Fall Colloq 2012
- 1 9/26 Chris Chafe, Academic Guidelines, Basic Guidelines, Events and Concerts
- 2 10/3 Jonathan Berger, Computing at CCRMA
- 3 10/10 Tom Rossing, Ge Wang, Ed Berdahl
- 4 10/17 New Student Presentations, Dinner
- 5 10/24 Studios D and E, Digital Mixers, Carr Wilkerson talks about Robert Henke
- 6 10/31 Halloween - No Class
- 7 11/7 Studio C, Jaroslaw Kapuscinski, Takako Fujioka
- 8 11/14 Max Lab, Stage Use, Jonathan Abel, Marina Bosi
- 9 11/21 Thanksgiving - No Class
- 10 11/28 Fernando Lopez-Lezcano, Julius Smith, Listening Room
- 11 12/05 CCARH - Craig Sapp and Eleanor Selfridge-Field
9/26 Chris Chafe, Academic Guidelines, Basic Guidelines, Events and Concerts
- Academic Programs and Guidelines by Debbie Barney
- Facilities Guidelines
Email Forwarding: https://ccrma.stanford.edu/wiki/Email#Email_Forwarding
CCRMA Room Booking: https://ccrma.stanford.edu/rooms/day.php
Stage Booking: http://music-calendar.stanford.edu/VirtualEms/
Major CCRMA Events During This Year: Modulations - April 6th Open House - Late Spring Quarter
- Chris Chafe, Director of CCRMA
10/3 Jonathan Berger, Computing at CCRMA
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.
Computing at CCRMA
- CCRMA Drupal Homepage - Your Profile
- CCRMA Wiki editing 
- Interesting places on the CCRMA network:
- User directories
- Other useful network mounts
- Local partitions on CCRMA hosts
/zap, /scratch, /audio
- The Departmental Firewall and creative network ports, plan ahead.
- Default shell: currently
tcsh. Can change to
bashor other shell. Contact Sys Admins.
- 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
10/10 Tom Rossing, Ge Wang, Ed Berdahl
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.
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.
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."
10/17 New Student Presentations, Dinner
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).
10/24 Studios D and E, Digital Mixers, Carr Wilkerson talks about Robert Henke
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.
10/31 Halloween - No Class
11/7 Studio C, Jaroslaw Kapuscinski, Takako Fujioka
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.
11/14 Max Lab, Stage Use, Jonathan Abel, Marina Bosi
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.
Bay Area Prototyping Resources: https://ccrma.stanford.edu/wiki/Prototyping
Booking the Stage http://music-calendar.stanford.edu/VirtualEMS/
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.
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.
11/21 Thanksgiving - No Class
11/28 Fernando Lopez-Lezcano, Julius Smith, Listening Room
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/.
12/05 CCARH - Craig Sapp and Eleanor Selfridge-Field
CCARH - Craig Sapp and Eleanor Selfridge-Field 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: 1. MuseData: http://www.musedata.org 2. KernScores: http://kern.humdrum.net 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