Intersections of music, sound and technology, including: Music in Virtual Worlds. mixed-reality composition and performance, procedural music and audio, music and games; Composition, Improvisation, Performance. interactive musical systems, polyvalent musical structure and composition, network music, spatialization and immersive musical environments; Digital Humanities. archiving and preservation of multi-sourced digital media, music cognition and musical gesture, social and cloud-sourced musical form and function, musical information and representation systems
Thesis: Perceptually Coherent Mapping Schemata for Virtual Space and Musical Method
Hamilton, R., Perceptually Coherent Mapping Schemata for Virtual Space and Musical Method, Ph.D. Thesis, Stanford University, 2014.
Hamilton, R., "Musical Sonification of Avatar Physiologies, Virtual Flight and Gesture," Lecture Notes in Computer Science: Computer Music Multidisciplinary Research (CMMR) Journal, Springer-Verlag, 2014.
Hamilton, R., "Maps and Legends: Designing FPS-based Interfaces for Multi-User Composition, Improvisation and Interactive Performance," Lecture Notes in Computer Science: Computer Music Modeling and Retrieval 2007 Journal, Springer-Verlag, 2008.
Wang, G. Oh, J., Salazar, S., Hamilton, R., "World Stage: Crowdsourcing Paradigm for Expressive Social Mobile Music", Journal of New Music Research, 2015, DOI: 10.1080/09298215.2014.991739
Hamilton, R., Caceres, J, Nanou, C., Platz. C, "Multi-modal musical environments for mixed-reality performance", Journal for Multimodal User Interfaces (JMUI), Vol. 4, pp. 147-156, Springer-Verlag, 2011.
Hamilton, R., Smith, J., Wang, G., "Social Composition: Musical Data Systems for Expressive Mobile Music", Leonardo Music Journal, volume 21, 2011.
Overholt, D., Berdahl, E., Hamilton, R., "Advancements in Actuated Musical Instruments," Organised Sound, volume 16, issue 02, pp. 154-165, 2011.
Hamilton, R., Platz, C., "Gesture-based Collaborative Virtual Reality Performance in Carillon", In Proceedings of the International Computer Music Association Conference, Utrecht, Netherlands, 2016.
Hamilton, R., "Mediated Musical Interactions in Virtual Environments" In Proceedings of the ACM CHI Conference, San Jose, CA, USA, 2016.
Hamilton, R., "Measuring the Effectiveness of Sonified Crossmodal Attribute Pairings Using Contour Matching, Symmetry and Perceived Similarity" In Proceedings of the International Computer Music Association Conference, Denton, Texas, USA, 2015.
Hamilton, R., "Perceptual Coherence as an Analytic for Procedural Music and Audio Mappings in Virtual Space" In Proceedings of 2015 IEEE Virtual Reality. IEEE Press, Arles, France, 2015.
Hamilton, R., "Designing Game-Centric Academic Curricula for Procedural Audio and Music" In Proceedings of the AES 56th International Conference: Audio for Games, London, UK, 2015.
Hamilton, R., "The Procedural Sounds and Music of ECHO::Canyon" In Proceedings of the International Computer Music Association Conference, Athens, Greece, 2014.
Hamilton, R., "Musical Sonification of Avatar Physiologies, Virtual Flight and Gesture" In Proceedings of the 10th International Symposium on Computer Music Multidisciplinary Research (CMMR), Marseille, France, 2013.
Hamilton, R., "Sonifying Game-Space Choreographies with UDKOSC" In Proceedings of the New Interfaces for Musical Expression Conference, Daejeon, Korea, 2013.
Hamilton, R., "UDKOSC: An Immersive Musical Environment" In Proceedings of the International Computer Music Association Conference, Huddersfield, UK, 2011.
Wang, G. Oh, J., Salazar, S., Hamilton, R., "World Stage: A Crowdsourcing Paradigm for Social/Mobile Music" In Proceedings of the International Computer Music Association Conference, Huddersfield, UK, 2011.
Hamilton, R., C. Nanou, "For Jean-Claude: [re]Presenting Duet for One Pianist" In Proceedings of the International Computer Music Association Conference, Montreal, Canada, 2009.
Wang, G., Bryan, N., Oh, J., Hamilton, R., "Stanford Laptop Orchestra (SLORK)" In Proceedings of the International Computer Music Association Conference, Montreal, Canada, 2009.
Wang, G., Essl, G., Smith, J., Salazar, S., Cook, P.R., Hamilton, R., Fiebrink, R. Berger, J., Zhu, D., Ljungstrom, M., Berry, A., Wu, J., Kirk, T., Berger, E., Segal, J. "Smule = Sonic Media: An Intersection of the Mobile, Musical, and Social" In Proceedings of the International Computer Music Conference. Montreal, August 16-21, 2009.
Hamilton, R., "Building Interactive Networked Musical Environments Using q3osc" In Proceedings of the AES 35th International Conference: Audio for Games, London, UK, 2009.
Hamilton, R., "q3osc: or How I Learned to Stop Worrying and Love the Game" In Proceedings of the International Computer Music Association Conference, Belfast, Ireland, 2008.
(winner: 2008 ICMA Best Presentation Award)
Caceres, J., R. Hamilton, D. Iyer, C. Chafe, G. Wang, "China on the Edge: Explorations in Network-based Performance" In Proceedings of ARTECH 2008, 4th International Conference on Digital Arts, 7- 8 November, Portuguese Catholic University, Porto, 2008.
Hamilton, R., "Maps and Legends: FPS-based Interfaces for Composition and Immersive Performance," In Proceedings of the 2007 International Computer Music Conference, Copenhagen, Denmark, 2007.
Hamilton, R., "Back to the Sea: A Software Realization of Dexter Morrill's Sea Songs" In Proceedings of the 2007 International Computer Music Conference, Copenhagen, Denmark, 2007.
Hamilton, R., "Bioinformatic Response Data as a Compositional Driver," In Proceedings of the 2006 International Computer Music Conference, New Orleans, LA, USA, 2006.
Hamilton, R., "Bioinformatic Feedback: performer bio-data as a driver for real-time composition," In Proceedings of the New Interfaces for Musical Expression conference, IRCAM, Paris, France, 2006.
Hamilton, R., "The jChing: an Algorithmic Java-Based Compositional System," In Proceedings of the 2005 International Computer Music Conference, Barcelona, Spain, 2005.
Hamilton, R., "Rolling the jChing: a Java-based Stochastic Compositional System," In Proceedings of the third annual Spark Festival of Electronic Music and Art University of Minnesota, Minneapolis, Minnesota, USA, 2005.
Hamilton, R., "Designing Game-Centric Academic Curricula for Procedural Audio and Music", Presented at the 2015 North American Conference on Video Game Music, Fort Worth, Texas, 2015.
Hamilton, R., "Procedural Music, Virtual Choreographies and Avatar Physiologies," Presented at GDC 2014, Game Developer's Conference, San Francisco, 2014.
Hamilton, R., "Multi-modal musical environments for mixed-reality performance," Presented at DAFx-11 Satellite Workshop in "Versatile Sound Models for Interaction in Audio-Graphic Virtual Environments: Control of Audio-graphic Sound Synthsis," Ircam, Paris, France, 2011.
Hamilton, R., "Maps and Legends: an FPS-based Interface for Composition and Improvisation," Presented at the 2007 SEAMUS Conference, Ames, Iowa, USA 2007.
Hamilton, R., "The Polarized Composer: Addressing the Conflict of Musical Upbringings of Today's Young Composers," In Proceedings of the third annual Spark Festival of Electronic Music and Art, University of Minnesota, Minneapolis, Minnesota, USA, 2005.
Hamilton, R., Kruge, N. and Wang, G. (2012) United States Patent Application 20130180385, Synthetic multi-string musical instrument with score coded performance effect cues and/or chord sounding gesture capture
Hamilton, R., Chaudhary, A., Lazier, A., and Smith, J. (2012) United States Patent Application, Synthetic musical instrument with performance-and/or skill-adaptive score tempo
Stanford Center at Peking University, Freeman Spogli Institute for International Studies
"Stanford Laptop Orchestra Workshop"
Winter 2013: MUS 220b, "Compositional Algorithms, Psychoacoustics, and Spatial Processing" with Takako Fujioka
Fall 2012: MUS 223T, "Computer Music Improvisation and Algorithmic Performance" with Roberto Morales-Manzanares
Presented symposia, taught classes, directed the Mobile Phone Orchestra, and gave individual lessons to students during two week-long residencies.
Virtual and Networked Music
Mobile Music: Crowd Sourcing Musical Interactions
The History of CCRMA and Computer Music
Advanced Techniques for Composing Interactive Music
Mobile Phone Orchestra
Compositional Algorithms, Psychoacoustics, and Spatial Processing (for Ge Wang)
Foundations of Sound Recording Technology (for Jay Kadis)
Composing, Coding, and Performance with Laptop Orchestra (for Ge Wang)
Physical Interaction Design, Performance & Development (for Edgar Berdahl, Wendy Ju)
Fundamentals of Computer Generated Sound (for Ge Wang)
Applications of Musical Information: Query, Analysis and Style
Introduction to Musical Information Systems (for Eleanor Selfridge-Field)
- Advanced and Introductory Digital Music Programming
- Introduction to Programming in Java
- Studio Techniques
- Web Page Design for Musicians
- Introduction to Computer Music
for Geoff Wright and MacGregor Boyle
Department of the Arts with a program affiliation with Games and Simulation Arts & Sciences (GSAS)
Curator and Administrator for the CCRMA Concert Series, CCRMA's year-long musical performance series featuring works by students, faculty, staff and an ecelectic mix of invited composers and performers. Responsibilites include technical direction for CCRMA musical productions, concert planning and scheduling, live sound and recording, and budgeting for approximately 15-20 events per year.
Designed, developed and implemented mobile content-rich musical systems that make up the Smule arsenal of bleeding-edge iOS, Android and cloud-based applications including Magic Guitar, Magic Piano, I Am T-Pain, Leaf Trombone, Glee Karaoke, Guitar, Magic Fiddle, Sonic Lighter, Sonic Boom, Zephyr, Smule.com and the award-winning Ocarina. Built and managed Smule's in-house musical content production team, as well as best-practices for application-neutral data formatting and content delivery systems. Responsible for budget, hiring and success of all daily content production and release across the entire family of Smule applications. Project managed successful launch of numerous Smule applications and led design and development efforts on Magic Piano, Magic Guitar and Smule.com.
Served as a technical and teaching resource for the CCARH's faculty, teaching lab and work environment. Provided hardware and software support, as well as web maintenance and administration for the CCARH online archives of musical data.
Responsible for the development and 24/7 maintenance of The Motley Fool's internally developed web traffic monitoring system. Working in a Linux environment utilizing C++, PERL, Java, ASP, and Python components, the "Inquisition" web traffic monitoring system processed millions of individual hits on The Motley Fool web site and provided real-time ad-hoc reporting capabilities as well as nightlytargeted reports. Mr. Hamilton designed and developed ASP and Python security components during a complete redesign of the web site architecture. As a member of the Data and News team, Mr. Hamilton was responsible for the design, development and maintenance of in-house applications to import and process 3rd-party data and news feed using ttp and ftp protocols to retrieve data from partner servers, MS Visual Basic GUI and data processing utilities, and MS message-queue and COM objects to load balance internal servers and provide system redundancy.
Served as a senior application developer and functional analyst for AMS's Procurement Desktop (PD), a Windows-based, client/server application designed to automate and streamline the purchasing process against Oracle and Sybase databases within a PowerBuilder development environment. Working on numerous implementations of PD for clients such as The Los Alamos National Laboratory, The Library of Congress, and Bell South, Mr. Hamilton's responsibilities included the design and development of custom system enhancements,technical writing and documentation, system testing, and client management. Across various client and internal projects, Mr. Hamilton designed and developed a number of custom software solutions including datawarehousing applications, custom-reporting tools,database maintenance tools, and contract-approval workflow applications.
Music in Virtual Worlds research group (Stanford)
The CCRMA Ensemble
Stanford Laptop Orchestra, SideLObe
SoundWire Ensemble (Stanford)
Modulus Ensemble (Peabody)
108 Troubles (2016), 40'
for piano, Disklavier and wavefield array
written for Chryssie Nanou
cutter (2016), 10'
for mechanical device, contact microphone and computer
BlockStudy (2015), 10'
for virtual performer and OscCraft
Xerasia (2015), 8'
for laptop and sonified data-stream
Carillon (2015), 10'
for virtual performer +/- laptop orchestra
alone+easy (2015), 8'
for laptop orchestra
ECHO::Canyon (2013), 14'
for UDKOSC virtual performer
Resonance Front (2012), 8'
for resonance guitar + electric guitar
Tele-harmonium (2010), 11'
for piano and UDKOSC virtual performer
Dichotomous Harmonies (2010), 10'
for 1001 analog and digital trombones (with Jieun Oh and Spencer Salazar)
dei due mondi (2009), 10'
for Sirikata and laptop orchestra (with Juan-Pablo Caceres)
Dialoghi (2009), 13'
for Sirikata performer and telematic ensemble
Canned Bits Mechanics (2009), 12'
For Grand Piano, two JackTrip controlled-Disklaviers, and Sirikata (with Juan-Pablo Caceres)
jord og himmel (2009), 9'
for q3osc and laptop orchestra
...of giants (2009), 7'
for resonance guitar, iPhone and instrument
nous sommes tous Fernando... (2008), 10'
for q3osc, five laptops and hemispherical speakers
Toilünd (2007), 3'
for violin, cello and piano
Triages (2006), 10'
for flute, clarinet, violin, cello, electric guitar, piano +/- computer
commissioned by the Stanford University CCRMA
is the same... is not the same (2004), 15'
for alto-saxophone and computer
commissioned by C.R. Kasprzyk
i have four pictures of you sleeping (2004/6), 6'
for solo violin/violin and computer
reveillez-vous belle endormie (2005), 10'
for 8-channel computer
Piano Interactions (2004), 7'
for piano and computer
Museau de Singe (2003), 12'
for doublebass, piano and computer
Park Avenue Armory, New York, NY, Ascending, 2017
EMPAC Center, RPI, Troy, NY, 108 Troubles, 2016
CUBEFest, Virginia Tech, Blacksburg, VA, alone+easy, 2016
NIME, Brisbane, Australia, Oswego System Trade Routes (w/Shawn Lawson), 2016
ISEA, Hong Kong, Carillon, 2016
Algorave 0x0F, Tech Valley Center of Gravity, Troy, New York, Carillon, cutter, 2016
SEAMUS, Georgia Southern University, Statesboro, GA, Carillon, 2016
Resonant Structures, Stony Brook University, New York, Carillon, 2016
Algorave 0x00, Tech Valley Center of Gravity, Troy, NY, improvisation (w/Curtis Bahn), BlockStudy(0.1), 2015
International Computer Music Conference, Denton, Texas, alone+easy, 2015
New York City Electroacoustic Music Festival, Xerasia, 2015
Bing Concert Hall, Stanford, CA Carillon, 2015
Cantor Arts Museum, Stanford, CA, alone+easy, 2015
International Computer Music Conference, Athens, Greece, ECHO::Canyon (fixed media), 2014
CCRMA Concert Series, w/Ostersjo, Frisk, Chafe and Nanou, ECHO::Improvisations, 2014
Design Night: Music, The Autodesk Gallery, San Francisco, CA., ECHO::Canyon, 2013
Music and Games, CCRMA Stage, Stanford, CA, ECHO::Canyon, 2013
The Outsound Festival, San Francisco, CA, with The CCRMA Ensemble, improvisation, 2013
Transitions, CCRMA, Stanford, CA, with The CCRMA Ensemble, UNAMImprovisation, 2012
Virtual Music Week, University of Nebraska, Omaha, Omaha, NE., Tele-harmonium, In C Variations, 2011
Chryssie Nanou: Piano, Electronics and Virtual Environments, Universidad de Chile, Santiago, Chile, Tele-harmonium, 2011
CNMAT Exchange Concert, Berkeley, CA, is the same... is not the same, 2011
Play Your Phone, MiTo Festival, Milano, Italy, Tele-harmonium, Dichotomous Harmonies, 2010
Due Serata in Sirikata, MiTo Festival, Milano, Italy, Dei Due Mondi, Dialoghi, Canned Bits Mechanics, 2009
SLOrk 2009 Spring Concert, Dinkelspiel Auditorium, Stanford University, Jord og Himmel, 2009
Modulations, The Compound, San Francisco, CA, ... of giants, 2009
Virtual Music Week, Ensemble A.M.I, Omaha, NE., ...of giants, 2009
Pacific Rim of Wire, Stanford + Peking University + Central Conservatory of China, 2008 Distinctive Voices, The Beckman Center, Irvine, CA, nous sommes tous fernando..., 2008
IMEB: Bourges Festival, Bourges, France, Max Mathews & Maureen Chowning, Dexter Morill's Sea Songs, 2007
Influences: a tribute concert, The Computer History Museum, Mountain View, CA, Sea Songs, 2007
<541> Concert Series presents SFSound, Stanford, CA., Toilünd, 2007
International Computer Music Conference, Copenhagen, Denmark, Triages, 2007
International Computer Music Conference, New Orleans, LA, is the same... is not the same, 2006
newstage: CCRMA Festival, Stanford, CA. Triages, 2006
CCRMA Concert Series, Stanford, CA. is the same... is not the same, 2006
Sound in Interactive Media Workshop, Copenhagen, Denmark: is the same... is not the same, 2005
Peabody Conservatory of Music, Baltimore, MD: is the same... is not the same, 2005
SPARK Festival, University of Minneapolis, Minnesota: is the same... is not the same, 2005
Salerno Contemporary Music Festival, Salerno, Italy: i have four pictures of you sleeping, 2004
Prix d'Ete, the Peabody Institute of the Johns Hopkins University, Baltimore, MD: Piano Interactions #1, 2004
Cite des Arts, Paris, France: Piano Interactions #1, 2004
Cite Universite de Paris, American House, Paris, France: Piano Interactions #1, 2004
EAMA Young Composers Recital. L'Ecole Normale de Musique, Paris, France: Piano Interactions #1, 2004
Third Practice Festival, University of Richmond, Richmond, VA: Piano Interactions #1 and #2, 2004
Electric Rainbow Coalition, Dartmouth College, Hanover, NH: Museau de Singe, 2003
Smithsonian Institute Museum on Main Street, Berkeley Springs, WV: Fistfull of Bees, 2003
2003 ISMIR National Conference, Baltimore, MD: Museau de Singe, 2003
108 Troubles, 8/22-9/2/2016, EMPAC Center, RPI, Troy, NY.
Carillon, 7/12-7/15/2016, Griffith University, Brisbane, Australia.
Carillon, 1/26-2/13/2016, Zuccaire Gallery, Stony Brook University, Long Island, NY.
October 2015. The Machine is the Message: How Technology Will Fundamentally Change Music, EMPAC, Troy, NY.
October 2014. Phenomenologies of Procedural Sound and Music, California College of the Arts, SF, CA.
March 2014. Procedural Music, Virtual Choreographies and Avatar Physiologies, Game Developers Conference, SF, CA.
February 2014. Musical Sonification of Avatar Physiologies, Virtual Flight and Gesture, Proceduralaudionow.com.
October 2013. Game-based Interactive Performance, The Danish Innovation Center, Stanford, CA.
August 2013. Procedural Music Environments, The Autodesk Gallery, San Francisco.
August 2013. Interactive Game Audio and Music, The Art Institute of California, San Francisco.
January 2013. The Musician's Technology Future, NAMM 2013, Anaheim, CA.
June 2012. How is Technology Changing Music?, Silicon Valley Innovation Institute.
October 2011. Explosions of Virtuality, Innovation Centre Denmark, Stanford, CA.
September 2011. DAFx-11: Virtual Sound Models workshop, IRCAM, Paris, France.
September 2011. Virtual Music Week, University of Nebraska at Omaha.
August 2011. Society of Composers and Lyricists, Los Angeles.
June 2011. International Society of Bassists Conference, San Francisco.
July 2010. Network Musical Performance Summer Workshop, CCRMA, Stanford, CA.
April 2010. CITRIS, University of California, Berkeley.
October 2009. CCRMA Colloquium, Stanford.
May 2009. Metaverse U Conference, Stanford Humanities Lab.
April 2009. Art Institute of California, San Francisco.
March 2009. Virtual Music Week, University of Nebraska at Omaha.
April 2008. Banff Centre for the Arts, Canada.
March 2008. Peking University, Beijing, China.
February 2008. Bay Area Music Technology Group, San Francisco.
March 2007. SEAMUS 2007, Ames, Iowa.
Live sound, concert production and direction provided for artists including:
Mark Applebaum, Jon Appleton, Ludger Bruemmer, Matthew Burtner, California Exchange Concert Series, CNMAT@CCRMA, Chris Chafe, John Chowning, Maureen Chowning, Duo Alterno, Lori Freedman, Henrik Frisk, Eliot Gattegno, GRAME, Robert Henke, The Hub, Nicholas Isherwood, Graeme Jennings, C.R. Kasprzyk, Mari Kimura, Paul Koonce, Wilhem Latchoumia, George Lewis, Max Mathews, Andrew May, Milano-Torino Festival, Moh Alileche Ensemble, Mario Mora, Roberto Morales-Manzanares, Morales/Mitchell/Chafe, Dexter Morill, Chryssie Nanou, Yann Orlarey, Stefan Ostersjo, Rocco Di Pietro, Jean-Claude Risset, Stefano Scodanibbio, Stanford Laptop Orchestra (SLOrk), Stanford Mobile Phone Orchestra (MoPho), Michael Straus, Morton Subotnick, Hans Tutschku, Ge Wang, David Wessel, WireGriot, Trevor Wishart
Music Programming: Supercollider, ChucK, Max/MSP, Pure Data, libPD, OSC, JackTrip, MusicXML, MIDI
Graphics and Visuals: Unreal Engine 4, UDK, Unity3D, Processing, d3js, LaTeX, Adobe Illustrator/Photoshop
Audio Software: Logic, Pro Tools, Ardour, Final Cut Pro, Planet CCRMA, Finale, Sibelius, Lilypond, Wwise, Heavy
Operating Systems: OS X, Linux, Windows, iOS, Android
Performance: piano, saxophone (alto, soprano), voice (tenor), guitars, viola da gamba, live electronics, ambisonics