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Center for Computer Research in Music and Acoustics

CCRMA Open House 2018

We are in the midst of planning our Open House, which will be held on Friday March 2, 2018. Join us as we present lectures, hands-on demonstrations, posters, and musical performances of recent CCRMA research. Come explore the historic Knoll and see what we've been cooking up! The Open House will run from 10am-noon, and 2-5pm. The detailed schedule and list of events are being ironed out now, so keep your eyes on https://ccrma.stanford.edu/ccrma-open-house for the latest info on what will be on offer. Hope to see you there!

Upcoming Events

One Day Faust Workshop With Yann Orlarey: Faust and Furious!

Date: 
Sat, 01/13/2018 - 9:30am - 5:30pm
Location: 
CCRMA Classroom
Event Type: 
Other
Faust and Furious is a one day FREE workshop on the Faust programming language. It will take place at CCRMA on January 13th, 2018.
FREE
Open to the Public

Weston Olencki and Eric Wubbles - New Works For Piano, Trombone, and Electronics

Date: 
Sat, 01/13/2018 - 7:30pm - 9:00pm
Location: 
CCRMA Stage
Event Type: 
Concert
Composer/performers Weston Olencki and Eric Wubbels will present new work written by and for the duo. The two works explore shared concerns of virtuosity, synchronization, and hybridization using languages developed through intensive long-term collaboration and friendship.

Program:

Weston Olencki - recasting [2016-18], premiere; prepared piano, transducers, synthesizers, electronics, objects
Eric Wubbels - contraposition [2016-17]; trombone + prepared piano

Bios:
FREE
Open to the Public

Modeling fine time structure in the brain

Date: 
Fri, 01/19/2018 - 10:30am - 12:00pm
Location: 
CCRMA Seminar Room
Event Type: 
Hearing Seminar
We really don't know how auditory *information* is represented in the brain. The easiest approach relies on the rate profile, simply a measure of how fast a group of neurons is firing. But the rate profile ignores a lot of information in the exact timing of each spike.  And at a higher level there are oscillatory representations. All of these representations can be used to encode information, but which is most important and leads to the best model of auditory perception?
FREE
Open to the Public
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CCRMA's Online Classes

CCRMA currently offers several online courses:

Chris Chafe "ONLINE JAMMING AND CONCERT TECHNOLOGY"

Perry Cook and Julius Smith "PHYSICS-BASED SOUND SYNTHESIS FOR GAMES AND INTERACTIVE SYSTEMS"

Jay LeBoeuf "CAREERS IN MEDIA TECHNOLOGY"

Xavier Serra and Julius Smith "AUDIO SIGNAL PROCESSING FOR MUSIC APPLICATIONS"

Matt Wright (with David Zicarelli) "PROGRAMMING MAX: STRUCTURING INTERACTIVE SOFTWARE FOR DIGITAL ARTS"


Recent Events

Elisabetta Chicca on spike-based learning

Date: 
Thu, 12/07/2017 - 5:00pm - 5:50pm
Location: 
CCRMA Seminar Room
Event Type: 
Hearing Seminar
Spike...Spike.....Spike..Spike........Spike.  That's how the brain communicates. But how do you spikes help you learn? And more importantly, how do you modify a spiking network to learn new things (like speech and music)? The colloquial rule is "those who fire together, wire together" but in practice you need causality. A more realistic learning model is called spike-timing-dependent plasticity, where a particular neural connection is strengthened when an input spike immediately precedes the output spike. An input spike must happen before the output.  This is the backprop, for those of you from the machine-learning or DNN world, of the real neural world.
FREE
Open to the Public

Weighing acoustic factors in music and language during development

Date: 
Fri, 12/01/2017 - 10:30am - 12:00pm
Location: 
CCRMA Seminar Room
Event Type: 
Hearing Seminar
Christina M. Vanden Bosch der Nederlanden will be talking about the differences between speech and music when we develop our auditory brains. They seem pretty different to us now, but how do our young brains parse the cachophony of sounds and decide that some sounds are meant to be recognized as words, and other sounds are just to make us feel good.  Or are they both?

Who: Christina M. Vanden Bosch der Nederlanden
What: Weighing acoustic factors in music and language during development
When: 10:30AM on Friday December 1, 2017
Where: CCRMA Seminar Room, top floor of the Knoll at Stanford
Why: How do we learn the meaning (or not) of sounds??
Open to the Public

Séverine Ballon: Works for Cello and Multichannel Electronics

Date: 
Tue, 11/28/2017 - 7:30pm - 9:00pm
Location: 
CCRMA Stage
Event Type: 
Concert
Séverine Ballon presents an evening of works for solo cello and cello with multichannel electronics. Her work focuses on regular performance of key works of the cello repertoire, as well as numerous collaborations with composers; in addition, her researches as an improviser have helped her to extend the sonic and technical resources of her instrument. She studied the cello at the Hochschule für Musik in Berlin and in Lübeck with Joseph Schwab and Troels Svane. During 2004-05, she was an academist at the Ensemble Modern (Internationale Ensemble Modern Akademie). She perfected her contemporary cello technique with cellists Siegfried Palm, Pierre Strauch, and Rohan de Saram.
FREE
Open to the Public

James A. (Andy) Moorer: The Future of Technology - Looking Forward by Looking Back

Date: 
Mon, 11/27/2017 - 5:30pm - 7:00pm
Location: 
CCRMA Classroom [Knoll 217]
Event Type: 
Guest Colloquium
In 2000, the author published an article entitled "Audio in the New Millennium", using the author's experience to project 20 years into the future. Today we are 17 years into that projection. Comparisons of the state of the art with the projections lead to some startling observations with profound implications for the future of the relation between humans and technology. For instance, it is not hard to see that audio is the most powerful and critical medium today - more ubiquitous than even television. It was thought originally that television would entirely replace radio, but now we rely on radio to talk to our friends and stream our music, relegating television to the home or perhaps the sports bar.
FREE
Open to the Public
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Recent News

Oakum - Eoin Callery

Released from behind the mixing console CCRMA's Concert Coordinator Eoin Callery has been set free to make an old-timey CD for Bay Area Label Eh? Records. Enjoy some amplified violin bow, guitar, and lots of Supercollider controlled feedback, all available on a small shiny disc and in a new fangled digital Bandcamp form.





File Attachment: 
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Jonathan Berger Première

Congratulations to our very own Jonathan Berger for a terrific write-up of the première of a new piece!

"Classical musicians face enormous expectations when they play a standard repertory work. Listeners have strong feelings about favorite pieces, even when they are open to fresh interpretive approaches.

The stakes are even higher with a premiere. Performing a new piece becomes an act of advocacy to pull an audience in.

CCRMA Adjunct Professor Pierre Divenyi - Spatial modulation: Hearing the environment - ICA 2016 Buenos Aires

File Attachment: 
application/pdf iconica-2016-paper.pdf

Mystery of 101-year-old master pianist who has dementia

Way to go, Dr. Selfridge-Field! Very interesting article about her work with master musicians suffering from dementia.

From the article: At first glance, she was elderly and delicate – a woman in her 90s with a declining memory. But then she sat down at the piano to play. “Everybody in the room was totally startled,” says Eleanor Selfridge-Field, who researches music and symbols at Stanford University. “She looked so frail. Once she sat down at the piano, she just wasn’t frail at all. She was full of verve.” Read more here...

Congratulations Guggenheim Fellows Jonathan Berger and Ge Wang!

 
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Winter Quarter 2018

101 Introduction to Creating Electronic Sound
150
Musical Acoustics
192B Advanced Sound-Recording Technology
220B Compositional Algorithms, Psychoacoustics, and Computational Music
250A Physical Interaction Design for Music
253 Symbolic Musical Information
319 Research Seminar on Computational Models of Sound Perception
320B Introduction to Audio Signal Processing Part II: Digital Filters
422 Perceptual Audio Coding

 

 

 

   

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