Center for Computer Research in Music and Acoustics
Summer Workshops 2016 Announced!
Workshops offered this year include: Perceptual Audio Coding, SuperCollider, New Music Controllers, Audio Plug-Ins Designed with Faust, Abjad Workshop, The Composed Instrument, Stompbox Design, Mobile EEG for Auditory Research, Designing Musical Games, and Music Information Retrieval More info
Timothy McCormack - panic around death  for vocalizing performer, objects, electronics, light
Michelle Lou - HoneyDripper  for trombone, guitar pedals, transducers, metal, glass, plywood, and ultraviolet light
Note: The second piece on the program contains high levels of feedback. Earplugs will be provided or if preferred, please bring your own.
Dissertation Defense, Blair Kaneshiro: Toward an Objective Neurophysiological Measure of Musical Engagement
Engaging listeners is an inherent goal of music. The concept of 'musical engagement', however, carries multiple connotations and remains difficult to quantify or even define. In particular, an objective measure of musical engagement is lacking.
Sile O'Modhrain - Once more, with feeling: Revisiting the role of touch in performer-instrument interaction
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Ingrid Lee - Cells
Weston Olencki - TRANSISTOR
Charlie Sdraulig - emulator
Jessie Marino - Endless Shrimp
Louis d'Heudieres - Laughter Studies 2
Michael Maierhof - Shopping 4
Federico Llach - Performance Limitations, Life Cycles and Experimentation as triggers for Composition
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"In My Lai, a monodrama for tenor, string quartet, and Vietnamese instruments, composer Jonathan Berger had countless tragic elements at his disposal... In this immersive performance, we had the sense that, rather than defaulting to the story's obvious tragic details, Berger illuminate a single, more subtle element - the outraged bewilderment we often feel in the face of unimaginable horror."
This issue of the Csound Journal features an article written by MST student Paul Batchelor, which can be found here:
"Unlike sex or hunger, music doesn’t seem absolutely necessary to everyday survival – yet our musical self was forged deep in human history, in the crucible of evolution by the adaptive pressure of the natural world. That’s an insight that has inspired Chris Chafe, Director of Stanford University’s Center for Computer Research in Music and Acoustics (or CCRMA, stylishly pronounced karma).
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