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Page 504 ï~~CCRMA Studio Report Alex Igoudin, Fernando Lopez-Lezcano CCRMA (Center for Computer Research in Music and Acoustics), Stanford University (aledin @ccrma.stanford.edu, email@example.com) 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 alldigital recording studio with adjoining control room, a MIDI-based small systems studio, several work areas with workstations, synthesizers and speakers, a seminar room, an in-house reference library, classrooms and offices. For a detailed tour and more information feel free to visit us in the World Wide Web: Â~http://ccrma-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. CCRMA has developed close ties with the Center for Computer Assisted Research in the Humanities (CCARH), recently affiliated with the Department of Music. Staff & Faculty: Chris Chafe-Associate Professor of Music, Director; Johannes Goebel-Technical Director; Fernando Lopez-Lezcano-System Administrator/Lecturer; Heidi Kugler-Secretary; Jay Kadis-Audio Engineer/Lecturer; Max Mathews-Professor of Music (Research); Jonathan Berger-Associate Professor of Music; Julius SmithAssociate Professor of Music and Electrical Engineering; John Chowning-Professor of Music, Emeritus; Leland Smith-Professor of Music, Emeritus; John Pierce-Visiting Professor of Music, Emeritus; Earl Schubert-Professor of Speech and Hearing, Emeritus; Jonathan Harvey-Professor of Music; David Soley-Assistant Professor of Music; Eleanor Selfridge-Field-Consulting Professor of Music; Walter Hewlett-Consulting Professor of Music; Marcia Bauman-Research Associate, IDEAMA Archive; William Schottstaedt-Research Associate. 2.0 The activities Center activities include academic courses, seminars, small interest group meetings, spring and 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 array of research summaries will give you an idea of the current crop of research at CCRMA and who's doing it:.COnrputer Mu~sic Hardware an~d Software: "PadMaster, an Interactive Performance Environment. Algorithms and Alternative Controllers", "A Dynamic Spatial Sound Movement Toolkit" Fernando Lopez Lezcano; "ATS: Analysis! Transformation/Synthesis; A Lisp Interface for SMS (Spectral Modeling Synthesis; and CLM (Common Lisp Music)" Juan Carlos Pampin; "SynthBuilder---A Graphical SynthPatch Development Environment" Nick Porcaro and Pat Scandalis; "Franken Harudware: On Scalability for Real-Time Software Synthesis and Audio Processing" Bill Putnam and Timothy Stilson; "Common Lisp Music and Common Music Notation" William Schottstaedt; "Music Synthesis and Digital Audio Effects for UltraSparc Processor" William Putnam, Tim Stilson, and Julius Smith;"Rapid Prototyping for DSP, Sound Synthesis, and Effects" Julius Smith; "SynthScript - A Sound Synthesis Description Format" Pat Scandalis, David Jaffe, Nick Porcaro, and Julius Smith; "The CCRMA Music Kit and DSP Tools Distribution" David Jaffe and Julius Smith; "Capella: A Graphical Interface for Algorithmic Composition" Heinrich Taube and Tobias Kunze. Igoudin & Lopez-Lezcano 504 ICMC Proceedings 1996
Page 505 ï~~Physical Modeling and Digital Signal Processing: "Physical Modeling of Brasses" David Berners; "Adding Pulsed Noise to Wind Instrument Physical Models" Chris Chafe; "Synthesis of the Singing Voice Using Physically Parameterized Model of the Human Vocal Tract" Perry Cook; "Synthesis of Transients in Classical Guitar Sounds", "The "Flutar" a New Instrument for Live Performance" Cem Duruoz; "Spectral Operators for Timbral Design" Jose Eduardo Fornari; "Voice Gender Transformation with a Modified Vocoder" Yoon Kim; "Processing of Critically Sampled Audio Subband Data" Scott Levine; "Feedback Delay Networks" Davide Rocchesso; "Acoustical Research on Reed Driven Woodwind Instruments for the Purpose of Efficient Synthesis Models" Gary Scavone; "FET-Based DSP and Spectral Modeling Synthesis", "Digital Waveguide Modeling of Acoustic Systems" Julius Smith; "A Passive Nonlinear Filter for Physical Models" John Pierce and Scott Van Duyne; "The Digital Waveguide Mesh" Scott Van Duyne and Julius Smith; "The Wave Digital Hammer" Scott Van Duyne and Julius Smith; "The Commuted Waveguide Piano" Scott Van Duyne and Julius Smith. Controllers for Computers and Musical Instruments: "Real-time Controllers for Physical Models" Chris Chafe and Perry Cook; "Ongoing Work in Brass Instrument Synthesizer Controllers" Perry Cook and Dexter Morrill; "The Touchback Keyboard" Brent Gillespie; "The Computer-Extended Ensemble" David Jaffe; "Haptic User Interfaces for the Blind" Sile O'Modhrain and Brent Gillespie; "The Radio Baton Progress" Max Mathews; "Optimal Signal Processing for Acoustical Systems" Bill Putnam; "Signal Processing Algorithm Design Stressing Efficiency and Simplicity of Control" Timothy Stilson. Psvchoacoustics and Cognitive Psychology: "Distance of Sound in Reverberant Fields" Jan Chomyszyn; "Embedded Pitch Spaces an The Question of Chroma: An Experimental Approach" Enrique Moreno; "Pitch Perception" John Pierce; "Psychological Representation of English Vowel Sounds" Roger Shepard, Perry Cook, and Daniel Levitin; "Applying Psychoacoustic Phenomena to the Coordination of Large Speaker Arrays" Steven Trautmann. Conmuter Music and Hlumanities: "The International Digital Electroacoustic Music Archive" Max V. Mathews and Marcia L. Bauman; "The Catgut Musical Acoustics Research Library" Max Mathews and Gary Scavone; "Impact of MIDI on Electroacoustic Art Music in the mid-1980s" Alex Igoudin; "The Chorister-Chorister Interaction: an Ethnography" Paul von Hippel. 4.0 The music Some of the recent (during this past year) compositional works realized at CCRMA: Michael Alcorn (Visiting Composer / Ireland) -Double Escapement (for piano and tape); alt.music.out-Wonderment in Eb - live jazz/electroacoustic fusion involving 7 performers, several NeXTs, drums and vocals; Chris Chafe (CCRMA Director)-Push Pull, for Celletto and live electronics; Cem Duruoz (MA Graduate Student)-Cycles, interactive piece for classical guitar, NeXT (physically modeled SynthBuilder Flute), and Mac (sequencer); Michael Edwards (DMA Student) and Marco Trevisani-segmentation fault beta 1.0, for prepared piano and computer; Doug Fulton (PhD Graduate Student)-Holding Betty under Water for computer generated tape; David Jaffe (Visiting Composer / Researcher) - 5th and 6th movements of The Seven Wonders of the Ancient World, for MathewsfBoie Radio Drum-controlled Disklavier and an ensemble of plucked string and percussion instruments; Nicky Hind (DMA Graduate Student)-Awakening, computer-generated sound installation for the 18-th century garden; Jun Kim- Reverberation, for two sopranos, percussion and computer processed sounds on tape; Peer Landa (Visiting Composer / Norway)-Downcast for tape using original C-based software; Lukas Ligeti (Visiting Composer / Austria)-New Music for Electronic Percussion, performed and processed live, inspired by African drum music; Fernando Lopez Lezcano (System Administrator / Lecturer)- Three Dreams, tape piece using CLM, performance involves pre-programmed four channel spatialization; Espresso Machine II and With Room to Grow, in which PadMaster splits the Radio Drum surface into programmable virtual pads, grouped in sets or "scenes"; Jonathan Norton (PhD Graduate Student)-Vicissitudes, computer music for a documentary about a striving African-American community; Fiammetta Pasi (Visiting Composer / Italy)-Collage, for stereo tape; Juan Pampin (PhD Graduate Student )-Transcription #1, for computer controlled Disklavier; Jorge Sad (Visiting Composer /Argentina)-VOX, VOXII, for computer originated tape; Marco Trevisani (Visiting Composer I Italy) Frammenti e Variazioni su Aura, a Bruno Mademna inspired tape composition. Recent awards won by CCRMA composers: Celso Aguiar, for Piece of Mind, "Premio Sao Paulo '95", Brazil; Chris Chafe, National Endowment for the Arts Composer's Fellowship 1994-95, Green Faculty Fellowship 1995-96; Kui Dong, for Flying Apples, First Prize, 1994 Alea III International Composition Prize; 1995 Djerassi Foundation for Art, 1995 ASCAP Grants to Young Coin posers; David Jaffe for The Seven Wonders of the Ancient World, Collaborative Composer Fellowship, National Endowment for the Arts; Juan Pampin, for Apocalypse was postponed due to lack of interest, Award, 22e Concours International de Musique Electroacoustique, 1995, Bourges, France; Jorge Sad, for Vox II, Juan Carlos Paz ICMC Proceedings 1996 505 Igoudin & Lopez-Lezcano