Difference between revisions of "Colloquium"

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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.
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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 academic year from 5:30 - 7:00pm and meets in the CCRMA Classroom, Knoll 217, unless otherwise noted.  
  
 +
The colloquium team for 2020-2021 is:<br />
 +
Barbara Nerness - bnerness@ccrma.stanford.edu <br />
 +
Kunwoo Kim - kunwoo@ccrma.stanford.edu <br />
 +
Mike Mulshine - mrmulshine@ccrma.stanford.edu <br />
 +
Camille Noufi - cnoufi@ccrma.stanford.edu <br />
 +
<br />
  
Autumn 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.
  
Autum 2007
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= Winter Quarter (2021)=
  
==10/17/07== Keith McMillen Mapps: A persistent performance score for modern music
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* 1/13: Break
==10/24/07== Flo Menezes
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* '''1/20: Informal Hangout / Dance Party
==10/31/07== Craig Sapp Measuring Similarity in Performances of Chopin Mazurkas
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* '''1/27:
==11/7/07== Jonathan Middleton
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* '''2/03:
11/14/07 Jesper Nordin
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* '''2/10:
11/21/07 Thanksgiving
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*'''2/17: Rapid-Fire Talks''' (5 min) - sign up here via your CCRMA login
11/28/07 Hans Tutschku
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** Speaker 1: Kunwoo Kim
 +
** Speaker 2: Elena Georgieva
 +
** Speaker 3: Noah Fram
 +
** Speaker 4: Camille Noufi
 +
** Speaker 5: Barbara Nerness
 +
** Speaker 6: (maybe) Julie Zhu
 +
** Speaker 7:
 +
** Speaker 8:
 +
** Speaker 9:
 +
** Speaker 10:
 +
** Speaker 11:
 +
** Speaker 12:
 +
** Speaker 13:
 +
** Speaker 14:
 +
** Speaker 15:
 +
* '''2/24:
 +
* '''3/03: Conference Style Talks''' (15-20 min) - sign up here via your CCRMA login
 +
** Speaker 1:
 +
** Speaker 2:
 +
** Speaker 3:
 +
** Speaker 4:
 +
* '''3/10: Sasha Leitman
 +
* '''3/17: Break
  
 +
= Spring Quarter (2021)=
  
Previous Colloquia
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Schedule TBD. Dates will be posted here as soon as they are planned.
  
  
----------------
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= Past - Autumn Quarter (2020)=
 +
<span style="color:red">'''In person colloquiua will not be held for the 2020 Autumn Quarter. All events will be held remotely.
  
==10/17/07==
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*'''9/16 New Student Introductions'''
Title: Mapps: A persistent performance score for modern music
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** 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
  
Abstract:
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*'''9/23 Faculty/Staff Introductions'''
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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**Speaker 1: Jonathan Berger
 +
** Speaker 2: Ge Wang
 +
** Speaker 3: Takako Fujioka
 +
** Speaker 4: Seán O Dalaigh (new DMA)
 +
** Speaker 5: Eleanor Selfridge-Field
 +
** Speaker 6: Craig Stuart Sapp
 +
** Speaker 7: Blair Kaneshiro
  
Presenter:
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*'''9/30 Faculty/Staff Introductions'''
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: Patricia Alessandrini (via video)
 +
** Speaker 2: Julius Smith
 +
** Speaker 3: Marina Bosi
 +
** Speaker 4: Nando (aka Fernando Lopez-Lezcano)
 +
** Speaker 5: Stephanie Sherriff
 +
** Speaker 6: Constantin Basica
 +
** Speaker 7: Matt Wright
 +
** Speaker 8: Chris Chafe
  
 +
*10/7 - Break
  
==10/24/07==
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*'''10/14 - Town Hall'''
  
Title: Maximal Musicâ
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*'''10/21 - Adjunct Faculty Talks'''
 +
** Speaker 1: Malcolm Slaney
 +
** Speaker 2: Poppy Crum
 +
** Speaker 3: Paul Demarinis
 +
** Speaker 4: Jonathan Abel
 +
** Speaker 5: Doug James
  
Abstract:
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*11/4 - Break
The purpose of the lecture is to give an insight on the compositional aesthetics of composer Flo Menezes. Aspects such as pitch 
+
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:
+
*'''11/11 - [https://www.justinsalamon.com/ Justin Salamon (Adobe / NYU)] [https://vimeo.com/480670893 (Watch Again)]'''
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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*'''11/18 - Mona Shahnavaz'''
  
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.
+
ABSTRACT & BIO:
 +
Mona is an enthusiastic musician, whose focus and passion has been to
 +
share the joy of music with others. In 2018, a successful outcome of
 +
her innovative music program designed for senior citizens was the
 +
turning point for her to decide to change the course of learning piano
 +
in a less complex route. Her engineering background helped her to
 +
start working on the idea that bridges the gap between music and
 +
technology.
  
 +
The approach to fingering in music has always been and still is one of
 +
the major elements of success for keyboard players. Correct fingering
 +
assists the performer in delivering a better technical and musical
 +
performance. This research presents the best technique to generate
 +
fingering for any sequence of music notes. Dynamic programming and
 +
mathematics are major parts of this paper, they work alongside rules
 +
set by pianists to calculate the most practical fingerings for any
 +
musical passage.
  
==10/31/07==
+
The ultimate goal is to facilitate the process of playing the piano
 +
using an AR platform. This is helpful for scaling music instructors
 +
and allows for efficient teaching. Through solving this problem,
 +
virtual instructions would be more productive and impactful. Success
 +
of this research applied in the AR field can be applied to robotic
 +
tasks in educational programs, video games, and medical fields.
  
Title: Measuring Similarity in Performances of Chopin Mazurkas
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*11/25 - THANKSGIVING WEEK - Break
 
+
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
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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
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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.
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==11/7/07==
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Title: The Algorithmic Foundations of My Instrumental Music
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Abstract:
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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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11/14
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Title: "calm like a bomb" - Jesper Nordin
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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:
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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.
+
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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'''[http://en.wikipedia.org/wiki/Electric_current Current]''' describes the quantity of electrons passing through a point in a circuit at a given instant in time.
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Current is measured in '''[http://en.wikipedia.org/wiki/Ampere Amperes]''' ('''Amps''', '''A''').
+
 
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'''[http://en.wikipedia.org/wiki/Voltage Voltage]''' describes the potential difference in electrical charge between two points in an electrical circuit. '''Voltage''' (also known as '''Electro motive force''' or '''EMF''') is measures in '''[http://en.wikipedia.org/wiki/Volt Volts]'''.
+
 
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'''[http://en.wikipedia.org/wiki/Electrical_resistance Resistance]''' (a special case of '''[http://en.wikipedia.org/wiki/Electrical_impedance Impedance]''') describes the capacity of a circuit element to resist or impede the flow of electrons in the circuit. '''Resistance''' in measure in '''[http://en.wikipedia.org/wiki/Ohm_%28unit%29 Ohms]'''.
+
 
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A common analogy may be used to relate these three quantities to water flow in pipes in place of electrons in wires. Current is analogous to the quantity of water flowing through a pipe at a given moment in time. Imagine you have two water tanks connected from the bottoms by a pipe (such as the drain of a double sink). If one tank is full of water and the other one empty we know intuitively that the water in the full tank will flow through the pipe into the empty tank until the level of water in the two tanks is equalized. The water in the full tank near the drain pipe is under pressure caused by gravity acting on the water above it in the tank. The difference in pressure between the water at the bottom of the full tank and the bottom of the empty (or only slightly full tank) is analogous to the voltage between poles of a battery (recall that voltage is always measured with respect to two distinct point in a circuit). In the case of a battery there is an excess of electrons present at the negative pole which are attracted to the electron holes at the positive pole with a potential or voltage determined by the chemical and physical properties of the battery.
+
 
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Q: would the voltage change if we increased the amount of water in the full tank? yes - more water means more gravity acting on the water which results in greater pressure at the bottom of the tank.
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Q: What happens if we open the pipe between the two tanks and let water flow? It flows from the full tank to the empty one until the level is the same in both. The same happens if you short the leads of a battery together without a resistor in between.
+
 
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So what governs the time taken to equalize the level in the two tanks? The diameter of the pipe. The larger the pipe the less resistance there is to the water flow (or current) and the faster the levels equalize. Placing a resistor in an electric circuit has the same effect as placing a constriction in a water pipe. The amount of flow (or current) is not fixed, but given the same water pressure (or Voltage) the smaller the constriction the less flow occurs. Increasing the water pressure can counteract the reduction in flow. You can think of a battery as a pair of tanks, one full extra electrons and one empty to which extra electrons are attracted. (does adding constrictions hold in water as for electricity?) .... '''Ohm's Law''' ...
+
 
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==Ohm's Law==
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'''V = IR'''  Ohm's Law states that '''Voltage''' = '''Current''' x '''Resistance''' or '''V = IR'''. The equation can be rearranged to find any one of the three quantities given the other two.
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Consider the following circuit:
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+
<center>
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[[Image:Ohms_law_1.png]]
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</center>
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The voltage in the circuit is given (10V from the battery) and the resistance is also given as the 100 ohm resistor is the only resistive element in the circuit. So we can compute the current in the circuit as: I = V/R = 10V / 100 Ohms = 0.1 Amps or 100 milli-Amps.
+
 
+
==Button LED Example==
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The following circuit diagram show the most basic LED (Light Emitting Diode) circuit:
+
 
+
<center>
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[[Image:led.png]]
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</center>
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Diodes are from the family of semiconductors. Unlike a resistors, diodes always have a fixed voltage drop in a circuit. A diode passes current in only one direction, a very useful property for protecting circuits from incorrect current flow. The arrow in the diode symbol points in the direction that current flows, so normally you would place a diode in your circuit with the arrow pointing to a ground.  Therefore once we know the current passing through the resistor in this circuit we also know the current passing through the LED. The brightness of an LED is proportional to the amount of current passing through it. How would you make the LED shine brighter? less brightly?
+
 
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Now consider the following circuit which adds a button:
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<center>
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[[Image:button_led.png]]
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</center>
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The button simply interrupts or re-connects the flow of current through the circuit lighting or extinguishing the LED in the process.
+
 
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<center>
+
[[PID 2007]]
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</center>
+
 
+
 
+
[[Category:PID]][[Category:PID_2007]]
+

Latest revision as of 08:27, 21 January 2021

@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 academic year from 5:30 - 7:00pm and meets in the CCRMA Classroom, Knoll 217, unless otherwise noted.

The colloquium team for 2020-2021 is:
Barbara Nerness - bnerness@ccrma.stanford.edu
Kunwoo Kim - kunwoo@ccrma.stanford.edu
Mike Mulshine - mrmulshine@ccrma.stanford.edu
Camille Noufi - cnoufi@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.

Winter Quarter (2021)

  • 1/13: Break
  • 1/20: Informal Hangout / Dance Party
  • 1/27:
  • 2/03:
  • 2/10:
  • 2/17: Rapid-Fire Talks (5 min) - sign up here via your CCRMA login
    • Speaker 1: Kunwoo Kim
    • Speaker 2: Elena Georgieva
    • Speaker 3: Noah Fram
    • Speaker 4: Camille Noufi
    • Speaker 5: Barbara Nerness
    • Speaker 6: (maybe) Julie Zhu
    • Speaker 7:
    • Speaker 8:
    • Speaker 9:
    • Speaker 10:
    • Speaker 11:
    • Speaker 12:
    • Speaker 13:
    • Speaker 14:
    • Speaker 15:
  • 2/24:
  • 3/03: Conference Style Talks (15-20 min) - sign up here via your CCRMA login
    • Speaker 1:
    • Speaker 2:
    • Speaker 3:
    • Speaker 4:
  • 3/10: Sasha Leitman
  • 3/17: Break

Spring Quarter (2021)

Schedule TBD. Dates will be posted here as soon as they are planned.


Past - Autumn Quarter (2020)

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 Berger
    • Speaker 2: Ge Wang
    • Speaker 3: Takako Fujioka
    • Speaker 4: Seán O Dalaigh (new DMA)
    • Speaker 5: Eleanor Selfridge-Field
    • Speaker 6: Craig Stuart Sapp
    • Speaker 7: Blair Kaneshiro
  • 9/30 Faculty/Staff Introductions
    • Speaker 1: Patricia Alessandrini (via video)
    • Speaker 2: Julius Smith
    • Speaker 3: Marina Bosi
    • Speaker 4: Nando (aka Fernando Lopez-Lezcano)
    • Speaker 5: Stephanie Sherriff
    • Speaker 6: Constantin Basica
    • Speaker 7: Matt Wright
    • Speaker 8: Chris Chafe
  • 10/7 - Break
  • 10/14 - Town Hall
  • 10/21 - Adjunct Faculty Talks
    • Speaker 1: Malcolm Slaney
    • Speaker 2: Poppy Crum
    • Speaker 3: Paul Demarinis
    • Speaker 4: Jonathan Abel
    • Speaker 5: Doug James
  • 11/4 - Break
  • 11/18 - Mona Shahnavaz

ABSTRACT & BIO: Mona is an enthusiastic musician, whose focus and passion has been to share the joy of music with others. In 2018, a successful outcome of her innovative music program designed for senior citizens was the turning point for her to decide to change the course of learning piano in a less complex route. Her engineering background helped her to start working on the idea that bridges the gap between music and technology.

The approach to fingering in music has always been and still is one of the major elements of success for keyboard players. Correct fingering assists the performer in delivering a better technical and musical performance. This research presents the best technique to generate fingering for any sequence of music notes. Dynamic programming and mathematics are major parts of this paper, they work alongside rules set by pianists to calculate the most practical fingerings for any musical passage.

The ultimate goal is to facilitate the process of playing the piano using an AR platform. This is helpful for scaling music instructors and allows for efficient teaching. Through solving this problem, virtual instructions would be more productive and impactful. Success of this research applied in the AR field can be applied to robotic tasks in educational programs, video games, and medical fields.

  • 11/25 - THANKSGIVING WEEK - Break