Page  00000001 THE COM~PUTERMUSICC DEPARTM/IENT AT THE PEAB ODY CONSERVATO RY OF THE JOHNS HOPKINS UNIVERSITY McGregor Boyle, IchiroFujinaga and Geoffrey Wright The Peabody Conservatory of the Johns Hopkins University 1 B. M\/t. Vernon Place Baltimore, Maryland, 21202 USA (410) 659-8107 email: boyle @peabody.jhu.edu, ich @peabody.jhu.edu, wright@peabody.jhu.edu Abstract This season the Peabody Conservatory will celebrate the thirtiethanniversary of the founding of its original Electronic Music Studio by JeanEichelberger Ivey in 1968. Over three decades the Computer Music Departmenthas grown and expanded its activities considerably in the areas of education, composition, performance, andresearch. Computer music has become increasingly central in theConservatory, as well as in our parent organization, the Johns HopkinsUniversity. 1. Introduction The Peabody Conservatory of Music, one of the oldest and most widelyrespected music schools in the United States, has an unbroken tradition ofmusical excellence dating back to the mid-nineteenth century. High musicalstandards and extremely low student/teacher ratios create an exceptional environment for musical education onboth the undergraduate and graduate levels. Peabody alumni include some ofthe world's best-known concert artists, composers and teachers. Students are attracted to Peabodyfrom all over the world, creating an international musical environment. Electroacoustic music was introduced to Peabody in 1968, when our firstElectronic Music Studio was founded by Jean Bichelberger Ivey. Theaffiliation of Peabody with Johns Hopkins in 1977 gave the conservatoryaccess to the computers and expertise available at the University and made possible the Conservatory's entrance intocomputer music, under the directionof Geoffrey Wright. The current Computer Music Department, with Dr. Wrightas coordinator, now manages its own network of computers, and providescomputer expertise to the rest of the Conservatory, and multimedialeadership throughout Johns Hopkins. 2. Facilities The Computer Music Department occupies a suite of six rooms on the thirdftoor of the historic Conservatory building. There are two offices for thedepartment's faculty and administrative assistants, and four specialpurpose studios for studentand faculty composition, performance rehearsal, and research. The Teaching Studio is the largest studio, and doubles as the department's primary classroom.Trhis room houses the carefully maintained and functioning original Moogmodular synthesizers of the first Electronic Studio. In addition there isan extensive MIDI setup, with MIDI-controlled synthesizers, signal processors, and mixing facilities, centeredaround a Macintosh G3 computer. The adjacent ProductionStudio is a smaller room designed for single users and small group collaborations. This room features a moreextensive array of MIDI equipment than the TeachinzgStudio, and is reserved for use by faculty, graduate students and other advancedusers for composition and research.

Page  00000002 Both studios feature professional mixing facilities, monitoring systems,analog and digital audio patch bays, direct-disk recording and editingsystems, and digital multi-track and DAT two-track recording systems. Thesetwo studios are interconnected by audio and MIDI tie lines and Ethernet, allowing the studios to be linked forlarge-scale projects. Recent renovations to the Conservatory building havegiven the Department two new studios: the Digital Arts Studio and the Digital Performance Studio. The Digital Arts Studio is a multi-user facility supporting a variety ofdigital arts applications including MIDI/Digital audio workstations, aMultimedia/digital video workstation, and several computers forprogramming, internet access, and general use. The Digital Performance Studio is primarily for rehearsal, with a MIDI system which includes aKawai MIDI Grand Piano. Plans are underway to convert this room to a newkind of rehearsal space that simulates many different performanceenvironments, with computer-controlled aco ustics, reverberation, and lighting. A variety of computing platforms are available forstudent and faculty use, including Macintosh, Windows, Windows NT, NeXT,and Unix machines. The department supports a large number of music, soundand multimedia software applications from both commercial software companies and sharewarefrom independent developers. Conservatory faculty and students are alsoactive in software development. Peabody is connected via DS3 to the Johns Hopkins SONETnetwork, with access the vBNS high speed research network. 3. Degree Programs In 1989 Peabody launched its Master of Music degreein Computer Music. This two-year program was designed to prepare studentswith some previous computer music experience for careers in the field, or for further graduate study. The Conservatory's degree is unique in thatit allows students to focus their attention in one of three major areas:composition, performance, or research. The highly selective applicationsprocedure allows only the most highly qualified candidates admission, with no more than six students enteringthe program each year. During the first year of study in the Master'sdegree program students are exposed to the department's core curriculum ofStudio Techniques, Synthesis Theory, Programming and Electroacoustic Music History. Private instructionwith departmental faculty in the students chosen area is also required, aswell as a series of Special Topics Seminars which focus on specific areasof current interest. Students must also complete the Conservatory's core Master's degree requirements inMusic History, Theory, Bibliography, and Ear Training. In the second year students focus more on theirchosen area. Those in composition are expected to complete a portfolio ofat least four significant works, demonstrating a mastery of a variety ofcomputer music techniques, in combination with acoustic instruments andother media. Performance majors concentrate on producing a full recital,featuring "classic" electroacoustic repertoire as well as newer works and compositions created expressly for them incollaboration with other students. Students in the research track arerequired to describe their research activities in a Master's Thesis. Collaboration between students in different areas is strongly encouraged and is common at Peabody. Composersgreatly benefit from working directly with performers, and researchactivities are often aimed at addressing compositional or performanceissues. In addition to their study inside the department students are often directed to other conservatory or universityfaculty when need arises. Study with appropriate studio faculty isrecommended for performance majors, for example, while research projectsoften involve faculty expertise from other departments within the University. Since its inception more than 30 people have received the Master of Musicdegree in Computer Music from Peabody. Many have gone on to further studyor research at leading computer music centers throughout the world. Peabodyalumni can currently be found at IRCAM, CCRMA, the University of California at San Diego, and many otherlocations. In addition Peabody graduates find that their computer musicskills make them ideal candidates for work in the multimedia industry, and are often employed as composers, web authors, programmers, and networkadministrators.

Page  00000003 For study beyond the Master's degree level Peabody also offers a Doctor ofMusical Arts degree in composition and performance. Computer music is oneof the areas on which composers and performers may choose to focus in theirDMA studies. The Doctoral program is highly selective, usually admitting no more than 2 or 3 studentsper year. Those interested in further information regarding graduate studyat Peabody should contact the Conservatory Admissions Office at (410)659-8110. 4. The Friedberg Lectures in Music and Psychology Peabody and Johns Hopkins are fortunate to jointly host a unique seriesknown as the Friedberg Lectures in Music and Psychology. Funded by agenerous grant by the Sidney M. Friedberg foundation, these lecturesfeature leading researchers in their fields from around the world. Guest speakers are chosen jointly by the PeabodyComputer Music and Johns Hopkins Psychology departments. Previous Friedberg lecturers include Roger Reynolds, Stephen McAdams, Bruno Repp, MaxMathews, Carol Krumhansl, Chris Chafe, and Raymond Kurzweil. 5. Composition Composition is an important part of Peabody's activities, and is central toComputer Music as well. Two of the department's faculty members are activecomposers, and the composition track remains the most popular area withinthe Master's degree program.In a typical year, 25 to 30 new works composed for a variety of differentmedia are created in the Peabody studios by students, faculty and guest artists. Many of these worksinvolve acoustic instruments as well as electronics, and an increasingnumber of these are "interactive" works which involve a computer in performance. Collaborations with artists from other disciplines is facilitated by good relationships with the DanceDepartment of nearby Goucher College, and with the Video and Digital Artsprograms of the Maryland Institute College of Art, one of the oldest visualarts schools in the country. Compositions from Peabody are performed regularly on student and faculty recitalswithin the school, and have been featured in recent years on ICMC, SEAMUS,and other electroacoustic music festivals as well as on radio andtelevision. Excellence in computer music composition is rewardedat Peabody through the annual Prix d'EtZ competition. Funded by a generous grant from Peabody alumnus Walter Summer,the Prix d'EtZ awards cash prizes and a guarantee of a public performance to3 compositions selected by an outside panel of judges. This year, inconjunction with its 30th Anniversary, the department will offer twoPrix d'EtZ competitions, one for acoustic instruments with electronics, and one foracoustic instruments with electronics optional. Winners will be announcedat our gala concert series in January, with a public performance of thewinning works in the spring. 6. Performance Peabody is home to over 700 concerts every year,ranging from student and faculty solo recitals to fully staged operaproductions. Resident ensembles include two orchestras, a Wind Ensemble, the PeabodyCamerata (specializing in twentieth-century chamber music) and the MaiaString Quartet. There are three main concert halls, the 950-seat FriedbergHall, the mid-sized Leakin Hall, and the recently renovated Griswold Hall which contains a marvelous trackerpipe organ. The majority of students at the Conservatory are performers,and this talented pool of musicians is a wonderful resource for Peabodycomposers and researchers. With the Conservatory's strong tradition in performance, it is natural that performance isimportant component of the Computer Music Department's as well. Each year,in addition to degree recitals by Master's degree candidates, thedepartment produces several concerts featuring student composers and performers. Most important of thethese is the annual Prix d'Eti concert, featuring winning compositions from that competition. Theseconcerts are usually featured as a part of Peabody's Thursday Noon ConcertSeries, which presents the best Peabody student performances to the publicfree of charge.

Page  00000004 The Peabody Computer Music Consort, founded in 1984 by Geoffrey Wright andMcGregor Boyle, is a professional ensemble in residence at the ComputerMusic Department and dedicated to the performance of the digital arts. TheConsort aims to bring the best current computer music and multimedia performance to the public in unique andoriginal ways. The Consort frequently invites guest composers andperformers to participate in its events. Previous guests have included composers Morton Subotnick,Roger Reynolds, Mario Davidovsky, Dexter Morril, and alcides lanza andperformers including Joan LaBarbera, Janos Negyesy, Uttera AshaCoorlawalla, and wheelchair dancer Charlene Curtis. Critically acclaimed performances have been given by the Consort in NewYork, at the Kennedy Center in Washington D.C, and the Maryland ScienceCenter, among others. 7. Research and Technology Transfer Computer Music research activitiesare focused in the areas of psychoacoustics and music perception, support of real-timecomposition and performance systems, multi-media systems, and musiccognition. Peabody researchers regularly work with Johns Hopkinsresearchers in a variety of related areas of mutual interest. Peabody is known internationally for the performance and compositionclassical music, and for providing gifted artists with a musical educationof the highest quality. Now, in the Information Age and with Johns Hopkinssupport, Peabody iscombining its traditional strengths with science and entrepreneurial visionto establish a Technology Transfer Office, and to bring to marketmusic-related electronic and distance education products, digital audiosystems, and multimedia composition and performance. 8. The 30th Anniversary This year the Computer Music Department celebratesthe 30th Anniversary of the founding of the Peabody Electronic Music studiowith a series of concerts, lectures, master classes and related events. TheComputer MusicConsort will present two concerts in Friedberg Hall on Friday January 29thand Saturday January 30th. Featured guest performers include Mari Kimuraand F. Gerrarde Errante. In addition the concerts will feature Conservatoryfaculty and alumni and previouswinners of the Prix d'EtZ. For furtherinformation on the Anniversary celebrations contact the Office of PublicInformation at (410) 659 -8165. 9. The Future Building on the established musical traditions ofthe Conservatory, and the academic excellence of the Johns Hopkins University, the Peabody Computer Music Department willcontinue pursue its activities in composition, performance, and research.Our mission to accept the most gifted musical artists, and to provide themwith a musical and technical education of the highest quality. Bibliography Boyle, M., J. E. Ivey, E. Pirali, G. Wright."Electronic and Computer Music at The Peabody Conservatory. "Proceedings of the International Computer Music Conference, Glasgow,1990. Fujinaga, I. Adaptive optical music recognition. Ph.D. Dissertation.McGill University, 1997. Fujinaga, I. "Exemplar-based learning in adaptive opticalmusic recognition system." Proceedings of the International ComputerMusic Conference, Hong Kong, 1996. Ivey, J. E. "An Electronic Music Studio in aConservatory." ASUC Proceedings, vol. 5, 1970. Sullivan, D., S. Moore, and I. Fujinaga. "Real-timesoftware synthesis for psychoacoustic experiments." Proceedings of thelnternational Conference on Music Perception and Cognition, Seoul,1998.

Page  00000005 Tobey, F. & I. Fujinaga. "Extraction of conductinggestures in 3D space." Proceedings of the International ComputerMusic Conference, Hong Kong, 1996. Wright, G.. "Electronic and Computer Music at The PeabodyConservatory. " Proceedings of the International Computer MusicConference, Vancouver, 1985. Wright, G. D. and Pirali, E. Sensory-Drivenz Controller. (A non-motive system for enablingcontrol of computer systems via sensory response.) US Patent. May1990. Yoo, L., S. Moore, D. Sullivan, and I. Fujinaga. 1998."The effect of vibrato on response time in determining the pitchrelationship of violin tones. " Proceedings of the International Conferenceon Music Perception and Cognition, Seoul 1998.