with rich animation and other sophisticated capabilities. Although PLATO was designed for computer-based education, perhaps its most enduring legacy is its place in the origins of online community. This was made possible by PLATO's groundbreaking communication and interface capabilities, features whose significance is only lately being recognized by computer historians. PLATO Notes, created by David R. Woolley in 1973,
6942-586: Was also used on Rudess' 2007 solo album The Road Home . Since 2019, Rudess' live setup includes the ContinuuMini, a smaller version of the Continuum. Another advocate is Sarth Calhoun , who uses it in his work with Lucibel Crater and whilst he was working with Lou Reed . In the Metal Machine Trio , both Calhoun and Reed used Continuum Fingerboards on stage. Indian composer A. R. Rahman 's 2007 Third Dimension tour of North America featured
7031-438: Was among the world's first online message boards , and years later became the direct progenitor of Lotus Notes . PLATO's plasma panels were well suited to games, although its I/O bandwidth (180 characters per second or 60 graphic lines per second) was relatively slow. By virtue of 1500 shared 60-bit variables per game (initially), it was possible to implement online games . Because it was an educational computer system, most of
7120-509: Was asked to form a supergroup by Magna Carta Records , Rudess was chosen to fill the keyboardist spot in the band, which also included Tony Levin and Portnoy's Dream Theater colleague John Petrucci . During the recording of Liquid Tension Experiment 's two albums, it became evident to Portnoy and Petrucci that Rudess was what Dream Theater needed. They asked Rudess to join the band, and when he accepted, they released their then-keyboardist Derek Sherinian to make way for him. Rudess has been
7209-493: Was designed and built by the University of Illinois and functioned for four decades, offering coursework (elementary through university) to UIUC students, local schools, prison inmates, and other universities. Courses were taught in a range of subjects, including Latin, chemistry, education, music, Esperanto, and primary mathematics. The system included a number of features useful for pedagogy, including text overlaying graphics, contextual assessment of free-text answers, depending on
7298-401: Was developed, much of it developed by university faculty for higher education. PLATO courseware covers a full range of high-school and college courses, as well as topics such as reading skills, family planning, Lamaze training and home budgeting. In addition, authors at the University of Illinois School of Basic Medical Sciences (now, the University of Illinois College of Medicine ) devised
7387-559: Was essentially equal to an average human teacher in terms of student advancement. Of course, a computerized system equal to a human should have been a major achievement, the very concept for which the early pioneers in CBT were aiming. A computer could serve all the students in a school for the cost of maintaining it, and wouldn't go on strike. However, CDC charged $ 50 an hour for access to their data center, in order to recoup some of their development costs, making it considerably more expensive than
7476-507: Was immediately given professional instruction. At nine, he entered the Juilliard School of Music Pre-College Division for classical piano training, where his first theory instructor was future collaborator Joseph Lyons. He studied at Juilliard for seven years under Katherine Parker and Adele Marcus . By his late teens, he had developed an increasing interest in synthesizers and progressive rock music, citing his first experience in
7565-492: Was notable by the early 1950s, and the problem of providing instruction for the many new students was a serious concern to university administrators. To wit, if computerized automation increased factory production, it could do the same for academic instruction. The USSR's 1957 launching of the Sputnik I artificial satellite energized the United States' government into spending more on science and engineering education. In 1958,
7654-499: Was restored and the concert could continue. The chemistry between the two was so strong during this jam that they decided to perform together regularly (under the name Rudess/Morgenstein Project or later RMP ) and have since released a studio album and a live record. Rudess encountered Dream Theater once again when he and Morgenstein secured the support slot on one of Dream Theater's North American tours. In 1997, when Mike Portnoy
7743-516: Was running on in-house machines at CDC headquarters in Minneapolis , and in 1976, they purchased the commercial rights in exchange for a new CDC Cyber machine. CDC announced the acquisition soon after, claiming that by 1985, 50% of the company's income would be related to PLATO services. Through the 1970s, CDC tirelessly promoted PLATO, both as a commercial tool and one for re-training unemployed workers in new fields. Norris refused to give up on
7832-560: Was the first generalized computer-assisted instruction system. Starting in 1960, it ran on the University of Illinois 's ILLIAC I computer. By the late 1970s, it supported several thousand graphics terminals distributed worldwide, running on nearly a dozen different networked mainframe computers . Many modern concepts in multi-user computing were first developed on PLATO, including forums, message boards, online testing, email , chat rooms, picture languages , instant messaging , remote screen sharing , and multiplayer video games . PLATO
7921-786: Was used by John Williams for his score to Indiana Jones and the Kingdom of the Crystal Skull . Composer and performer Derek Duke used the Continuum in Blizzard Entertainment game soundtracks, including StarCraft II: Wings of Liberty , World of Warcraft , and Diablo III . The Turkish-American composer and performer Mehmet Ali Sanlıkol used the Continuum in two albums, Whatsnext? (2014) and Resolution (2016), that combine Turkish musical traditions with jazz. Composer and performer Ramin Djawadi both conducts
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