Center for Computer Research in Music and Acoustics
Summer Workshops 2017 Announced!
Andrew Schloss - A history of the radiodrum and robotics in musical performance: The art installation as a musical instrument
The Rare Earth hypothesis states that complex life is the product of an intricate series of coincidental cosmic conditions. The unlikelihood for these precise circumstances to align suggests that intelligent life is rare elsewhere in the universe—if it exists at all. But perhaps complex life is more varied than we know to look for. It might even be all around us, undetected or simply unnoticed.
Auriel Washburn (CCRMA) - Coordinated Timing in Piano Duet Performance: Examining the Effects of Delayed Auditory Feedback
Many years ago there was a neurophysiology meeting where most of the talks were about cortex. There was a lone keynote speech by a researcher interested in controlling muscle. He pointed out that without his work (i.e. muscle movement) then all the cortical work in the world was meaningless. :-) That is sobering. We perceive in order to act.
- 1 of 4
CCRMA's Online Classes
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"
Adaptive mixing of noisy and robust beamformers for enhancement, visualization and reproduction of sound fields
Abstract: The NESS project (standing for Next Generation Sound Synthesis), funded through a Starting Grant from the European Research Council for five years beginning on January 1, 2012 is an exploratory project, concerned entirely with synthetic sound—and in particular, numerical simulation techniques for physical modelling sound synthesis in parallel hardware. It is a joint project between the Acoustics and Audio Group and the Edinburgh Parallel Computing Centre, both at the University of Edinburgh. The models developed in the course of the project span a large set of systems, including brass, cymbals and gongs, percussions, guitar/fretboard interaction, bowed strings and large 3D room acoustics simulations.