Center for Computer Research in Music and Acoustics
Just ten days after its world premiere CCRMA hosts the performance of Shifting/Drifting for solo violin and real time computer processing by Pulitzer Prize–winning composer Roger Reynolds featuring acclaimed English violinist Irvine Arditti, founder of the celebrated Arditti Quartet, with computer musician Paul Hembree. The performance will be preceded by an introduction into their collaborative process and a workshop where they will demonstrate the musical sources and the algorithmic strategies within the piece.
Massive-multichannel sound presentation approaches like Wave Field Synthesis and Higher-Order Ambisonics offer significantly more degrees of freedom for designing the sound field to be synthesized than conventional approaches like Stereophony or Surround Sound. While a significant number of achievements regarding the presentation of the direct sound of virtual sound sources are available, the presentation of reverberation has always been a stepchild. This talk gives an overview over current work on all components of reverberation, i.e. early reflections, late reverberation, and room modes. The talk targets a general audience.
Automatically Learning the Structure of Spoken Language Without Supervision
Aren Jansen, Google Machine Hearing Group
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Signal Processing, Plasticity and Pattern Formation in Networks of Neural Oscillators
Featuring the GRAIL (Giant Radial Array for Immersive Listening), our immersive multichannel speaker array we will present two different programs of recent works and performances from the CCRMA community at 7.30PM on Wednesday September 30th and Thursday October 1st.
We'll feature the music and sounds of -
Shu Yu Lin
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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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