Difference between revisions of "Colloquium"

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'''CCRMA Colloquium'''
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@5:30pm in the Classroom!
  
The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty and staff.  It is an opportunity for members of the CCRMA community and guests to share the work that they are doing in the field of Computer Music.  The colloquium typically happens every Wednesday during the school year from 5:15 - 6:30.
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=Spring Quarter=
  
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* '''4/5: Internal Colloquium'''
 +
** speaker 1: Blair Kaneshiro - Large-Scale Music Discovery
 +
** speaker 2:
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** speaker 3:
  
Autumn Quarter Schedule
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* '''4/12: Shanghai Conservatory'''
  
==10/17/07     Keith McMillen     Mapps: A persistent performance score for modern music==
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* '''4/19: Roddy Lindsay'''
Title: Mapps: A persistent performance score for modern music
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Abstract:
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* '''4/26: Natasha Barrett'''
A brief history of the effects of technology on music followed by a description of the problems facing modern technical composers and performers with the persistence of any performable repertoire.  Progress on this front as characterized by the software program MACIAS as used by TrioMetrik and plans for a more enduring format. http://www.beamfoundation.org/
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Presenter:
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* '''5/3: Andrew Schloss'''
Keith McMillen has been working his entire adult life on one single problem – how to play live interactive music in an ensemble using extended instruments moderated by computer intelligence. This goal has required him to create dozens of new instruments, patented technologies and multiple successful companies in order to advance the technology sufficiently to reach his musical objectives. Keith began his audio career in 1979, when he founded Zeta Music. The company's revolutionary electronic instrument designs created a new market in the music industry, and the brand “Zeta” is synonymous with the modern violin. Later, as Vice President of R&D at Gibson Guitars, Keith worked with UC Berkeley’s CNMAT and created a new technology group focusing on audio networking, synthesizers and string instruments. As Director of Engineering at Harman Kardon, he formed an innovative new software product division dealing with audio processing and distributed networks. Keith founded Octiv in 1999 to solve major issues with live audio and led the company as both technologist and business guru raising over $20M from VCs such as 3i and Intel Capital. In April of 2005, Keith successfully sold Octiv to Plantronics (NYSE:PLT) and is personally funding the current operations of the BEAM Foundation. Keith received his BS in Acoustics under James Beauchamp from the University of Illinois where he also trained in classical guitar and studied composition with Herbert Brun, Scott Wyatt, and Sal Martirano. Keith has spent 25 years developing MACIAS – an integrated composition performance system that is the foundation of TrioMetrik’s music. He now works full time at composing, creating and performing while pursuing his original goal of a next generation music he has termed NuRoque and a method for creating a persistent performance score for modern music called MAPPS.
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==10/24/07== Flo Menezes
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* '''5/10: Rapid Fire Talks'''
==10/31/07== Craig Sapp Measuring Similarity in Performances of Chopin Mazurkas
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** speaker 1: lonce
==11/7/07== Jonathan Middleton
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** speaker 2:
11/14/07 Jesper Nordin
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** speaker 3:
11/21/07 Thanksgiving
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** speaker 4:
11/28/07 Hans Tutschku
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** speaker 5:
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** speaker 6:
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** speaker 7:
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** speaker 8:
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** speaker 9:
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** speaker 10:
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** speaker 11:
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** speaker 12:
  
  
Previous Colloquia
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* '''5/17: Bryan Jacobs'''
  
 +
* '''5/24: Internal Colloquium'''
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** speaker 1:
 +
** speaker 2:
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** speaker 3:
  
----------------
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* '''5/31: '''
  
==10/17/07==
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* '''6/7: '''
Title: Mapps: A persistent performance score for modern music
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Abstract:
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=Winter Quarter=
A brief history of the effects of technology on music followed by a description of the problems facing modern technical composers and performers with the persistence of any performable repertoire.  Progress on this front as characterized by the software program MACIAS as used by TrioMetrik and plans for a more enduring format. http://www.beamfoundation.org/
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Presenter:
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* '''1/11: Internal Colloquium'''
Keith McMillen has been working his entire adult life on one single problem – how to play live interactive music in an ensemble using extended instruments moderated by computer intelligence. This goal has required him to create dozens of new instruments, patented technologies and multiple successful companies in order to advance the technology sufficiently to reach his musical objectives. Keith began his audio career in 1979, when he founded Zeta Music. The company's revolutionary electronic instrument designs created a new market in the music industry, and the brand “Zeta” is synonymous with the modern violin. Later, as Vice President of R&D at Gibson Guitars, Keith worked with UC Berkeley’s CNMAT and created a new technology group focusing on audio networking, synthesizers and string instruments. As Director of Engineering at Harman Kardon, he formed an innovative new software product division dealing with audio processing and distributed networks. Keith founded Octiv in 1999 to solve major issues with live audio and led the company as both technologist and business guru raising over $20M from VCs such as 3i and Intel Capital. In April of 2005, Keith successfully sold Octiv to Plantronics (NYSE:PLT) and is personally funding the current operations of the BEAM Foundation. Keith received his BS in Acoustics under James Beauchamp from the University of Illinois where he also trained in classical guitar and studied composition with Herbert Brun, Scott Wyatt, and Sal Martirano. Keith has spent 25 years developing MACIAS – an integrated composition performance system that is the foundation of TrioMetrik’s music. He now works full time at composing, creating and performing while pursuing his original goal of a next generation music he has termed NuRoque and a method for creating a persistent performance score for modern music called MAPPS.
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** speaker 1: Nolan Lem -
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** speaker 2: Servio
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** speaker 3:  
  
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* '''1/18: Julia Talk'''
  
==10/24/07==
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* '''1/25: Rapid Fire Talks''':
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** speaker 1: Romain Michon
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** speaker 2: Julius Smith
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** speaker 3: Eoin
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** speaker 4: Chris C
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** speaker 5: Madeline Huberth
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** speaker 6: Lonce Wyse
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** speaker 7: Jack Atherton
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** speaker 8: Irán Román
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** speaker 9: Matt Wright
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** speaker 10: Elliot Kermit Canfield-Dafilou
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** speaker 11: Nette Worthey
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** speaker 12:
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** speaker 13:
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** speaker 14:
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** speaker 15:
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** speaker 16:
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** speaker 17:
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** speaker 18:
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** speaker 19:
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** speaker 20:
  
Title: Maximal Musicâ
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* '''2/1: Vibeke Sorensen'''
  
Abstract:
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* '''2/8: Adrian Freed'''
The purpose of the lecture is to give an insight on the compositional aesthetics of composer Flo Menezes. Aspects such as pitch 
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polarization, directionalities, musical references, sound spatialilty and interval techniques will be exposed along with 22 musical examples, which go from purely instrumental to electroacoustic compositions.
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Presenter:
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* '''2/15: Maneesh Agrawala'''
Flo Menezes (São Paulo, 1962) studied Composition at the University of São Paulo with Willy Corrêa de Oliveira (1980-85), 
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Electroacoustic Music with Hans Humpert at the Studio für elektronische Musik of Cologne (1986-90) and Computer Music at the 
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Centro di Sonologia Computazionale in Padova, Italy (1991), besides courses in France with Pierre Boulez (1988) and Brian Ferneyhough (1995), in Austria with Luciano Berio (1989), and in Germany with Karlheinz Stockhausen (1998), who has invited him as Professor of his International Stockhausen Courses in 1999 and 2001. In 1992, he concluded a PhD on the work of Berio in Liège under the supervision  of Henri Pousseur and worked on Berioâ’s manuscripts at the Paul Sacher Stiftung in Basle, Switzerland. His analysis of Visage by Berio was awarded in 1990 at the 1st International Musicology 
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Competition, Italy.
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Menezes was awarded significant international prizes for composition: UNESCO in Paris (1991); TRIMALCA-Prize (1993); Prix Ars Electronica in Austria (1995); Luigi Russolo Contest in Italy (1996); Prêmio Sergio Motta in São Paulo (2002); Bolsa Vitae de Artes in São Paulo (2003); Giga-Hertz-Preis at ZKM in Karlsruhe (2007). He was invited by many institutions such as Fondation Royaumont (1995), IRCAM and GRM (1997), BEAST in Birmingham (2001), CRCA in San Diego (2007),  Experimental studio of Freiburg (2008) etc. and his works have been played in many festivals and theaters around the world (Carnegie Hall in NY; Salle Olivier Messiaen in Paris; Walt Disney Hall/Redcat in Los Angeles; Sala São Paulo; Maison de la Suisse Romande; etc.)
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* '''2/22: Tom Rossing'''
  
Author of several books, he is founder and Director of the Studio PANaroma in São Paulo and of the PUTS: PANaroma/Unesp Teatro Sonoro, the first loudspeaker orchestra in Brazil, and is currently Professor of Electroacoustic Music at the State University of São Paulo (Unesp) and Visiting Professor at the University of Cologne, Germany.
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* '''3/1: Internal Colloquium'''
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** speaker 1: Fernando Lopez-Lezcano, topic to be determined
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** speaker 2: Romain Michon
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** speaker 3: Jonathan Abel
  
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* '''3/8: '''
  
==10/31/07==
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* '''3/15: Ali Momeni'''
  
Title: Measuring Similarity in Performances of Chopin Mazurkas
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= Fall Quarter =
  
Abstract:
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* '''9/28: New Student Presentations''' (Elliot)
Recent work in performance analysis being done at the Centre for the History and Analysis of Recorded Music (CHARM) at Royal Holloway, University of London will be presented.  Performance features, such as note timings and loudness are extracted from audio files from various performances of the same work.  These musical features are then compared between performers
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** Speaker 1: Yuval Adler, about "Being Brave and Signing Up to Be the First Speaker"
in isolation, in combination, and in subcomponents to get a feeling for where a performer might be getting their inspiration.
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** Speaker 2: Chris Lortie
One pianist was found to have gotten her inspiration in an unusual way:
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** Speaker 3: Juan Sierra, not sure about what but I'll figure it out
http://www.newyorker.com/reporting/2007/09/17/070917fa_fact_singer?currentPage=all
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** Speaker 4: Mark Hertensteiner, "Omnisonnace (working title): a music RPG"
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** Speaker 5: Megan Jurek
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** Speaker 6: Mark Rau
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** Speaker 7: Julie Herndon
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** Speaker 8: Yijun Zhou, "Global Net Orchestra Drum Circle"
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** Speaker 9: Rahul Agnihotri, "I Know Nothing, But I Will!"
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** Speaker 10: Ruoxi Zhang
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** Speaker 11: Mu-Heng Yang, "MIR using Deep Learning"
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** Speaker 12: Orchisama Das, "HUMs and other such things"
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** Speaker 13: Walker Davis
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** Speaker 14: Davor Branimir Vincze "Inflection Point"
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** Speaker 15: Prateek Murgai "My Journey"
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** Speaker 16: Jack Atherton
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** Speaker 17:
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** Speaker 18:
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** Speaker 19:
  
Presenter:
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* '''10/5 Ge Wang and Chris Chafe:''' (Kitty)
Craig Sapp has been working on performance analysis of Chopin mazurkas with Nicholas Cook and Andrew Earis at CHARM in London for the past two years.
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* '''10/12: Fernando Lopez Lezcano and Julius Smith''' (Alex)
  
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* '''10/19: Rapid fire talks''' (Iran)
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** Speaker 1: Romain Michon
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** Speaker 2: Paul Batchelor
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** Speaker 3: Elliot Kermit-Canfield
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** Speaker 4: Nolan Lem
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** Speaker 5: Aury Washburn
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** Speaker 6: Alex Chechile
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** Speaker 7: Nick Gang
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** Speaker 8: Chryssie Nanou
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** Speaker 9: Byron Walker
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** Speaker 10: Carlos Sánchez
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** Speaker 11: Kurt Werner
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** Speaker 12: Matt Wright
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** Speaker 13: Michael Olsen
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** Speaker 14: Sara Martín
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** Speaker 15: Möbius Román
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** Speaker 16: Christopher Jette
  
==11/7/07==
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* '''10/26: no colloquium'''
  
Title: The Algorithmic Foundations of My Instrumental Music
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* '''11/2: Øyvind Brandtsegg'''
  
Abstract:
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* '''11/9: Jarek Kapuscinski and Matt Wright'''
In the book "Atlas" one can see the original photographs Gerhard Richter collected as  inspiration and source material for his photo-paintings.  In my CCRMA colloquium, I'd like to make a similar attempt to reveal my creative sources and the artistic strategy I have developed to make these sources the foundation of my music.  I will present the early stages of my creative process that provide a basic thread and musical themes for  Redwoods Symphony (Kiev Philharmonic), Radiant Peaks (Coeur d'Alene Symphony), Reciprocal Refractions (Spokane Symphony), and Dreaming Among Thermal Pools and Concentric 
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Spirals (Paradox duo).  Each process begins with the algorithmic transformation (or translation) of  things I care about: redwood 
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trees, bull trout, spirals, topographical maps... things that serve as a creative launching point.  Algorithmic examples will be presented from http://musicalgorithms.ewu.edu/, the user-friendly freeware I designed in 2004-05.
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* '''11/16: Tom Rossing and Jay LeBoeuf''' (Madeline)
  
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* '''Thanksgiving'''
  
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* '''11/30: Sasha Leitman and Takako Fuijoka''' (Madeline)
  
11/14
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* '''12/7: Craig Sapp, and Eleanor Selfridge-Field''' (Elliot)
 
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Title: "calm like a bomb" - Jesper Nordin
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Abstract:
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Jesper Nordin's music is largly influenced by his background in rock music and the traditional Swedish folk music. These influences are always present in his music, be it orchestral pieces or works with live electronics. His focus on the audible aspect in composition has  made the computer his foremost tool in composing. Usually he builds up very detailed sketches/maquettes with recorded and treated sounds that he then transcribes. The use of improvisation during composing is also important and can include everything from himself singing to letting different programs treat his material in controlled or random ways. Lately he has also started to incorporate different control surfaces to be able to improvise but still keep control over musical materials and techniques. His piece "calm like a bomb" for violin and electronics will be performed by Greame Jennings of the SFCMP on November 19th at the Yerba Buena Center for the Arts Forum.
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Presenter:
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The music of Jesper Nordin, with its clear traces of traditional Swedish folk music, rock music and improvised music, is played throughout the world by major soloists, ensembles and symphony orchestras.  His international break-through came in 2000 with the piece “calm like a bomb” that is regularly performed by ensembles like ASKO, l’Itineraire and San Francisco Contemporary Music Players.  He has been awarded prizes in many composition competitions in Europ and North America, for instance at UNESCO’s Rostrum of Composers.  His music is broadcast around the world and has been played at festivals such as ISCM, Gaudeamus, ICMC and Resonances.  After studies  at the Royal College in Stockholm, Stanford University and at IRCAM in Paris he was appointed Composer in Residence at the National Swedish Radio 2004-2006.  In 2006 the Swedish Radio Released the portraid CD “Residues” that include some of his major orchestral works.  For more info see www.jespernordin.com
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11/28
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Title: "The electronic studio as instrument".
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Presenter:
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Hans Ts
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Born 1966 in Weimar. Member of the "Ensemble for intuitive music Weimar" since 1982. He studied composition of electronic music at the college of music Dresde and had since 1989 the opportunity to participate in several concert cycles of Karlheinz Stockhausen to learn the art of the sound direction. He further studied 1991/92 Sonology and electroacoustic composition at the royal conservatoire in the Hague (Holland).  1994 followed a oneyear’s study stay at IRCAM in Paris. He taught 1995/96 as a guest professor electroacoustic composition in Weimar. 1996 he participated in composition workshops with Klaus Huber and Brian Ferneyhough. 1997-2001 he taught electroacoustic composition at IRCAM in Paris and from 2001 to 2004 at the conservatory of Montbéliard.  In May 2003 he completed a doctorate (PhD) with Professor Dr. Jonty Harrison at the University of Birmingham. During the spring term 2003 he was the "Edgar Varèse Gast Professor" at the TU Berlin.
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Since September 2004 Hans Tutschku has been working as composition professor and director of the electroacoustic studios at Harvard University (Boston).  He is the winner of many international composition competitions, among other: Bourges, CIMESP Sao Paulo, Hanns Eisler price, Prix Ars Electronica, Prix Noroit and Prix Musica Nova. In 2005 he rezeived the culture prize of the city of Weimar.
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<center>
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[[PID 2007]]
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</center>
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[[Category:PID]][[Category:PID_2007]]
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Revision as of 10:45, 22 March 2017

@5:30pm in the Classroom!

Spring Quarter

  • 4/5: Internal Colloquium
    • speaker 1: Blair Kaneshiro - Large-Scale Music Discovery
    • speaker 2:
    • speaker 3:
  • 4/12: Shanghai Conservatory
  • 4/19: Roddy Lindsay
  • 4/26: Natasha Barrett
  • 5/3: Andrew Schloss
  • 5/10: Rapid Fire Talks
    • speaker 1: lonce
    • speaker 2:
    • speaker 3:
    • speaker 4:
    • speaker 5:
    • speaker 6:
    • speaker 7:
    • speaker 8:
    • speaker 9:
    • speaker 10:
    • speaker 11:
    • speaker 12:


  • 5/17: Bryan Jacobs
  • 5/24: Internal Colloquium
    • speaker 1:
    • speaker 2:
    • speaker 3:
  • 5/31:
  • 6/7:

Winter Quarter

  • 1/11: Internal Colloquium
    • speaker 1: Nolan Lem -
    • speaker 2: Servio
    • speaker 3:
  • 1/18: Julia Talk
  • 1/25: Rapid Fire Talks:
    • speaker 1: Romain Michon
    • speaker 2: Julius Smith
    • speaker 3: Eoin
    • speaker 4: Chris C
    • speaker 5: Madeline Huberth
    • speaker 6: Lonce Wyse
    • speaker 7: Jack Atherton
    • speaker 8: Irán Román
    • speaker 9: Matt Wright
    • speaker 10: Elliot Kermit Canfield-Dafilou
    • speaker 11: Nette Worthey
    • speaker 12:
    • speaker 13:
    • speaker 14:
    • speaker 15:
    • speaker 16:
    • speaker 17:
    • speaker 18:
    • speaker 19:
    • speaker 20:
  • 2/1: Vibeke Sorensen
  • 2/8: Adrian Freed
  • 2/15: Maneesh Agrawala
  • 2/22: Tom Rossing
  • 3/1: Internal Colloquium
    • speaker 1: Fernando Lopez-Lezcano, topic to be determined
    • speaker 2: Romain Michon
    • speaker 3: Jonathan Abel
  • 3/8:
  • 3/15: Ali Momeni

Fall Quarter

  • 9/28: New Student Presentations (Elliot)
    • Speaker 1: Yuval Adler, about "Being Brave and Signing Up to Be the First Speaker"
    • Speaker 2: Chris Lortie
    • Speaker 3: Juan Sierra, not sure about what but I'll figure it out
    • Speaker 4: Mark Hertensteiner, "Omnisonnace (working title): a music RPG"
    • Speaker 5: Megan Jurek
    • Speaker 6: Mark Rau
    • Speaker 7: Julie Herndon
    • Speaker 8: Yijun Zhou, "Global Net Orchestra Drum Circle"
    • Speaker 9: Rahul Agnihotri, "I Know Nothing, But I Will!"
    • Speaker 10: Ruoxi Zhang
    • Speaker 11: Mu-Heng Yang, "MIR using Deep Learning"
    • Speaker 12: Orchisama Das, "HUMs and other such things"
    • Speaker 13: Walker Davis
    • Speaker 14: Davor Branimir Vincze "Inflection Point"
    • Speaker 15: Prateek Murgai "My Journey"
    • Speaker 16: Jack Atherton
    • Speaker 17:
    • Speaker 18:
    • Speaker 19:
  • 10/5 Ge Wang and Chris Chafe: (Kitty)
  • 10/12: Fernando Lopez Lezcano and Julius Smith (Alex)
  • 10/19: Rapid fire talks (Iran)
    • Speaker 1: Romain Michon
    • Speaker 2: Paul Batchelor
    • Speaker 3: Elliot Kermit-Canfield
    • Speaker 4: Nolan Lem
    • Speaker 5: Aury Washburn
    • Speaker 6: Alex Chechile
    • Speaker 7: Nick Gang
    • Speaker 8: Chryssie Nanou
    • Speaker 9: Byron Walker
    • Speaker 10: Carlos Sánchez
    • Speaker 11: Kurt Werner
    • Speaker 12: Matt Wright
    • Speaker 13: Michael Olsen
    • Speaker 14: Sara Martín
    • Speaker 15: Möbius Román
    • Speaker 16: Christopher Jette
  • 10/26: no colloquium
  • 11/2: Øyvind Brandtsegg
  • 11/9: Jarek Kapuscinski and Matt Wright
  • 11/16: Tom Rossing and Jay LeBoeuf (Madeline)
  • Thanksgiving
  • 11/30: Sasha Leitman and Takako Fuijoka (Madeline)
  • 12/7: Craig Sapp, and Eleanor Selfridge-Field (Elliot)