WORKSHOPS
AT CCRMA
Physical
Interaction Design
for Music
(PID)
2 weeks
June 25 - July 6
(including July 4)
Michael Gurevich,
Carr
Wilkerson
This
workshop integrates programming,
electronics, interaction design, audio, and interactive music. Focus
will be on
hands-on applications using sensors and microprocessors in conjunction
with
real-time DSP to make music. Specific technologies will include C
programming
for Atmel AVR microcontrollers, PD and/or Max/MSP for music synthesis,
and
sensors including force-sensitive resistors, bend sensors,
accelerometers, IR
range finders, etc. Participants will design and build working
prototypes
using a kit* that can be taken home at the end of the workshop. Further
issues
to be explored will include modes and mappings in computer music,
exercises in
invention, and applications of sensors and electronics to real-time
music. The
course will be augmented by a survey of existing controllers and pieces
of
interactive music.
This
workshop is intended for:
- Musicians
or composers interested in exploring new possibilities in interactive music in a hands on
and
technical way;
-
Anyone
looking to gain valuable skills in basic analog and digital electronics, with a focus
on
invention;
- Engineers,
computer scientists, or product designers interested in exploring
artistic
outlets for their talents and collaborating with performers and
composers.
The workshop will consist of
half-day
supervised lab sessions, and half-day lectures, classroom exercises and
discussions. Classroom sessions will feature live demos and/or concerts
of
interactive music and instruments. Participants are encouraged (but by
no means
required) to bring their own laptop computers with any music
software/hardware
they already use.
*NOTE: There is a $175 lab fee included
in the cost of this workshop.
Participants have the option of taking home the lab kit at the end of
the
workshop. The kit contains a prototyping board, power supply, data
cable, and a
variety of sensors. The prototyping board consists of an Atmel AVR
microcontrollers development board with on-board programming, debugging
and
connectivity interfaces, LCD display, speaker, and solder less
breadboard
strips for project development. Sensors include force-sensitive
resistors,
potentiometers, photo cells and shaft encoders.
Digital
Signal
Processing:
Spectral and Physical Models (DSP)
2 weeks
July 9 - July 20
Perry
Cook, Xavier Serra
This course will
cover analysis and synthesis of sounds based on spectral and physical
models.
Models and methods for synthesizing real-world sounds, as well
as musical sounds, will be presented.
The course will be organized
into
morning lectures, covering theoretical aspects of the models, and
afternoon lab
sessions.
The morning lectures will present topics such as Fourier
theory, spectrum analysis, the phase vocoder, digital waveguides,
digital
filter theory, pitch detection, linear predictive coding (LPC),
high-level
feature extraction, and various other aspects
of signal processing of
interest in sound applications.
The afternoon labs
will be hands-on sessions using SMS, the Synthesis ToolKit in C++,
Matlab, and
other software systems and utilities.
Familiarity with engineering,
mathematics, physics, and programming will be useful, but the lectures
and labs
will be geared
to a musical audience with basic experience in math and
science. Most of the programs used in the workshop will be available to
take
home.
Given the short
duration of the workshop and the broad spectrum of topics to cover, the
lectures will be comprehensive in nature.
However, a full complement
of
in-depth readings will be provided for those who wish to investigate
the
details of the material.
Also, the last two days of the workshop will
include a more detailed treatment of some advanced topics and the
corresponding
afternoon labs will give the students a chance to solve some specific
problems of their interest.
Perry R. Cook, is
the author of Real
Sound
Synthesis for Interactive Applications
Perceptual
Audio Coding
(PAC)
1 week
August 13 - August 17
Marina
Bosi, Richard
Goldberg
Perceptual
audio coders are currently used in many applications including Digital
Radio
and Television, Digital Sound on Film, Multimedia/Internet Audio,
Portable Devices, and Electronic Music Distribution (EMD). This
Workshop
integrates digital signal processing, psychoacoustics, and programming
to
provide
the basis for building a simple perceptual audio coding
system.
The first part of the workshop addresses the basic principles of
perceptual
audio coding.
In the second part, design choices applied in
state-of-the-art audio coding schemes, e.g. AC-3; MPEG Layers I, II,
and III
(MP3); MPEG AAC; MPEG-4 are presented.
In-class demonstrations will
allow students to hear the quality of state-of-the-art implementations
at
varying data rates and they will be required to program their own
simple
perceptual audio coder during the workshop. This Workshop is intended
for:
- Musicians/composers
interested in exploring widely used digital audio technology;
- Anyone
looking to know more about media technology used in our every-day lives;
- Engineers /
computer scientists / product designers interested in exploring the
principles
and practices of audio coding standards.
The
workshop
will consist of half-day lectures, half-day supervised lab sessions,
and
classroom exercises and discussions. In addition to addressing basic
theory and
implementations, classroom sessions will feature state-of-the-art audio
coding
demos. Participants are encouraged (but by no means required) to bring
their
own laptop computers. Knowledge of basic digital audio principles and C
programming is expected.
Marina Bosi,
Richard E. Goldberg are co-authors of the book, Introduction to
Digital Audio Coding and Standards.
Signal
Processing Techniques for Digital Audio Effects (DAE)
2
weeks
August 20 - September 1
Jonathan Abel, Dave
Berners
Digital signal
processing methods for audio effects used in mixing and mastering will
be covered. Topics include techniques for dynamic range compression,
reverberation and room impulse response measurement,
equalization and filtering, and panning and spatialization, with
attention given to digital emulation of analog processors and
implementation of time varying effects. Among the effects studied will
be single-band and multiband compressors, limiters, noise
gates, de-essers, feedback delay network and convolutional
reverberators, flangers and phasors, parametric and linear-phase
equalizers, wah-wah and envelope-following filters, and the Leslie.
The course material will be presented in daily lecture sessions with laboratory exercises
interspersed. The lecture sessions will concentrate on
theoretical issues in the design of digital audio effects, and are
complemented by laboratory work in which students will develop effects
algorithms of their own design.
The course is geared for musicians and recording engineers with an engineering
background, and for engineers and computer scientists with an interest in
music technology. An exposure to digital
signal processing,
including familiarity with digital filtering and the Fourier Transform is
helpful. Some knowledge of Matlab and/or a modest amount of C
pro.
**Please note
Stanford Conference Services Housing is only available until August
26. Alternative housing arrangements will need to be made
for August 27 - September 1.
WORKSHOPS
AT GUANAJUATO, MEXICO
Classes will be taught in
Spanish
Introduction
to Digital Signal Processing
and Computer Music (DSP-GTO)
2 weeks
August 6 - August 17
Nando Lopez-Lezcano,
Juan Pablo
Caceres
Introducción
al Procesamiento Digital de Señales y a la Música por
Computador
El
workshop cubrirá técnicas de síntesis y de
composición algorítmica aplicadas
a la música por computador. Se introducirán tanto
aspectos teóricos como
prácticos, con un énfasis en el "hands on" en
la aplicación de las distintas
técnicas cubiertas.
El
horario estará dividido en clases expositivas en las
mañanas
y laboratorios prácticos
en las tardes. Como herramienta se utilizará el lenguaje SuperCollider
3.
Más
información en:
http://ccrma.stanford.edu/workshops/cm2007/
WORKSHOPS
IN SINGAPORE
Introduction
to Sound Synthesis and Audio DSP for musicians (DSP-SG)
with MATLAB & Max/MSP
1 week
August 20 - 24
Woon
Seung Yeo
This workshop is an introduction to
fundamental elements of digital audio signal processing, such as
spectra, the Discrete Fourier Transform, digital filters, and various
sound synthesis methods. The workshop will consist of half-day
lectures and half-day supervised labs. Lectures will feature
theoretical issues, and will be complemented by hands-on,
step-by-step examples of lab sessions.
MATLAB and Max/MSP
will be used for
in-class demonstrations and lab exercises. As an introductory course,
it is primarily geared for musicians or composers interested in
exploring the basics of audio DSP and their applications to music and
sound. Familiarity with digital audio and advanced calculus will be
helpful, but the lectures and labs will be designed to be suitable
for participants with little engineering experience. This workshop is
also designed to serve as a precursor to the CCRMA Digital Signal
Processing workshop.
Improvisation and
Experimentation: (I&E-SG)
Creative Approaches to Making and
Teaching Music
1week
August 27 - August 31
Mark Applebaum
Composer, improviser, and
instrument-builder Mark Applebaum is a professor of composition at
Stanford University where he teaches courses on electronic music,
instrument building, music theory, composition, and music history,
and directs [sic]—the Stanford Improvisation Collective. In this
multi-faceted course he shares his insight as a teacher and
improviser, demonstrating projects for inspiring creativity and
imagination in music participants, and organizing an improvisation
collective.
The course consists of three
daily
parts: (1) a survey of musical works, ideas, and projects that serve
as tools for leveraging innovation, questioning artistic boundary
conditions, and celebrating the experimentalist's aspiration to
succeed but willingness to fail in search of new musical
orientations; (2) an ongoing presentation on the role of the
"artistic collision" in the sphere of new music and media,
including the presentation of multi-channel sonic works, a detailed
examination of electroacoustic sound-sculptures, and an introduction
to novel means of musical specification; and (3) a laboratory
atmosphere in which participants will create collaborative works,
build instruments, collect sounds in an audio scavenger hunt around
Singapore, and learn to improvise together.
The course is geared toward
participants and teachers alike, composers, performers, computer
musicians, and other individuals aspiring to expand their creativity.
Participants are asked to bring an instrument to perform on: laptop
computer performance is welcome; however participants are especially
encouraged to bring an acoustic instrument or sing (in addition to or
instead of using an electronic instrument). One's prior ability and
experience as an improviser or instrumental virtuoso is welcome but
NOT required: enthusiasm and an open mind is of the highest priority.
As such, this workshop offers an eye-opening, introductory
opportunity for everyone to expand their experiences and abilities.
Physical Interaction Design
for Music
(PID-SG)
2 weeks
September 3 - 14
Michael
Gurevich, Carr
Wilkerson
This
workshop integrates programming,
electronics, interaction design, audio, and interactive music. The
focus will be hands-on applications using sensors and microprocessors
in conjunction with real- time DSP to make music. Specific
technologies will include C programming for Atmel AVR microcontrollers,
PD and/or Max/MSP for music synthesis, and simple
electronic circuits for sensing human gestures. Participants will
design and build working prototypes using a kit that they can take
home at the end of the workshop. The practical component will be
complemented by frameworks for interaction design and for developing
tools to support creative users. The course will be augmented by a
survey of existing controllers and pieces of interactive music. This
workshop is intended for:
- Musicians or composers interested
in exploring new possibilities in interactive music in a hands on and
technical way;
- Educators seeking ways to
incorporate physicality and performance into sound art curricula; •
Anyone looking to gain valuable skills in basic electronics and
real-time systems with a focus on invention;
- Engineers, computer scientists, or
product designers interested in exploring artistic outlets for their
talents and collaborating with performers and composers. The
workshop will consist of half-day supervised lab sessions, and
half-day lectures, classroom exercises and discussions. Classroom
sessions will feature live demos and/or performances of interactive
music and instruments. Participants are encouraged (but by no means
required) to bring their own laptop computers with any music
software/hardware they already use.
WORKSHOPS
IN KOREA
Classes will be taught in
Korean
Introduction
to Sound
Synthesis (ISS-KO)
(with CLM)
1 week
June 25 - June 29
Jun
Kim
This
course
introduces the art of sound synthesis as well as its historical and
compositional techniques.
The
lectures will focus on both the theory and techniques of additive,
subtractive, modulation, wavetable, granular, and physical modeling
synthesis. Using these techniques participants will create
synthesized sounds of traditional instruments as well as sound
effects and their own new timbres.
CLM
(Common Lisp Music) will be used for synthesis tool.
For
more information and to register, please visit Computer
Music Lab.
at
Dongguk University
Introduction to Audio Digital
Signal
Processing for Musicians (DSP-KO)
(with MATLAB and Max/MSP)
1 week
July 2 - July 6
Woon
Seung Yeo
This workshop is an
introduction to
fundamental elements of digital audio signal processing, such as
spectra, the
Discrete Fourier Transform, digital filters, and various sound
synthesis
methods. The workshop will consist of half-day lectures and
half-day
supervised
labs. Lectures will feature theoretical issues, and will be
complemented by
hands-on, step-by-step examples of lab sessions. MATLAB and Max/MSP
will be
used for in-class demonstrations and lab exercises. As an introductory
course,
it is primarily geared for musicians or composers interested in
exploring the
basics of audio DSP and their applications to music and sound.
Familiarity with
digital audio and advanced calculus will be helpful, but the lectures
and labs
will be designed to be suitable for participants with little
engineering
experience. This workshop is also designed to serve as a precursor to
the CCRMA
Digital Signal Processing workshop.
For
more information and to register, please visit Computer
Music Lab.
at
Dongguk University
Music Information Retrieval (MIR)
1 week
July 9 - July 13
Kyogu Lee
This workshop will
cover various topics from low-level signal processing techniques for
feature extraction from audio to machine learning algorithms for high-level
musical metadata extraction in Music Information Retrieval systems. The
workshop will focus on several tasks active in the MIR society such as tempo/beat
tracking, melody/harmony extraction, music similarity and retrieval, cover
song identification, and so on. We will also touch on structural analysis
including music segmentation and summarization. The focus will be made
on the raw audio processing, but symbolic data processing will also be
discussed. Frequent references will be made to the rich literature found in
the Proceedings of ISMIR (International Symposium on Music Information
Retrieval), IEEE ICASSP (International Conference on Acoustics, Speech,
and Signal Processing), and other related proceedings/journals.
The Workshop will consist of half-day lectures followed by half-day supervised lab
sessions, when the participants will be implementing algorithms in
MATLAB.
*Prerequisites: familiarity with MATLAB, introductory knowledge of
digital signal
processing
For more information and to register, please visit : Yonsei University