Keynote Speaker: Stefania Serafin

Multisensory Experiences for Hearing Rehabilitation

(details below)

Lecture Schedule

(details below; Zoom link: https://stanford.zoom.us/j/92652367370?pwd=UWlxcm80SmtKQTY1cVJ0eWd5VUhEZz09)

9:30-9:40: Prateek Verma, Jonathan Berger, Chris Chafe, "Audio Understanding and Room Acoustics in the Era of AI"
9:45-9:55: Nicholas Shaheed, "Ganimator: Live, Interactive Animation With Generative Adversarial Networks"
10:00-10:10: Nils Tonnätt, "Simulating the Scalability of Audio over IP Networks"
10:15-10:25: Pat Scandalis, Nick Porcaro, Julius Smith, Jordan Rudess, "MPE/MIDI (MIDI Polyphonic Expression) for Instrument Creators"
10:30-10:40: Ge Wang, Kunwoo Kim, "Project VVRMA (CCRMA in VR): Adventures in Computer Music Land "
11:00-11:10: Romain Michon, Chris Chafe, Fernando Lezcano-Lopez, Julius Smith, Dirk Roosenburg, Mike Mulshine, Tanguy Risset, Maxime Popoff, "PLASMA: Pushing the Limits of Audio Spatialization with eMerging Architectures"
11:15-11:25: Hongchan Choi, "Web Music Technology: Now and Where To?"
11:30-11:40: Barbara Nerness, Tysen Dauer, Takako Fujioka, "Pauline Oliveros’s Investigations Into the Effects of Sonic Meditations on Behavior and Neurophysiology"
11:50-12:20: Stefania Serafin, Emma Nordahl, "Multisensory Experiences for Hearing Rehabilitation"
12:30-12:40: Nick Porcaro, Julius Smith, Pat Scandalis, "First sighting of GeoShred on Linux"
12:45-12:55: Diana Deutsch, "The 'Phantom Words' Illusion"

Concert Sequence

Concert is 4-6pm.  (details below; streaming link: http://ccrma.stanford.edu/live )

1. Fernando Lopez-Lezcano, "The Love Songs of Flying Dinosaurs (excerpts)"
2. Joudi Nox, "Joudi Nox Performance"
3. Eoin Callery, Jonathan Abel, Jelena Perišić, Kyle Spratt, "Slow Burn In Perpetuity: Music from the Room of Eternal Madrigals"
4. Chris Chafe, Hans Kretz, members ot the Soundwire ensemble, "Soundwire"
5. Patricia Alessandrini, Marisol Montalvo, Schallfeld Ensemble, Konstantin Leonenko, "Ada's Song for soprano, ensemble and Piano Machine"
6. Constantin Basica, Audiovisual Performance Students, "Audiovisual Performance"
7. Kimia Koochakzadeh-Yazdi, "Marsbar x Klub"
8. Douglas McCausland, "why do you distort your face?"

Program / Schedule / List of Projects on Display

Ada's Song for soprano, ensemble and Piano Machine

Patricia Alessandrini, Marisol Montalvo, Schallfeld Ensemble, Konstantin Leonenko

Ada's Song (2019) for soprano, ensemble and Piano Machine was commissioned by the Barbican for a tribute to Ada Lovelace. The Piano Machine mechanically excites the strings of the piano with motors, such that the amplitude of each note can be varied over time. In Ada's Song, the Piano Machine "learns" from the musicians’ interpretation of the score – composed using AI processes – over the course of the performance and responds accordingly. The part of the soprano incarnating Ada Lovelace and her texts is also generated in real time according to the ensemble’s interpretation. This recording is from the 2021 AIMC.

Musical Offering. Location: Stage (317), Time: Concert (4:00-6:00) piece 5/8

Audiovisual Performance

Constantin Basica, Audiovisual Performance Students

Over the course of two and a half weeks in September, the students in the Audiovisual Performance Arts Intensive class worked (hard!) on several projects. They explored sound-image relationships, physical interaction with audio and video material, as well as remixing audiovisual compositions and performing with their digital doppelgängers. This performance showcases a few of their final projects.

Works/Performances by Reyan Choeb, Na Young Son, Michael Murakami, Diego Perez.
Teaching Team: Constantin Basica, Hassan Estakhrian, Barbara Nerness.

Performance. Location: Stage (317), Time: Concert (4:00-6:00) piece 6/8

Two Characters To Dance Them All

Celeste Betancur

Using a conceptual mini language called CQenze (sequenced) I invite the audience to improvise without any introduction, tutorial or indication. Just a list of prerecorded samples an two characters (+ or -).
Multiple lines of code will act as sound sources and we will end up with a collaborative piece of music.

Collective Improvisation. Location: Studio D (221), Time: 2:00-4:00

Slow Burn In Perpetuity: Music from the Room of Eternal Madrigals

Eoin Callery, Jonathan Abel, Jelena Perišić, Kyle Spratt

Simple probability processes select and trigger playback of hundreds of one-second clips of madrigals by Carlo Gesualdo. When a clip is selected for playback the amplitude of the playback is altered to match the amplitude envelope of a different clip. The results of the probability processes and the envelope-following are then reverberated with impulse responses generated from the same madrigals: acting as a virtual room constructed from musical materials rather than physical geometries. For best online results, use headphones or speakers with screen brightness set to full. For more details about auto reverberation processing see:v http://eoincallerysound.files.wordpress.com/2022/10/slow-burn-blurb.pdf and http:// www.aes.org/e-lib/browse.cfm?elib=21503

Audio/Video Offering. Location: Stage (317), Time: Concert (4:00-6:00) piece 3/8

ChuckTrip

Chris Chafe

A plugin called "ChuckTrip" is a chuck chugin accessible from chuck scripts. The plugin connects a bi-directional real-time audio stream to JackTrip hub servers. A script can fire off multiple connections to different servers and share audio between them. With a bit of DSP programmed on the chuck side, these servers can become reflection points in an interconnected mesh. The network becomes a worldwide reverberator. It's inputs come from the chuck script and its qualities can be time-varying.

Poster/Demo. Location: 3rd floor work area (305), Time: 2:00-4:00

Soundwire

Chris Chafe, Hans Kretz, members ot the Soundwire ensemble

The Soundwire Ensemble is a group of performers engaged in online music-making. The performance will be an improvisational piece from the group. Students use JackTrip software and connect with each other from home. JackTrip software, developed at Stanford, provides the means for ultra-low-latency, uncompressed sound transmission for live music-making. Remote ensemble rehearsals, coaching, music lessons, jamming and concert broadcasting make use of the technology. The open-source project continues to develop, especially in its ability to support large ensembles of home-to-home connections.

Live Performance. Location: Stage (317), Time: Concert (4:00-6:00) piece 4/8

Web Music Technology: Now and Where To?

Hongchan Choi

Since the journey of web music technology started a decade ago, today we see wonderful things are happening everywhere - music production, music education, teleconference, games, accessibility, and often times in conjunction with AI/ML. In this brief overview, the current state of affairs and exciting use caess will be discussed. The presentation will also review problems that the web audio community is facing and how they can be resolved for us to move forward.

Lecture slides: https://bit.ly/webaudio-coh-2022

Lecture. Location: Stage (317), Time: 11:15-11:25

Neuromusic Science Posters and Task Demo

Hannah Choi, Kunwoo Kim, Barbara Nerness, Aaron Hodges, Takako Fujioka

We will display scientific reports on our recent experiments looking into brain and behavior about music perception. Posters and task demonstrations are presented in the lab. Open discussions with investigators on our preliminary results.

Poster presentations and discussion. Location: Neuromusic Lab (103), Time: 10:30-12:00, 2:00-4:00

The 'Phantom Words' Illusion

Diana Deutsch

To experience the 'Phantom Words' illusion, sit in front of two spatially separated loudspeakers. Each track consists of two words, or a single word composed of two syllables, and these are repeated over and over again. The same sequence is presented through both loudspeakers, but the tracks are offset in time so that when the first sound (word or syllable) is coming from the speaker on the left the second sound is coming from the speaker on the right; and vice versa. People begin to hear many different words and phrases, that often reflect what is on their minds.

sound examples are available here: https://deutsch.ucsd.edu/psychology/play.php?i=6211

Lecture/Demo. Location: Stage (317), Time: 12:45-12:55

Stair “A” Installation

Nima Farzaneh

Stair A installation is an ongoing study of Knoll's building reverberant stairwell to understand its acoustical properties and create sonic experiences that are layered to its actual function - vertical circulation.

The vertical shaft, reflective surfaces, and twisted stair ramps, along with the upward or downward movement, create opportunities for musical explorations and break the static relationship between architectural form and the anticipated events within it. In this setting, the visual obscurity of sound sources is used to trigger one's imagination to expand beyond the reality of space. In addition, the room's resonant frequencies are referenced and intensified in this sonic experience. The result is a superposition of various sound objects and a different sonic landscape on this confined 3Dimensional space.

. Location: Stairwell "A" (which connects rooms 103, 201, 305), Time: 2:00-4:00

Stimuli Jukebox

Takako Fujioka, Marise van Zyl, Hannah Choi, Barbara Nerness

Many experiments happen in the Neuromusic Lab each year, each involving some kind of musical stimuli (sounds that the subjects listen to) and/or musical task (music that the experiment asks the subjects to perform). Throughout the day we will play an assortment of such sounds, to give some of the sonic flavor of the experiments that take place here.

Sounds to Hear. Location: Neuromusic Lab (103), Time: 10:30-12:00, 2:00-4:00

Seminar in Music Perception and Cognition

Takako Fujioka, Matthew Fitzgerald, Students of Music 351A

In Professor Fujioka's course Music 351A "Seminar In Music Perception and Cognition", students study and discuss recent research as well as design and implement experiments. Prof. Fujioka has kindly agreed to open this week's seminar to the general public as part of the Open House; feel free to drop in as long as you come and go quietly.

Open Class Session. Location: Seminar Room (315), Time: 1:30-3:20

Instrument Design for The Furies: A Laptopera

Anne Hege, Camille Noufi, Elena Georgieva, Ge Wang

We present the creation of The Furies: A LaptOpera, a new opera for laptop orchestra and live vocal soloists that tells the story of the Greek tragedy Electra. We outline the principles that guided our instrument design with the aim of forging direct and visceral connections between the music, the narrative, and the relationship between characters in ways we can simultaneously hear, see, and feel. Through detailed case studies of three instruments—The Rope and BeatPlayer, the tether chorus, and the autonomous speaker orchestra—this paper offers tools and reflections to guide instrument-building in service of narrative-based works through a unified multimedia art form. Read our paper here: https://nime.pubpub.org/pub/gx6klqui/release/1?readingCollection=bd12ca41

Poster. Location: Second-floor hallway (207), Time: 2:00-4:00

Designing for Empathetic Listening Interactions

Aaron Hodges, Lloyd May, So Yeon Park, Blair Kaneshiro, Jonathan Berger

Listening experiences among people using assistive hearing technologies, such as hearing aids and/or Cochlear Implants (CIs), are diverse and impacted by various physiological and social factors (Prevoteau, 2018). Given individual differences in such factors and in subjective preferences related to music enjoyment, there is a need for customizable solutions to improve music listening experiences for assistive technology users.

We conduct an exploratory study to gain insights into the empathetic processes involved in audio mixing and appreciation. The study recruited audio engineers (AE) to mix audio clips in three different rounds through involving a CI simulator, feedback from an expert listener (ELs), and mixing feedback from another professional AE.

First insights emerging during ongoing data collection highlight common strategies leading to improved experience such as reduction of number of instruments, compression, and filtering; as well as the impact of correspondence and CI simulation on AE mixing strategies. Future work includes CI user-led in-person mixing sessions and the development of a simplified music personalization interface.

Poster/Demo. Location: Ballroom (216), Time: 2:00-4:00

DuoRhythmo: A Collaborative Accessible Digital Musical Interface (CADMI) For People With ALS (PALS)

Balazs Ivanyi, Truls Bendik Tjemsland, Christian Tsalidis, Lilla Toth, Marcus Dyrholm, Scott Naylor

We present DuoRhythmo, a collaborative accessible digital musical interface (CADMI) that gives people living with Amyotrophic Lateral Sclerosis (PALS) the experience of remotely and collaboratively creating music in real-time. We designed DuoRhythmo specifically to be utilized for eye-tracking and optimized it for head- and computer mouse interaction, as well using a user-centered design approach. Together with five PALS, we completed a mixed-methods evaluation to assess the accessibility of DuoRhythmo. Participants described the CADMI using the Microsoft Desirability Toolkit (MDT) as fun, empowering, accessible, easy to use, engaging, and stimulating and gave an average System Usability Scale (SUS) score of 79.5. We suggest further research on remote collaboration within the field of accessible digital musical instruments (ADMIs) using the term CADMI to explore the positive effects of collaborative music-making on the quality of life of PALS.

Poster/Demo. Location: Ballroom (216), Time: 2:00-4:00

Museum of Interiorities (VR Prototype)

Jarosław Kapuściński, OpenEnded Group (Paul Kaiser, Marc Downie)

Entering the Museum of Interiority, you will encounter three exhibits in succession: three vitrines. But since each one grows out of the gestures of a drawing, you must make that drawing first, using the tool in your hand to inscribe a few white chalk-lines within the outlines of a vitrine that faces you. As you draw, your strokes are matched by phrases of piano music, which travel along the same trajectories as your gestures. When the music concludes, so too does your drawing. Now it is the artwork that gestures back to you —with further lines of piano music seeming to breathe the formation of the intricate visual structure that builds itself in relation to your drawing. You may explore this complex geometry more fully by walking around it or even right through it. And soon you discover that the tool in your hand now offers you a magnifying glass. As you peer through it, you find that not only does it magnify the lines, but also unfolds those lines into a still more intricate display, sometimes set into motion.
Each vitrine has its own distinct surprises, which lie in wait for you.

VR Experience. Location: Control Room (127), Time: 2:00-4:00

Speleoacoustics in Southern Ardeche for Auralizations and Music Experimentation: Preparing for Research in Chauvet Cave

Luna Valentin, Miriam Kolar

Caves are archetypically considered to be large-volume and therefore lengthy-reverberating, resonant spaces, and have not been given much consideration in terms of the enormous variety of acoustical environments that they contain. The measurements we present here reflect methodological propositions for fieldwork relating spatial acoustics to human sensory experience and associated anthropological concerns in caves. Further, our study was conducted in the context of archaeoacoustics research to offer virtual access to cultural heritage spaces via experiential simulations that create new spaces for musical experimentation.

This poster we first presented in June 2022 at SMC-22 illustrates 2021 speleoacoustics measurements we made in limestone caves in the Ardeche Valley of south-central France, in preparation for fieldwork in Chauvet Cave.

Poster: https://ccrma.stanford.edu/~luna/Chauvet/ChauvetPoster.pdf

Poster. Location: 3rd floor work area (305), Time: 2:00-4:00

Marsbar x Klub

Kimia Koochakzadeh-Yazdi

Marsbar x Klub is an irony of my life as an Iranian.

Musical offering. Location: Stage (317), Time: Concert (4:00-6:00) piece 7/8

Antematter | Catharsis

Angela Lee, Dirk Roosenburg, Samantha Firoze Sethna

Antematter, a word from the Dictionary of Obscure Sorrows, is the dream versions of things in your life. This work is an ambisonic sound installation (14.3 system) creating a 3-dimensional, 360-degree sound field that fully immerses the listener. We gathered compositions from different artists all over the world in an effort to facilitate co-creation of the sonic landscape of Catharsis--a geometric structure that is a physical manifestation of a hyperbolic space functioning as an art gallery amphitheater and sanctuary, previously featured at Burning Man 2022.

Featuring works by:
Amanda Gregory
Brandt Brauer Frick
Carlino Cuono II
Eduardo Castillo
Eric Oberthaler
Elena Georgieva
Moritz Fassbender
Stimming

Installation. Location: Listening Room (128) ?, Time: 2:00-4:00

The Love Songs of Flying Dinosaurs (excerpts)

Fernando Lopez-Lezcano

This selection of excerpts from "The Love Songs of Flying Dinosaurs" will explore for about 10 minutes some of the synthesis and processing workflows of the pandemic-born Applesauce Modular Mark V eurorack modular synthesizer (and maybe some of his friends). More details can be found here:

https://ccrma.stanford.edu/~nando/music/flying_dinosaurs/

Musical offering. Location: Stage (317), Time: Concert (4:00-6:00) piece 1/8

Live Performance Modular Synth Workflows

Fernando Lopez-Lezcano

During the pandemic isolation I started building a new modular synthesizer (Eurorack format), returning to my analog roots. My quest for understanding electronic sound started as I designed and built El Dinosaurio more than 40 years ago. I have exploring workflows suited to live performance in my new synth, trying to find my own voice in the infinite connection possibilities of the modules I selected and bought. This demo will explore and explain some of the workflows, how and why they came to be part of a set of pieces I have been performing for a while.

Poster/Demo. Location: Studio E (320), Time: 2:00-4:00

Free-Bees

Lloyd May, Alex Williams

A reinvention of the classic brick-breaker game with hives, honey, and heavy duty chains!

https://store.steampowered.com/app/1480130

Game. Location: game zone (Classroom 217), Time: 2:00-4:00

why do you distort your face?

Douglas McCausland

Commissioned by the Society for Electro-Acoustic Music in the United States (SEAMUS), why do you distort your face? is a chaotic and visceral piece composed for real-time electronics performer and video, it makes use of a bespoke electronic performance interface (MH2 / CH2).

Musical Offering. Location: Stage (317), Time: Concert (4:00-6:00) piece 8/8

PLASMA: Pushing the Limits of Audio Spatialization with eMerging Architectures

Romain Michon, Chris Chafe, Fernando Lezcano-Lopez, Julius Smith, Dirk Roosenburg, Mike Mulshine, Tanguy Risset, Maxime Popoff

Plasma (Pushing the Limits of Audio Spatialization with eMerging Architectures) is an associate research team gathering the strength of CCRMA and of the Emeraude team at INRIA (French National Institute for Research in Digital Science and Technology). It aims at (i) Exploring various approaches based on embedded systems towards the implementation of modular audio signal processing systems involving a large number of output channels (and hence speakers) in the context of spatial audio. (ii) Making these systems easily programmable. In other words, we want to create an open and accessible system for spatial audio where the number of output channels is not an issue anymore. In this talk, current research carried out in the context of this team is presented.

Lecture slides: https://ccrma.stanford.edu/~rmichon/talks/ccrma-oh-22.pdf

Lecture. Location: Stage (317), Time: 11:00-11:10

Inner Transmissions

Julia J Mills

Inner Transmissions is a sound installation in three formats: physical, browser-based, and headset VR. At the physical installation site, the Papua New Guinea Sculpture Garden, listeners used radios to tune in to the inner worlds hidden within the sculptures. The browser-based version uses 360 photo and video, as well as radio transmission recordings, to recreate the physical experience in 2D. The headset VR version explores the affordances and limitations fully virtual outdoor spaces give us.

Project website: https://ccrma.stanford.edu/~jjmills/VFT

VR Sound Installations. Location: VR Lab (107), Time: 2:00-4:00

No-Input Mixing Board

Josh Mitchell, You, dear reader!

This is a completely normal, if slightly beat-up, audio mixing board. It’s meant to fine-tune incoming sounds from live musicians, and the manual contains sections on reducing feedback in live situations. What if we ignore those instructions entirely, and use the mixer to make feedback instead? To do this, we can simply plug some of the mixer’s outputs back into a few of its inputs, and now we have a pretty neat instrument played by fine-tuning feedback! This “No-Input Mixing Board” was pioneered as a musical instrument by Toshimaru Nakamura in the 90’s, and today it’s fairly common in experimental electronic and noise music performances.
Note that this instrument can get very loud, so be careful with the mixer’s headphone volume knob, marked with masking tape on the mixer. If you’d like to try changing the feedback paths in the mixer, its outputs are marked with masking tape as well. Only connect outputs to inputs, not other outputs! Lastly, the “insert” jacks on channels 1-8 work as individual outputs for those channels, but only if you plug a cable halfway in so that you feel one click, not two.

Pettable musical instrument. Location: Max Lab (201), Time: 2:00-4:00

near and far

Mike Mulshine

near and far is an interactive sound and light installation that explores how proximity and distance influence our relationships with spaces, people, and things. Observers are invited to explore the area in front of a hanging array of speakers. A set of three lights with pull-strings ask to be turned on and off. Sensors embedded in the environment (on the speakers and lights) map movements and interactions to sound, providing observers true agency to explore and co-create the sonic experience.

The sonic content is made up of recordings of various musical experiments across several genres, recordings of songs and live performances, recordings of found sounds (like fog horns), and real-time synthesized sonic landscapes of clicks and held tones.

documentation video: https://youtu.be/02L4c2EdCOk

Interactive sound installation. Location: Garage (outside Max Lab/201), Time: 10:00-3:00

Pauline Oliveros’s Investigations Into the Effects of Sonic Meditations on Behavior and Neurophysiology

Barbara Nerness, Tysen Dauer, Takako Fujioka

In winter 1973, composer Pauline Oliveros led the Meditation Project, a ten-week class at the University of California, San Diego (UCSD) where participants practiced her Sonic Meditations - combining meditation with participatory and improvisatory compositions for imagining, remembering, making, and listening to sounds. Oliveros collected behavioral and electroencephalography (EEG) data before and after the class but never secured funding for analysis. Because research at the time linked meditation with neurophysiological changes, she hypothesized that the class would increase neural alpha power oscillations and improve musicianship and creativity (Oliveros, 1984).
We acquired high-resolution scans of the original paper EEG recorded at two occipital sites from UCSD Special Collections, along with behavioral data (Seashore Measurement of Musical Talent and Betts Vividness of Imagery Scale) and diaries from the 20 participants. We analyzed participants’ data to understand the results of her project and examine how her hypotheses were motivated by the available research in the 1970s and how they intersect with recent findings in meditation and neurophysiology.

Lecture slides: https://bit.ly/3z1noEx

Lecture. Location: Stage (317), Time: 11:30-11:40

Evaluating Affect Perception with Speech and Speech- derived “Music”

Camille Noufi, Dan Bowling, Jonathan Berger, Karen Parker, Michael Frank

We propose a method to combine the vocal source signal, captured via electroglottography (EGG), with the average vocal tract filter response captured via speech audio recording to synthesize a new audio signal that lacks phonetic cues encoding meaning but preserves paralinguistic cues encoding affect. This novel method is designed to capture as much paralinguistic detail regarding the vocal production system as possible, maximizing retention of the acoustic features that underly affect transmission. To evaluate this method, we collected dimensional ratings of perceived affect (valence, arousal and dominance) for the original speech audio and the transformed vocal signals from online listeners. We find that variation between affect ratings for speech and transformed speech audio is approximately equal to that within affect ratings for speech alone, indicating that our method effectively preserves speech affect while removing phonologic meaning. See https://ccrma.stanford.edu/~cnoufi/demos/TAVA-LanguagePerceptionRemovalE... for audio examples and link to full paper.

Poster. Location: Second-floor hallway (207), Time: 2:00-4:00

Representation Learning for Interpretable Description of Voice Quality

Camille Noufi

Voice quality analysis measurements (VQMs) have served as valuable and interpretable mid-level features that can be continuously measured from speech audio and are used to characterize and describe modes of vocal phonation. These measurements have been used to automatically classify phonation modes of the singing and speaking voice. However, VQMs have yet to be leveraged as conditioning tokens for controllable voice synthesis alongside other vocal attributes such as pitch, rhythm, and speaker embeddings. This is likely because VQMs are not synthesis parameters themselves, as well as often only perceptually meaningful when interpreted as a collection. Thus a representation of vocal phonation learned by a generative model via these VQMs could serve as a better alternative for a conditioning voice quality token. We develop a low-dimensional representation of these VQMs that is learned through a generative modeling process. We show that the VQMs can be embedded into a representation space having as few as 2 dimensions that is interpretable and also yields good reconstruction after sampling.

Poster. Location: Second-floor hallway (207), Time: 2:00-4:00

The Role of Persona in Natural and Synthesized Voice

Camille Noufi, Lloyd May, Jonathan Berger

The inclusion of voice persona in synthesized voice can be significant in a broad range of human-computer-interaction (HCI) applications, including augmentative and assistive communication (AAC), artistic performance, and design of virtual agents. We propose a framework to imbue compelling and contextually-dependent expression within a synthesized voice by introducing the role of the vocal persona within a synthesis system. In this framework, the resultant ‘tone of voice’ is defined as a point existing within a continuous, contextually-dependent probability space that is traversable by the user of the voice. We also present initial findings of a thematic analysis of 10 interviews with vocal studies and performance experts to further understand the role of the vocal persona within a natural communication ecology. The themes identified are then used to inform the design of the aforementioned framework.

Poster. Location: Second-floor hallway (207), Time: 2:00-4:00

Sunday Nights (Interactive Music Video Game)

Joudi Nox

When I write music, I first write it for me to get something out of my system, then it becomes something relatable for other people to connect with. I find myself creating an experience for my audience. So here it is, the most intimate close experience to one of my songs. You'll get to feel and experience exactly what I felt when I wrote "Sunday Nights". Enjoy!

Game. Location: game zone (Classroom 217), Time: 2:00-4:00

Joudi Nox Performance

Joudi Nox

I write songs every day. It's my way to cope with life and how much people piss me off. I do write happy song...sometimes...rarely. But I always end up writing the angriest songs in the most cute subtle tunes. I hope you'd be able to relate and enjoy letting off some steam with my performance.

Performance. Location: Stage (317), Time: Concert (4:00-6:00) piece 2/8

First sighting of GeoShred on Linux

Nick Porcaro, Julius Smith, Pat Scandalis

GeoShred, http://www.moforte.com after 7 years of running only on iOS has been partially converted to JUCE https://juce.com and runs on macOS and Linux both as a standalone plugin and as a VST3 plugin. A live demonstration of this work-in-progress will be given. New physically modeled traditional Indian instruments from Naada, one of our new collaborators in Bangalore, India, including a bansuri, veena, pan flute, saarangi and many others will also be shown for the first time.

Lecture slides: https://ccrma.stanford.edu/~nick/FirstSightingOfGeoShredOnLinux.pdf

Lecture. Location: Stage (317), Time: 12:30-12:40

CCRMA Acoustics Lab Demos and Projects

Mark Rau

Come visit the newly remodeled Acoustics lab (Studio J) and see a few projects! A DIY scanning laser Doppler vibrometer will be running a scanning measurement and scans from previous measurements will be available to see [1]. A self-contained guitar tonewood measurement device will be on display and set up for measurement demos [2]. I will bring the guitar I built in the Max Lab and show admittance measurements made during the construction process [3].

[1] https://asa.scitation.org/doi/abs/10.1121/10.0010962
[2] https://viennatalk2020.mdw.ac.at/program/2022-09-12.html#talk:197636
[3] https://acoustics.org/1amu2-measurements-and-analysis-of-acoustic-guitar...

Demos. Location: Studio J (106), Time: 2:00-4:00

Digital Scores of Polish Music

Craig Stuart Sapp

Two musical score digitization projects will be demoed: A complete set of Fryderyk Chopin first editions published during his lifetime (1.2 million notes: https://chopinscores.org and https://chopin.musicsources.pl/en) and a soon-to-be-published website containing over 20000 scanned scores from archives across Poland, dating between 1600–1900, of which 6000 are fully digitized, consisting of 9+ million notes. The musical and metadata content can be searched online, and the digital scores are available for offline analysis. Both projects are in collaboration with the Chopin Institute in Warsaw, Poland.

Poster/Demo. Location: Ballroom (216), Time: 2:00-4:00

MPE/MIDI (MIDI Polyphonic Expression) for Instrument Creators

Pat Scandalis, Nick Porcaro, Julius Smith, Jordan Rudess

MPE is a MIDI standard for per note expressive control based on the MIDI 1.0 protocol. MPE was initially supported by innovative controllers like the Hakan Continuum, the LinnStrument and the Roli Seaboard. It's now supported in hundreds of music creation tools including controllers, synthesizers and DAWs. This talk is aimed at creators of expressive instruments. and will provide an overview of MPE and how to implement MPE.

Presentation slides: http://www.moforte.com/wp-content/uploads/2022/10/CCRMA-OH22-presentatio...

Video: https://youtu.be/CxUVyDdkrGU

Lecture. Location: Stage (317), Time: 10:15-10:25

Multisensory Experiences for Hearing Rehabilitation

Stefania Serafin, Emma Nordahl

In this talk different research projects from the Multisensory Experience lab at Aalborg University in Copenhagen will be presented (melcph.create.aau.dk). A specific focus will be placed on the collaboration with The Center for Hearing and balance at Rigshospitalet in Denmark (the largest hospital in Denmark). In this collaboration, we use technologies such as custom made haptic interfaces and virtual and augmented reality to help hearing impaired individuals train their listening skills.

Keynote Lecture. Location: Stage (317), Time: 11:50-12:20

Ganimator: Live, Interactive Animation With Generative Adversarial Networks

Nicholas Shaheed

GANimator is a tool in the ChucK programming language for making live, real-time animation using generative adversarial networks (GANs), with an emphasis on algorithmic animation techniques and audio-visual performance. GANs are a class of machine learning frameworks that have been used for high-quality image generation.
While it is possible to run these image-generation models on consumer-grade hardware at framerates that are useful for animation, this requires extensive experience with machine learning libraries, computer graphics, Python, etc. GANimator provides an interface for running these models in real-time, easily making animations through the traversal and manipulation of latent space, and the creation of new sound-image relationships.

https://github.com/nshaheed/GANimator

Lecture. Location: Stage (317), Time: 9:45-9:55

Pianelope

Stephanie Sherriff

Modified piano undergoing further modifications

Work in progress. Location: Max Lab (201), Time: 2:00-4:00

GPU-Accelerated Drum Set Model

Travis Skare

Demonstration of a real-time GPU-based audio synthesizer for a modern drum set. Heterogeneous/simultaneous GPU kernels allow running different types of synthesis for cymbals and shells (modal synthesis, waveguide network). Computationally efficient modal effects are used, e.g. for pitch changes and transient design. A serial effects stage for bus compression is demonstrated and discussed.

Poster/Demo. Location: Ballroom (216), Time: 2:00-4:00

Simulating the Scalability of Audio over IP Networks

Nils Tonnätt

JackTrip needs a test infrastructure. In my master thesis I investigate different solutions for testing the scaling behavior of Audio over IP software using JackTrip as an example. What are special requirements for a test environment to investigate network audio software? What are the advantages and disadvantages of testbeds, simulators and emulators? Is one approach sufficient to achieve all investigation goals? We look at real networks, ns-3, DCE, Dockemu, mininet, and Shadow. With the help of TimeKeeper, we might influence the progression of time.

Lecture. Location: Stage (317), Time: 10:00-10:10

Speleoacoustics in Southern Ardeche for Auralizations and Music Experimentation: Preparing for Research in Chauvet Cave

Luna Valentin, Miriam Kolar

Caves are archetypically considered to be large-volume and therefore lengthy-reverberating, resonant spaces, and have not been given much consideration in terms of the enormous variety of acoustical environments that they contain. The measurements we present here reflect methodological propositions for fieldwork relating spatial acoustics to human sensory experience and associated anthropological concerns in caves. Further, our study was conducted in the context of archaeoacoustics research to offer virtual access to cultural heritage spaces via experiential simulations that create new spaces for musical experimentation.

This poster we first presented in June 2022 at SMC-22 illustrates 2021 speleoacoustics measurements we made in limestone caves in the Ardeche Valley of south-central France, in preparation for fieldwork in Chauvet Cave.

Poster. Location: 3rd floor work area (305), Time: 2:00-4:00

Audio Understanding and Room Acoustics in the Era of AI

Prateek Verma, Jonathan Berger, Chris Chafe

This talk will aim to bridge the gap between signal processing and the latest machine learning research by discussing several applications in music and audio. In the first part of the talk, we will discuss how to do re-reverberation(system identification) at scale. This work now enables hearing music in any concert hall/virtual environment for any music. We use arbitrary audio recorded as an approximate proxy for a balloon pop, thus removing the need for them to measure room acoustics. In the second part, we would talk about how we can use powerful Transformer architectures to do machine listening at scale, and understand learning time-frequency representations different than classic Fourier representations. We showcase basis functions emerging that are different than classic sinusoidal signal with richness discovering all kinds of hand-built signal processing concepts like window functions, onset detectors, sinusoidal signals, and much more.

Lecture. Location: Stage (317), Time: 9:30-9:40

Wild Sound Explorers: Above/Below (2022)

Nick Virzi, Noah Berrie, Poppy Brittingham, Chris Chafe, Crystal Chen, Christine Cheng, Savana Huskins, Idalis Ibrahim, Dave Kerr, Mike Mulshine, Ilinca Popescu, Danny Ritz, Romain Screve, John Whiting

This installation was created as a collaborative project in MUSIC 223-123F: Wild Sound Explorers. It features the use of twelve Zoom H2n recorders and an Aquarian H2a hydrophone, time-synchronized and spatialized around Searsville Lake at Stanford’s Jasper Ridge Biological Preserve. Presented in CCRMA’s Listening Room, the resulting installation allows listeners to experience the natural soundscape of Searsville Lake from thirteen perspectives. The composite field recording is distributed in ambisonics to reflect the spatial position of each microphone in the landscape. Natural sounds recorded around the lake surround listeners from above as those recorded under the water are heard from below.

Installation. Location: Listening Room (128), Time: 2:00-4:00

Project VVRMA (CCRMA in VR): Adventures in Computer Music Land

Ge Wang, Kunwoo Kim

Project VVRMA is being designed as an interactive, audiovisual, fully immersive field trip to a VR reimagining of CCRMA, Stanford’s storied computer music research center. We envision a “VR Exploratorium for Music and Technology”. Proposed learning outcomes include exposing VVRMA visitors to new sounds, new instruments, and the science behind these artful creations. VVRMA is also designed to provide a space to learn about music as a human activity in an age of digital technology. Rather than telling, or even showing, VVRMA will help people experience it for themselves.
Supported by a Stanford Virtual Field Trip Grant, Project VVRMA is an ongoing artful design project at the Stanford VR Design Lab @ CCRMA.

Presentation. Location: Stage (317), Time: 10:30-10:40

VR Design Lab: Ongoing Work

Ge Wang, Kunwoo Kim, Julia Mills, Andrew Zhu Aday, Marise van Zyl

Come check out the VR Design Lab @ CCRMA and a few of its ongoing projects!

Lab Demos. Location: VR Lab (107), Time: 2:00-4:00

The Knob

Ryan Wixen

The Knob is a pseudo-instrument that challenges the player to salvage meaning from random melodic choices. When the Knob is rotated, it plays a random note with an intensity proportional to the speed of the rotation. Each time the rotation changes direction, the Knob starts playing a new random pitch. Despite the way it undermines the player’s melodic intention, its design still has a capacity for expressiveness. The Knob presents a challenge to the performer, pushing them into an alternative mode of thinking about playing an instrument with rhythmic and dynamic but not melodic control.
See: https://youtu.be/V_hj2W39z14

Instrument. Location: Max Lab (201), Time: 2:00-4:00

Inbox

Kathleen Yuan

"Hey -- sorry I missed you. Was there something you wanted to say?" Inbox is a sonified box for messages that may never be delivered, whether they are addressed to a specific person, entity, or something intangible. Anyone can submit an anonymous message on a post-it note, which will add voices to an ambient soundscape emanating from the box. As messages accumulate, the gain will increase to reflect the fullness. Participants may also choose to open the box and read the submissions, which will release the voices. Feel free to leave a message for CCRMA!

Installation. Location: Lobby (116), Time: all day