Difference between revisions of "Fall Colloq 2011"
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==11/02 Max Lab and Bay Area Prototyping Resources, Drupal, CMS, Craig Sapp and eleanor Selfridge-Field , Ge Wang ==
==11/02 Max Lab and Bay Area Prototyping Resources, Drupal, CMS, Craig Sapp and eleanor Selfridge-Field , Ge Wang ==
Revision as of 14:21, 25 October 2011
- 1 9/28 Chris Chafe, Ensembles, Basic Guidelines
- 2 10/5 Academic Guidelines, New Student Presentations, Dinner
- 3 10/12 Jonathan Berger and Christopher Willits
- 4 10/19 Andrea Agostini, Mark Applebaum
- 5 10/26 Edgar Berdahl, Computing Resources at CCRMA
- 6 11/02 Max Lab and Bay Area Prototyping Resources, Drupal, CMS, Craig Sapp and eleanor Selfridge-Field , Ge Wang
- 7 11/09 Studios D and E, Digital Mixers, Marina Bosi
- 8 11/16 IPL/Studio C, Jaroslaw Kapuscinski, Jonathan Abel
- 9 11/30 Events and Concerts, Stage Use, Bruno Ruviaro, Tom Rossing
- 10 12/07 Listening Room, Fernando Lopez-Lezzcano, Julius Smith
9/28 Chris Chafe, Ensembles, Basic Guidelines
- Chris Chafe, Director of CCRMA
- Facilities Guidelines
Email Forwarding: https://ccrma.stanford.edu/wiki/Email#Email_Forwarding
Password change: Type passwd in terminal
Web Directory: username/Library/Web ccrma.stanford.edu/~username
CCRMA Room Booking: https://ccrma.stanford.edu/rooms/day.php
Stage Booking: http://music-calendar.stanford.edu/VirtualEms/
10/5 Academic Guidelines, New Student Presentations, Dinner
Academic Programs and Guidelines by Tricia Schroeter
New students have 5 minutes to introduce themselves the CCRMA Community and talk about the type of research and creating they have done or are interested in doing. Delicious dinner from Mediterranean Wraps ($5 donation requested).
10/12 Jonathan Berger and Christopher Willits
Jonathan Berger's orchestral, chamber, vocal and electroacoustic works have been performed throughout the world. Miracles and Mud, Berger's recent Naxos recording of music for solo violin and string quartet has received considerable critical acclaim. Berger's recent commissions include The Bridal Canopy (Berger's fourth string quartet, composed for the St. Lawrence String Quartet and commissioned by the Friends of Chamber Music, Denver), Tears In Your Hand (Commissioned by Chamber Music Toronto for the Gryphon Trio), and Of Hammered Gold (Commissioned by Chamber Music America). Major past commissions include the National Endowment for the Arts, The Rockefeller Foundation, WDR, the Bourges Festival and the Mellon Fund. Current commissions include works for Ensmble Meitar, Trio Voce, violist Gilad Karmi, and Fulcrum Point. Berger's works are available on Naxos, Sony, Neuma, CRI and Harmonia Mundi. In addition to composition Berger is an active researcher with over 60 publications in a wide range of fields relating to music, science and technology. Berger is The Denning Family Provostial Professor at Stanford and Co-Director of the Stanford Institute for Creativity and the Arts (SICA) and the University's arts initiative.
Christopher Willits is an artist- a musician, guitarist, producer, photographer, filmmaker all-in-one. Willits occupies a unique corner of the electronic-art-music universe—hovering above the intersection of electronic production’s nuts and bolts, new media art, and a wide-open creative mind. “i am a conduit of the process, a kind of gardener,” he says. “I simply imagine, intuit, respond and do the work laid before me.” Willits’ tireless responding and doing and working has produced 20 albums in 10 years—solo and in collaboration with artists including Ryuichi Sakamoto, Matmos, Zach Hill, and Taylor Deupree—and an organic, multi-faceted sound that expands like the vines of an electro-acoustic kudzu plant. Christopher Willits is a teacher, a label owner (the experimental hub Overlap.org), a meditator, a tech geek, a visual/new media artist, and virtuosic musician in one. In other words, there’s no one out there quite like him. Willits designs much of his own software, and his music is a holistic universe in which all elements are interconnected; he folds his guitar lines into bleary, unrecognizable shapes and polyrhythmic textures, adding strokes of percussion, horns, and his own voice until the whole glows with an earthly inner light. A full list of Christopher Willits’ releases and accomplishments would take up considerable column space, but a beginner’s guide to Willits includes 2002’s Folding, and the Tea (his watery 12k debut), 2006’s landmark Surf Boundaries (his first full-length record on Ghostly International), 2008’s Ocean Fire (Willits’ collaboration with renowned pianist / composer Ryuichi Sakamoto), and 2009’s Live on Earth Vols. 1 & 2 (a pair of self-released live albums dedicated to his fans and supporters).
Willits has been instrumental in redefining the guitar in the digital age. Using custom-built software, Willits morphs melodic guitar loops and photo/video experiments into folded rhythms of harmony, memory, color and texture. Named “the center cell of a complex indie rock-avant-garde-electronic art Venn diagram in the Bay Area” (San Francisco Bay Guardian), and “The Picasso of Sound” (Tokafi Magazine), Willits defies genre distinctions while still defining a sound and style of his own. His guitar lines fold and weave into each other creating complex patterns of interlocking rhythm, melody, and texture.
Every project sees him evolving and expanding his creative vision. In addition to his solo work, Willits has created a vast range of music collaborations, sound installations, and film/video projects. His band project Flossin involves Zach Hill, Kid606, and Matmos, The North Valley Subconscious Orchestra is Willits and Brad Laner, formerly of Medicine. Other frequent collaborators include Scott Pagano, Taylor Deupree, and Ryuichi Sakamoto. Willits' numerous releases and collaborative projects cover a broad spectrum of musical styles, and include one main commonality: Willits' love of pattern and his unique approach to the guitar and sound + light. Willits completed his Master's Degree in Electronic Music at Mills College where he studied with Pauline Oliveros and Fred Frith. At Mills he explored structure-generating processes in music; a focus not unfamiliar to former Mills affiliates John Cage and Steve Reich. Prior to Mills, Willits focused on painting, video art, sound art and music at the Kansas City Art Institute. In addition to all of this, Willits is the Founder / Director of the experimental media label Overlap.org .
10/19 Andrea Agostini, Mark Applebaum
Andrea Agostini, born in 1975, starts as a young boy his music studies. He obtains honors degree both in composition and electronic music, followed soon by a piano degree. He has attended Master Classes with, among others, Alessandro Solbiati, Ivan Fedele, Brian Ferneyhough, Michel Jarrel, François Paris. His works have been selected and award-winning in several international competitions such as Prix Noroit 2002, Musica Viva 2003, 3rd Seul Competition for Composers, Gaudeamus Music Week 2005. He's written for radio, cinema, and theatre. His compositions have been publicly performed in Italy and abroad: American Music Week 2002 in Sofia, Sincronie Festival (Milan) 2004 and 2005, Istituto Italiano di Cultura, WDR Köln, Festival Bourges 2006, Festival Spark 2007 (Minneapolis), Saison Musical 2006 and 2007 Abbay Royaumont.
Mark Applebaum is associate professor of composition at Stanford University. He received his Ph.D. in composition from the University of California, San Diego where he studied with Brian Ferneyhough. His solo, chamber, choral, orchestral, operatic, and electroacoustic music has been performed throughout the United States, Europe, Africa, and Asia with notable premieres at the Darmstadt sessions. He has received commissions from the Merce Cunningham Dance Company, the Fromm Foundation, and the Vienna Modern Festival, among others. Applebaum builds electroacoustic sound-sculptures and is active as a jazz pianist. His music can be heard on the Innova, Tzadik, Capstone, Everglade, and SEAMUS labels. See also: www.markapplebaum.com.
10/26 Edgar Berdahl, Computing Resources at CCRMA
Edgar Berdahl is a lecturer in the Music Department at Stanford University in California, USA. Prior to receiving his PhD from Stanford, Berdahl earned a BS in Electrical Engineering and Computer Science at UC Berkeley. His research interests include physical modeling, human-computer interaction, robotics, signal processing, and sound synthesis. He seeks to enhance "digital" musical interactions so that they "seem more analog."
Computing at CCRMA
- CCRMA Wiki editing 
- Interesting places on the CCRMA network:
- User directories
- Other useful network mounts
- Local partitions on CCRMA hosts
/zap, /scratch, /audio
- Unix: command line practice lab:
- mkdir -p
- ls, ll, l.
- cp, scp
- du -sh
- df -h | grep [explain pipe and > text redirect]
- ps -e | grep
- chmod, chown, chgrp
11/02 Max Lab and Bay Area Prototyping Resources, Drupal, CMS, Craig Sapp and eleanor Selfridge-Field , Ge Wang
Technical Topic: We will go over the resources available to you in the Max Lab and the various prototyping facilities at Stanford (PRL, Sculpture studio) and the general Bay Area Community (Tech Shop, Community College Classes, Crucible, Online Prototyping)
Stanford Product Realization Lab http://www.stanford.edu/group/prl/prl_site/
Students can take a one hour safety training session and then use the lab for a daily or quarterly fee. Open for four hour blocks of time throughout the quarter. Not open during the summer. Resources include “traditional machining, woodworking, foundry, plastics molding, welding, finishing, and metrology tools. State-of-the-art computer-aided drawing, manufacturing, and prototyping systems are also available.”
PRL Suppliers list http://www.stanford.edu/group/prl/prl_site/ Go to the PRL website and click on the “suppliers” link in the upper right corner. Great list of places to get stuff in the Bay Area.
Tech Shop – Menlo Park and San Francisco http://techshop.ws/
Monthly membership and various classes give you access to everything from CNC plasma cutters to industrial sewing machines. This is sort of like a PRL for non-university folks and they have equipment that the PRL doesn't have.
McMaster Carr mcmaster.com They have almost any piece of hardware you could ever want. Prices are ok.
TAP Plastics – Mountain View, San Francisco http://www.tapplastics.com/ Best Local supplier of plastics
Online Metals http://www.onlinemetals.com/ Great place to get small amounts of metal
Pick N Pull = San Jose, Oakland http://www.picknpull.com/ Do it yourself junkyard. Not the cheapest but you can sometimes get good deals.
HSC (Halted) Electronics – Santa Clara http://www.halted.com/ Good local resource for surplus electronics. Close to El Camino Mongolian BBQ resturaunt and Central Computers.
Douglas & Sturgess – San Francisco Supplier of all things sculputral – great supply of silicon and epoxy needs.
The music information lab in the Braun Music Center (#129-130) works in intersecting areas of music, music theory, computer science, and cognitive studies. Symbolic music representation systems (http://www.ccarh.org/publications/books/beyondmidi) are central to all of these endeavors.
Specific areas of activity include:
1. Robust encoding, acquisition, and printing systems across platforms (Score, Finale, Sibelius, MuseScore, Noteflight, MuseData, OCR, et al: see http://253.ccarh.org)
2. Symbolic music retrieval via the Themefinder database (for low- and high-precision searches of encoded music): see http://www.themefinder.org/
3. Music analysis and tool development for the Humdrum Toolkit (http://humdrum.ccarh.org/)
4. Methods of visualization, such as [WINDOWS-1252?]Sapp’s keyscapes (structural harmonic analyses): http:// ccrma.stanford.edu/~craig/keyscape/class
5. Data interchange and the re-purposing of musical [WINDOWS-1252?]data—
MusicXML: http://recordare.com/musicxml/specification/ MEI: http://www2.lib.virginia.edu/innovation/mei/
We also build aggregations of encoded data for notation and analysis. Our major collections are these:
Courses offered at CCARH include
1. Music 252 Introduction to Music Notation Software (autumn) 2. Music 253 Introduction to Musical Information (winter) 3. Music 254 Music Query, Analysis, and Style Simulation (spring): project-oriented course
For an aggregation of all these projects, see the Center for Computer Assisted Research in the Humanities: http://www.ccarh.org
Ge Wang is an Assistant Professor at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA), and researches interactive software systems for computer music, programming languages, social/mobile music, and education at the intersection of computer science and music. Ge is the author of the ChucK audio programming language, the founding director of the Stanford Laptop Orchestra (SLOrk), and the co-founder and director of the Stanford Mobile Phone Orchestra (MoPhO). Ge is also the Co-founder, CTO, and Chief Creative Officer of Smule, and the designer of the iPhone's Ocarina and the iPad's Magic Piano.
11/09 Studios D and E, Digital Mixers, Marina Bosi
Technical Topic: Hands on instruction and practice using the Yamaha digital mixers available in Studios C, D, E and the CCRMA Stage. Discussion of the software and hardware tools available in Studios D and E.
Marina Bosi is Consulting Professor in the Music Department at Stanford University and is also a founding member and director of the Digital Media Project, a non-profit organization that promotes successful development, deployment, and use of Digital Media. Previously, Dr. Bosi was Chief Technology Officer of MPEG LA®, a firm specializing in the licensing of multimedia technology; VP-Technology, Standards and Strategies at Digital Theater Systems (DTS); and was part of the research team at Dolby Laboratories working on AC-2 and AC-3 technology where she also led the MPEG-2 AAC development. Dr. Bosi has been actively involved in the development of standards for audio and video coding and for managing digital content, contributing to the work of ANSI, ATSC, DVD Forum, DVB, ISO/IEC MPEG, SDMI, and SMPTE.
A past President of the Audio Engineering Society (AES), Dr. Bosi also served the AES in various capacities including as a member of the Board of Governors and as VP of the Western Region USA and Canada. Dr. Bosi is a member the Technical Committee on Audio and Electroacoustics of the IEEE Signal Processing Society, a senior member of IEEE, and a member of ASA. Dr. Bosi received the AES Fellowship Award for her contributions to the standardization of audio coding, video coding, and secure digital content. She received the AES Board of Governors Award twice: for her co- chairmanship of the 96th AES Convention and again for her co-chairmanship of the 17th AES International Conference, the first scientific international conference dedicated to the topic of high quality audio coding. Dr. Bosi was the editor of MPEG-2 Advanced Audio Coding (AAC) for which she received a Certificate of Appreciation from ISO/IEC. She also has received several awards for her scholarship from both the French and Italian governments. Dr. Bosi holds several patents and publications in the field and is author of the acclaimed textbook “Introduction to Digital Audio Coding and Standards” (Kluwer/Springer December 2002) translated into Chinese and Korean.
11/16 IPL/Studio C, Jaroslaw Kapuscinski, Jonathan Abel
Technical Topic: Hands on instruction and practice using the Yamaha digital mixers available in Studios C, D, E and the CCRMA Stage Jarek will give a tour of Studio C (IPL). https://ccrma.stanford.edu/wiki/CCRMA_IPL_Studio_C_User_Guide
Jaroslaw Kapuscinski is an intermedia composer and pianist whose work has been presented at New York's MOMA, Zentrum für Kunst und Medientechnologie in Karlsruhe, Museum of Modern Art Palais de Tokyo in Paris, National Reina Sofia Museum in Madrid and many other venues. He has received numerous awards among else at the UNESCO Film sur l'Art Festival in Paris in 1992, VideoArt Festival in Locarno in 1992 and 1993, Manifestation Internationale Vidéo et Art Éléctronique in Montréal in 1993 and International Festival of New Cinema and New Media in Montréal in 2000. Kapuscinski's primary interest is creation and performance of works, in which musical instruments are used to control multimedia content. He was first trained as a classical pianist and composer at the Chopin Academy of Music in Warsaw and expanded into multimedia at a residency at Banff Centre for the Arts in Canada (1988) and during doctoral studies at the University of California, San Diego (1992-1997). Kapuscinski is actively involved in intermedia education. As of 2008 he is Assistant Professor of Composition and Director of Intermedia Performance Lab at Stanford University. He has taught at McGill University in Montreal, Royal Academy of Arts and Music in the Hague, Art Conservatory and Music Academy in Odense, Conservatory of Music at University of the Pacific and lectured internationally. He has published among else "Composing with Sounds and Images", an article outlining his intermedia theory.
Jonathan S. Abel is a consulting professor at the Center for Computer Research in Music and Acoustics (CCRMA) in the Music Department at Stanford University where his research interests include audio and music applications of signal and array processing, parameter estimation, and acoustics. From 1999 to 2007, Abel was a co-founder and chief technology officer of the Grammy Award-winning Universal Audio, Inc. He was a researcher at NASA/Ames Research Center, exploring topics in room acoustics and spatial hearing on a grant through the San Jose State University Foundation. Abel was also chief scientist of Crystal River Engineering, Inc., where he developed their positional audio technology, and a lecturer in the Department of Electrical Engineering at Yale University. As an industry consultant, Abel has worked with Apple, FDNY, LSI Logic, NRL, SAIC and Sennheiser, on projects in professional audio, GPS, medical imaging, passive sonar and fire department resource allocation. He holds Ph.D. and M.S. degrees from Stanford University, and an S.B. from MIT, all in electrical engineering. Abel is a Fellow of the Audio Engineering Society.
11/30 Events and Concerts, Stage Use, Bruno Ruviaro, Tom Rossing
Technical Topic: We will go over how to book events and concerts at CCRMA including scheduling, publicity, and gear check-out. We will also do a hands on demo of the major components of the stage including the mixing board and the lighting board.
Bruno Ruviaro is a composer originally from São Paulo, Brazil, and has been living in the United States since 2002. He composes both acoustic and electronic music. Recordings of his two most recent pieces ("Intellectual Impropriety 0.6", for laptop orchestra, and "Drei, Dai, Dry", for viola, cello, and percussion), can be heard at <http://www.brunoruviaro.com/ >. Current interests include the study and criticism of intellectual property and musical borrowing in both classical and popular music history. He is currently a Post-Doctoral Scholar and concert organizer at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University.
Thomas D. Rossing (Distinguished Research Professor of Physics Emeritus, Northern Illinois University and Visiting Professor of Music at Stanford University) is the author of over 400 publications, including 18 books, mostly on magnetism and acoustics. His latest books are the Springer Handbook of Acoustics and The Science of String Instruments, which is currently in press at Springer. He is also writing a chapter for the 3rd edition of The Psychology of Music by Diana Deutsch. He has directed church choirs and handbell choirs, played clarinet in orchestras and chamber ensembles, and appeared as tenor soloist. He has been a visiting professor at universities in Korea and Scotland as well as in the United States.
He is a Fellow of the American Physical Society, The Acoustical Society of America, the American Association for the Advancement of Science, and IEEE. He was awarded the Silver Medal in Musical Acoustics and the Gold Medal in Acoustics by the Acoustical Society of America and the Robert Millikan Medal by the American Association of Physics Teachers. He will receive the Rayleigh Medal from the Mexican Institute of Acoustics in November. His biography appears in Who’s Who in America and in the New Groves Dictionary of Music and Musicians.
12/07 Listening Room, Fernando Lopez-Lezzcano, Julius Smith
Technical Topic: Nando will give a tour of the listening room. Information about the rooms can be found here: https://ccrma.stanford.edu/wiki/Listening_Room_Specs https://ccrma.stanford.edu/room-guides/listening-room
Fernando Lopez-Lezcano is a composer, performer, lecturer and computer systems administrator at CCRMA, Stanford University. He has been teaching and taking care of computing resources there since 1993, and created and maintains since 2001 the Planet CCRMA collection of open source sound and music packages for Linux. He has been involved in the field of electronic music since 1976 as a composer, instrument builder and performer, blurring the lines of his dual background in music (piano and composition) and electronic engineering. His music has been released on CD and played in the Americas, Europe and East Asia. He was the "Edgar Varese Guest Professor" at TU Berlin during the Summer 2008 semester.
Julius O. Smith teaches Music 420 (Signal Processing Models in Musical Acoustics) and 421 (Audio Applications of the Fast Fourier Transform) and supervises related research at CCRMA. He is formally a professor of music and associate professor (by courtesy) of electrical engineering. In 1975, he received his BS/EE degree from Rice University, where he got started in the field of digital signal processing and modeling for control. In 1983, he received the PhD/EE degree from Stanford University, specializing in techniques for digital filter design and system identification, with application to violin modeling. His work history includes the Signal Processing Department at Electromagnetic Systems Laboratories, Inc., working on systems for digital communications, the Adaptive Systems Department at Systems Control Technology, Inc., working on research problems in adaptive filtering and spectral estimation, and NeXT Computer, Inc., where he was responsible for sound, music, and signal processing software for the NeXT computer workstation. Prof. Smith is a Fellow of the Audio Engineering Society and the Acoustical Society of America. He is the author of four online books and numerous research publications in his field. For more information, see http://ccrma.stanford.edu/~jos/.