CCRMA Summer Workshops 2008GENERAL INFORMATION
The Center for Computer Research in Music and Acoustics offers intensive programs where top educators and researchers from the fields of music, engineering, and computer science will present a detailed study of specialized subjects. The workshops are one or two weeks long. The workshops are open to the public. Each day begins at 9:00 am and ends at 5:00 pm with an hour for lunch on your own.
All workshop offerings subject to change or cancellation based on enrollment
TUITION AND FEES
Course tuition and fees will vary by location. Workshops located at CCRMA will be $650 for one week and $1200 for two weeks. Fees may be associated for lab material.
No academic credit is offered for participation in the workshops.
Please apply for housing by Wednesday June 11.
Housing costs are not included in the course fee. Stanford Campus housing is available for the summer workshops held at CCRMA through the Stanford University Conference Office. Please note housing is only available up to August 15 2008. Register for housing here: Stanford Conference Services
Directions to the CCRMA Workshop held at the Knoll, 660 Lomita Drive, Stanford, CA can be found here: http://www.stanford.edu/home/visitors/maps.html.
Parking costs are not included in the course fee. Parking information can be found at the Stanford Parking and Transportation website: http://transporation.stanford.edu
All workshops held at CCRMA require a $150 non-refundable registration fee. Register Here!
660 Lomita Drive
Stanford. CA 9305-8180
CCRMA Workshop Flyer
Physical Interaction Design Workshop Flyer
Please distribute or post!
23 – July 4: Digital
Signal Processing: Spectral and Physical Models (DSP)
The afternoon labs
will be hands-on sessions using SMS, the Synthesis ToolKit in C++,
Matlab, and other software systems and utilities.
Given the short duration of the workshop and the broad spectrum of topics to cover, the lectures will be comprehensive in nature. However, a full complement of in-depth readings will be provided for those who wish to investigate the details of the material. Also, the last two days of the workshop will include a more detailed treatment of some advanced topics and the corresponding afternoon labs will give the students a chance to solve some specific problems of their interest.
Perry R. Cook, is the author of Real Sound Synthesis for Interactive Applications
7 – July 18: Physical
Interaction Design for Music (PID)
workshop is intended for:
The workshop will consist of half-day supervised lab sessions, and half-day lectures, classroom exercises and discussions. Classroom sessions will feature live demos and/or concerts of interactive music and instruments. Participants are encouraged (but by no means required) to bring their own laptop computers with any music software/hardware they already use.*NOTE: There is a $40 lab fee included in the cost of this workshop. Participants have the option of purchasing a $135 lab kit at the end of the workshop. The kit contains a prototyping board, power supply, data cable, and a variety of sensors. The prototyping board consists of an Atmel AVR microcontrollers development board with on-board programming, debugging and connectivity interfaces, LCD display, speaker, and solder less breadboard strips for project development. Sensors include force-sensitive resistors, potentiometers, photo cells and shaft encoders.
July 21 – August 1: Intelligent Audio Systems: Foundations and Applications of Music Information Retrieval (MIR)
Jay LeBoeuf, Ge Wang
workshop will teach the underlying ideas, approaches, technologies,
and practical design of intelligent audio systems using Music
Information Retrieval (MIR) algorithms.
is a highly-interdisciplinary field bridging the domains of digital
audio signal processing, pattern recognition, software system design,
and machine learning. Simply put, MIR algorithms allow a computer to
“listen” and “understand or make sense of” audio data, such
as MP3s in a personal music collection, live streaming audio, or
gigabytes of sound effects, in an effort to reduce the semantic gap
between high-level musical information and low-level audio data. In
the same way that listeners can recognize the characteristics of
sound and music – tempo, key, chord progressions, genre, or song
structure – MIR algorithms are capable of recognizing and
extracting this information, enabling systems to perform extensive
sorting, searching, music recommendation, metadata generation,
transcription, and even aiding/generating real-time performance.
workshop will consist of half-day lectures, half-day supervised lab
sessions, classroom exercises, demonstrations, and discussions.
will allow students to design basic ground-up "intelligent audio
systems", leveraging existing MIR toolboxes, programming
environments, and applications. Labs will include creation and
evaluation of basic instrument recognition, transcription, and
real-time audio analysis systems.
of basic digital audio principles and familiarity with basic
programming (Matlab, C/C++, and/or ChucK) will be useful. Students
are highly encouraged to bring their own audio source material for
course labs and demonstrations.
Perceptual audio coders are currently
used in many applications including Digital Radio and Television,
Digital Sound on Film, Multimedia/Internet Audio, Portable Devices, and
Electronic Music Distribution (EMD). This Workshop integrates digital
signal processing, psychoacoustics, and programming to provide the
basis for building a simple perceptual audio coding system. The first
part of the workshop addresses the basic principles of perceptual audio
In the second part, design choices applied in state-of-the-art audio coding schemes, e.g. AC-3; MPEG Layers I, II, and III (MP3); MPEG AAC; MPEG-4 are presented. In-class demonstrations will allow students to hear the quality of state-of-the-art implementations at varying data rates and they will be required to program their own simple perceptual audio coder during the workshop. This Workshop is intended for:
The workshop will consist of half-day lectures, half-day supervised lab sessions, and classroom exercises and discussions. In addition to addressing basic theory and implementations, classroom sessions will feature state-of-the-art audio coding demos. Participants are encouraged (but by no means required) to bring their own laptop computers. Knowledge of basic digital audio principles and C programming is expected.
Marina Bosi, Richard E. Goldberg are co-authors of the book, Introduction to Digital Audio Coding and Standards.
WORKSHOPS HOSTED IN KOREA
This workshop is an introduction to fundamental elements of digital audio signal processing, such as spectra, the Discrete Fourier Transform, digital filters, and various sound synthesis methods. The workshop will consist of half-day lectures and half-day supervised labs. Lectures will feature theoretical issues, and will be complemented by hands-on, step-by-step examples of lab sessions.
MATLAB and Max/MSP will be used for in-class demonstrations and lab exercises. As an introductory course, it is primarily geared for musicians or composers interested in exploring the basics of audio DSP and their applications to music and sound. Familiarity with digital audio and advanced calculus will be helpful, but the lectures and labs will be designed to be suitable for participants with little engineering experience. This workshop is also designed to serve as a precursor to the CCRMA Digital Signal Processing workshop.
For more information (in Korean), please visit:
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