2003 Winter CCRMA Concert 

Peter Traub is a composer and net artist currently living in the San Francisco Bay Area. He received his Master's in Electro-Acoustic Music from Dartmouth College in 1999. He has composed numerous works of electronic music and several internet-based sound installations. Peter has been a visiting researcher at CCRMA since June of 2002.

Text:
The Diameter of the Bomb - Yehuda Amichai (1924 – 200)

The diameter of the bomb was thirty centimeters
The diameter of its range, seven meters,
With four dead and eleven wounded.
Around these, in a larger circle
Of pain and time, are two hospitals
And one graveyard.

But the young woman who was buried
In her home town
Over a hundred kilometers away
Enlarges the circle.
And the man mourning her death
On distant shores
Makes the entire world a circle.
Not to mention the cry of orphans
Reaching up to God's throne and beyond
Which makes a circle with no end and no God.

(translation: Jonathan Berger)

Jonathan Berger teaches composition and theory at Stanford University. He is currently producing a CD of solo and chamber music for strings (with the St Lawrence String Quartet and Livia Sohn) and a CD of recent computer music together with Mark Applebaum that will feature Jennifer Lane's performance of Diameters. In addition to composing (currently a string quartet) he is working on auditory display of comlpex data and other research projects.

Scattering of names like Achilles, Braiseis or Chryseis can only come from the old world. The probability of selecting such a name while in Ibero-America might well be very odd. This is like choosing the characters for a play or a novel, a login name for haut mail, a password or perhaps a new weather phenomenon in the Caribbean. Nevertheless this name sounds like two syllables barely pitched if whispered but very flexible if shout.  Achilles, Braiseis or Chryseis are expressive while sung in bossa nova or at la cosa nostra.
This is yet another composition for systems which mimic the vibrational properties of a musical sound. In this case Scanned Synthesis developed by Bill Verplank and Max Mathews at CCRMA during the last years of the past century, was used as the underlying material. The process for achieving this timbre was solved by scanning and manipulating several types of springs which give different and time mutant spectra. Control is achieved by mathematical modeling the haptics of the spring.
Scanned Synthesis is based on the psychoacoustics of how we hear and appreciate timbres and on our motor (haptic) abilities to manipulate timbres during performance. It involves a slow dynamic system whose frequencies of vibration are below 15Hz. The system is directly manipulated by motions of the performer. The vibrations of the system are a function of the initial conditions, the forces applied by the performer and the dynamics of the system.
This piece was composed using the Common Lisp Music and Common Music
environments on Linux at CCRMA.

Born in Barranquilla Colombia, Juan Reyes holds degrees in Mathematics and Music Composition. Since 1989 he has co-organized the International Contemporary Music Festival and periodic electro-acoustic and computer music festivals in Bogotá and around the world. He has been professor of art, music and a research associate at La Universidad de Los Andes in Bogotá. Currently at CCRMA in Stanford University, his research topics include physical modeling, and spectral modeling of musical instruments and of acoustic phenomena with algorithmic composition and their use for expression modeling. Among his works there is a collection of computer music for the stage, works for dance, video and compositions with instrumental subjects like SanSounds, for trombone, and Sygfrydo for cello. In the context of sound installations his works ppP and Los Vientos de Los Santos Apostoles have been presented in museums and galleries of Colombia and the U.S. His writings have appeared on several international publications and his music has been performed around the world as part of contemporary music radio broadcasts and festivals.

The focus of this collaboration work is to portray closely the relationship between sound and vision (their movement, shape, and color), in a three dimensional spatial environment, while giving both of them equal importance.  It is important that both of these two mediums serves not only to enhance the materials of the other medium, but also to lead, dominate, and at times, even to express completely contrasting and independent ideas from the other. This work consists of three contrasting movements that are simultaneously played without any interruption. These three movements are each based on the same main sound and visual materials that reoccur and transform through out the piece.  The sounds of stone, water, and voices are used as the main sound materials.
This work was realized at Technical University of Berlin Electronic Studio and was commissioned by TU-Berlin Electronic Studio and DAAD.

Kotoka Suzuki received a B.M. degree in composition from Indiana University (1994) and a D.M.A. degree in composition at Stanford University (1999), where she studied with Jonathan Harvey (to whom she submitted her Doctoral thesis in 1999).
She is also a recipient of Musica Nova International Electroacoustic Music Competition Honor Prize (Czech, 2002), Rusolo-Pratela Electroacoustic Music Competition Finalist (Italy, 2002), DAAD Artist in Resident Berlin Prize (2001), Robert Flemming Prize from Canada Council for the Arts (2002), Gerald Oshita Fellowship Award from Djerassi Resident Artists Program (California, 1999), Canada Music Centre (CMC, 2001), and Stanford String Quartet Composition Competition Award (1997).
She has also been a composer-in-residence at numerous international festivals and new music events including, IRCAM Summer Workshop (France, 2001), International Computer Music Conference (ICMC, Germany/Cuba, 2000/2001), Voix Nouvelles Royaumont (France, 1997), June in Buffalo (1997), and Darmstadt (Germany, 1999/2000).  Artists such as the Arditti String Quartet (England), Continuum (Canada), Ensemble Moderne (Canada), and Earplay Ensemble (California) have performed her works.  In addition, her works have been commissioned by Technical University of Berlin Electronic Studio (Germany, 2002), Berliner Künstlerprogramm (DAAD, Germany, 2002), Sender Freies Berlin Radio (Germany, 2002), MATA (New York, 2001), Ensemble Modern (Canada, 1997), and Continuum (Canada, 1998).  Canada Broadcast Corporation (CBC), Sender Freies Berlin (SFB), Deutschland Radio, and Ziff Davis Television online media (ZDTV) have broadcast her works.