Juan-Pablo Cáceres


Courses and Workshops
CCRMA Summer Workshop:
Network Musical Performance | Technical and Artistic Strategies to Perform Around the Globe [link]
Instructor and Course Creator, July 2010

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.

MUSIC 220c: Research Seminar in Computer-Generated Music [link]
Instructor, Spring 2009

Individual projects in composition, psychoacoustics, or signal processing.

Network Music Performance (NMP) Workshop (ICMC 2008, Belfast) [link]
Workshop at the International Computer Music Conference 2008, Belfast
Instructor, also with Alain Renaud and Alexander Carôt

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.

Summer Workshop: Introducción al Procesamiento Digital de Señales y a la Música por Computador [link]
Instructor, also with Fernando Lopez-Lezcano, August 2007
Given in Spanish at the Universidad de Guanajuato, and the Centro de Investigación en Matemáticas (CIMAT), Guanajuato, México

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.

Teaching Assistantships

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

MUSIC 421 / EE 367B: Applications of the Fast Fourier Transform [link]
Teaching Assistant for Julius Smith, Spring 2007

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.

MUSIC 220b: Compositional Algorithms, Psychoacoustics, and Spatial Processing [link]
Teaching Assistant for Fernando Lopez-Lezcano, Winter 2007

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.

MUSIC 250a: Physical Interaction Design for Music [link]
Teaching Assistant for Bill Verplank and Michael Gurevich, Fall 2006

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.

MUSIC 22: Elements of Music II [link]
Teaching Assistant for Hans Thomalla, Spring 2006

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.

MUSIC 420 / EE 367A: Signal Processing Models in Musical Acoustics [link]
Teaching Assistant for Julius Smith, Winter 2006

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.

MUSIC 320: Introduction to Digital Audio Signal Processing [link]
Teaching Assistant for Julius Smith, Fall 2005

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.


» Aug/6-10/2012: CCRMA Summer Workshop Network Sound and Data Workshop



I am a composer and an engineer born in Santiago, Chile. I am currently a PhD candidate in Computer Music at Stanford University, Center for Computer Research in Music and Acoustics (CCRMA).



Soundwire Research Group at CCRMA
Collective of musicians exploring network music that I co-founded.
Center For Computer Research in Music and Acoustics,
Stanford University
My glitch pop band
Director of CCRMA and my advisor