François Germain



Teaching assistanships (Stanford University)

Spring 2017 - MUSIC 222: Sound in Space (Fernando Lopez-Lezcano)

Historical background, techniques and theory on the use of space in music composition and diffusion. Listening and analysis of relevant pieces. Experimental work in spatialization techniques leading to short studies to be diffused in concert at the end of the quarter.

Winter 2017 - MUSIC 422: Perceptual Audio Coding (Marina Bosi)

History and basic principles: development of psychoacoustics-based data-compression techniques; perceptual-audio-coder applications (radio, television, film, multimedia/internet audio, DVD, EMD). In-class demonstrations: state-of-the-art audio coder implementations (such as AC-3, MPEG) at varying data rates; programming simple coders. Topics: audio signals representation; quantization; time to frequency mapping; introduction to psychoacoustics; bit allocation and basic building blocks of an audio codec; perceptual audio codecs evaluation; overview of MPEG-1, 2, 4 audio coding and other coding standards (such as AC-3).

Autumn 2016 - CS 229/STATS 229: Machine Learning (Prs. Andrew Ng and John Duchi)

Topics: statistical pattern recognition, linear and non-linear regression, non-parametric methods, exponential family, GLMs, support vector machines, kernel methods, model/feature selection, learning theory, VC dimension, clustering, density estimation, EM, dimensionality reduction, ICA, PCA, reinforcement learning and adaptive control, Markov decision processes, approximate dynamic programming, and policy search.

Spring 2014 - MUSIC 424: Signal Processing Techniques for Digital Audio Effects (Jonathan Abel and Dave Berners)

Techniques for dynamic range compression, reverberation, equalization and filtering, panning and spatialization, digital emulation of analog processors, and implementation of time-varying effects. Single-band and multiband compressors, limiters, noise gates, de-essers, convolutional reverberators, parametric and linear-phase equalizers, wah-wah and envelope-following filters, and the Leslie. Students develop effects algorithms of their own design in labs.

Winter 2014 - MUSIC 122B: Analysis of Tonal Music (Pr. George Barth)

Complete movements, or entire shorter works of the 18th and 19th centuries, are analyzed in a variety of theoretical approaches.

Autumn 2013 - MUSIC 21: Elements of Music I (Giancarlo Aquilanti)

Introduction to tonal theory. Practice and analysis. Diatonic harmony focusing on melodic and harmonic organization, functional relationships, voice-leading, and tonal structures.

Spring 2013 - MUSIC 251: Psychophysics and Music Cognition (Pr. Takako Fujioka)

Lecture, lab and experiment-based course in perception, psychoacoustics, cognition, and neuroscience of music.

Winter 2013 - MUSIC 422: Perceptual Audio Coding (Marina Bosi)

History and basic principles: development of psychoacoustics-based data-compression techniques; perceptual-audio-coder applications (radio, television, film, multimedia/internet audio, DVD, EMD). In-class demonstrations: state-of-the-art audio coder implementations (such as AC-3, MPEG) at varying data rates; programming simple coders. Topics: audio signals representation; quantization; time to frequency mapping; introduction to psychoacoustics; bit allocation and basic building blocks of an audio codec; perceptual audio codecs evaluation; overview of MPEG-1, 2, 4 audio coding and other coding standards (such as AC-3).

Autumn 2012 - MUSIC 220A: Fundamentals of Computer-Generated Sound (Pr. Chris Chafe)

Techniques for digital sound synthesis, effects, and reverberation. Topics: summary of digital synthesis techniques (additive, subtractive, nonlinear, wavetable, spectral-modeling, and physical-modeling); digital effects algorithms (phasing, flanging, chorus, pitch-shifting, and vocoding); and techniques for digital reverberation.