CCRMA

CCRMA Summer Workshops 2007 
GENERAL INFORMATION
The Center for Computer Research in Music and Acoustics offers intensive programs where top educators and researchers from the fields of music, engineering, and computer science will present a detailed study of specialized subjects. The workshops are one or two week programs and this year are offered in 6 different locations worldwide. The workshops are open to the public.  Each day begins at 9:00 am and ends at 5:00 pm with an hour for lunch on your own. 

IMPORANT NOTE
All workshop offerings subject to change or cancellation based on enrollment

TUITION AND FEES
Course tuition and fees will vary by location. Workshops located at CCRMA will be $650 for one week and $1200 for two weeks.  Fees may be associated for lab material.

ACADEMIC CREDIT
No academic credit is offered for participation in the workshops.

HOUSING
Housing costs are not included in the course fee. Stanford Campus housing is available for the summer workshops held at CCRMA through the Stanford University Conference Office. Please note housing is only available up to August 26, 2007.
http://summerhousing.stanford.edu

DIRECTIONS
Directions to the CCRMA Workshop held at the Knoll, 660 Lomita Drive, Stanford, CA can be found at http://www.stanford.edu/home/visitors/maps.html.

PARKING
Parking costs are not included in the course fee.  Parking information can be found at the Stanford Parking and Transportation website:
http://transportation.stanford.edu/

REGISTRATION
Resigtration will be handled separately for each location.  All workshops held at CCRMA require a $150 Non-Refundable Registration Fee.
Register for the workshops at CCRMA here


SUMMER WORKSHOP CONTACT

Tricia Schroeter
CCRMA Administrator
660 Lomita Drive
Stanford University
Stanford, CA  94305-8180
650-723-4971 x320
650-723-8468 (fax)
tricia@ccrma.stanford.edu
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WORKSHOP CALENDAR

PID
ISS
DSP
MIR
CCL
PAC
DAE
I & E
Stanford
June 25 - July 6

July 9 - 20

July 23 - August 3
August 13 - 17
August 20 - September 1

Mexico


August 6 - 17





Singapore
September 3 - 14

August 20 - 24




August 27 - 31
Korea

June 26 - 29
July 2 - 6
July 9 -13




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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:

 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.

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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

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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:

 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.

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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.

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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/


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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.

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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.

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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:

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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

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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
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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
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