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
For more information see www.facebook.com/liminarmx
Bryan is an improviser, instrument inventor, illustrator and installation artist based in Richmond, CA. His work involves combining elements of the natural and man-made world using field recordings, custom audio generation software and homemade instruments. Day’s work explores the parallels between the patterns and systems in nature to those in contemporary society.
Day has toured throughout the US, Europe, Japan, Korea, Argentina and Mexico, performing both solo as Sistrum and Eloine and in the Shelf Life and Seeded Plain ensembles.
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Chris Chafe - Tsar Bell model and concert
Paul Batchelor - faust2sporth
Aidan Meacham - Rectangular DWN Decomposition of Non-Convex Spaces
Iran Roman & Wisam Reid
Jack Atherton - Improving ChucK: Call for Comments and Requested Features
Madeline Huberth - Performers’ motions reflect their intention to express local or global structure in melody
The Saturday concert features new multichannel electronic music by Mexican composers Germán Romero, Hiram Navarrese, Ivan Naranjo, and Carlos Iturralde. This concert is made possible with additional support from the Stanford Center for Latin-American Studies.
This concert will take place in 2 halves:
1st half from 7.30 - 8.30PM
2nd half from 9.00 - 10.00PM
Both concerts will have some of the same people.... BUT....completely different programs -
Concert 1, pieces by:
John Luther Adams
Concert 2, pieces by:
Nathan James Tindall
Composing computer music for large numbers of speakers is a daunting process, but it is becoming increasingly practicable. This talk argues for increased attention to the possibilities for this mode of computer music on the part of both creative artists and institutions that support advanced aesthetic research. We first consider the large role that timbre composition has played in computer music, and posit that this research direction may be showing signs of diminishing returns. We next propose spatial computer music for large numbers of speakers as a relatively unexplored area with significant potential, considering reasons for the relative preponderance of timbre composition over spatial 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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