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'''CCRMA Colloquium'''
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@5:30pm in the Classroom on Wednesdays!
  
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 and meets in the CCRMA Classroom, Knoll 217 unless otherwise noted.
+
The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty, staff, and guests. It is an opportunity for members of the CCRMA community and invited speakers to share the work that they are doing in the fields of Computer Music, Audio Signal Processing and Music Information Retrieval, Psychoacoustics, and related fields.  The colloquium typically happens every Wednesday during the school year from 5:30 - 7:00pm and meets in the CCRMA Classroom, Knoll 217, unless otherwise noted.  
  
 +
The colloquium team for 2019-2020 is:<br />
 +
Camille Noufi - cnoufi@ccrma.stanford.edu <br />
 +
Barbara Nerness - bnerness@ccrma.stanford.edu <br />
 +
Kunwoo Kim - kunwoo@ccrma.stanford.edu <br />
 +
Mike Mulshine - mrmulshine@ccrma.stanford.edu <br />
 +
<br />
  
Winter Quarter Schedule
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*Note: the colloquium will not be held every Wednesday this year (20-21), please keep an eye on the notification e-mails for the dates.
  
  
 +
= Autumn Quarter (2021)=
 +
<span style="color:red">'''In person colloquiua will not be held for the 2020 Autumn Quarter. All events will be held remotely.
  
 +
9/16 New Student Introductions
 +
** Speaker 1: Lloyd May
 +
** Speaker 2: Andrew Zhu
 +
** Speaker 3: Kathleen Yuan
 +
** Speaker 4: Marise van Zyl
 +
** Speaker 5: Hannah Choi
 +
** Speaker 6: Joss Saltzman
 +
** Speaker 7: Champ Darabundit
 +
** Speaker 8: Clara Allison
 +
** Speaker 9: David Braun
 +
** Speaker 10: Austin Zambito-Valente
  
 +
9/23 Faculty/Staff Introductions
 +
**Speaker 1: Jonathan B. (flexible - can be later or next week - but prefer on early side)
 +
** Speaker 2: Ge Wang (also flex)
 +
** Speaker 3: Takako Fujioka (me too)
 +
** Speaker 4: Seán O Dalaigh (new DMA)
 +
** Speaker 5: Eleanor Selfridge-Field
 +
** Speaker 6: Craig Stuart Sapp
 +
** Speaker 7: Blair Kaneshiro (either week is fine)
  
 +
9/30 Faculty/Staff Introductions
 +
** Speaker 1: Patricia Alessandrini (via video)
 +
** Speaker 2: Julius Smith (can go either week any time)
 +
** Speaker 3: Marina Bosi
 +
** Speaker 4: Nando (aka Fernando Lopez-Lezcano)
 +
** Speaker 5: Stephanie Sherriff (any time on 9/30 is good)
 +
** Speaker 6: Constantin Basica
 +
** Speaker 7: Matt Wright (also flexible 9/30)
 +
** Speaker 8: Chris Chafe
  
 +
10/7 - Break
  
==4/16/08--------Paul Davis--------Ardour==
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10/14 - Town Hall
Stanford's AES Student Section and the CCRMA Colloqium Series presents
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Paul Davis, author of the Ardour, the Open Source Digital Audio
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Workstation.
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http://ardour.org
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10/21 - Adjunct Faculty Talks (subject to schedule adjustments)
 +
** Speaker 1: Malcolm Slaney
 +
** Speaker 2: Poppy Crum
 +
** Speaker 3: Paul Demarinis
 +
** Speaker 4: Jonathan Abel
 +
** Speaker 5: Doug James
  
"Paul Davis is the primary author of the open source digital audio
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TBD - Rapid-Fire Talks
workstation Ardour and the JACK Audio Connection Kit. Post-graduate
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** Speaker 1:
studies in computational biology at the Weizmann and EMBL seemed too
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** Speaker 2:
intractable in comparision to the more tangible joys of Unix. Paul
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** Speaker 3: Kunwoo Kim
alternated between research & commercial environments for several years,
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** Speaker 4: Elena Georgieva
eventually spending 4-1/2 years in the CS&E department at the University
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** Speaker 5: Noah Fram
of Washington. He left to help start Amazon.com but stayed for only a
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** Speaker 6:
year before becoming an at-home parent. Ardour and JACK emerged from the
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** Speaker 7:
dark nights and early mornings, and after more than 8 years dedicated to
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** Speaker 8:
open source pro-audio and MIDI software, Paul now works fulltime thanks
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** Speaker 9:
to the support of the user community and several audio technology
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** Speaker 10:
companies. He also likes to race triathlons, cook and listen to music
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** Speaker 11:
that keeps the listener in mind."
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** Speaker 12:
 +
** Speaker 13:
 +
** Speaker 14:
 +
** Speaker 15:
 +
** Speaker 16:
 +
** Speaker 17:
 +
** Speaker 18:
 +
** Speaker 19:
 +
** Speaker 20:
  
-----
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11/4 - Break
  
A special thanks to Stanford Institute for Creativity and the Arts for
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11/11 - External Speaker (To Be Announced)
making this visit possible.
+
  
 +
11/18 - External Speaker (To Be Announced)
  
 +
11/25 - THANKSGIVING WEEK - Break
  
==4/23/08--------Julio Estrada--------A General Theory of Combinatory==
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= Winter Quarter (2021)=
  
==4/23/08--------Julio Estrada-----------A General Theory of Combinatory in Musical Scales: working with MuSIIC-Win
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* '''1/13:
==
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* '''1/20:
 +
* '''1/27:
 +
* '''2/03:
 +
* '''2/10:
 +
* '''2/17:
 +
* '''2/24:
 +
* '''3/03:
 +
* '''3/10:
 +
* '''3/17:
  
Title:  A General Theory of Combinatory in Musical Scales: working with MuSIIC-Win
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= Fall Quarter (2019)=
  
 +
* '''9/25: New Student Presentations''' (Week 1)
 +
** Speaker 1: Jeremy Raven
 +
** Speaker 2: Brendan Larkin
 +
** Speaker 3: Raul Altosaar
 +
** Speaker 4: Jan Stoltenberg
 +
** Speaker 5: Vivian Chen
 +
** Speaker 6: Ty Sadlier
 +
** Speaker 7: Kunwoo Kim
 +
** Speaker 8: Andrea Baldioceda
 +
** Speaker 9: Varsha Sankar
 +
** Speaker 10: Mike Mulshine
  
Abstract:
 
MuSIIC-Win (interactive system for research and composition) is based 
 
on "Theory d1" by Julio Estrada on the combinatory potential of scale 
 
intervals. (ESTRADA 1994) The denomination Theory d1 refers to the 
 
continuous character that is maintained in all operations based on the 
 
transformation of a minimal distance, d1. Its mathematical reference 
 
is the combinatory and its representation is done by means of graphic 
 
theory. In general terms, Theory d1 invites a free exploration of 
 
scales, not imposing any categories for systems of composition or 
 
musical aesthetics.
 
  
The program Theory d1 allows a total of 22 scales that range from 3 to 
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* '''10/2: Faculty Introductions''' (Week 2)
24 intervals of pitch (per octave) and duration. The program is 
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** Speaker 1: Patricia Alessandrini
expected to develop further and overcome the difficulties of an 
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** Speaker 2: Eleanor Selfridge Field
adequate graphic representation of scales of greater extension close 
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** Speaker 3: Craig Stuart Sapp
to 50 intervals.
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** Speaker 4: JRB
 +
** Speaker 5: Takako
 +
** Speaker 6: Ge
 +
** Speaker 7: Jarek
 +
** Speaker 8: Blair Kaneshiro
 +
** Speaker 9: Matt Wright
 +
** Speaker 10: Fernando Lopez-Lezcano
 +
** Speaker 11: Anne Hege
 +
** Speaker 12: Julius Smith
 +
** Speaker 13: Elena Georgieva
 +
** Speaker 14: Marina Bosi
 +
** Speaker 15: Hongchan Choi
  
MuSIIC-Win is the result of a new design and reengineering of the 
 
program MuSIIC for MSDOS (PMMI 1990-97). Its appearance has been 
 
completely redesigned and made standard to the Windows® environment. 
 
MuSIIC-Win allows for a user-friendly exploration and interaction. 
 
MuSIIC-Win enhances the visualization of the musical notation 
 
materials, as well as listening through a multimedia computer or a 
 
MIDI interface.
 
  
Presenter:
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* '''10/9: ''' (Week 3): YOM KIPPUR - no colloquium
Julio Estrada was born in Mexico City, 10th of April 1943.  His family 
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was exiled from Spain in 1941.  His activities are multiple: composer, 
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theoretician, historian, pedagogue, and interpreter.
+
  
He began his musical studies in Mexico [1953-65], where he studied 
 
composition with Julián Orbón.  In Paris (1965-69) he studied with 
 
Nadia Boulanger, Messiaen and attended courses and lectures of 
 
Xenakis.  In Germany he studied with Stockhausen [1968] and with 
 
Ligeti [1972] He did a Ph. D. in Musicology at Strasbourg University 
 
(1990- 1994).
 
  
Since 1974 he became researcher in music at the Instituto de 
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* '''10/16: Rapid-Fire Talks''' (Week 4)
Estéticas, IIE/UNAM, where he was apointed as the Chair of a project 
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** Speaker 1: Jack
on Mexican Music History and as the head of MúSIIC, Música, Sistema 
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** Speaker 2: Jason
Interactivo de Investigación y Composición, a musical system designed 
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** Speaker 3: Ge
by himself.  He is the first music scholar to be honored as member of 
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** Speaker 4: Noah
the Science Academy of Mexico and by the Mexican Education Ministry as 
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** Speaker 5: Elliot
National Researcher [since 1984].  He created a Composition Seminar at 
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** Speaker 6: Barbara
UNAM, where he has been teaching Compositional Theory and Philosophy 
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** Speaker 7: Orchi
of Composition.
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** Speaker 8: Matt (the "after" of my Modulations instrument, hopefully this time with MIDI working)
 +
** Speaker 9: CCRMA composting
 +
** Speaker 10: Jatin
 +
** Speaker 11: Mark
 +
** Speaker 12: Elena
 +
** Speaker 13: Carlos
  
He has written about a hundred of articles based on his research. 
 
Some have been translated into English, French, German, Italian and 
 
Japanese.  He is the General Editor of the must complete publication 
 
on Mexican music history, La Música de México [Instituto de 
 
Investigaciones Estéticas, IIE / UNAM, México 1984, ca.  2000 p.]  He 
 
wrote with Jorge Gil "Musica y Teoria de Grupos Finitos, 3 Variables 
 
Booleanas, with an English abstract" [IIE UNAM, Mexico 1984]. He has 
 
postulated a "General Theory of Intervallic Classes" applicable to 
 
macro and microintervallic scales of duration and of pitch.  In the 
 
field of the continuum, Estrada has developed new methods of 
 
multidimensional graphic description of several parameters of sound 
 
and rhythm ("Ouvrir l?horizon du son : le continuum.")
 
  
 +
* '''10/23: [http://www.arj.no/ Alexander Jensenius]''' (Week 5) 
  
==4/30/08--------Ajay Kapur==
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* '''10/30: No Colloquium''' (Week 6) 
==5/7/08----------Paul Koonce==
+
  
 +
* '''11/6: [http://www.annehege.com/ Anne Hege]''' (Week 7)
  
==Previous Colloquia==
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* '''11/13: CCRMA Town Hall''' (Week 8)
  
 +
* '''11/20:[https://www.donlewismusic.com/ Don Lewis]''' (Week 9)
  
10/17/07 ---------- Keith McMillen -------------Mapps: A persistent performance score for modern music
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* '''Thanksgiving week'''
  
 
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* '''12/4: [https://ccrma.stanford.edu/groups/vr/ VR Lab Day]''' (Week 11)
Title: Mapps: A persistent performance score for modern music
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+
Abstract:
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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/
+
 
+
Presenter:
+
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.
+
 
+
 
+
10/24/07 ---------- Flo Menezes --------------- Maximal Music
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Title: Maximal Music
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Abstract:
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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.
+
 
+
Presenter:
+
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.
+
 
+
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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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.
+
 
+
 
+
10/31/07 ---------- Craig Sapp ----------------- Measuring Similarity in Performances of Chopin Mazurkas
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Title: Measuring Similarity in Performances of Chopin Mazurkas
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+
Abstract: 
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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
+
in isolation, in combination, and in subcomponents to get a feeling for where a performer might be getting their inspiration.
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One pianist was found to have gotten her inspiration in an unusual way:
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http://www.newyorker.com/reporting/2007/09/17/070917fa_fact_singer?currentPage=all
+
 
+
Presenter:
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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.
+
 
+
 
+
 
+
 
+
11/7/07 ------------ Jonathan Middleton ----- The Algorithmic Foundations of My Instrumental Music
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Title: The Algorithmic Foundations of My Instrumental Music
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Abstract:
+
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.
+
 
+
 
+
Presenter:
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Jonathan Middleton is an Associate Professor of Theory and Composition at
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Eastern Washington University, where he teaches undergraduate and graduate courses in
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composition, counterpoint, theory, orchestration, and computer music. During the 2007-08
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academic year he is on professional leave at Stanford University serving as a visiting scholar
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at the Center for Computer Research in Music and Acoustics (CCRMA).
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Jonathan Middleton’s creative interests include spontaneous approaches to
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composition through stream of consciousness and algorithmic composition. His music has
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won awards and performances throughout the Pacific Northwest, the U.S. and Europe. In
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the year 2000, Jonathan Middleton became Washington State’s “Composer of the Year,” an
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award sponsored by the Washington State Music Teachers Association. In 2004, he was
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awarded a regionally competitive grant to develop a Web-based application that explores
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algorithmic composition and interdisciplinary learning: http://musicalgorithms.ewu.edu/.
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The program provides a creative environment where composers can create music from
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integer sequences and DNA. In 2005 he completed the first movement of Redwoods
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Symphony, a work that uses themes created from DNA of redwood trees. The first
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movement of Redwoods Symphony has been recorded by the Kiev Philharmonic under the
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direction of Robert Winstin. The recording is available on ERM Media’s “Masterworks of
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the New Era” vol. 11. The “musicalgorithms” program was also used to complete Dreaming
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Among Thermal Pools and Concentric Spirals available on “Soak,” sold through CD Baby
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(www.cdbaby.com) and iTunes. In 2007 he will be completing commissions for the Coeur
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d’Alene and Spokane Symphonies.
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Jonathan Middleton’s background includes studies with numerous composition
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teachers, most notably those with Frederic Rzewski, William Kraft, Fred Lerdahl, Emma
+
Lou Diemer, Ann Kearns, Peter Golub and two Pulitzer Prize winners Roger Reynolds and
+
Lewis Spratlan. He also studied twentieth century compositional techniques with Kyle Gann
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and Tristan Murail. He obtained his Doctor of Musical Arts in 1999 from Columbia
+
University where he was an Andrew W. Mellon Fellow at the School of the Arts.
+
 
+
 
+
11/14/07 ---------- Jesper Nordin ------------- "calm like a bomb"
+
 
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Title: "calm like a bomb" - Jesper Nordin
+
 
+
Abstract:
+
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.
+
 
+
Presenter:
+
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
+
 
+
 
+
 
+
11/28/07  ---------- Hans Tutschku ------------ The electronic studio as instrument 
+
 
+
Title: The electronic studio as instrument
+
 
+
Abstract:
+
My compositional work is very much informed by the practice of performance. Many of my musical ideas emerge from playing an instrument.  I’m interested in the human gesture and how it can be 
+
analyzed and used to influence electroacoustic treatments. The piece « Zellen Linien » for piano and live-electronics, presented on the Thursday nights concert program, is a result of such a research, 
+
where the pianist is controlling many aspects of the live-electronics by the way how he/she interprets the score.
+
 
+
But also in non-real-time settings, during my work in the studio, I search for possibilities to transform the studio into an instrument, which reacts as spontaneously as possible to my ideas.
+
The colloquium will provide an analysis of « Zellen Linien » with practical examples.
+
 
+
 
+
 
+
Presenter:
+
 
+
Hans Tutschku
+
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.
+
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.
+
 
+
 
+
 
+
NOTE: The first three colloquiums of the quarter will be talks presented by applicants to the Music Department's faculty position in composition.  These presentations will occur from 4:15 - 6:15 on January 9, 16 and 23 in Cambell Recital Hall in Braun Music Center.  Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.
+
 
+
1/9/08      Dr. Marcelo Toledo
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Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.
+
 
+
1/16/08      Dr. Jaroslaw Kapuscinski
+
Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.
+
 
+
1/23/08      Dr. Panayiotis Kokoras
+
 
+
Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.
+
 
+
 
+
3/12/08----------Bruce Pennycook--------Who will turn the knobs when I die?
+
 
+
Title:  Who will turn the knobs when I die?
+
 
+
Abstract:
+
This slide & audio presentation tackles the thorny problem of
+
interactive music composition, performance and preservation and
+
addresses the reality that interactive works are rarely performed
+
without the composer present as either a performer or at least
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as an equipment operator.
+
 
+
Many of my works over the past 20 years (including Praescio-VI to be
+
performed March 13 in a modified format) have utilized a variety
+
of technologies, some of them custom made specifically for a
+
particular piece. One challenge has been sustaining these works
+
against a rapidly changing hardware and software landscape.
+
The other challenge has been to encourage performers with little
+
or no technical skills to adopt such works into their standing
+
repertoire. The presentation will attempt to address both issues.
+
 
+
 
+
Presenter:
+
Professor Bruce Pennycook (Doctor of Musical Arts, Stanford, '78) is a
+
composer, new media developer and media technology specialist. He taught at
+
Queen's University in Kingston, Ontario then McGill University in Montreal,
+
Quebec where he developed undergraduate and graduate degree programs in
+
Music Technology and held the position of Vice-Principal for Information
+
Systems and Technology. Pennycook moved to Austin in 2002 and was appointed
+
Senior Lecturer at UT Austin in 2004. He teaches in the Department of
+
Composition, School of Music and in the Radio-Television-Film Department,
+
College of Communication.
+
 
+
 
+
4/9/08----------Rick Taube --Grace:A Graphical Realtime Algorithmic Composition Environment
+
 
+
Title: GRACE: a graphical realtime algorithmic composition environment 
+
implemented in C++ and Chicken Scheme
+
 
+
[[Category:CCRMA User Guide]][[Category:General]][[Category:Current Events]]
+

Revision as of 12:44, 28 October 2020

@5:30pm in the Classroom on Wednesdays!

The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty, staff, and guests. It is an opportunity for members of the CCRMA community and invited speakers to share the work that they are doing in the fields of Computer Music, Audio Signal Processing and Music Information Retrieval, Psychoacoustics, and related fields. The colloquium typically happens every Wednesday during the school year from 5:30 - 7:00pm and meets in the CCRMA Classroom, Knoll 217, unless otherwise noted.

The colloquium team for 2019-2020 is:
Camille Noufi - cnoufi@ccrma.stanford.edu
Barbara Nerness - bnerness@ccrma.stanford.edu
Kunwoo Kim - kunwoo@ccrma.stanford.edu
Mike Mulshine - mrmulshine@ccrma.stanford.edu

  • Note: the colloquium will not be held every Wednesday this year (20-21), please keep an eye on the notification e-mails for the dates.


Autumn Quarter (2021)

In person colloquiua will not be held for the 2020 Autumn Quarter. All events will be held remotely.

9/16 New Student Introductions

    • Speaker 1: Lloyd May
    • Speaker 2: Andrew Zhu
    • Speaker 3: Kathleen Yuan
    • Speaker 4: Marise van Zyl
    • Speaker 5: Hannah Choi
    • Speaker 6: Joss Saltzman
    • Speaker 7: Champ Darabundit
    • Speaker 8: Clara Allison
    • Speaker 9: David Braun
    • Speaker 10: Austin Zambito-Valente

9/23 Faculty/Staff Introductions

    • Speaker 1: Jonathan B. (flexible - can be later or next week - but prefer on early side)
    • Speaker 2: Ge Wang (also flex)
    • Speaker 3: Takako Fujioka (me too)
    • Speaker 4: Seán O Dalaigh (new DMA)
    • Speaker 5: Eleanor Selfridge-Field
    • Speaker 6: Craig Stuart Sapp
    • Speaker 7: Blair Kaneshiro (either week is fine)

9/30 Faculty/Staff Introductions

    • Speaker 1: Patricia Alessandrini (via video)
    • Speaker 2: Julius Smith (can go either week any time)
    • Speaker 3: Marina Bosi
    • Speaker 4: Nando (aka Fernando Lopez-Lezcano)
    • Speaker 5: Stephanie Sherriff (any time on 9/30 is good)
    • Speaker 6: Constantin Basica
    • Speaker 7: Matt Wright (also flexible 9/30)
    • Speaker 8: Chris Chafe

10/7 - Break

10/14 - Town Hall

10/21 - Adjunct Faculty Talks (subject to schedule adjustments)

    • Speaker 1: Malcolm Slaney
    • Speaker 2: Poppy Crum
    • Speaker 3: Paul Demarinis
    • Speaker 4: Jonathan Abel
    • Speaker 5: Doug James

TBD - Rapid-Fire Talks

    • Speaker 1:
    • Speaker 2:
    • Speaker 3: Kunwoo Kim
    • Speaker 4: Elena Georgieva
    • Speaker 5: Noah Fram
    • Speaker 6:
    • Speaker 7:
    • Speaker 8:
    • Speaker 9:
    • Speaker 10:
    • Speaker 11:
    • Speaker 12:
    • Speaker 13:
    • Speaker 14:
    • Speaker 15:
    • Speaker 16:
    • Speaker 17:
    • Speaker 18:
    • Speaker 19:
    • Speaker 20:

11/4 - Break

11/11 - External Speaker (To Be Announced)

11/18 - External Speaker (To Be Announced)

11/25 - THANKSGIVING WEEK - Break

Winter Quarter (2021)

  • 1/13:
  • 1/20:
  • 1/27:
  • 2/03:
  • 2/10:
  • 2/17:
  • 2/24:
  • 3/03:
  • 3/10:
  • 3/17:

Fall Quarter (2019)

  • 9/25: New Student Presentations (Week 1)
    • Speaker 1: Jeremy Raven
    • Speaker 2: Brendan Larkin
    • Speaker 3: Raul Altosaar
    • Speaker 4: Jan Stoltenberg
    • Speaker 5: Vivian Chen
    • Speaker 6: Ty Sadlier
    • Speaker 7: Kunwoo Kim
    • Speaker 8: Andrea Baldioceda
    • Speaker 9: Varsha Sankar
    • Speaker 10: Mike Mulshine


  • 10/2: Faculty Introductions (Week 2)
    • Speaker 1: Patricia Alessandrini
    • Speaker 2: Eleanor Selfridge Field
    • Speaker 3: Craig Stuart Sapp
    • Speaker 4: JRB
    • Speaker 5: Takako
    • Speaker 6: Ge
    • Speaker 7: Jarek
    • Speaker 8: Blair Kaneshiro
    • Speaker 9: Matt Wright
    • Speaker 10: Fernando Lopez-Lezcano
    • Speaker 11: Anne Hege
    • Speaker 12: Julius Smith
    • Speaker 13: Elena Georgieva
    • Speaker 14: Marina Bosi
    • Speaker 15: Hongchan Choi


  • 10/9: (Week 3): YOM KIPPUR - no colloquium


  • 10/16: Rapid-Fire Talks (Week 4)
    • Speaker 1: Jack
    • Speaker 2: Jason
    • Speaker 3: Ge
    • Speaker 4: Noah
    • Speaker 5: Elliot
    • Speaker 6: Barbara
    • Speaker 7: Orchi
    • Speaker 8: Matt (the "after" of my Modulations instrument, hopefully this time with MIDI working)
    • Speaker 9: CCRMA composting
    • Speaker 10: Jatin
    • Speaker 11: Mark
    • Speaker 12: Elena
    • Speaker 13: Carlos


  • 10/30: No Colloquium (Week 6)
  • 11/13: CCRMA Town Hall (Week 8)
  • Thanksgiving week