Page  23 ï~~CCRMA Studio Report Fernando Lopez-Lezcano CCRMA (Center for Computer Research in Music and Acoustics), Stanford University (nando @ ccrma.stanford.edu) 1.0 The place and the people The Stanford Center for Computer Research in Music and Acoustics (CCRMA) is a multi-disciplinary facility where composers and researchers work together using computer-based technology both as an artistic medium and as a research tool. CCRMA is located on the Stanford University campus in a building that was refurbished in 1986 to meet its unique needs. The facility includes a large quadraphonic experimental space with adjoining control room/studio, an all-digital recording studio with adjoining control room, a MIDI-based small systems studio, several work areas with workstations, synthesizers and speakers, a seminar room, an inhouse reference library, classrooms and offices. For a detailed tour and more information feel free to visit us in the World Wide Web: Â~ http://ccrmna-www.stanford.edu/ The CCRMA community consists of administrative and technical staff, faculty, research associates, graduate research assistants, graduate and undergraduate students, visiting scholars and composers, and industrial associates. Departments actively represented at CCRMA include Music, Electrical Engineering, Mechanical Engineering, Computer Science, and Psychology. Staff and Faculty: John Chowning - Professor of Music, Director; Perry Cook - Sr. Research Associate, Technical Director; Jay Kadis - Audio Engineer; Fernando Lopez-Lezcano - Systems Programmer; Heidi Kugler - Secretary; Marcia Bauman - International Digital Electroacoustical Music Archive; Chris Chafe - Associate Professor of Music; Nicholas Hopkins - Lecturer, Max Mathews - Professor of Music (Research); John Pierce - Visiting Professor of Music, Emeritus; William Schottstaed - Research Associate; Earl Schubert - Professor of Speech and Hearing, Emeritus; Julius Smith - Associate Professor of Music; Leland Smith - Professor of Music, Emeritus. 2.0 The activities Center activities include academic courses, seminars, small interest group meetings, summer workshops and colloquia. Concerts of computer music are presented several times each year with an annual outdoor computer music festival in July. In-house technical reports and recordings are available, and public demonstrations of ongoing work at CCRMA are held periodically. 3.0 The research This collection of recent talks presented here at CCRMA will give you an idea of the current crop of research and who's doing it: Perry Cook "Toward more Exhaustive Physical Models"; David Berners "Lip Models"; Bill Putnam "Inverse Filtering and Wideband Arrays"; Cem Duruoz "The Flutar, a New Instrument for Live Performance"; Julius Smith "Conformal Mapping for Filter Design on an Approximate Bark Scale"; Scott Levine "Multirate Effects Processing"; Celso Aguar "Composition and Tools for Spectral Modeling Synthesis"; Julius Smith "Commuted Synthesis"; Julius Smith and Scott A. Vanfluyne "Commuted Piano Synthesis", "Linearization of the Piano Hammer", "Equivalence of Lossless Finite Difference Approximation and Digital Waveguide Modeling in One to Three Dimensions", 'The Tetrahedral Waveguide Mesh: Multiply-Free Computation of Wave Propagation in Free Space"; Gary Scavone "Digital Waveguide Modeling of the Non-Linear Excitation in Single-Reed Woodwinds"; Steven Trautmann "Wavefront Reconstruction: Large and [CMC PROCEEDINGS 1995 2 23

Page  24 ï~~Small Systems", "Efficient Data Representation of Directivity Patterns"; Nick Porcaro and Pat Scandalis "SynthBuilder Update: A Graphical System for Rapid Prototyping of Music Synthesis and Effects Processing Algorithms"; Tim Stilson "SynthBuilder Hacks, and the Heterodyne Filter"; Scott A. VanDuyne and Brent Gillespie "Sympathetic Vibrations: Physical Model Piano Synthesizer Tied To the Touchback Keyboard"; Sile O'Modhrain & Brent Gillespie "Feeling Music: Haptic Interfaces for Audio Editing"; Brent Gillespie "The Touchback Keyboard"; Max Mathews "Radio Baton Update, Loading and Conducting Large MIDI Files"; Fernando Lopez Lezcano "PadMaster: An Improvisation Environment for Live Performance"; Tobias Kunze "Common Music: Overview, New Developments, and Future Directions"; Jan Chomyszyn "Signal Attributes Conveying the Sense of Distance and Space"; Marcia Bauman "IDEAMA Archive Update and Demo"; Eleanor Seifridge-Field "Musical Information: What Lies Ahead?"; Gary Scavone "The Catgut Acoustical Society Archive"; Bill Schottstaedt, "Common Lisp Music and Common Music Notation". That was not a comprehensive list, some other people recently working at CCRMA on research topics include, for example: Davide Rochesso (Visiting Researcher from Italy); Matti Karjalainen (Visiting Researcher from Finland); Dan Levitin (Visiting Researcher, University of Oregon); Enrique Moreno (PhD Student); Fiametta Pasi (Visiting Scholar from Italy); Xavier Serra (Summer Owrkshop Lecturer); Jeff Raskin (Visiting Scholar).... 4.0 The music Some of the recent (during this past year) compositional works realized at CCRMA: Celso Aguiar (DMA Student)- Ayahuasca, for stereo tape and Piece of Mind, for stereo tape [NeXT, CLM, Stella, SMS]; Michael Alcorn (Visiting Composer from Ireland) - Old Woman of Beare (for string quartet & ISPW); Ron Afford (Visiting Composer) - Une Ballet dune Mechanique Amorphee, The House that Jack Built...; Achim Bornhoeft (Visiting Composer from Germany) - (((d)(is))(appear)) a trio for Piano, Violin and Violoncello; Joanne D. Carey - Gracias, 3rd Song in cycle of 'Three Spanish Songs" for Soprano and Radio Baton; Chris Chafe (CCRMA Prof. of Music) - Push Pull for NeXT workstation and celletto; Michael Edwards (DMA Graduate Student) - Brownian Motion for tape, using CLM and mixed with RT on a NeXT computer; RJ Fleck (PhD Graduate Student) - Soundscapes, for example for Ephemeral Ceremony - Essential Epiphanies, A Performance Installation; Nicky Hind (DMA Graduate Student) - The Well for 3 female voices and harp. Part of a series of three pieces for female voices plus instrument; Nicholas Hopkins (DMA Student) - Double on Joyce Transcription 1 for piano and computer processed sounds on tape; David Jaffe (Visiting Composer / Researcher) - 5th and 6th movements of'The Seven Wonders of the Ancient World" for Mathews/Boie Radio Drum-controlled Disklavier and an ensemble of Harp, Harpsichord, Mandolin, Guitar, Bass, Harmonium and 2 Percussionists; Peer Landa (Visiting Composer from Norway)- Slug Physics, for tape; Fernando Lopez-Lezcano ( System Administrator and Composer) - Knock knock... anybody there? for quad tape, composed using CLM and Espresso Machine 11 for PadMaster, Radio Drum, NeXT computer and live cello (Chris Chafe on his celletto); Juan Pampin (Visiting Composer from Argentina) - Apocalypse was postponed due to lack of interest, for stereo tape (Won the 1st Prize at the 1995 Bourges International Electroacoustic Music Competition, Residences Category) [NeXT, lm]; Jorge Sad (Visiting Composer from LIPM, Argentina) - VOX, for tape; Bernd Hannes Sollfelner (Visiting Composer from Austria) - Plastophonic World - Das Tor zur Hoelle - Hommage a A.Rodin (The Gates to Hell) for tape, composed using CLM; Marco Trevisani (visiting Composer from Italy) - several short pieces composed using CLM, prepared piano, Synthbuilder (not in all of them), guitar (in one piece). Other composers currently working at CCRMA include Lukas Ligeti (Visiting Composer from Austria).... 24 I C M C PROCEED I N GS 1995