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This workshop is intended as a practical introduction to network music performance. Both technical and musical topics will be discussed, including: history of the field, Internet technologies for streaming, control messages and laptop performances, transcontinental high-quality network performance, performance issues like delay and presence, installations and synthesis in the network, future and potential as a compositional medium, programming techniques and software survey, virtual worlds in musical network performance.

Individual projects in composition, psychoacoustics, or signal processing.

This workshop will offer a "nuts and bolts" session on how to run a successful network music performance (NMP). A set of essential tools allowing the transmission of real-time high quality multi-modal networked interactions will be showcased. This will include audio streaming, video streaming and message communication tools. Participants will be shown how to implement and use such tools and will have the opportunity to run a real network session with a second live connected site. The workshop will also explore the artistic possibilities brought by NMPs and will look into factors such as latency and the combination of acoustic spaces which are important to consider when designing NMPs. The workshop is partially organised by the CO-ME-DI-A EU Culture 2007 project.

El workshop cubrirá técnicas de síntesis y de composición algorítmica aplicadas a la música por computador. Se introducirán tanto aspectos teóricos como prácticos, con un énfasis en el "hands on" en la aplicación de las distintas técnicas cubiertas.

El horario estará dividido en clases expositivas en las mañanas y laboratorios prácticos en las tardes. Como herramienta se utilizará el lenguaje SuperCollider 3.

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I've been teaching assistant at Stanford University in the following classes:

Spectrum analysis and signal processing using the FFT with emphasis on audio applications. Topics: Fourier theorems; FFT windows; spectrum analysis; spectrograms; sinusoidal modeling; spectral modeling synthesis; FFT convolution; FIR filter design and system identification; overlap-add and filter-bank-summation methods for short-time Fourier analysis, modification, and resynthesis.

The use of high-level programming language as a compositional aid in creating musical structures. Advanced study of sound synthesis techniques. Simulation of a reverberant space and control of the position of sound within the space.

HCI issues as they relate to music applications in composition and performance. Project-oriented, examining issues from the technical and theoretical perspectives of computer science, haptics, and music theory.

Introduction to chromatic harmony focusing on secondary functions, modulations, harmonic sequences, mode mixture, and the Neapolitan, and augmented sixth chords. Analysis of musical forms and harmonizations complemented by harmonic and melodic dictation, sight singing, and other practical skills.

Computational methods in musical sound synthesis and digital audio effects based on acoustic physical models. Topics: acoustic simulation with delay lines, digital filters, and nonlinear elements; comb filters; allpass filters; artificial reverberation; delay-line interpolation and sampling-rate conversion; phasing, flanging, and chorus effects; efficient computational models of strings, woodwinds, brasses, and other musical instruments.

Digital signal processing for music and audio research. Topics: complex numbers, sinusoids, spectrum representation, sampling and aliasing, digital filters, frequency response, z transforms, transfer-function analysis, and associated Matlab software.

2008-2009 by Juan-Pablo Cáceres (jcaceres [at] ccrma [dot] stanford [dot] edu)
This work is licensed under a Creative Commons Attribution-Noncommercial 3.0 Unported License.