Stanford CCRMA Summer Workshops
Stanford CCRMA Summer Workshops
Hello everybody:
Stanford's CCRMA is one of the main computer music / electronic music
research and teaching centers in the world. Every summer they offer
a number of highly regarded workshops. Just for your information I
am sending you descriptions of their current offerings. Let me know if
you would be interested in attending.
When you have some time check out their webpages.
************ STANFORD UNIVERSITY CCRMA WORKSHOPS 1997 ***************
* Audio and Haptic Components of Virtual Reality Design
* Computer-Assisted Research in Music Scholarship
* Interactive Composition and Performance with Computers
* Digital Signal Processing for Audio
* Algorithmic Composition with Computers in LISP Environment
* April'97 Three-day Intensive DSP Workshop
************************* COURSE DESCRIPTIONS ***********************
>> Audio and Haptic Components of Virtual Reality Design
--------------------------------------------
June 16 - June 27, 1997
Individual fee: $800, Affiliate fee: $1000,
Corporate Non-Affiliate fee: $1200
Two weeks instruction and laboratory.
Limited to 15 participants.
Instructors: Sile O'Modhrain, Craig Sapp
Guest Lecturers: Perry R. Cook (Princeton Univ.),
Brent Gillespie (Northwestern Univ.), Dan Levitin
(Interval Research), Bill Verplank (Interval Research),
Beth Wenzel (NASA)
This course examines how our minds model the physical world.
Familiarity with this relationship between the exogenous and
endogenous worlds is crucial for the design of efficient and
effective virtual environments. We will focus on the senses of sound
and touch and how these senses relate to physically measurable and
reproducible quantities. Relevant topics from the fields of
psychophysics, acoustics, cognitive psychology, human-computer
interaction, and physiology will be covered. In particular, the
salience of various auditory and haptic phenomena to the perception
and performance of music will be examined.
Morning lectures will introduce important concepts from the fields
listed above and will also feature talks by eminent researchers and
entrepreneurs working in the fields of psychoacoustics and haptics.
Afternoon labs will provide practical experience in psychophysical
experiment design and execution. Various audio and haptic effects
and illusions will be demonstrated and applied to virtual
environments. Participants will design their own perceptual
experiments and conduct pilot studies of their experiments. Haptic
computer interfaces as well as sound synthesis tools will be made
available for experiment designs.
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>> Computers in Music Scholarship
(Music Theory, Analysis, History, Ethnomusicology)
--------------------------------------------
June 16 - June 27, 1997; Fee: $800
Two weeks instruction. Limited to 15 participants.
The workshop is presented in cooperation with the Center
for Computer-Assisted Research in Humanities (CCARH),
Stanford University.
Instructors: David Huron, Andreas Kornstaedt
This course provides a comprehensive introduction to
computer-assisted music research using the Humdrum Toolkit.
Participants will learn to manipulate computer-based scores,
tablatures, and other documents in order to solve a wide variety of
analytic problems. By way of example, participants will learn to
characterize common patterns of orchestration in Beethoven
symphonies, examine harmony and voice-leading in Bach chorales, and
investigate text/melody relationships in Gregorian chant.
Thousands of full scores will be available for processing on-line
-- including repertoires from various cultures, periods, and genres.
The course will be of particular value to scholars contemplating
graduate level or advanced music research projects. The seminar
staff will provide individual advice on participants' own research
projects.
All software and documentation from the workshop (including a
sizeable score database) are free to take. The software is available
for UNIX, DOS, OS/2 and Windows-95 (some restrictions apply).
Familiarity with the `emacs' or `vi' text editors is recommended;
limited knowledge of UNIX is helpful.
*********************************************************************
>> Interactive Composition and Performance with Computers
--------------------------------------------
July 7 - July 18, 1997; Fee: $800
Two weeks instruction. Limited to 12 participants.
Instructors: Jonathan Berger, Charles Nichols
This introductory course will explore new approaches to interaction
and improvisation between composer, performer, and computer. Topics
to be discussed include performance interaction strategies
(techniques of synchronization, timing, cueing, and parametric
control), interactive algorithms, simulating live performance
situations, tempo tracking, pitch following, and performance
modeling.
Hands on participation will use the Max programming environment and
Common Music, a language that runs on Macintosh, PC and Unix based
platforms. It will also involve real-time interaction using the
Mathews-Boie Radio Baton (MIDI conductor/controller device)*. This
course is particularly geared towards performers with an interest in
interactive performance, improvisation and other ventures into the
world of music technology. Emphasis will be on group performance
projects, composition of new works, and realizations of existing
interactive works.
* For more information on Radio Baton please visit:
http://ccrma-www.stanford.edu/CCRMA/Overview/node50.html
*********************************************************************
Algorithmic Composition and Sound Synthesis in Lisp
-------------------------------------------------------------
>> Introduction to Sound Synthesis and Signal Processing Using CLM
-------------------------------------------------------------
July 21 - July 25, 1997; Fee: $400
One week hands-on instruction. Limited to 20 participants.
Instructors: Fernando Lopez Lezcano, Juan Carlos Pampin
This is an introductory and fast-paced workshop in sound synthesis
techniques and digital audio effects, and their implementation in
the CLM (Common Lisp Music) environment. We will design software
instruments that implement additive synthesis, subtractive, FM,
sampling, wavetables, granular, spectral and physical modeling
synthesis; and digital effects algorithms such as phasing, flanging,
chorus, distortion and reverberation. Introductory signal
processing and perception topics will be included.
Common Lisp Music (CLM)* is a public domain sound design language
written on top of Common Lisp, currently running in Macintosh
PowerPCs and several UNIX environments including SGI, Sun, NeXT and
PC's running Linux. The workshop includes a Common Lisp lab that
will teach basic Lisp programming skills. Familiarity with computers
and programming languages is helpful but programming proficiency is
not required.
* For more information on CLM please visit:
http://www-ccrma.stanford.edu/CCRMA/Software/clm/clm.html
>> Introduction to Algorithmic Composition
----------------------------------------
July 28 - August 8, 1997; Fee: $800
Two weeks hands-on instruction. Limited to 20 participants.
Instructor: Heinrich Taube
This course introduces basic principles and techniques of
algorithmic composition and covers such topics as object oriented
music representation, chance composition, musical automata and
pattern languages. Sound synthesis used in the course material will
include MIDI and Common Lisp Music. The course will be taught using
the Common Music environment on Mac and NeXT workstations.
The workshop will be divided into morning lectures and afternoon
lab times. During the lab hours the students will gain a hands-on
experience working through projects and examples first presented in
the morning lecture. All source code and documents from the workshop
are free to take. Participation in Introduction to Sound Synthesis
workshop or familiarity with Lisp is necessary for taking the
workshop. Other prior programming experience is useful but not
required.
>> Advanced Projects in Algorithmic Composition
---------------------------------------------
August 11 - August 15, 1997; Fee: $400
One week hands-on instruction. Limited to 20 participants.
Instructor: Juan Carlos Pampin
Topics are continued from the first two workshops but emphasis is
placed on developing programming skills while working on each
participant's individual projects using environments learned in the
previous two workshops.
[Students may take the full 4 week Algorithmic Composition
three-part course at a reduced tuition rate of $1400.
The combination of any two parts of the course will not be
discounted].
*********************************************************************
>> Digital Signal Processing for Audio:
Spectral and Physical Models
-----------------------------------
August 11 - August 22, 1997
Individual, Corporate Affiliate Fee: $1200,
Corporate Non-Affiliate Fee: $1500
Two weeks instruction. Limited to 15 participants.
Instructors: Perry R. Cook, Xavier Serra
This course will cover analysis and synthesis of musical signals
based on spectral and physical models. The course will be organized
into morning lectures covering theoretical aspects of the models,
and afternoon labs. The morning lectures will present topics such as
Fourier theory, spectrum analysis, the phase vocoder, digital
waveguides, digital filter theory, pitch detection, linear
predictive coding (LPC), and various other aspects of signal
processing of interest in musical applications.
The afternoon labs will be hands-on sessions using SMS and the
Synthesis Toolkit in C++, SynthBuilder, and other software systems
and utilities. Familiarity with engineering, mathematics, physics,
and programming is a plus, but the lectures and labs will be geared
to a musical audience with basic experience in math and science.
Most of the programs used in the workshop will be available to take.
*********************************************************************
>> Intensive Audio Digital Signal Processing
--------------------------------------------
April 18 - 20, 1997; Fee: $1500
Three days instruction. Limited to 15 participants.
Instructor: Craig Sapp
Guest Lecturers: Julius Smith, Bill Putnam, Scott Levine
This weekend-length workshop is specifically designed for engineers
or developers working with audio who are interested in deepening
their background in digital audio theory. The workshop covers the
implementation of the Fast Fourier Transform (FFT) in digital signal
processing, focusing on practical spectrum analysis, sound
synthesis with spectral models, and signal processing using the FFT.
The course begins with a review of Fourier theory, which includes a
discussion of important Fourier Transform properties. The
Short-Time Fourier Transform (STFT) of time-varying audio signals is
presented next. Various analysis windows are discussed along with
their application in audio spectrum analysis and filter design. Both
interpretations of the STFT, as either an overlap-add, or a
filterbank summation procedure, will be addressed. Applications of
the STFT for time/frequency analysis, spectral modification,
spectrum analysis trade-offs as well as time-varying and nonlinear
modifications will be studied.
The next section of the class is concerned with sinusoidal modeling
and additive synthesis of audio signals. Specific topics will
include various analysis and synthesis techniques such as the
channel and phase vocoders, and Spectral Modeling Synthesis (SMS).
We will focus on the time compression and expansion applications as
well as band-limited interpolation. Depending on the interest of the
participants, potential topics of the course may include wavelets
and MPEG data compression.
*********************************************************************
ANNUAL SUMMER CONCERT
----------------------
The annual concert of new music by CCRMA composers will take place
during the Summer Workshops. It will be held on the Stanford campus
on July 24, 1997.
ADDITIONAL INFORMATION
------------------------
Housing costs are not included in the course fee. Campus housing is
available for the summer workshops through the Stanford University
Conference Office. Information on lodgings in Stanford/Palo Alto
vicinity will be sent to all workshop participants. No academic
credit is offered for participation in the workshops.
FOR APPLICATIONS CONTACT:
-------------------------
CCRMA Summer Workshops
Department of Music
Stanford University
Stanford, CA 94305-8180, USA.
Phone: (415) 723-4971
Fax: (415) 723-8468
E-mail: aledin@ccrma.Stanford.EDU
WWW: http://ccrma-www.stanford.edu/
*********************************************************************
Faculty: Please post and tell interested students.