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Department of Music
Stanford University
Stanford, CA 94305-8180
tel: (650) 723-4971
fax: (650) 723-8468

Center for Computer Research in Music and Acoustics

CCRMA Summer Workshops 2008  

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


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:


Parking costs are not included in the course fee.  Parking information can be found at the Stanford Parking and Transportation website:


All workshops held at CCRMA require a $150 non-refundable registration fee. Register Here!
Register Online Now

Tricia Schroeter
CCRMA Administrator
660 Lomita Drive
Stanford University
Stanford. CA  9305-8180
650-723-4971 x320

PDF Flyers:
CCRMA Workshop Flyer
Physical Interaction Design Workshop Flyer
Please distribute or post!


June 23 – July 4: Digital Signal Processing:  Spectral and Physical Models (DSP)
Perry Cook, Xavier Serra

This course will cover analysis and synthesis of sounds based on spectral and physical models.Models and methods for synthesizing real-world sounds, as well as musical sounds, will be presented. The course will be organized into morning lectures, covering theoretical aspects of the models, and afternoon lab sessions. The morning lectures will present topics such as Fourier theory, spectrum analysis, the phase vocoder, digital waveguides, digital filter theory, pitch detection, linear predictive coding (LPC), high-level feature extraction, and various other aspects
of signal processing of interest in sound applications.

The afternoon labs will be hands-on sessions using SMS, the Synthesis ToolKit in C++, Matlab, and other software systems and utilities.
Familiarity with engineering, mathematics, physics, and programming will be useful, but the lectures and labs will be geared to a musical audience with basic experience in math and science. Most of the programs used in the workshop will be available to take home.

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

July 7 – July 18: Physical Interaction Design for Music (PID)
Michael Gurevich, Carr Wilkerson, Ed Berdahl
This workshop integrates programming, electronics, interaction design, audio, and interactive music. Focus will be on hands-on applications using sensors and microprocessors in conjunction with real-time DSP to make music. Specific technologies will include C programming for Atmel AVR microcontrollers, PD and/or Max/MSP for music synthesis, and sensors including force-sensitive resistors, bend sensors, accelerometers, IR range finders, etc.  Participants will design and build working prototypes using a kit* that can be taken home at the end of the workshop. Further issues to be explored will include modes and mappings in computer music, exercises in invention, and applications of sensors and electronics to real-time music. The course will be augmented by a survey of existing controllers and pieces of interactive music.

This workshop is intended for:
Musicians or composers interested in exploring new possibilities in interactive music in a hands on and technical way; Anyone looking to gain valuable skills in basic analog and digital electronics, with a focus on invention; Engineers, computer scientists, or product designers interested in exploring artistic outlets for their talents and collaborating with performers and composers.

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

This workshop will teach the underlying ideas, approaches, technologies, and practical design of intelligent audio systems using Music Information Retrieval (MIR) algorithms.

MIR 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.

This workshop will target students, researchers, and industry audio engineers who are unfamiliar with the field of Music Information Retrieval (MIR). We will demonstrate the myriad of exciting technologies enabled by the fusion of basic signal processing techniques with machine learning and pattern recognition. Lectures will cover topics such as low-level feature extraction, generation of higher-level features such as onset timings and chord estimations, audio similarity clustering, search, and retrieval techniques, and design and evaluation of machine classification systems. The presentations will be applied, multimedia-rich, overview of the building blocks of modern MIR systems. Our goal is to make the understanding and application of highly-interdisciplinary technologies and complex algorithms approachable.

The workshop will consist of half-day lectures, half-day supervised lab sessions, classroom exercises, demonstrations, and discussions.

Labs 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.

Knowledge 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.

August 4 – 15: Cell Phone (INFO COMING SOON)
 Georg EsslGe Wang

August 18 - August 22: Perceptual Audio Coding (PAC)    
Marina Bosi, Richard Goldberg

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 coding.

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:

  • Musicians/composers interested in exploring widely used digital audio technology;
  • Anyone looking to know more about media technology used in our every-day lives;
  • Engineers / computer scientists / product designers interested in exploring the principles and practices of audio coding standards.

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.


 Music Information Retrieval (MIR)
1 week
July 28 - August 1
Kyogu Lee
This workshop will cover various topics from low-level signal processing techniques for feature extraction from audio to machine learning algorithms for high-level musical metadata extraction in Music Information Retrieval systems. The workshop will focus on several tasks active in the MIR society such as tempo/beat tracking, melody/harmony extraction, music similarity and retrieval, cover song identification, and so on. We will also touch on structural analysis including music segmentation and summarization. The focus will be made on the raw audio processing, but symbolic data processing will also be discussed. Frequent references will be made to the rich literature found in the Proceedings of ISMIR (International Symposium on Music Information Retrieval), IEEE ICASSP (International Conference on Acoustics, Speech, and Signal Processing), and other related proceedings/journals.

The Workshop will consist of half-day lectures followed by half-day
supervised lab sessions, when the participants will be implementing algorithms in MATLAB.

*Prerequisites: familiarity with MATLAB, introductory knowledge of digital
signal processing
For more information and to register, please visit : Yonsei University

- Title: Introduction to Audio Digital Signal Processing for Mu

- Title: Introduction to Audio Digital Signal Processing for Mu

Introduction to Audio Digital Signal Processing for Musicians (with MATLAB and Max/MSP)
1 week
Aug 18 - Aug 22
KAIST(DMC), Seoul, Korea
Juhan Nam with Woon Seung Yeo

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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Created and maintained by Tricia Schroeter,