Jump to content

Colloquium: Difference between revisions

From CCRMA Wiki
← Older edit
Carrlane (talk | contribs)
875 edits
No edit summary
 
Line 1: Line 1:
'''CCRMA Colloquium'''
'''Wednesday 5:30pm PT (CCRMA Classroom & Zoom)


The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty, staff, and guests. It is an opportunity for members of the CCRMA community and invited speakers to share the work that they are doing in the field of Computer Music.  The colloquium typically happens every Wednesday during the school year from 5:15 - 7:00pm and meets in the CCRMA Classroom, Knoll 217 unless otherwise noted.
The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty, staff, and guests. It is an opportunity for members of the CCRMA community and invited speakers to share the work that they are doing in the fields of Computer Music, Audio Signal Processing and Music Information Retrieval, Psychoacoustics, and related fields.  The colloquium traditionally happens every Wednesday during the academic year from 5:30 – 7:00pm and meets in the CCRMA Classroom, Knoll 217, often also with a Zoom presence.


==2011-2012 CCRMA Colloquim Schedule==
Walker Smith and this wiki page are organizing 2025-26 colloquia, with support from Nette and Matt.
CCRMA host: please put your name between brackets after the name of your invited speaker.
===Autumn 2011===


Oct 5 -  
= Current - Winter Quarter (2026)=
*'''01/07/26 (Week 1) Nathalie Joachim and Owen Dalby (hosted by Walker)


Oct 12 - [http://ccrma.stanford.edu/events/ccrma-colloquium-christopher-willits Christopher Willits]  and Jonathan Berger
<blockquote>
Composer, flutist, and vocalist Nathalie Joachim presents Fanm d’Ayiti in an open rehearsal format with Decoda (Owen Dalby, Clara Lyon, Meena Bhasin, and Hannah Collins) for Stanford’s CCRMA Colloquium. Through a talk-and-play demonstration, Joachim will trace the work’s compositional genesis, drawing connections between Haitian musical traditions, contemporary classical practice, and her broader artistic inquiry into history, identity, and voice. The session invites listeners into the creative process, illuminating how Fanm d’Ayiti situates personal narrative within collective cultural memory and Joachim’s evolving body of work.
Nathalie Joachim is a Grammy-nominated composer, flutist, and vocalist whose music bridges classical traditions with experimental, electronic, and vernacular forms. A former member of the acclaimed ensemble Eighth Blackbird, she is a co-founder of the duo Flutronix and a leading voice in interdisciplinary performance. Joachim’s works have been presented by Carnegie Hall, the New York Philharmonic, and major festivals worldwide. She is currently Associate Professor of Composition at Princeton University.
</blockquote>


[enter info here]
*'''01/14/26 (Week 2) CANCELLED Internship Opportunities (hosted by Jonathan Berger)
*'''01/21/26 (Week 3) TAPSxCCRMA Event (hosted by Héloïse Garry)
<blockquote>
'''Michael Rau''' is a live performance director specializing in new plays, opera, and digital media projects. He has directed projects internationally in Germany, the UK, Brazil, Ireland, Denmark, Mexico, Canada, Australia and the Czech Republic. He has created work in New York City at Lincoln Center, The Public Theater, PS122, HERE Arts Center, Ars Nova, The Bushwick Starr, The Brick, 59E59, 3LD, and Dixon Place. Regionally, his work has been seen the American Repertory Theatre in Cambridge, MA, the Ann Arbor Summer Festival, and the Humana Festival at Actors Theater of Louisville. His work with composer Kate Soper has been performed at the Seattle Symphony, Smith College, and The New York Festival of Song at the Dimenna Center. He has developed new plays at the Eugene O’Neill National Playwrights Conference, Playwrights Realm and the Kennedy Center in Washington DC. His production of "temping" was selected by the Guardian and the Telegraph as one of the best productions of the 2022 and 2024 Edinburgh Festival Fringe, and the piece was featured twice in New York Times He is a recipient of a 2021 Artists + Machine Intelligence Research Award from Google, as well as fellowships from the Likhachev Foundation, the Kennedy Center, and the National New Play Network. He has been a resident artist at the Orchard Project, E|MERGE, and the Tribeca Performing Arts Center. Rau is a Forward/Story fellow and a speaker at Books in Browsers, Performing Robots and StoryCode. He is a fellow of the Akademie für Theater und Digitalität and a resident of Stochaistic Labs. He has been an assistant director for Francesca Zambello, John Turturro, Robert Woodruff and associate director for Anne Bogart, Les Waters, and Ivo Van Hove. He is a New York Theater Workshop Usual Suspect and a member of the Lincoln Center Directors Lab. He is a graduate of Wesleyan University and received his MFA in Theater Directing from Columbia University. At Stanford, he is an affiliate faculty member with the Stanford Institute for Human Centered Artificial Intelligence.


===Winter 2012===
'''Jarosław Kapuściński''' is an intermedia composer and pianist born in Poland. He studied piano and composition at the Chopin Academy of Music in Warsaw and furthered his education in multimedia and intermedia art during doctoral studies at the University of California, San Diego, and a residency at Banff Centre for the Arts in Canada. Kapuściński presented his works at numerous gallery and concert venues worldwide, including the Museum of Modern Art in New York, the National Reina Sofia Museum in Madrid, the Palais de Tokyo in Paris, National Arts Centre in Canada, EMPAC, ZKM and Yerba Buena Center for the Arts. He has also received awards for his intermedia art at the Film sur l'Art Festival in Paris, the VideoArt Festival in Locarno, and the International Festival of New Cinema and New Media in Montréal. Apart from his career as a composer and performer, Kapuściński has lectured internationally and held positions at institutions such as McGill University in Montreal and the Conservatory of Music at the University of the Pacific. Currently, he is an Associate Professor of Composition at Stanford University.
Jan 11 -


Jan 18 -
'''Maxine Carlisle''' is a dancer, completing her PhD in Theatre and Performance Studies at Stanford. After training in ballet, yoga and improvisation at Sydney Dance Company in 2016, she freelanced across disciplines, and co-founded the dance collective SXAE with Eliza Cooper, Mitchell Christie, Allie Graham and Strickland Young. At the same time, she completed a Bachelor of Arts in English (Honours, 1st Class) from the University of Sydney. Maxine owes her fascination for physical listening to Thomas Bradley, who is strongly influenced by Japanese “butoh.”
Erring back and forth between theory and practice, she completed an MA in English from New York University (2025) with a focus on transdisciplinary concepts. Maxine continues to work closely and diligently with NYU Associate Professor Dr. Wendy Lee and the Consent Lab. Currently, Maxine is working on the gap between language and movement, and it’s here, in this kind of silence, that she finds her love of dance.


Jan 25 - Joshua Kit Clayton [Bruno]
'''Pauline Mornet''' is an artist-scholar and current PhD candidate in Performance Studies at Stanford University. Their work uses performance-based practices to explore questions of migration and memory. She holds a Master of Arts in Performance Studies from New York University. Pauline has published in Performance Research Journal with her essay ‘Intimate Archives: Love Letters in Wartime Europe’ exploring an archive of love letters sent during the Second World War. Pauline is also a RAISE scholar working on the migratory experience of recent Hong Kong exiles, and co-artistic director of the Nitery Experimental Theater in Stanford, CA. They have previously been artist in residence at Kebbel Villa, Germany, and they collaborated on the art installation HEARTH which is currently exhibited at the Djerassi Artist Residency Center, CA.


Feb 1 - Larry Polansky [Bruno]
Afterwards: Reception/Mixer with food and drinks!


Feb 8 - Barry Threw [http://barrythrew.com] [Carr]
</blockquote>


Feb 15 -
*'''01/28/26 (Week 4) Arshia Cont (hosted by Matt/Chris/Jarek):  ''From Real-Time Musical Interaction to Scalable Semantic Data for Music AI''


Feb 22 - Matt Ingalls [Bruno]
<blockquote>
This talk presents a trajectory from real-time musical interaction systems to the construction of scalable semantic data for music AI applications. The work originates at the intersection of mixed electronic music composition, computer music research, and industry-facing AI music systems, and has evolved through sustained real-world deployment.


Feb 29 -
Starting with Antescofo, a system designed for real-time audio–score alignment and interaction, and continuing through its industrial deployment in Metronaut, we have spent several years operating alignment technology at production scale. Originally developed for score-following and interactive performance, Antescofo has been continuously deployed in a large body of mixed electronic music, including works by composers such as Pierre Boulez, Philippe Manoury, Marco Stroppa, Jonathan Harvey, as well as many contemporary creations today. In parallel, its industrial extension through Metronaut has brought related alignment technologies to millions of practicing amateur musicians worldwide.


Mar 7 - Jaap Blonk [Bruno]
Originally conceived for real-time interaction and performance, this framework has more recently been extended to educational contexts involving highly error-prone audio, large temporal deviations, and expressive variability. This shift revealed that audio–score alignment can function as more than an evaluation or interaction tool: it becomes a semantic layer that transforms paired audio and notation into structured, high-value training data. At scale, this process effectively converts musical performances into interpretable representations capturing timing, structure, deviation, and intent.


Mar 14 - Subotnick / La Barbara [Bruno]
We will show how this semantic data has been leveraged to train and fine-tune music AI models, including piano transcription systems that surpass current benchmarks while operating in real time. These results suggest that alignment-driven semantic extraction provides a powerful alternative to purely signal- or annotation-driven approaches.


===Spring 2012===
The talk concludes by discussing the broader implications of this paradigm for music AI, where production-ready musical intelligence systems can act as foundational infrastructure for training, evaluation, and interaction across multiple applications.
Apr 4 -  


Apr 11 - [lac?]


Apr 18 -


Apr 25 -
'''Arshia Cont''' is a researcher and engineer working at the intersection of artificial intelligence, real-time musical interaction, and passionate of contemporary music creation.


May 2 -
He received a PhD in computer music and artificial intelligence from the University of California in 2008, for which he was awarded the French Academy of Sciences Prize. He subsequently joined '''IRCAM''' in Paris, where he developed core algorithms for real-time audio–score alignment and interaction. He is best known for '''Antescofo''', a system for automatic accompaniment and predictive musical interaction that has been continuously deployed in mixed electronic music for over a decade, including works by composers such as Pierre Boulez, Philippe Manoury, Kaija Saariaho, Marco Stroppa, and Jonathan Harvey, and performed by major orchestras and ensembles worldwide.


May 9 - Ikue Mori [Bruno]
From 2008 to 2016, he led a joint '''Inria'''–IRCAM research team focused on machine learning and real-time musical systems. During this period, he also served as General Manager of Musical Creation at IRCAM, where he founded the IRCAM Artist Residency Program, contributed to the modernization of the IRCAM Forum, and actively advocated for a strong and sustained coupling between artistic creation and research.


May 16 -
Alongside his research activity, he has been deeply and actively engaged in contemporary music creation, working closely with composers, performers, and ensembles to integrate advanced technologies into artistic practice.


May 23 -
Since 2016, he has been the co-founder of '''Metronaut''', a platform extending audio–score alignment technologies to large-scale music practice and education. He is also president of the ''Ensemble Itinéraire'' and collaborates regularly with instrument makers including Pleyel, Buffet Crampon, and Selmer.


==2010-2011 CCRMA Colloquim Schedule==
</blockquote>
===Spring 2011===
===Winter 2011===
===Autumn 2010===


*'''02/04/26 (Week 5) CCRMA Jam Session in the Stage (hosted by Walker/Alex) [confirmed!]
*'''02/11/26 (Week 6) Marco Fusi (hosted by Sean O'Dalaigh)


==Older Info on Past Colloquia==
<blockquote>
This presentation explores interpretative and creative strategies for performing Luigi Nono’s “La lontananza nostalgica utopica futura” (1988–1989). After briefly reflecting on Nono’s creative process with Gidon Kremer, including observations from sketches, drafts, and the final score, the focus will be on how the finalized performing materials can be articulated in today’s performances. We will examine the evolving dialogue between sound projectionist and violinist, shaped by artistic visions and diverse technological setups (octophonic, wave field synthesis). By the end, we will propose an understanding that Nono’s score invites creative participation—offering performers today a living space for self-determination and artistic choices.
</blockquote>


*'''02/18/26 (Week 7) Mari Kimura ''Mastery over Novelty: MUGIC® - a lasting tool for musicianship''  and Nolan Miranda ''Audience Participation in Performance Environments''


10/17/07 ---------- Keith McMillen -------------Mapps: A persistent performance score for modern music
<blockquote>
'''Mastery over Novelty: MUGIC® - a lasting tool for musicianship''': This lecture explores a pivotal shift in the relationship between technology and the performing arts—from chasing novelty to cultivating mastery. Violinist, composer, and technologist Mari Kimura presents MUGIC® (Music/User Gesture Interface Control), a groundbreaking motion sensor designed to deepen, not replace, musicianship.  Unlike many fleeting tech innovations, MUGIC® is a lightweight, wearable device that captures expressive gestures in real time, converting them into control data for sound, visuals, and interactive media. Designed with performers in mind, it emphasizes expressivity, accessibility, and longevity—offering a sustainable model for integrating technology into the arts, education, and therapeutic practices. Drawing from over a decade of development and real-world application—from interdisciplinary curricula to stages such as Lincoln Center, the Venice Biennale, and Expo 2025 Osaka—Kimura showcases how mastering a robust, intuitive tool fosters deeper expression and long-term artistic growth.


'''Audience Participation in Performance Environments''': In this talk, I will investigate the effects of audience participation on the intended message, narrative arc, and viewer reception of performance. (Volunteers required.)
</blockquote>


Title: Mapps: A persistent performance score for modern music
*'''02/25/26 (Week 8) Akash Thakkar (hosted by Andrew Zhu Aday)
 
<blockquote>
'''Akash Thakkar''' is an award-winning sound designer based in Seattle. His portfolio includes contributions to critically lauded titles such as "Hyper Light Drifter," "Outer Wilds: Echoes of the Eye," "Concrete Genie,” and the Peabody-Winning “We Are OFK," among others.
 
Beyond his creative work, Akash is dedicated to educating and empowering the next generation of audio professionals. He frequently shares his expertise through international speaking engagements and educational content for aspiring sound designers. Akash is also a vocal advocate for fair compensation in the gaming industry, actively working to ensure audio professionals receive appropriate recognition for their contributions.
 
'''Ryan Ike''' is a two-time BAFTA-nominated composer and sound designer, currently living in Seattle, Washington. He's written for award winning games like "West of Loathing," "Where the Water Tastes Like Wine," and "Wizard With a Gun."
 
When not making audio, Ryan is likely preparing talks and online content on how to navigate the game industry. At events like PAX West, Indiecade, and GDC, he’s given talks designed to help people start or further their work in games, with an emphasis on emotional and mental health.
</blockquote>
 
 
*'''03/04/26 (Week 9) CCRMA Town Hall (hosted by Alex)
*'''03/11/26 (Week 10)
 
= Future - Spring Quarter (2026)=
*'''4/1/26 (Week 1) HOLD: Walker
*'''4/8/26 (Week 2) Carmine-Emanuele Cella (CNMAT Co-director) presentation
*'''4/15/26 (Week 3)
*'''4/22/26 (Week 4) John La Grou (hosted by Walker/Chris Chafe)
 
<blockquote>
Title: Moving from 120dB to 170dB: Audio's Fourth Paradigm Shift
 
Abstract: HDR-A is a revolutionary new multi-path audio architecture that dramatically reduces systemic noise, delivering 170dB of dynamic range and linearity. In this lecture, we'll review the theory of triple-patented HDR-A architecture and how it can be applied to microphones, preamps, ADCs, DACs, and power amplifiers, resulting in a 170dB audio capture and delivery ecosystem. We'll briefly review the first three audio paradigm shifts (electric, tape, digital) and reveal why HDR-A is the single greatest performance improvement in the 140 year history of audio.
 
Bio: Husband, father, renaissance spirit. One of three original startup members of Multitech Electronics in Mountain View (1984). After three years of intensive growth, the company name was changed to Acer America. Defined and led the OEM foundation for what is today the world's third largest personal computer company. Founder and chair of POW-r Consortium, the leading audio bit reduction algorithms - used on aprox 1/3 of all streaming and downloaded music (licensed by Apple Logic, ProTools-Avid, Ableton, Sonar, Samplitude, Pyramix, etc.). "If you listen to music, you listen to POW-r." Founder and CEO of Millennia Media, a leader in design of audio electronics for critical music production. Millennia has received over 35 key industry awards and was recently inducted into the Technology Hall of Fame (2019). Millennia products are embraced by a who's who in popular music, film scoring, and critical acoustic music production. Founder at imersiv, the fourth paradigm of audio architecture. This multi-patented design topology boldly re-imagines music production with a 40nV noise floor and 170dB dynamic range - from microphone to power amplifier, and everything in-between. Co-founder and patent-holder at SafePlug, one of "10 World Changing Ideas" (Scientific American). Innovative electrical products which save lives, save energy, and make the Smart Home smarter - winner of the 2009 and 2012 CES Top Home Innovation Award, a WSIE 2012 Global Hot 100 Company, and CE Pro 2014 Automation Device of the Year. Co-founded Compathos Foundation with Thea, my truelove and muse of four decades. Compathos is a non-profit social action community that invites us to understand ourselves and our world through the eyes of the most vulnerable. Director and Chair at our El Dorado County (CA) Food Bank. Executive producer of Drawn From Water, a multi-award-winning investigative documentary film highlighting the plight of Ethiopia's mingi children (music by Sigur Ros, streaming on Amazon and Netflix). A 2018 Edmund Hillary Fellow and frequent speaker at colleges and technical conferences. My 2009 TED Talk, translated into 30+ languages, has been featured in Fast Company, cNet, Engadget, PopSci, TechCrunch, and dozens of other e-zines and publications. I serve on university and foundation boards and was creator and co-editor of the Wikiklesia Project: a 500-page, forty-author open-source anthology exploring the intersections of spirituality and technology - recipient of the SNCR Award for New Media. Avocations include progressive music (guitarist in the 2012 Thomas Dolby TED House Band) and ultra-premium wine making in the California Foothills. Listed in Board Options, maintaining lifelong professional affiliations with: Audio Engineering Society (AES) and the National Academy of Recording Arts & Sciences (Voting Member, Grammy Awards).
 
https://imersiv.com
</blockquote>
*'''4/29/26 (Week 5) CCRMA Town Hall (hosted by Alex)
*'''5/6/26 (Week 6) preparation for [https://ccrma.stanford.edu/ccrma-open-house CCRMA Open House 2026] not to mention [https://slork.stanford.edu SLOrktastic Chamber Music 2026]
*'''5/13/26 (Week 7) HOLD: Barbara Nerness (hosted by Walker)
*'''5/20/26 (Week 8) Richard Lee - Design of Audio-Haptic Systems for Active Learning of Acoustics
*'''5/27/26 (Week 9) MAMST Capstone Presentations 1/2
*'''6/3/26 (Week 10) MAMST Capstone Presentations 2/2
 
= Past - Fall Quarter (2025)=
*'''09/24/25 (Week 1) New Student Introductions
*Speaker 1: Li Ji
*Speaker 2: Ilan Salomon-Jacob
*Speaker 3: Chris
*Speaker 4: Ben
*Speaker 5: Michelle
*Speaker 6: Peter
*Speaker 7: Niccolo Abate
*Speaker 8: Bethanie
*Speaker 9: Simon
*Speaker 10: Gabriel Soule
*Speaker 11: Kiran Bhat
*Speaker 12: Brendan Zelikman
*Speaker 13: Haotian Bao
*Speaker 14: Prim
*Speaker 15: Zac Dulkin
*Speaker 16: Matt Caren
*Speaker 17:
 
*'''10/1/25 (Week 2) Faculty and Staff Lightning Intros (part 1)
*Speaker 1: Chris Chafe
*Speaker 2: Ge Wang
*Speaker 3: Marina Bosi
*Speaker 4: Hassan Estakhrian
*Speaker 5: Madalyn Merkey
*Speaker 6: Julius Smith
*Speaker 7: Constantin Basica
*Speaker 8: Walker Smith (+ Colloq Preview)
*Speaker 9:
*'''10/8/25 (Week 3) Faculty and Staff Lightning Intros (part 2)
*Speaker 0: The Max Lab (Calvin / Summer / Matt)
*Speaker 1: Diana Deutsch (zoom)
*Speaker 2: Takako Fujioka
*Speaker 3: Nils Tonnätt
*Speaker 4: Nando
*Speaker 5: Hongchan Choi
*Speaker 6: Matt Wright
*Speaker 7: Kimia Koochakzadeh-Yazdi
 
*'''10/15/25 (Week 4) [CANCELLED - will plan to reschedule (date TBA)] Jean-Marc Jot (hosted by Walker)
*Creating and distributing immersive audio: from IRCAM Spat to Acoustic Objects
*'''10/22/25 (Week 5) Mark Rau (hosted by Walker)
 
Title:
 
Historic Musical Instruments at the Museum of Fine Arts, Boston + The New Music Technology and Computation Program at MIT


Abstract:
Abstract:
A brief history of the effects of technology on music followed by a description of the problems facing modern technical composers and performers with the persistence of any performable repertoire.  Progress on this front as characterized by the software program MACIAS as used by TrioMetrik and plans for a more enduring format. http://www.beamfoundation.org/


Presenter:
Many one-of-a-kind and historic musical instruments are held in the collections of museums. While the care of curators ensures the instruments are preserved, musicians are rarely able to play the instruments due to the risk of damage to the instrument or harm to the musician. This talk will present a collaboration with the Museum of Fine Arts (MFA), Boston, studying some of the 1300+ musical instruments in their collection. An industrial computed tomography (CT) scanner located at the MFA allows us to capture geometry and relative density information, enabling us to create replicas of the instruments. Non-invasive vibration and acoustic measurements are made, which, when combined with simulations, provide validation for replicas and a platform for synthesis copies. Lastly, I will talk about the new Music Technology and Computation Program at MIT.
Keith McMillen has been working his entire adult life on one single problem – how to play live interactive music in an ensemble using extended instruments moderated by computer intelligence. This goal has required him to create dozens of new instruments, patented technologies and multiple successful companies in order to advance the technology sufficiently to reach his musical objectives. Keith began his audio career in 1979, when he founded Zeta Music. The company's revolutionary electronic instrument designs created a new market in the music industry, and the brand “Zeta” is synonymous with the modern violin. Later, as Vice President of R&D at Gibson Guitars, Keith worked with UC Berkeley’s CNMAT and created a new technology group focusing on audio networking, synthesizers and string instruments. As Director of Engineering at Harman Kardon, he formed an innovative new software product division dealing with audio processing and distributed networks. Keith founded Octiv in 1999 to solve major issues with live audio and led the company as both technologist and business guru raising over $20M from VCs such as 3i and Intel Capital. In April of 2005, Keith successfully sold Octiv to Plantronics (NYSE:PLT) and is personally funding the current operations of the BEAM Foundation. Keith received his BS in Acoustics under James Beauchamp from the University of Illinois where he also trained in classical guitar and studied composition with Herbert Brun, Scott Wyatt, and Sal Martirano. Keith has spent 25 years developing MACIAS – an integrated composition performance system that is the foundation of TrioMetrik’s music. He now works full time at composing, creating and performing while pursuing his original goal of a next generation music he has termed NuRoque and a method for creating a persistent performance score for modern music called MAPPS.




10/24/07 ---------- Flo Menezes --------------- Maximal Music
*'''10/29/25 (Week 6) Faculty and Staff Lightning Intros (part 3) + CCRMA Jam Sesh!
*Speaker 1: Jaroslaw Kapuscinski
*Speaker 2: Mark Applebaum
*Speaker 3: Malcom Slaney
*Speaker 4: Pierre Divenyi
*Speaker 5: Jonathan Berger
*Speaker 6: Sasha Leitman
*Speaker 7:


Title: Maximal Music


Abstract:
Afterward...CCRMA Jam Sesh (in the Stage) and CCRMAoke in the Classroom!
The purpose of the lecture is to give an insight on the compositional aesthetics of composer Flo Menezes. Aspects such as pitch 
 
polarization, directionalities, musical references, sound spatialilty and interval techniques will be exposed along with 22 musical examples, which go from purely instrumental to electroacoustic compositions.
*'''11/5/25 (Week 7) CCRMA Town Hall (Alex Han)
*'''11/12/25 (Week 8) Satoshi Yamaguchi (hosted by Takako)
*'''11/19/25 (Week 9)''' <span style="color:red">'''R'''</span><span style="color:orange">o</span><span style="color:yellow">y </span> </span><span style="color:green">G. </span></span><span style="color:cyan">B</span><span style="color:blue">i</span><span style="color:purple">v</span> (hosted by Walker)
*'''12/3/25 (Week 10) fuse* in conversation with KIPAC Director Risa Wechsler (hosted by Matt/Stanford Live)
 
= Past - Spring Quarter (2025)=
*'''04/2/25 (Week 1)
*'''04/9/25 (Week 2)
*'''04/16/25 (Week 3) Charles Mason (hosted by Constantin)
*'''04/23/25 (Week 4) Charles Deluga (hosted by Constantin)
**<span style="color:red">—> '''On the CCRMA Stage''' </span>
*'''04/30/25 (Week 5)
*'''05/7/25 (Week 6) Town Hall (hosted by Anna)
*'''05/14/25 (Week 7) No Colloquium (Please attend the [https://ccrma.stanford.edu/ccrma-open-house CCRMA Open House Thursday, May 15] and the GMSF Symposium on Saturday, May 17!)
*'''05/21/25 (Week 8) CCRMAoke/Jam Sesh (Karaoke the Classroom, Jam Session on the Stage)
*'''05/28/25 (Week 9) MA/MST Capstone Presentations
*1. Spark Wu
*2. Matt/Nette "CCRMA Studio Report" (ICMC Presentation Preview)
*'''06/4/25 (Week 10) MA/MST Capstone Presentations
*1. Anna Gruzas
*2. Tristan Peng
*3. Becca Wroblewski
*4. Chengyi Xing
*Walker - Overview of next year's Colloq plans + Student feedback. Please bring your ideas!
**PIZZA!
 
 
Rescheduled to date TBD:
*<span style="color:red">'''R'''</span><span style="color:orange">o</span><span style="color:yellow">y </span> </span><span style="color:green">G. </span></span><span style="color:cyan">B</span><span style="color:blue">i</span> <span style="color:purple">v</span> (hosted by Walker)
*Meghan Sumner, Stanford Linguistics (hosted by Walker)
 
= Past - Winter Quarter (2025)=
 
Zoom link for any hybrid or online colloquia: https://stanford.zoom.us/j/93954711512?pwd=rLzZI9jtbUcNv8XaLMPK2YbBhsKTAT.1
Passsword: 928762


Presenter:
*'''01/08/25 (Week 1) Robert Fleitz (hosted by Brian)
Flo Menezes (São Paulo, 1962) studied Composition at the University of São Paulo with Willy Corrêa de Oliveira (1980-85), 
*'''01/15/25 (Week 2) Faculty Intros, and guest presentation from Songscription AI
Electroacoustic Music with Hans Humpert at the Studio für elektronische Musik of Cologne (1986-90) and Computer Music at the 
**1. Mark Applebaum (5:30-5:45)
Centro di Sonologia Computazionale in Padova, Italy (1991), besides courses in France with Pierre Boulez (1988) and Brian Ferneyhough (1995), in Austria with Luciano Berio (1989), and in Germany with Karlheinz Stockhausen (1998), who has invited him as Professor of his International Stockhausen Courses in 1999 and 2001. In 1992, he concluded a PhD on the work of Berio in Liège under the supervision  of Henri Pousseur and worked on Berioâ’s manuscripts at the Paul Sacher Stiftung in Basle, Switzerland. His analysis of Visage by Berio was awarded in 1990 at the 1st International Musicology 
**2. Paul DeMarinis (5:45-6:00)
Competition, Italy.
**3. Eleanor Selfridge-Field (6:00-6:15)
**4. Craig Sapp(6:15-6:30)
**5. Doug James (6:30-6:45)
**6. Andrew Carlins (6:45-7:00), Songscription AI ([http://www.songscription.ai])
*'''01/22/25 (Week 3) Stanford Film/Documentary Presentation (hosted by Héloise)
**Faculty Presentation from Srdan Keca, Exploring Sound and Music in Film
**Student Presentations:
***Lemon Guo, Stanford DMA Composition
***Mercedes Montemayor, Stanford DMA Composition
***Pamela Martinez, Stanford MFA Documentary Media
**<span style="color:red"> Afterward: Mixer with Film/Documentary MFA Cohort! WITH FOOD </span>


Menezes was awarded significant international prizes for composition: UNESCO in Paris (1991); TRIMALCA-Prize (1993); Prix Ars Electronica in Austria (1995); Luigi Russolo Contest in Italy (1996); Prêmio Sergio Motta in São Paulo (2002); Bolsa Vitae de Artes in São Paulo (2003); Giga-Hertz-Preis at ZKM in Karlsruhe (2007). He was invited by many institutions such as Fondation Royaumont (1995), IRCAM and GRM (1997), BEAST in Birmingham (2001), CRCA in San Diego (2007), Experimental studio of Freiburg (2008) etc. and his works have been played in many festivals and theaters around the world (Carnegie Hall in NY; Salle Olivier Messiaen in Paris; Walt Disney Hall/Redcat in Los Angeles; Sala São Paulo; Maison de la Suisse Romande; etc.)
'''Srđan Keča''' is a Yugoslav-born filmmaker, visual artist and educator living in the U.S.
His documentary films have been selected at leading festivals, including the Berlinale, IDFA and HotDocs, while his video installations have been exhibited at venues like the Venice Biennale of Architecture and the Whitechapel Gallery. His early medium-length films include A Letter to Dad (IDFA 2011, Dokufest 2011 - Best Balkan Documentary) and Mirage (Jihlava IDFF 2012 - Best Central and Eastern European Documentary). Flotel Europa, an archival feature-length film produced and edited by Keča, premiered at the Berlinale in 2015, winning the Tagesspiegel Jury Award, and went on to win awards at numerous festivals including Documenta Madrid, Torino Film Festival, and IndieLisboa. His latest film, the poetic-observational feature Museum of the Revolution premiered at IDFA in 2021, and won awards including the Heart of Sarajevo for Best Documentary at Sarajevo Film Festival and Best Feature at Big Sky Documentary Festival. It has been released theatrically in Europe and North America and broadcast on major networks including Al Jazeera Documentary Channel.
Keča’s work has been praised in Senses of Cinema, Sight & Sound, Variety, Cineuropa, Modern Times Review, and POV Magazine, among others. He is an alum of the Ateliers Varan and UK’s National Filmand Television School (NFTS), and a Sundance Institute grantee. He is an Associate Professor in the Department of Art & Art History at Stanford University and Program Director of Stanford’s M.F.A. in Documentary Film.


Author of several books, he is founder and Director of the Studio PANaroma in São Paulo and of the PUTS: PANaroma/Unesp Teatro Sonoro, the first loudspeaker orchestra in Brazil, and is currently Professor of Electroacoustic Music at the State University of São Paulo (Unesp) and Visiting Professor at the University of Cologne, Germany.
'''Lemon Guo''' is an interdisciplinary artist, composer, and vocalist from the southeastern coast of China. Drawn to the visceral and evocative nature of the voice, she creates voice-based performances, installations, Virtual Reality films, and other intermedia works that explore things that haunt her and wouldn’t leave her alone. With a background in Chinese folk music, Lemon holds an MFA in Sound Art from Columbia University and is currently a DMA candidate in composition at Stanford University. She has performed and exhibited her works internationally, in places such as Rubin Museum of Art, Sundance Film Festival, Oregon Shakespeare Festival (US), BBC Radio 3 (UK), IDFA (NL), and Siggraph (CA). Lemon created music for director Yi Tang's short film All the Crows in the World, which won Palme d’Or at Festival de Cannes 2021.


'''Mercedes Montemayor''' (b. Monterrey, Mexico) is a composer and music producer with exceptional talent for creating innovative and avant-garde music. From an early age, Mercedes showed a deep interest in music, leading her to immerse herself in the world of composition and music production. Her work spans a wide range of genres, from classical to electronic and ambient music, influenced by artists such as Ryuichi Sakamoto, whose work has been a constant source of inspiration for her.
Mercedes has excelled in the field of experimental music, creating complex and immersive soundscapes that invite introspection and emotion. Her focus on sonic exploration and her ability to innovate in music production have been key to her career. In addition to her work as a composer, Mercedes also works as a sound engineer, allowing her to combine artistic vision with technical precision in her productions.
Her experience includes a standout performance at Mutek Mexico in October 2023, where she presented her work to an international audience. She has also completed an internship at WSDG (Walters-Storyk Design Group), a firm specializing in architectural acoustics, where she gained valuable technical and practical knowledge in designing sound spaces.
Mercedes has collaborated with various artists and projects, including the visual artist Miriam Medrez (February 2022), contributing her expertise in integrating experimental elements into contemporary music. Her dedication to continuous evolution in her field is evident in her works and collaborations.
Starting in the fall of 2024, Mercedes began her Doctorate in Musical Arts (DMA) in Composition at Stanford University, where she is continuing to develop her career and explore new frontiers in experimental music and composition.


10/31/07 ---------- Craig Sapp ----------------- Measuring Similarity in Performances of Chopin Mazurkas
'''Pamela Martinez''' is a Venezuelan filmmaker and a second-year MFA graduate in the Documentary Media Program at Stanford. She is interested in issues of gender, systems of care, migration, and transitional justice. Among her latest works is Illegal Alien: the Prelude (2023), is an art exhibition that intertwines sociological inquiry and film to explore Venezuelan women's physical and psychological migratory pathways.


Title: Measuring Similarity in Performances of Chopin Mazurkas
*'''01/29/25 (Week 4) Musician Injury Seminar (Hosted by Walker)
**<span style="color:red">—> '''In Campbell Hall (Braun)''' </span>
**Joint presentation with piano forum.
*'''02/05/25 (Week 5) Neko3 (hosted by Anna Golubkova)
**<span style="color:red"> AFTERWARD: CCRMAoke (CCMRA Karaoke) (Hosted by Walker + Anna Gruzas) </span>
*'''02/12/25 (Week 6) William Sethares (Hosted by Walker)
*'''02/19/25 (Week 7) CCRMA Town Hall - STUDENT ONLY meeting (Hosted by Anna)
*'''02/26/25 (Week 8) CANCELLED -- Niloufar Shiri (hosted by Kimia)
*'''03/05/25 (Week 9) *No colloquium*
**Originally was going to have Meghan Sumner, Stanford Linguistics (hosted by Walker). This will be rescheduled to the Spring quarter (date TBD).
*'''03/12/25 (Week 10) Georg Hajdu (hosted by Constantin)


Abstract: 
= Past - Autumn Quarter (2024)=
Recent work in performance analysis being done at the Centre for the History and Analysis of Recorded Music (CHARM) at Royal Holloway, University of London will be presented. Performance features, such as note timings and loudness are extracted from audio files from various performances of the same work.  These musical features are then compared between performers
*'''09/25/24 (Week 1) New Student Introductions
in isolation, in combination, and in subcomponents to get a feeling for where a performer might be getting their inspiration.
**Speaker 1: Emily Saletan
One pianist was found to have gotten her inspiration in an unusual way:
**Speaker 2: Mateo Larrea
http://www.newyorker.com/reporting/2007/09/17/070917fa_fact_singer?currentPage=all
**Speaker 3: Katie Pieschala
**Speaker 4: Walker Smith
**Speaker 5: Gregg Oliva
**Speaker 6: Siqi Chen
**Speaker 7: Lejun Min
**Speaker 8: Shenran Wang
**Speaker 9: Nathan Sariowan
**Speaker 10: Saurav Chala
**Speaker 11: Udbhav Venkataraman
**Speaker 12: Heloise Garry
**Speaker 13: Calvin McCormack
**Speaker 14: Summer Krinsky
**Speaker 15: Nancy Rico-Mineros
**Speaker 16: Tae Kyu Kim
**Speaker 17: Stuart Sul


Presenter:
*'''10/02/23 (Week 2) - Faculty and Staff Rapid Fire (part 1)
Craig Sapp has been working on performance analysis of Chopin mazurkas with Nicholas Cook and Andrew Earis at CHARM in London for the past two years.
**Speaker 1: Jonathan Berger
**Speaker 2: Ge Wang
**Speaker 3: Marina Bosi
**Speaker 4: Chris Chafe
**Speaker 5: Sasha Leitman
**Speaker 6: Madalyn Merkey
**Speaker 7: Hassan Estakhrian
**Speaker 8: Kunwoo Kim
**Speaker 9: Nando
**Non-Speaker NaN: Celeste (recruiting slorkers, super short :) )


*'''10/09/23 (Week 3) - POSTPONED TO WEEK 4 or later


*'''10/16/23 (Week 4) - Transitions!


*'''10/23/23 (Week 5) - Faculty and Staff Rapid Fire (part 2) and CCRMA History
**Speaker 1:
**Speaker 2: Julius Smith (confirmed)
**Speaker 3: Matt Wright (confirmed)
**Speaker 4: Constantin Basica (confirmed)
**Speaker 5: Takako Fujioka (confirmed)
**Speaker 6: Nils Tonnätt (confirmed)
**Speaker 7:
**Speaker NaN: Celeste


11/7/07 ------------ Jonathan Middleton ----- The Algorithmic Foundations of My Instrumental Music
*'''10/30/23 (Week 6) - Ligeti theme / concert preview (https://ccrma.stanford.edu/events/homage-ligeti-ccrma-50th-anniversary)
** Matt Wright (introduction)
** Jonathan Berger (brief anecdote)
** A word from some performers
** Georg Hajdu
** Martin Bresnick (about Ligeti's time at pre-CCRMA and his compositions Atmosphères and Musica ricercata)
** John Chowning (about Ligeti's 1972 visit to Stanford and more of the CCRMA/Ligeti connections)


*'''11/06/23 (Week 7) -


Title: The Algorithmic Foundations of My Instrumental Music
*'''11/13/23 (Week 8) - [no colloquium]


Abstract:
*'''11/20/23 (Week 9) - CCRMA TOWN HALL
In the book "Atlas" one can see the original photographs Gerhard Richter collected as  inspiration and source material for his photo-paintings.  In my CCRMA colloquium, I'd like to make a similar attempt to reveal my creative sources and the artistic strategy I have developed to make these sources the foundation of my music.  I will present the early stages of my creative process that provide a basic thread and musical themes for  Redwoods Symphony (Kiev Philharmonic), Radiant Peaks (Coeur d'Alene Symphony), Reciprocal Refractions (Spokane Symphony), and Dreaming Among Thermal Pools and Concentric 
Spirals (Paradox duo).  Each process begins with the algorithmic transformation (or translation) of  things I care about: redwood 
trees, bull trout, spirals, topographical maps... things that serve as a creative launching point.  Algorithmic examples will be presented from http://musicalgorithms.ewu.edu/, the user-friendly freeware I designed in 2004-05.


*'''11/27/23 (Week T) - NO SEMINAR (Thanksgiving break)


Presenter:
*'''12/4/23 (Week 10) - Vilbjørg Broch (hosted by Constantin) <span style="color:red">—> Moved to December 5, 6-7pm in the Stage, right before Vilbjørg's concert at 7:30pm</span>
Jonathan Middleton is an Associate Professor of Theory and Composition at
Eastern Washington University, where he teaches undergraduate and graduate courses in
composition, counterpoint, theory, orchestration, and computer music. During the 2007-08
academic year he is on professional leave at Stanford University serving as a visiting scholar
at the Center for Computer Research in Music and Acoustics (CCRMA).
Jonathan Middleton’s creative interests include spontaneous approaches to
composition through stream of consciousness and algorithmic composition. His music has
won awards and performances throughout the Pacific Northwest, the U.S. and Europe. In
the year 2000, Jonathan Middleton became Washington State’s “Composer of the Year,” an
award sponsored by the Washington State Music Teachers Association. In 2004, he was
awarded a regionally competitive grant to develop a Web-based application that explores
algorithmic composition and interdisciplinary learning: http://musicalgorithms.ewu.edu/.
The program provides a creative environment where composers can create music from
integer sequences and DNA. In 2005 he completed the first movement of Redwoods
Symphony, a work that uses themes created from DNA of redwood trees. The first
movement of Redwoods Symphony has been recorded by the Kiev Philharmonic under the
direction of Robert Winstin. The recording is available on ERM Media’s “Masterworks of
the New Era” vol. 11. The “musicalgorithms” program was also used to complete Dreaming
Among Thermal Pools and Concentric Spirals available on “Soak,” sold through CD Baby
(www.cdbaby.com) and iTunes. In 2007 he will be completing commissions for the Coeur
d’Alene and Spokane Symphonies.
Jonathan Middleton’s background includes studies with numerous composition
teachers, most notably those with Frederic Rzewski, William Kraft, Fred Lerdahl, Emma
Lou Diemer, Ann Kearns, Peter Golub and two Pulitzer Prize winners Roger Reynolds and
Lewis Spratlan. He also studied twentieth century compositional techniques with Kyle Gann
and Tristan Murail. He obtained his Doctor of Musical Arts in 1999 from Columbia
University where he was an Andrew W. Mellon Fellow at the School of the Arts.




11/14/07 ---------- Jesper Nordin ------------- "calm like a bomb"


Title: "calm like a bomb" - Jesper Nordin
= Past - Spring Quarter (2024)=
(Organizer/host please put your name in parentheses after each speaker or week)


Abstract:
*'''4/3 (Week 1) Sasha Leitman: Creative Work and Research
Jesper Nordin's music is largly influenced by his background in rock music and the traditional Swedish folk music. These influences are always present in his music, be it orchestral pieces or works with live electronics. His focus on the audible aspect in composition has  made the computer his foremost tool in composing. Usually he builds up very detailed sketches/maquettes with recorded and treated sounds that he then transcribes. The use of improvisation during composing is also important and can include everything from himself singing to letting different programs treat his material in controlled or random ways. Lately he has also started to incorporate different control surfaces to be able to improvise but still keep control over musical materials and techniques. His piece "calm like a bomb" for violin and electronics will be performed by Greame Jennings of the SFCMP on November 19th at the Yerba Buena Center for the Arts Forum.
*'''4/10 (Week 2) Zoran Cvetkovic (Chris Chafe)
*'''4/17 (Week 3) CCRMA Town Hall
*'''4/24 (Week 4) Marco Fusi in the Stage, followed by Special Social Event (wear clothes you don't mind getting stained) - Nette will send specifics later :)
*'''5/1 (Week 5) Professor Emily Howard (PRISM) (Patricia)
*'''5/8 (Week 6) rapid fire 5 minute presentations (Chris Chafe)
**Speaker 1: Ge Wang
**Speaker 2: Kunwoo Kim
**Speaker 3: Matt Wright
**Speaker 4: Julius Smith
**Speaker 5: Chris Chafe
**Speaker 6: Vidya Rangasayee
**Speaker 7: Fernando Lopez-Lezcano (aka: nando)
**Speaker 8: Marina Bosi
*'''5/15 (Week 7) (The [https://ccrma.stanford.edu/ccrma-open-house Open House] is tomorrow - let's skip Colloquium this week)
*'''5/22 (Week 8) Lara Weaver - Sonic Arts Research Centre - SARC (Patricia)
*'''5/29 (Week 9) Capstone projects in Neuromusic lab (Takako Fujioka)
*'''6/5 (Week 10) Capstone project presentations
**Speaker 1: Eito Murakami
**Speaker 2: Ryan Wixen
**Speaker 3: Terry Feng
**Speaker 4: Sneha Shah
<br />


Presenter:
= Past - Winter Quarter (2024)=
The music of Jesper Nordin, with its clear traces of traditional Swedish folk music, rock music and improvised music, is played throughout the world by major soloists, ensembles and symphony orchestras. His international break-through came in 2000 with the piece “calm like a bomb” that is regularly performed by ensembles like ASKO, l’Itineraire and San Francisco Contemporary Music Players.  He has been awarded prizes in many composition competitions in Europ and North America, for instance at UNESCO’s Rostrum of Composers. His music is broadcast around the world and has been played at festivals such as ISCM, Gaudeamus, ICMC and Resonances.  After studies  at the Royal College in Stockholm, Stanford University and at IRCAM in Paris he was appointed Composer in Residence at the National Swedish Radio 2004-2006.  In 2006 the Swedish Radio Released the portraid CD “Residues” that include some of his major orchestral works.  For more info see www.jespernordin.com
*'''1/10/24 (Week 1) - CCRMA Trivia Night (hosts: Nette & Marise)
*'''1/17/24 (Week 2) - Ali "AMAC" McGuire                   
- Making music is the easiest part of the journey. Navigating a business that pushes to exploit your love and offers you the world at your fingertips is the challenge. Where do you start? How do you set boundaries? How do you make money? How do you avoid the toxic traits that are so often totted as success? Come prepared with any questions that you may went to dive into- from your worries and fears to anything else. In this talk AMAC is going to share her experiences succeeding and failing in the music industry to give you an inside look at what you can expect after you graduate and take your shot.  
*'''1/24/24 (Week 3) - [missed week]
*'''1/31/24 (Week 4) - Pedro Gonzalez
*'''2/7/24 (Week 5) - Sasha Leitman Colloquium on Materials and Resources for Maker Projects and PCB Work for Maker and Creative Projects (host: Nette)
*'''2/14/24 (Week 6) - Miya Masaoka
*'''2/21/24 (Week 7) - Ed Newton-Rex
*'''2/28/24 (Week 8) - [CANCELLED] Nando (Lopez-Lezcano) - Modular synthesis workflows, or "why did you turn that knob clockwise now?"
*'''3/6/24 (Week 9) - David Monacchi -- Stage -- (host: Chris Chafe)
*'''3/13/24 (Week 10) - Richard Hoover of Santa Cruz Guitars (host: Mark Rau)






11/28/07  ---------- Hans Tutschku ------------ The electronic studio as instrument 
= Past - Autumn Quarter (2023)=
*'''09/27/23 (Week 1) New Student Introductions
**Speaker 1: Richard Lee
**Speaker 2: Anna Gruzas
**Speaker 3: Rochelle Tham
**Speaker 4: Becca Wroblewski
**Speaker 5: Logan Kibler
**Speaker 6: Spark Wu
**Speaker 7: Tristan Peng
**Speaker 8: Ryan Wixen
**Speaker 9: Asger Langhoff
**Speaker 10: Signe Henriksen
**Speaker 11: Ningxin Zhang
**Speaker 12: Chengyi Xing
**Speaker 13: Brian Brown
**Speaker 14: Richard Berrebi
**Speaker 15: Max Jardetzky


Title: The electronic studio as instrument
*'''10/04/23 (Week 2) - Faculty and Staff Rapid Fire (part 1)
**Speaker 1: Takako
**Speaker 2: Ge
**Speaker 3: Matt Wright
**Speaker 4: Marina
**Speaker 5: Julius
**Speaker 6: Eleanor
**Speaker 7: Craig
**Speaker 8: Nando


Abstract:
*'''10/11/23 (Week 3) - Faculty and Staff Rapid Fire (part 2) and CCRMA History
My compositional work is very much informed by the practice of performance. Many of my musical ideas emerge from playing an instrument.  I’m interested in the human gesture and how it can be 
**Speaker 1: Chris Chafe
analyzed and used to influence electroacoustic treatments. The piece « Zellen Linien » for piano and live-electronics, presented on the Thursday nights concert program, is a result of such a research, 
**Speaker 2: Jarek Kapuscinski
where the pianist is controlling many aspects of the live-electronics by the way how he/she interprets the score.
**Speaker 3: Scott Oshiro
**Speaker 4: Constantin Basica
**Speaker 5: Patricia
**Speaker 6: Hongchan Choi
**Presentation: history of CCRMA and The Knoll (Matt Wright / John Chowning / Nette Worthey)


But also in non-real-time settings, during my work in the studio, I search for possibilities to transform the studio into an instrument, which reacts as spontaneously as possible to my ideas.
*'''10/18/23 (Week 4) - Two completely different talks (sequence TBD):
The colloquium will provide an analysis of « Zellen Linien » with practical examples.
** Fernando Lopez-Lezcano -- Free What?? -- a look at the worldwide movement that created free/libre operating systems and software
** Satoshi Yamaguchi (Keio Research Institute at SFC, RADWIMPS) -- Drummer's Dystonia: Incidence and Affected Limb in 1003 Japanese Drummers.


*'''10/25/23 (Week 5) - Matthew Goodheart talk on transducer-activated instruments (host: Matt Wright)
*'''11/01/23 (Week 6) - Fernando Lopez-Lezcano -- Modular Synthesis Workflows, or The Modules I Loved
*'''11/08/23 (Week 7) - CCRMA Town Hall
*'''11/15/23 (Week 8) - Brian Baumbusch: "Polytempo Music" - A new interactive VR music application (host: Constantin)
*'''11/22/23 (Week T) - NO SEMINAR (Thanksgiving break)
*'''11/29/23 (Week 9) - Planning session for Winter and Spring colloquium - bring your ideas!
*'''12/5/23 (Week 10) - Georg Essl: Looking at Sound Synthesis through the Lens of Topology
** Topology is the science of connectivity. Topological topics have increasingly become part of digital signal processing and sound synthesis in recent years. In this talk I will discuss topology in the context of familiar sound synthesis methods and digital signal foundations. Ultimately the goal is to show that thinking topologically about making algorithmic noises, is interesting, fruitful, and different -- making it worth a closer look.


= Past - Spring Quarter (2023)=
*'''4/5 (Week 1) - [https://adamstanovic.com Adam Stanović] (Constantin)
*'''4/12 (Week 2) - Graham Wakefield - talk on algorithms at sample and subsample levels for generative sonic art.'''  Graham is the author of [https://docs.cycling74.com/max8/vignettes/gen_topic gen~] for Max/MSP, providing efficient single-sample audio processing using code generation, along with the gen~ book [https://cycling74.com/books/go Generating Sound and Organizing Time].  This [https://www.youtube.com/watch?v=fbd1CASqUmI  video] shows gen~ programming a Daisy microcontroller in a modular synthesis environment. York University profile: https://ampd.yorku.ca/profile/graham-wakefield Research lab at York University: http://alicelab.world  Artwork collaboration with Haru Ji: https://artificialnature.net/


Presenter:
*'''4/19 (Week 3) - Skills Share (Matt organizing)
*'''4/26 (Week 4) - Suzanne Dikker & Aurie Hsu (Julia Mills & Alex Han)
*'''5/3 (Week 5) - Conference-style talks. ''' This includes longer form presentations or lectures. Reach out to Mike (mulshine@stanford.edu) to sign up. 
*'''5/10 (Week 6) - CCRMA Town Hall (Kunwoo, Nette, & Matt)
*'''5/17 (Week 7) - Gareth Loy -- Introduction to the Player programming language
*'''5/24 (Week 8) - CANCELED: Fernando Lopez-Lezcano -- Modular Synthesis Workflows, or The Modules I Loved
*'''5/31 (Week 9) - Zehao Wang (new researcher visitor from UCSD / Miller Puckette) -- Real-time sound synthesis for 2-D plates using FDTD methods (Julius)
*'''6/7 (Week 10) - MST Capstone Project showcase! (Nette)
<br />


Hans Tutschku
= Past - Winter Quarter (2023)=
Born 1966 in Weimar. Member of the "Ensemble for intuitive music Weimar" since 1982. He studied composition of electronic music at the college of music Dresde and had since 1989 the opportunity to participate in several concert cycles of Karlheinz Stockhausen to learn the art of the sound direction. He further studied 1991/92 Sonology and electroacoustic composition at the royal conservatoire in the Hague (Holland).  1994 followed a oneyear’s study stay at IRCAM in Paris. He taught 1995/96 as a guest professor electroacoustic composition in Weimar. 1996 he participated in composition workshops with Klaus Huber and Brian Ferneyhough. 1997-2001 he taught electroacoustic composition at IRCAM in Paris and from 2001 to 2004 at the conservatory of Montbéliard.  In May 2003 he completed a doctorate (PhD) with Professor Dr. Jonty Harrison at the University of Birmingham. During the spring term 2003 he was the "Edgar Varèse Gast Professor" at the TU Berlin.
*'''1/11 (Week 1) - Kanru Hua, CEO of Synthesizer V, Japan (https://dreamtonics.com/en/synthesizerv/)(Contact: MAMST Student Benny (Shicheng) Zhang
Since September 2004 Hans Tutschku has been working as composition professor and director of the electroacoustic studios at Harvard University (Boston). He is the winner of many international composition competitions, among other: Bourges, CIMESP Sao Paulo, Hanns Eisler price, Prix Ars Electronica, Prix Noroit and Prix Musica Nova. In 2005 he rezeived the culture prize of the city of Weimar.
*'''1/18 (Week 2) - Game and International Snacks Night (Nette & Kunwoo)
*'''1/25 (Week 3) - Community-wide rapid-fire talks! ''' Share your recent thoughts, explorations, work, hobbies. Get to know what your peers are up to. Everyone is invited to share.  
**Speaker 1: Mike Mulshine
**Speaker 2: Ge Wang
**Speaker 3: Jarek Kapuscinski and Eito Murakami
**Speaker 4: Fernando Lopez-Lezcano
**Speaker 5: Chris Chafe
**Speaker 6: Julius Smith 1 minute announcement of Music 423 Thursdays 4:30 pm in Seminar Room - 20 min update tomorrow (there)
**Speaker 7: Kimia Koochakzadeh-Yazdi
**Speaker 8: Travis Skare
**Speaker 9: Matt Wright
**Speaker 10: Julie Zhu
**Speaker 11: Nima Farzaneh
**Speaker 12:
*'''2/1 (Week 4) - Skills Share (Matt / democratic)
*'''2/8 (Week 5) - Laura Steenberge meet in Listening Room (Chris Chafe)
*'''2/15 (Week 6) - Scott Oshiro [quantum music] / Mischa Dohler [Ericsson, low-latency XR] (Chris Chafe)
*'''2/22 (Week 7) - Webchuck (Chris Chafe + lots of webchuck contributors)
*'''3/1 (Week 8) - Luna Valentin cave acoustics / Music Business talk from Anne Van Der Erve from Warner Music Benelux
*'''3/8 (Week 9) - [https://perbloland.com/ Per Bloland]: MaxOrch and Orchidea
*'''3/15 (Week 10) - [https://www.jayafrisando.com Jay Afrisando] (Constantin)




= Past - Autumn Quarter (2022)=


NOTE: The first three colloquiums of the quarter will be talks presented by applicants to the Music Department's faculty position in composition.  These presentations will occur from 4:15 - 6:15 on January 9, 16 and 23 in Cambell Recital Hall in Braun Music Center.  Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.
*'''09/28 (Week 1) New Student Introductions
**Speaker 1: Sneha Shah
**Speaker 2: Josh Mitchell
**Speaker 3: Emily Kuo
**Speaker 4: Balazs & Truls
**Speaker 5: Julia Yu
**Speaker 6: Senyuan Fan
**Speaker 7: Celeste Betancur
**Speaker 8: Victoria Litton
**Speaker 9: Yiheng Dong
**Speaker 10 Eito Murakami
**Speaker 11 Soohyun Kim
**Speaker 12 Luna Valentin
**Speaker 13 Terry Feng
**Speaker 14 Alex Han
**Speaker 15 Benny Zhang
**Speaker 16 Sami Wurm
**Speaker 17 Neha Rajagopalan


1/9/08      Dr. Marcelo Toledo
*'''10/05 (Week 2) Faculty and Staff Rapid Fire
Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.
**Speaker 1 Chris Chafe
**Speaker 2 Ge Wang
**Speaker 3 Patricia Alessandrini
**Speaker 4 Marina Bosi
**Speaker 5 Julius Smith
**Speaker 6 Jarek Kapuściński
**Speaker 7
**Speaker 8
**Speaker 9
**Speaker 10 Mark Rau
**Speaker 11
**Speaker 12
**Speaker 13
**Speaker 14
**Speaker 15


1/16/08      Dr. Jaroslaw Kapuscinski
*'''10/12 (Week 3) WINGS and Peer Mentoring in Music ''' (Mara Mills visit postponed to Spring)
Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.


1/23/08      Dr. Panayiotis Kokoras
*'''10/19 (Week 4) Faculty and Staff Rapid Fire, part 2
**Speaker 1 Takako Fujioka
**Speaker 2 Eleanor Selfridge-Field
**Speaker 3 Craig Stuart Sapp
**Speaker 4 Craig Stuart Sapp
**Speaker 5 Poppy Crum
**Speaker 6 Jonathan Berger
**Speaker 7 Matt Wright
**Speaker 8 Fernando Lopez-Lezcano
**Speaker 9 Constantin Basica
**Speaker 10 Stephanie Sherriff
**Speaker 11
**Speaker 12
**Speaker 13
**Speaker 14
**Speaker 15


Application letters and curriculum vita can be found at: https://www.stanford.edu/dept/music/private/CompSearch.html.
*'''10/26 (Week 5) Romain Michon, Tanguy Risset, Maxime Popoff : [https://ccrma.stanford.edu/events/high-level-programming-of-fpgas-audio-real-time-signal-processing-applications High-Level Programming of FPGAs for Audio Real-Time Signal Processing Applications]


*'''11/2 (Week 6) - TBD


3/12/08----------Bruce Pennycook--------Who will turn the knobs when I die?
*'''11/9 (Week 7) - Pizza & Pegagody: Assignments and Evaluations


Title:  Who will turn the knobs when I die?
*'''11/16 (Week 8) - Student-only Town Hall


Abstract:
*'''11/23 (Week 9) - NO SEMINAR (Thanksgiving break)
This slide & audio presentation tackles the thorny problem of
interactive music composition, performance and preservation and
addresses the reality that interactive works are rarely performed
without the composer present as either a performer or at least
as an equipment operator.


Many of my works over the past 20 years (including Praescio-VI to be
*'''11/30 (Week 10) - planning session for Winter and Spring colloquium
performed March 13 in a modified format) have utilized a variety
of technologies, some of them custom made specifically for a
particular piece. One challenge has been sustaining these works
against a rapidly changing hardware and software landscape.
The other challenge has been to encourage performers with little
or no technical skills to adopt such works into their standing
repertoire. The presentation will attempt to address both issues.


<br />


Presenter:
Professor Bruce Pennycook (Doctor of Musical Arts, Stanford, '78) is a
composer, new media developer and media technology specialist. He taught at
Queen's University in Kingston, Ontario then McGill University in Montreal,
Quebec where he developed undergraduate and graduate degree programs in
Music Technology and held the position of Vice-Principal for Information
Systems and Technology. Pennycook moved to Austin in 2002 and was appointed
Senior Lecturer at UT Austin in 2004. He teaches in the Department of
Composition, School of Music and in the Radio-Television-Film Department,
College of Communication.




4/9/08----------Rick Taube --Grace:A Graphical Realtime Algorithmic Composition Environment
= Past - Spring Quarter (2022)=


Title: GRACE: a graphical realtime algorithmic composition environment 
*'''03/30 - Spring Welcome Dinner at Treehouse'''
implemented in C++ and Chicken Scheme
*'''04/06 - In-House Project and Research Updates (Everyone is encouraged to present)'''
*'''04/13 - BREAK'''
*'''04/19* Tuesday - Installation by J. Mills'''
*'''04/27 - [http://maramills.org/ Mara Mills] (Virtual Talk)'''
*'''05/04 - Inclusive Teaching Workshop (Lloyd May & CTL)'''
*'''05/11 - BREAK '''
*'''05/18 - BREAK'''
*'''05/25 - BREAK'''
*'''06/01 - BREAK'''




4/16/08--------Paul Davis-----------Ardour
*''' Future Colloquiums already booked:'''
Stanford's AES Student Section and the CCRMA Colloqium Series presents
*10/12 Mara Mills - History of PCM
Paul Davis, author of the Ardour, the Open Source Digital Audio
Workstation.


http://ardour.org
= Past - Winter Quarter (2022)=
*'''01/05  - BREAK'''


"Paul Davis is the primary author of the open source digital audio
*'''01/12 - David Kanaga''' Composer/designer behind the games: [https://store.steampowered.com/app/223450/Dyad/ Dyad], [https://store.steampowered.com/app/219680/Proteus/ Proteus], [https://store.steampowered.com/app/284260/PANORAMICAL/ PANORAMICAL], & the podcast-opera [https://player.fm/series/soft-valkyrie Soft Valkyrie] ([https://stanford.zoom.us/rec/play/mieXwoFVZvaXBeyMXjVYfECaDWF1g-cPB6crtb7F4XDWLBZd9VQrm51DGPZ4MzmkigERYPVV_fEUcpGS._UjZ93byy84C4Z8b?continueMode=true&_x_zm_rtaid=5upEGBnLQ1y0Lo9FUvcfhQ.1642105886449.38f96f3577c62100fbf9b412b90ef670&_x_zm_rhtaid=270 Recording available here])
workstation Ardour and the JACK Audio Connection Kit. Post-graduate
studies in computational biology at the Weizmann and EMBL seemed too
intractable in comparision to the more tangible joys of Unix. Paul
alternated between research & commercial environments for several years,
eventually spending 4-1/2 years in the CS&E department at the University
of Washington. He left to help start Amazon.com but stayed for only a
year before becoming an at-home parent. Ardour and JACK emerged from the
dark nights and early mornings, and after more than 8 years dedicated to
open source pro-audio and MIDI software, Paul now works fulltime thanks
to the support of the user community and several audio technology
companies. He also likes to race triathlons, cook and listen to music
that keeps the listener in mind."


-----
*'''01/19 - [http://www.marcevanstein.com/ Marc Evanstein]'''


A special thanks to Stanford Institute for Creativity and the Arts for
*'''01/26 - Walker Davis & Alex Mitchell from [https://boomy.com/ boomy]  '''
making this visit possible.  


*'''02/02 - Social Event and Student-Only Meeting '''


4/23/08--------Julio Estrada--------A General Theory of Combinatory in Musical Scales
*'''02/09 - [http://vibeke.info/ Vibeke Sorensen] '''


Abstract:
*'''02/16 - Unofficial Social and Welcome to WasteLAnd!'''
MuSIIC-Win (interactive system for research and composition) is based 
on "Theory d1" by Julio Estrada on the combinatory potential of scale 
intervals. (ESTRADA 1994) The denomination Theory d1 refers to the 
continuous character that is maintained in all operations based on the 
transformation of a minimal distance, d1. Its mathematical reference 
is the combinatory and its representation is done by means of graphic 
theory. In general terms, Theory d1 invites a free exploration of 
scales, not imposing any categories for systems of composition or 
musical aesthetics.


The program Theory d1 allows a total of 22 scales that range from 3 to 
*'''02/23 - Break'''
24 intervals of pitch (per octave) and duration. The program is 
expected to develop further and overcome the difficulties of an 
adequate graphic representation of scales of greater extension close 
to 50 intervals.


MuSIIC-Win is the result of a new design and reengineering of the 
*'''03/02 - Rapid Fire and Conference Style Talks''' (Sign-ups are open!)
program MuSIIC for MSDOS (PMMI 1990-97). Its appearance has been 
** (Conference Style = 15 minutes, Rapid Fire = 5 minutes)
completely redesigned and made standard to the Windows® environment. 
** Speaker 1: Tamilore Awosile (10 mins)
MuSIIC-Win allows for a user-friendly exploration and interaction. 
** Speaker 2: Frank Mondelli (Conference Style)
MuSIIC-Win enhances the visualization of the musical notation 
** Speaker 3: Lloyd May (Rapid Fire)
materials, as well as listening through a multimedia computer or a 
** Speaker 4: Julia Mills (Conference Style)
MIDI interface.
** Speaker 5: Nima Farzaneh (Conference Style)


Presenter:
*'''03/09 - CCRMA Town Hall'''
Julio Estrada was born in Mexico City, 10th of April 1943.  His family 
was exiled from Spain in 1941.  His activities are multiple: composer, 
theoretician, historian, pedagogue, and interpreter.


He began his musical studies in Mexico [1953-65], where he studied 
*'''03/16 - Break'''
composition with Julián Orbón.  In Paris (1965-69) he studied with 
Nadia Boulanger, Messiaen and attended courses and lectures of 
Xenakis.  In Germany he studied with Stockhausen [1968] and with 
Ligeti [1972] He did a Ph. D. in Musicology at Strasbourg University 
(1990- 1994).


Since 1974 he became researcher in music at the Instituto de 
= Past - Autumn Quarter (2021)=
Estéticas, IIE/UNAM, where he was apointed as the Chair of a project 
on Mexican Music History and as the head of MúSIIC, Música, Sistema 
Interactivo de Investigación y Composición, a musical system designed 
by himself.  He is the first music scholar to be honored as member of 
the Science Academy of Mexico and by the Mexican Education Ministry as 
National Researcher [since 1984].  He created a Composition Seminar at 
UNAM, where he has been teaching Compositional Theory and Philosophy 
of Composition.


He has written about a hundred of articles based on his research. 
*'''9/22 New Student Introductions'''
Some have been translated into English, French, German, Italian and 
** Speaker 1: Kimia Koochakzadeh-Yazdi
Japanese.  He is the General Editor of the must complete publication 
** Speaker 2: Taylor Goss
on Mexican music history, La Música de México [Instituto de 
** Speaker 3: Julia Mills
Investigaciones Estéticas, IIE / UNAM, México 1984, ca.  2000 p.]  He 
** Speaker 4: Kiran Gandhi
wrote with Jorge Gil "Musica y Teoria de Grupos Finitos, 3 Variables 
** Speaker 5: Dirk Roosenburg
Booleanas, with an English abstract" [IIE UNAM, Mexico 1984]. He has 
** Speaker 6: Aaron Hodges
postulated a "General Theory of Intervallic Classes" applicable to 
** Speaker 7: Nick Shaheed
macro and microintervallic scales of duration and of pitch.  In the 
** Speaker 8: Nima Farzaneh
field of the continuum, Estrada has developed new methods of 
** Speaker 9: Noah Berrie
multidimensional graphic description of several parameters of sound 
** Speaker 10: Angela Lee
and rhythm ("Ouvrir l?horizon du son : le continuum.")


* '''9/29: [https://deutsch.ucsd.edu/ Diana Deutsch] || [https://stanford.zoom.us/rec/play/BqWvlQm3A56M40R7RacsoECfgLyDBceMAKCmv-reuiF9z2vqBe2zOQkuIhYcx5yas_qaI6rNwlJuEhHC.gNOkgLaCa1MoGAwy?continueMode=true&_x_zm_rtaid=pLyEfNNkT1ehEzQ0llwZ3w.1633020343192.a1088fb5aa65f3bfc1eec9f8cd66a807&_x_zm_rhtaid=200 Recording of talk] || [https://ccrma.stanford.edu/~cc/DDeutsch_CCRMA_Video_2021c.webm Pre-recorded lecture (Lightweight)] || [https://ccrma.stanford.edu/~cc/DDeutsch_CCRMA_Video_2021c.mov Pre-recorded lecture (Full-res)]'''


4/30/08--------Ajay Kapur-----------21st Century Raga, Digitizing North Indian Music
*'''10/6 [https://stanford.zoom.us/rec/share/-dg0kA_9aJHEPYIahSBeG-5H4Vh9R6uT7M3qBfoBXEWQ69agHXeOyAgzBLskQoaF.rtlqEmUAd8b8p4tb Faculty/Staff Introductions Part 1]'''
**Speaker 1:
** Speaker 2: Matt
** Speaker 3: Ge
** Speaker 4: Takako
** Speaker 5: [https://www.youtube.com/watch?v=rNGpbxAPU1c Julius]
** Speaker 6:
** Speaker 7:


Abstract:
*'''10/13 Faculty/Staff Introductions Part 2'''
** Speaker 1: Constantin
** Speaker 2: Nando
** Speaker 3: Jonathan (B)
** Speaker 4: Jarek
** Speaker 5: Nick
** Speaker 6: Chris C
** Speaker 7: Patricia
** Speaker 8: Marina


This presentation describes methods for digitizing, analyzing,
*'''10/20 - CCRMA Town Hall'''
preserving and extending North Indian Classical Music. Custom built
controllers, influenced by the Human Computer Interaction (HCI) Community, serve as
new interfaces to gather musical gestures from a performing artist.
Modified tabla, dholak, and sitar will be described. Experiments using Wearable
sensors to capture ancillary gestures of a human performer will also
be discussed. A brief history through the world of Musical Robotics
will be followed by an introduction to the MahaDeviBot, a 12-armed
solenoid-based drummer used to accompany a live sitar player.
Presentation is full of video examples showing evolution of the body
of work in the laboratory to the live performance stage.
Live demonstrations will also be included.


After talk audience will be invited to begin brainstorming tools need to  write a composition
*'''10/27 ''' BREAK
for the MahaDeviBot.


*'''11/03 ''' Social Event (TBD)


Presenter:
*'''11/10 Rapid Fire & Conference Style '''(Sign-ups are open!)
Blending Indian Classical knowledge with the 21st century music scene, by adopting the age of computer human interface. Custom made Electronic Tabla, Sitar and wearable sensors, controlling modular robotic systems used to bring dance and tribal groove to the next dimension.
** (Conference Style = 15 minutes, Rapid Fire = 5 minutes)
Ajay Kapur is the Music Technology Director at California Institute of the Arts. He received an Interdisciplinary Ph.D. in 2007 from University of Victoria combining Computer Science, Electrical Engineering, Mechanical Engineering, Music and Psychology with a focus on Intelligence Music and Media Technology. Ajay graduated with a Bachelor in Science and Engineering Computer Science degree from Princeton University in 2002. He has been educated by music technology leaders including Dr. Perry R. Cook, Dr. George Tzanetakis, and Dr. Andrew Schloss, combined with mentorship from robotic musical instrument sculptors Eric Singer and the world famous Trimpin. A musician at heart, trained on Drumset, Tabla, Sitar and other percussion instruments from around the world, Ajay strives to push the technological barrier in order to make new music.
** Speaker 1: Lloyd May (Rapid Fire)
** Speaker 2: Chris Chafe (Rapid Fire via zoom, assuming my internet works after the storm)
** Speaker 3: Mark Rau (Rapid Fire)
** Speaker 4: Champ Darabundit (Conference)
** Speaker 5: Eleanor Selfridge-Field (Rapid Fire)
** Speaker 6: Crag Stuart Sapp (Rapid Fire)


*'''11/17 ''' BREAK


5/7/08----------Paul Koonce-------The Performative Embodiment of Sounds Unseen
*'''12/1 Special Guest Talks:''' Nils Tonnätt & Victoria Shen


Abstract:
= Past - Spring Quarter (2021)=
Threading through my work is a search for an imagined performer. This talk
will focus on the way real, virtual, illusory, or surreal performers have
shaped the voice of my music. My comments will touch on the subjects of
timbral design, microtonality, acoustic instrument simulation, feature
extraction, alternative control, and spatial ambience, particularly as
they have contributed to the composed escape of real and imagined bodies
into sound.


* '''3/31: Town Hall
* '''4/07: CCRMA Open House Prep
* '''4/14:
* '''4/21: [[12pm]] - CCRMA Colloquium Phase Shift -1.88 degrees (social hang)
* '''4/28: [http://www.avneeshsarwate.com/ Avneesh Sarwate]:''' Digital Audiovisual Interactive Media
* '''5/05: Break! Rapid-Fire Talks Postponed to 5/19'''
* '''5/12: [http://scattershot.org/ Jeff Snyder]:''' "Unusual Embedded Instruments"
* '''5/19:  Rapid Fire & Conference Style Talks''' - sign up here via your CCRMA login
** '''Rapid Fire Signups (5 min)'''
*** Speaker 1: CC waveguide mesh, part 2, realtime wavefield output
*** Speaker 2:
*** Speaker 3:
*** Speaker 4:
*** Speaker 5: Ge "ChucK: new features, new bugs, new worlds (ChucKTrip?)"
*** Speaker 6:
*** Speaker 7:
*** Speaker 8:
** '''Conference Style Signups (15 min)'''
*** Speaker 1: Marise van Zyl (rapid fire)
*** Speaker 2: Prateek Verma
*** Speaker 3: Fernando Lopez-Lezcano
* '''5/26: [https://www.decontextualize.com/ Allison Parrish]:''' Poet and Programmer
* '''6/02: [http://sashaleitman.com/about/ Sasha Leitman]:''' Physical Interaction Design for Music


Presenter:
= Past - Winter Quarter (2021)=
Paul Koonce (b.1956) studied composition at the University of Illinois and
the University of California, San Diego where he received the Ph.D. in
Music.  His music focuses upon issues of representation and perception in
electroacoustic sound. A software developer as well as a composer, he has
explored the invention of computer technologies for the manipulation of
sound and timbre, focusing on tools for exploring the parallels between
musical and environmental sound phenomena.  Recent work has turned to the
use of data gloves and their use in the real-time
compositional/improvisational control of virtual instruments. He is the
recipient of fellowships from the Guggenheim and McKnight Foundations, and
has received awards and commissions from the Luigi Russolo International
Competition for Composers of Electronic Music, the National Flute
Association, Prix Ars Electronica Electronic Arts Competition, the
Electroacoustic Music Contest of Sao Paulo, the Bourges International
Competition, the International Computer Music Association, and the Hopkins
Center at Dartmouth College. His music is available on CD from SEAMUS,
Mnemosyne, ICMA, Panorama, Innova, Einstein, Centaur, Computer Music
Journal, and Mode records.


5/14/08--------Julius Smith----------Virtual Electric Guitars and Effects Using Faust and Octave
* 1/13: Break
* '''1/20: Informal Hangout / Dance Party
* '''1/27:
* '''2/03:
* '''2/10: CCRMA Town !!
*'''2/17: Rapid-Fire Talks''' (5 min) - sign up here via your CCRMA login
** Speaker 1: Kunwoo Kim
** Speaker 2: John Chowning
** Speaker 3: Noah Fram
** Speaker 4: Camille Noufi
** Speaker 5: Barbara Nerness
** Speaker 6: (maybe) Julie Zhu
** Speaker 7: Chris Chafe
** Speaker 8: Lloyd May
** Speaker 9: Mike Mulshine
** Speaker 10: Ge Wang
** Speaker 11: Jatin (hopefully)
** Speaker 12: Alex Chechile
** Speaker 13: Fernando Lopez-Lezcano
** Speaker 14:
** Speaker 15:
* '''2/24:
* '''3/03: Conference Style Talks''' (15-20 min) - sign up here via your CCRMA login
** Speaker 1: Ty Sadlier
** Speaker 2: Travis Skare
** Speaker 3: Constantin Basica & Prateek Verma
** Speaker 4:
* '''3/10: Sasha Leitman
* '''3/17: Break


= Past - Autumn Quarter (2020)=
<span style="color:red">'''In person colloquiua will not be held for the 2020 Autumn Quarter. All events will be held remotely.


Abstract:
*'''9/16 New Student Introductions'''
** Speaker 1: Lloyd May
** Speaker 2: Andrew Zhu
** Speaker 3: Kathleen Yuan
** Speaker 4: Marise van Zyl
** Speaker 5: Hannah Choi
** Speaker 6: Joss Saltzman
** Speaker 7: Champ Darabundit
** Speaker 8: Clara Allison
** Speaker 9: David Braun
** Speaker 10: Austin Zambito-Valente


This talk, extending a recent LAC-2008 presentation, is devoted to virtual electric guitar components and associated effects in the Faust language.  Faust can be compiled to conveniently generate plugins for Pd, VST, and other environments.  Octave is used for signal analysis, filter design, and component testing.  Components addressed include vibrating strings (including two coupled polarization planes), dynamic level filtering, distortion, amplifier feedback, and digital wah pedals.
*'''9/23 Faculty/Staff Introductions'''
**Speaker 1: Jonathan Berger
** Speaker 2: Ge Wang
** Speaker 3: Takako Fujioka
** Speaker 4: Seán O Dalaigh (new DMA)
** Speaker 5: Eleanor Selfridge-Field
** Speaker 6: Craig Stuart Sapp
** Speaker 7: Blair Kaneshiro


LAC-2008 paper: http://lac.linuxaudio.org/download/papers/22.pdf
*'''9/30 Faculty/Staff Introductions'''
LAC-2008 overheads: http://lac.linuxaudio.org/download/slides/22/
** Speaker 1: Patricia Alessandrini (via video)
Supplementary website: http://ccrma.stanford.edu/realsimple/faust_strings/
** Speaker 2: Julius Smith
** Speaker 3: Marina Bosi
** Speaker 4: Nando (aka Fernando Lopez-Lezcano)
** Speaker 5: Stephanie Sherriff
** Speaker 6: Constantin Basica
** Speaker 7: Matt Wright
** Speaker 8: Chris Chafe


*10/7 - Break


Presenter:
*'''10/14 - Town Hall'''


Julius Smith is Professor of Music and Associate Professor of Electrical Engineering (by courtesy) at CCRMA, Stanford University, specializing in music/audio signal processing.  For more information, see http://ccrma.stanford.edu/~jos/.
*'''10/21 - Adjunct Faculty Talks'''
** Speaker 1: Malcolm Slaney
** Speaker 2: Poppy Crum
** Speaker 3: Paul Demarinis
** Speaker 4: Jonathan Abel
** Speaker 5: Doug James


*11/4 - Break


5/21/08--------Kelly Fitz--------------Techniques for Digital Sound Morphing
*'''11/11 - [https://www.justinsalamon.com/ Justin Salamon (Adobe / NYU)] [https://vimeo.com/480670893 (Watch Again)]'''


Abstract:
*'''11/18 - Mona Shahnavaz'''


Sound morphing has been used to synthesize the voices of aliens and 
ABSTRACT & BIO:
talking fish and a wide variety of sound effects in sound tracks and 
Mona is an enthusiastic musician, whose focus and passion has been to
popular music. I will present a variety of techniques that are used 
share the joy of music with others. In 2018, a successful outcome of
to create hybrid sounds or to impart the characteristics of one sound 
her innovative music program designed for senior citizens was the
onto another, including various sound models and techniques for
turning point for her to decide to change the course of learning piano
interpolation in the model domain and the construction of filter and 
in a less complex route. Her engineering background helped her to
resonator systems that shape the spectrum of one sound by the 
start working on the idea that bridges the gap between music and
spectrum of another. I will present the principles underlying the 
technology.
different algorithms and considerations for implementing them. 
Different morphing techniques are suited to different kinds of source 
sounds, achieve different effects, and are vulnerable to different 
artifacts. I will discuss the strengths and weaknesses of the various 
methods, and the variety of sounds and effects produced by each one.
I will illustrate the capabilities of each method and give live 
demonstrations under real time control. I will morph machines, 
mammals, musical instruments, and anything else I can get my 
converters on.


Presenter:
The approach to fingering in music has always been and still is one of
the major elements of success for keyboard players. Correct fingering
assists the performer in delivering a better technical and musical
performance. This research presents the best technique to generate
fingering for any sequence of music notes. Dynamic programming and
mathematics are major parts of this paper, they work alongside rules
set by pianists to calculate the most practical fingerings for any
musical passage.


Kelly Fitz is a software developer and audio signal processing 
The ultimate goal is to facilitate the process of playing the piano
engineer working at the Starkey Hearing Research Center in Berkeley, 
using an AR platform. This is helpful for scaling music instructors
where he develops new audio signal processing algorithms for hearing 
and allows for efficient teaching. Through solving this problem,
aids, including algorithms for improving speech intelligibility and 
virtual instructions would be more productive and impactful. Success
the sound of music. Fitz was a member of the Electrical Engineering 
of this research applied in the AR field can be applied to robotic
faculty at Washington State University, where he developed algorithms 
tasks in educational programs, video games, and medical fields.
and software for sound modeling and sound morphing, including an open 
source software library called Loris, and led a research program to 
develop sonified program debugging environments. Previously, he 
worked in the audio development group at the National Center for 
Supercomputing Applications developing a real-time sound synthesis 
API for virtual reality applications. Fitz has Ph.D., M.S., and B.S. 
degrees in Electrical Engineering from the Univerisity of Illinois at 
Urbana-Champaign.


[[Category:CCRMA User Guide]][[Category:General]][[Category:Current Events]]
*11/25 - THANKSGIVING WEEK - Break

Latest revision as of 00:52, 12 February 2026

Wednesday 5:30pm PT (CCRMA Classroom & Zoom)

The CCRMA Colloquium is a weekly gathering of CCRMA students, faculty, staff, and guests. It is an opportunity for members of the CCRMA community and invited speakers to share the work that they are doing in the fields of Computer Music, Audio Signal Processing and Music Information Retrieval, Psychoacoustics, and related fields. The colloquium traditionally happens every Wednesday during the academic year from 5:30 – 7:00pm and meets in the CCRMA Classroom, Knoll 217, often also with a Zoom presence.

Walker Smith and this wiki page are organizing 2025-26 colloquia, with support from Nette and Matt.

Current - Winter Quarter (2026)

  • 01/07/26 (Week 1) Nathalie Joachim and Owen Dalby (hosted by Walker)

Composer, flutist, and vocalist Nathalie Joachim presents Fanm d’Ayiti in an open rehearsal format with Decoda (Owen Dalby, Clara Lyon, Meena Bhasin, and Hannah Collins) for Stanford’s CCRMA Colloquium. Through a talk-and-play demonstration, Joachim will trace the work’s compositional genesis, drawing connections between Haitian musical traditions, contemporary classical practice, and her broader artistic inquiry into history, identity, and voice. The session invites listeners into the creative process, illuminating how Fanm d’Ayiti situates personal narrative within collective cultural memory and Joachim’s evolving body of work.

Nathalie Joachim is a Grammy-nominated composer, flutist, and vocalist whose music bridges classical traditions with experimental, electronic, and vernacular forms. A former member of the acclaimed ensemble Eighth Blackbird, she is a co-founder of the duo Flutronix and a leading voice in interdisciplinary performance. Joachim’s works have been presented by Carnegie Hall, the New York Philharmonic, and major festivals worldwide. She is currently Associate Professor of Composition at Princeton University.

  • 01/14/26 (Week 2) CANCELLED Internship Opportunities (hosted by Jonathan Berger)
  • 01/21/26 (Week 3) TAPSxCCRMA Event (hosted by Héloïse Garry)

Michael Rau is a live performance director specializing in new plays, opera, and digital media projects. He has directed projects internationally in Germany, the UK, Brazil, Ireland, Denmark, Mexico, Canada, Australia and the Czech Republic. He has created work in New York City at Lincoln Center, The Public Theater, PS122, HERE Arts Center, Ars Nova, The Bushwick Starr, The Brick, 59E59, 3LD, and Dixon Place. Regionally, his work has been seen the American Repertory Theatre in Cambridge, MA, the Ann Arbor Summer Festival, and the Humana Festival at Actors Theater of Louisville. His work with composer Kate Soper has been performed at the Seattle Symphony, Smith College, and The New York Festival of Song at the Dimenna Center. He has developed new plays at the Eugene O’Neill National Playwrights Conference, Playwrights Realm and the Kennedy Center in Washington DC. His production of "temping" was selected by the Guardian and the Telegraph as one of the best productions of the 2022 and 2024 Edinburgh Festival Fringe, and the piece was featured twice in New York Times He is a recipient of a 2021 Artists + Machine Intelligence Research Award from Google, as well as fellowships from the Likhachev Foundation, the Kennedy Center, and the National New Play Network. He has been a resident artist at the Orchard Project, E|MERGE, and the Tribeca Performing Arts Center. Rau is a Forward/Story fellow and a speaker at Books in Browsers, Performing Robots and StoryCode. He is a fellow of the Akademie für Theater und Digitalität and a resident of Stochaistic Labs. He has been an assistant director for Francesca Zambello, John Turturro, Robert Woodruff and associate director for Anne Bogart, Les Waters, and Ivo Van Hove. He is a New York Theater Workshop Usual Suspect and a member of the Lincoln Center Directors Lab. He is a graduate of Wesleyan University and received his MFA in Theater Directing from Columbia University. At Stanford, he is an affiliate faculty member with the Stanford Institute for Human Centered Artificial Intelligence.

Jarosław Kapuściński is an intermedia composer and pianist born in Poland. He studied piano and composition at the Chopin Academy of Music in Warsaw and furthered his education in multimedia and intermedia art during doctoral studies at the University of California, San Diego, and a residency at Banff Centre for the Arts in Canada. Kapuściński presented his works at numerous gallery and concert venues worldwide, including the Museum of Modern Art in New York, the National Reina Sofia Museum in Madrid, the Palais de Tokyo in Paris, National Arts Centre in Canada, EMPAC, ZKM and Yerba Buena Center for the Arts. He has also received awards for his intermedia art at the Film sur l'Art Festival in Paris, the VideoArt Festival in Locarno, and the International Festival of New Cinema and New Media in Montréal. Apart from his career as a composer and performer, Kapuściński has lectured internationally and held positions at institutions such as McGill University in Montreal and the Conservatory of Music at the University of the Pacific. Currently, he is an Associate Professor of Composition at Stanford University.

Maxine Carlisle is a dancer, completing her PhD in Theatre and Performance Studies at Stanford. After training in ballet, yoga and improvisation at Sydney Dance Company in 2016, she freelanced across disciplines, and co-founded the dance collective SXAE with Eliza Cooper, Mitchell Christie, Allie Graham and Strickland Young. At the same time, she completed a Bachelor of Arts in English (Honours, 1st Class) from the University of Sydney. Maxine owes her fascination for physical listening to Thomas Bradley, who is strongly influenced by Japanese “butoh.” Erring back and forth between theory and practice, she completed an MA in English from New York University (2025) with a focus on transdisciplinary concepts. Maxine continues to work closely and diligently with NYU Associate Professor Dr. Wendy Lee and the Consent Lab. Currently, Maxine is working on the gap between language and movement, and it’s here, in this kind of silence, that she finds her love of dance.

Pauline Mornet is an artist-scholar and current PhD candidate in Performance Studies at Stanford University. Their work uses performance-based practices to explore questions of migration and memory. She holds a Master of Arts in Performance Studies from New York University. Pauline has published in Performance Research Journal with her essay ‘Intimate Archives: Love Letters in Wartime Europe’ exploring an archive of love letters sent during the Second World War. Pauline is also a RAISE scholar working on the migratory experience of recent Hong Kong exiles, and co-artistic director of the Nitery Experimental Theater in Stanford, CA. They have previously been artist in residence at Kebbel Villa, Germany, and they collaborated on the art installation HEARTH which is currently exhibited at the Djerassi Artist Residency Center, CA.

Afterwards: Reception/Mixer with food and drinks!

  • 01/28/26 (Week 4) Arshia Cont (hosted by Matt/Chris/Jarek): From Real-Time Musical Interaction to Scalable Semantic Data for Music AI

This talk presents a trajectory from real-time musical interaction systems to the construction of scalable semantic data for music AI applications. The work originates at the intersection of mixed electronic music composition, computer music research, and industry-facing AI music systems, and has evolved through sustained real-world deployment.

Starting with Antescofo, a system designed for real-time audio–score alignment and interaction, and continuing through its industrial deployment in Metronaut, we have spent several years operating alignment technology at production scale. Originally developed for score-following and interactive performance, Antescofo has been continuously deployed in a large body of mixed electronic music, including works by composers such as Pierre Boulez, Philippe Manoury, Marco Stroppa, Jonathan Harvey, as well as many contemporary creations today. In parallel, its industrial extension through Metronaut has brought related alignment technologies to millions of practicing amateur musicians worldwide.

Originally conceived for real-time interaction and performance, this framework has more recently been extended to educational contexts involving highly error-prone audio, large temporal deviations, and expressive variability. This shift revealed that audio–score alignment can function as more than an evaluation or interaction tool: it becomes a semantic layer that transforms paired audio and notation into structured, high-value training data. At scale, this process effectively converts musical performances into interpretable representations capturing timing, structure, deviation, and intent.

We will show how this semantic data has been leveraged to train and fine-tune music AI models, including piano transcription systems that surpass current benchmarks while operating in real time. These results suggest that alignment-driven semantic extraction provides a powerful alternative to purely signal- or annotation-driven approaches.

The talk concludes by discussing the broader implications of this paradigm for music AI, where production-ready musical intelligence systems can act as foundational infrastructure for training, evaluation, and interaction across multiple applications.


Arshia Cont is a researcher and engineer working at the intersection of artificial intelligence, real-time musical interaction, and passionate of contemporary music creation.

He received a PhD in computer music and artificial intelligence from the University of California in 2008, for which he was awarded the French Academy of Sciences Prize. He subsequently joined IRCAM in Paris, where he developed core algorithms for real-time audio–score alignment and interaction. He is best known for Antescofo, a system for automatic accompaniment and predictive musical interaction that has been continuously deployed in mixed electronic music for over a decade, including works by composers such as Pierre Boulez, Philippe Manoury, Kaija Saariaho, Marco Stroppa, and Jonathan Harvey, and performed by major orchestras and ensembles worldwide.

From 2008 to 2016, he led a joint Inria–IRCAM research team focused on machine learning and real-time musical systems. During this period, he also served as General Manager of Musical Creation at IRCAM, where he founded the IRCAM Artist Residency Program, contributed to the modernization of the IRCAM Forum, and actively advocated for a strong and sustained coupling between artistic creation and research.

Alongside his research activity, he has been deeply and actively engaged in contemporary music creation, working closely with composers, performers, and ensembles to integrate advanced technologies into artistic practice.

Since 2016, he has been the co-founder of Metronaut, a platform extending audio–score alignment technologies to large-scale music practice and education. He is also president of the Ensemble Itinéraire and collaborates regularly with instrument makers including Pleyel, Buffet Crampon, and Selmer.

  • 02/04/26 (Week 5) CCRMA Jam Session in the Stage (hosted by Walker/Alex) [confirmed!]
  • 02/11/26 (Week 6) Marco Fusi (hosted by Sean O'Dalaigh)

This presentation explores interpretative and creative strategies for performing Luigi Nono’s “La lontananza nostalgica utopica futura” (1988–1989). After briefly reflecting on Nono’s creative process with Gidon Kremer, including observations from sketches, drafts, and the final score, the focus will be on how the finalized performing materials can be articulated in today’s performances. We will examine the evolving dialogue between sound projectionist and violinist, shaped by artistic visions and diverse technological setups (octophonic, wave field synthesis). By the end, we will propose an understanding that Nono’s score invites creative participation—offering performers today a living space for self-determination and artistic choices.

  • 02/18/26 (Week 7) Mari Kimura Mastery over Novelty: MUGIC® - a lasting tool for musicianship and Nolan Miranda Audience Participation in Performance Environments

Mastery over Novelty: MUGIC® - a lasting tool for musicianship: This lecture explores a pivotal shift in the relationship between technology and the performing arts—from chasing novelty to cultivating mastery. Violinist, composer, and technologist Mari Kimura presents MUGIC® (Music/User Gesture Interface Control), a groundbreaking motion sensor designed to deepen, not replace, musicianship.  Unlike many fleeting tech innovations, MUGIC® is a lightweight, wearable device that captures expressive gestures in real time, converting them into control data for sound, visuals, and interactive media. Designed with performers in mind, it emphasizes expressivity, accessibility, and longevity—offering a sustainable model for integrating technology into the arts, education, and therapeutic practices. Drawing from over a decade of development and real-world application—from interdisciplinary curricula to stages such as Lincoln Center, the Venice Biennale, and Expo 2025 Osaka—Kimura showcases how mastering a robust, intuitive tool fosters deeper expression and long-term artistic growth.

Audience Participation in Performance Environments: In this talk, I will investigate the effects of audience participation on the intended message, narrative arc, and viewer reception of performance. (Volunteers required.)

  • 02/25/26 (Week 8) Akash Thakkar (hosted by Andrew Zhu Aday)

Akash Thakkar is an award-winning sound designer based in Seattle. His portfolio includes contributions to critically lauded titles such as "Hyper Light Drifter," "Outer Wilds: Echoes of the Eye," "Concrete Genie,” and the Peabody-Winning “We Are OFK," among others.

Beyond his creative work, Akash is dedicated to educating and empowering the next generation of audio professionals. He frequently shares his expertise through international speaking engagements and educational content for aspiring sound designers. Akash is also a vocal advocate for fair compensation in the gaming industry, actively working to ensure audio professionals receive appropriate recognition for their contributions.

Ryan Ike is a two-time BAFTA-nominated composer and sound designer, currently living in Seattle, Washington. He's written for award winning games like "West of Loathing," "Where the Water Tastes Like Wine," and "Wizard With a Gun."

When not making audio, Ryan is likely preparing talks and online content on how to navigate the game industry. At events like PAX West, Indiecade, and GDC, he’s given talks designed to help people start or further their work in games, with an emphasis on emotional and mental health.


  • 03/04/26 (Week 9) CCRMA Town Hall (hosted by Alex)
  • 03/11/26 (Week 10)

Future - Spring Quarter (2026)

  • 4/1/26 (Week 1) HOLD: Walker
  • 4/8/26 (Week 2) Carmine-Emanuele Cella (CNMAT Co-director) presentation
  • 4/15/26 (Week 3)
  • 4/22/26 (Week 4) John La Grou (hosted by Walker/Chris Chafe)

Title: Moving from 120dB to 170dB: Audio's Fourth Paradigm Shift

Abstract: HDR-A is a revolutionary new multi-path audio architecture that dramatically reduces systemic noise, delivering 170dB of dynamic range and linearity. In this lecture, we'll review the theory of triple-patented HDR-A architecture and how it can be applied to microphones, preamps, ADCs, DACs, and power amplifiers, resulting in a 170dB audio capture and delivery ecosystem. We'll briefly review the first three audio paradigm shifts (electric, tape, digital) and reveal why HDR-A is the single greatest performance improvement in the 140 year history of audio.

Bio: Husband, father, renaissance spirit. One of three original startup members of Multitech Electronics in Mountain View (1984). After three years of intensive growth, the company name was changed to Acer America. Defined and led the OEM foundation for what is today the world's third largest personal computer company. Founder and chair of POW-r Consortium, the leading audio bit reduction algorithms - used on aprox 1/3 of all streaming and downloaded music (licensed by Apple Logic, ProTools-Avid, Ableton, Sonar, Samplitude, Pyramix, etc.). "If you listen to music, you listen to POW-r." Founder and CEO of Millennia Media, a leader in design of audio electronics for critical music production. Millennia has received over 35 key industry awards and was recently inducted into the Technology Hall of Fame (2019). Millennia products are embraced by a who's who in popular music, film scoring, and critical acoustic music production. Founder at imersiv, the fourth paradigm of audio architecture. This multi-patented design topology boldly re-imagines music production with a 40nV noise floor and 170dB dynamic range - from microphone to power amplifier, and everything in-between. Co-founder and patent-holder at SafePlug, one of "10 World Changing Ideas" (Scientific American). Innovative electrical products which save lives, save energy, and make the Smart Home smarter - winner of the 2009 and 2012 CES Top Home Innovation Award, a WSIE 2012 Global Hot 100 Company, and CE Pro 2014 Automation Device of the Year. Co-founded Compathos Foundation with Thea, my truelove and muse of four decades. Compathos is a non-profit social action community that invites us to understand ourselves and our world through the eyes of the most vulnerable. Director and Chair at our El Dorado County (CA) Food Bank. Executive producer of Drawn From Water, a multi-award-winning investigative documentary film highlighting the plight of Ethiopia's mingi children (music by Sigur Ros, streaming on Amazon and Netflix). A 2018 Edmund Hillary Fellow and frequent speaker at colleges and technical conferences. My 2009 TED Talk, translated into 30+ languages, has been featured in Fast Company, cNet, Engadget, PopSci, TechCrunch, and dozens of other e-zines and publications. I serve on university and foundation boards and was creator and co-editor of the Wikiklesia Project: a 500-page, forty-author open-source anthology exploring the intersections of spirituality and technology - recipient of the SNCR Award for New Media. Avocations include progressive music (guitarist in the 2012 Thomas Dolby TED House Band) and ultra-premium wine making in the California Foothills. Listed in Board Options, maintaining lifelong professional affiliations with: Audio Engineering Society (AES) and the National Academy of Recording Arts & Sciences (Voting Member, Grammy Awards).

https://imersiv.com

  • 4/29/26 (Week 5) CCRMA Town Hall (hosted by Alex)
  • 5/6/26 (Week 6) preparation for CCRMA Open House 2026 not to mention SLOrktastic Chamber Music 2026
  • 5/13/26 (Week 7) HOLD: Barbara Nerness (hosted by Walker)
  • 5/20/26 (Week 8) Richard Lee - Design of Audio-Haptic Systems for Active Learning of Acoustics
  • 5/27/26 (Week 9) MAMST Capstone Presentations 1/2
  • 6/3/26 (Week 10) MAMST Capstone Presentations 2/2

Past - Fall Quarter (2025)

  • 09/24/25 (Week 1) New Student Introductions
  • Speaker 1: Li Ji
  • Speaker 2: Ilan Salomon-Jacob
  • Speaker 3: Chris
  • Speaker 4: Ben
  • Speaker 5: Michelle
  • Speaker 6: Peter
  • Speaker 7: Niccolo Abate
  • Speaker 8: Bethanie
  • Speaker 9: Simon
  • Speaker 10: Gabriel Soule
  • Speaker 11: Kiran Bhat
  • Speaker 12: Brendan Zelikman
  • Speaker 13: Haotian Bao
  • Speaker 14: Prim
  • Speaker 15: Zac Dulkin
  • Speaker 16: Matt Caren
  • Speaker 17:
  • 10/1/25 (Week 2) Faculty and Staff Lightning Intros (part 1)
  • Speaker 1: Chris Chafe
  • Speaker 2: Ge Wang
  • Speaker 3: Marina Bosi
  • Speaker 4: Hassan Estakhrian
  • Speaker 5: Madalyn Merkey
  • Speaker 6: Julius Smith
  • Speaker 7: Constantin Basica
  • Speaker 8: Walker Smith (+ Colloq Preview)
  • Speaker 9:
  • 10/8/25 (Week 3) Faculty and Staff Lightning Intros (part 2)
  • Speaker 0: The Max Lab (Calvin / Summer / Matt)
  • Speaker 1: Diana Deutsch (zoom)
  • Speaker 2: Takako Fujioka
  • Speaker 3: Nils Tonnätt
  • Speaker 4: Nando
  • Speaker 5: Hongchan Choi
  • Speaker 6: Matt Wright
  • Speaker 7: Kimia Koochakzadeh-Yazdi
  • 10/15/25 (Week 4) [CANCELLED - will plan to reschedule (date TBA)] Jean-Marc Jot (hosted by Walker)
  • Creating and distributing immersive audio: from IRCAM Spat to Acoustic Objects
  • 10/22/25 (Week 5) Mark Rau (hosted by Walker)

Title:

Historic Musical Instruments at the Museum of Fine Arts, Boston + The New Music Technology and Computation Program at MIT

Abstract:

Many one-of-a-kind and historic musical instruments are held in the collections of museums. While the care of curators ensures the instruments are preserved, musicians are rarely able to play the instruments due to the risk of damage to the instrument or harm to the musician. This talk will present a collaboration with the Museum of Fine Arts (MFA), Boston, studying some of the 1300+ musical instruments in their collection. An industrial computed tomography (CT) scanner located at the MFA allows us to capture geometry and relative density information, enabling us to create replicas of the instruments. Non-invasive vibration and acoustic measurements are made, which, when combined with simulations, provide validation for replicas and a platform for synthesis copies. Lastly, I will talk about the new Music Technology and Computation Program at MIT.


  • 10/29/25 (Week 6) Faculty and Staff Lightning Intros (part 3) + CCRMA Jam Sesh!
  • Speaker 1: Jaroslaw Kapuscinski
  • Speaker 2: Mark Applebaum
  • Speaker 3: Malcom Slaney
  • Speaker 4: Pierre Divenyi
  • Speaker 5: Jonathan Berger
  • Speaker 6: Sasha Leitman
  • Speaker 7:


Afterward...CCRMA Jam Sesh (in the Stage) and CCRMAoke in the Classroom!

  • 11/5/25 (Week 7) CCRMA Town Hall (Alex Han)
  • 11/12/25 (Week 8) Satoshi Yamaguchi (hosted by Takako)
  • 11/19/25 (Week 9) Roy G. Biv (hosted by Walker)
  • 12/3/25 (Week 10) fuse* in conversation with KIPAC Director Risa Wechsler (hosted by Matt/Stanford Live)

Past - Spring Quarter (2025)

  • 04/2/25 (Week 1)
  • 04/9/25 (Week 2)
  • 04/16/25 (Week 3) Charles Mason (hosted by Constantin)
  • 04/23/25 (Week 4) Charles Deluga (hosted by Constantin)
    • —> On the CCRMA Stage
  • 04/30/25 (Week 5)
  • 05/7/25 (Week 6) Town Hall (hosted by Anna)
  • 05/14/25 (Week 7) No Colloquium (Please attend the CCRMA Open House Thursday, May 15 and the GMSF Symposium on Saturday, May 17!)
  • 05/21/25 (Week 8) CCRMAoke/Jam Sesh (Karaoke the Classroom, Jam Session on the Stage)
  • 05/28/25 (Week 9) MA/MST Capstone Presentations
  • 1. Spark Wu
  • 2. Matt/Nette "CCRMA Studio Report" (ICMC Presentation Preview)
  • 06/4/25 (Week 10) MA/MST Capstone Presentations
  • 1. Anna Gruzas
  • 2. Tristan Peng
  • 3. Becca Wroblewski
  • 4. Chengyi Xing
  • Walker - Overview of next year's Colloq plans + Student feedback. Please bring your ideas!
    • PIZZA!


Rescheduled to date TBD:

  • Roy G. Bi v (hosted by Walker)
  • Meghan Sumner, Stanford Linguistics (hosted by Walker)

Past - Winter Quarter (2025)

Zoom link for any hybrid or online colloquia: https://stanford.zoom.us/j/93954711512?pwd=rLzZI9jtbUcNv8XaLMPK2YbBhsKTAT.1 Passsword: 928762

  • 01/08/25 (Week 1) Robert Fleitz (hosted by Brian)
  • 01/15/25 (Week 2) Faculty Intros, and guest presentation from Songscription AI
    • 1. Mark Applebaum (5:30-5:45)
    • 2. Paul DeMarinis (5:45-6:00)
    • 3. Eleanor Selfridge-Field (6:00-6:15)
    • 4. Craig Sapp(6:15-6:30)
    • 5. Doug James (6:30-6:45)
    • 6. Andrew Carlins (6:45-7:00), Songscription AI ([1])
  • 01/22/25 (Week 3) Stanford Film/Documentary Presentation (hosted by Héloise)
    • Faculty Presentation from Srdan Keca, Exploring Sound and Music in Film
    • Student Presentations:
      • Lemon Guo, Stanford DMA Composition
      • Mercedes Montemayor, Stanford DMA Composition
      • Pamela Martinez, Stanford MFA Documentary Media
    • Afterward: Mixer with Film/Documentary MFA Cohort! WITH FOOD

Srđan Keča is a Yugoslav-born filmmaker, visual artist and educator living in the U.S. His documentary films have been selected at leading festivals, including the Berlinale, IDFA and HotDocs, while his video installations have been exhibited at venues like the Venice Biennale of Architecture and the Whitechapel Gallery. His early medium-length films include A Letter to Dad (IDFA 2011, Dokufest 2011 - Best Balkan Documentary) and Mirage (Jihlava IDFF 2012 - Best Central and Eastern European Documentary). Flotel Europa, an archival feature-length film produced and edited by Keča, premiered at the Berlinale in 2015, winning the Tagesspiegel Jury Award, and went on to win awards at numerous festivals including Documenta Madrid, Torino Film Festival, and IndieLisboa. His latest film, the poetic-observational feature Museum of the Revolution premiered at IDFA in 2021, and won awards including the Heart of Sarajevo for Best Documentary at Sarajevo Film Festival and Best Feature at Big Sky Documentary Festival. It has been released theatrically in Europe and North America and broadcast on major networks including Al Jazeera Documentary Channel. Keča’s work has been praised in Senses of Cinema, Sight & Sound, Variety, Cineuropa, Modern Times Review, and POV Magazine, among others. He is an alum of the Ateliers Varan and UK’s National Filmand Television School (NFTS), and a Sundance Institute grantee. He is an Associate Professor in the Department of Art & Art History at Stanford University and Program Director of Stanford’s M.F.A. in Documentary Film.

Lemon Guo is an interdisciplinary artist, composer, and vocalist from the southeastern coast of China. Drawn to the visceral and evocative nature of the voice, she creates voice-based performances, installations, Virtual Reality films, and other intermedia works that explore things that haunt her and wouldn’t leave her alone. With a background in Chinese folk music, Lemon holds an MFA in Sound Art from Columbia University and is currently a DMA candidate in composition at Stanford University. She has performed and exhibited her works internationally, in places such as Rubin Museum of Art, Sundance Film Festival, Oregon Shakespeare Festival (US), BBC Radio 3 (UK), IDFA (NL), and Siggraph (CA). Lemon created music for director Yi Tang's short film All the Crows in the World, which won Palme d’Or at Festival de Cannes 2021.

Mercedes Montemayor (b. Monterrey, Mexico) is a composer and music producer with exceptional talent for creating innovative and avant-garde music. From an early age, Mercedes showed a deep interest in music, leading her to immerse herself in the world of composition and music production. Her work spans a wide range of genres, from classical to electronic and ambient music, influenced by artists such as Ryuichi Sakamoto, whose work has been a constant source of inspiration for her. Mercedes has excelled in the field of experimental music, creating complex and immersive soundscapes that invite introspection and emotion. Her focus on sonic exploration and her ability to innovate in music production have been key to her career. In addition to her work as a composer, Mercedes also works as a sound engineer, allowing her to combine artistic vision with technical precision in her productions. Her experience includes a standout performance at Mutek Mexico in October 2023, where she presented her work to an international audience. She has also completed an internship at WSDG (Walters-Storyk Design Group), a firm specializing in architectural acoustics, where she gained valuable technical and practical knowledge in designing sound spaces. Mercedes has collaborated with various artists and projects, including the visual artist Miriam Medrez (February 2022), contributing her expertise in integrating experimental elements into contemporary music. Her dedication to continuous evolution in her field is evident in her works and collaborations. Starting in the fall of 2024, Mercedes began her Doctorate in Musical Arts (DMA) in Composition at Stanford University, where she is continuing to develop her career and explore new frontiers in experimental music and composition.

Pamela Martinez is a Venezuelan filmmaker and a second-year MFA graduate in the Documentary Media Program at Stanford. She is interested in issues of gender, systems of care, migration, and transitional justice. Among her latest works is Illegal Alien: the Prelude (2023), is an art exhibition that intertwines sociological inquiry and film to explore Venezuelan women's physical and psychological migratory pathways.

  • 01/29/25 (Week 4) Musician Injury Seminar (Hosted by Walker)
    • —> In Campbell Hall (Braun)
    • Joint presentation with piano forum.
  • 02/05/25 (Week 5) Neko3 (hosted by Anna Golubkova)
    • AFTERWARD: CCRMAoke (CCMRA Karaoke) (Hosted by Walker + Anna Gruzas)
  • 02/12/25 (Week 6) William Sethares (Hosted by Walker)
  • 02/19/25 (Week 7) CCRMA Town Hall - STUDENT ONLY meeting (Hosted by Anna)
  • 02/26/25 (Week 8) CANCELLED -- Niloufar Shiri (hosted by Kimia)
  • 03/05/25 (Week 9) *No colloquium*
    • Originally was going to have Meghan Sumner, Stanford Linguistics (hosted by Walker). This will be rescheduled to the Spring quarter (date TBD).
  • 03/12/25 (Week 10) Georg Hajdu (hosted by Constantin)

Past - Autumn Quarter (2024)

  • 09/25/24 (Week 1) New Student Introductions
    • Speaker 1: Emily Saletan
    • Speaker 2: Mateo Larrea
    • Speaker 3: Katie Pieschala
    • Speaker 4: Walker Smith
    • Speaker 5: Gregg Oliva
    • Speaker 6: Siqi Chen
    • Speaker 7: Lejun Min
    • Speaker 8: Shenran Wang
    • Speaker 9: Nathan Sariowan
    • Speaker 10: Saurav Chala
    • Speaker 11: Udbhav Venkataraman
    • Speaker 12: Heloise Garry
    • Speaker 13: Calvin McCormack
    • Speaker 14: Summer Krinsky
    • Speaker 15: Nancy Rico-Mineros
    • Speaker 16: Tae Kyu Kim
    • Speaker 17: Stuart Sul
  • 10/02/23 (Week 2) - Faculty and Staff Rapid Fire (part 1)
    • Speaker 1: Jonathan Berger
    • Speaker 2: Ge Wang
    • Speaker 3: Marina Bosi
    • Speaker 4: Chris Chafe
    • Speaker 5: Sasha Leitman
    • Speaker 6: Madalyn Merkey
    • Speaker 7: Hassan Estakhrian
    • Speaker 8: Kunwoo Kim
    • Speaker 9: Nando
    • Non-Speaker NaN: Celeste (recruiting slorkers, super short :) )
  • 10/09/23 (Week 3) - POSTPONED TO WEEK 4 or later
  • 10/16/23 (Week 4) - Transitions!
  • 10/23/23 (Week 5) - Faculty and Staff Rapid Fire (part 2) and CCRMA History
    • Speaker 1:
    • Speaker 2: Julius Smith (confirmed)
    • Speaker 3: Matt Wright (confirmed)
    • Speaker 4: Constantin Basica (confirmed)
    • Speaker 5: Takako Fujioka (confirmed)
    • Speaker 6: Nils Tonnätt (confirmed)
    • Speaker 7:
    • Speaker NaN: Celeste
  • 10/30/23 (Week 6) - Ligeti theme / concert preview (https://ccrma.stanford.edu/events/homage-ligeti-ccrma-50th-anniversary)
    • Matt Wright (introduction)
    • Jonathan Berger (brief anecdote)
    • A word from some performers
    • Georg Hajdu
    • Martin Bresnick (about Ligeti's time at pre-CCRMA and his compositions Atmosphères and Musica ricercata)
    • John Chowning (about Ligeti's 1972 visit to Stanford and more of the CCRMA/Ligeti connections)
  • 11/06/23 (Week 7) -
  • 11/13/23 (Week 8) - [no colloquium]
  • 11/20/23 (Week 9) - CCRMA TOWN HALL
  • 11/27/23 (Week T) - NO SEMINAR (Thanksgiving break)
  • 12/4/23 (Week 10) - Vilbjørg Broch (hosted by Constantin) —> Moved to December 5, 6-7pm in the Stage, right before Vilbjørg's concert at 7:30pm


Past - Spring Quarter (2024)

(Organizer/host please put your name in parentheses after each speaker or week)

  • 4/3 (Week 1) Sasha Leitman: Creative Work and Research
  • 4/10 (Week 2) Zoran Cvetkovic (Chris Chafe)
  • 4/17 (Week 3) CCRMA Town Hall
  • 4/24 (Week 4) Marco Fusi in the Stage, followed by Special Social Event (wear clothes you don't mind getting stained) - Nette will send specifics later :)
  • 5/1 (Week 5) Professor Emily Howard (PRISM) (Patricia)
  • 5/8 (Week 6) rapid fire 5 minute presentations (Chris Chafe)
    • Speaker 1: Ge Wang
    • Speaker 2: Kunwoo Kim
    • Speaker 3: Matt Wright
    • Speaker 4: Julius Smith
    • Speaker 5: Chris Chafe
    • Speaker 6: Vidya Rangasayee
    • Speaker 7: Fernando Lopez-Lezcano (aka: nando)
    • Speaker 8: Marina Bosi
  • 5/15 (Week 7) (The Open House is tomorrow - let's skip Colloquium this week)
  • 5/22 (Week 8) Lara Weaver - Sonic Arts Research Centre - SARC (Patricia)
  • 5/29 (Week 9) Capstone projects in Neuromusic lab (Takako Fujioka)
  • 6/5 (Week 10) Capstone project presentations
    • Speaker 1: Eito Murakami
    • Speaker 2: Ryan Wixen
    • Speaker 3: Terry Feng
    • Speaker 4: Sneha Shah


Past - Winter Quarter (2024)

  • 1/10/24 (Week 1) - CCRMA Trivia Night (hosts: Nette & Marise)
  • 1/17/24 (Week 2) - Ali "AMAC" McGuire

- Making music is the easiest part of the journey. Navigating a business that pushes to exploit your love and offers you the world at your fingertips is the challenge. Where do you start? How do you set boundaries? How do you make money? How do you avoid the toxic traits that are so often totted as success? Come prepared with any questions that you may went to dive into- from your worries and fears to anything else. In this talk AMAC is going to share her experiences succeeding and failing in the music industry to give you an inside look at what you can expect after you graduate and take your shot.

  • 1/24/24 (Week 3) - [missed week]
  • 1/31/24 (Week 4) - Pedro Gonzalez
  • 2/7/24 (Week 5) - Sasha Leitman Colloquium on Materials and Resources for Maker Projects and PCB Work for Maker and Creative Projects (host: Nette)
  • 2/14/24 (Week 6) - Miya Masaoka
  • 2/21/24 (Week 7) - Ed Newton-Rex
  • 2/28/24 (Week 8) - [CANCELLED] Nando (Lopez-Lezcano) - Modular synthesis workflows, or "why did you turn that knob clockwise now?"
  • 3/6/24 (Week 9) - David Monacchi -- Stage -- (host: Chris Chafe)
  • 3/13/24 (Week 10) - Richard Hoover of Santa Cruz Guitars (host: Mark Rau)


Past - Autumn Quarter (2023)

  • 09/27/23 (Week 1) New Student Introductions
    • Speaker 1: Richard Lee
    • Speaker 2: Anna Gruzas
    • Speaker 3: Rochelle Tham
    • Speaker 4: Becca Wroblewski
    • Speaker 5: Logan Kibler
    • Speaker 6: Spark Wu
    • Speaker 7: Tristan Peng
    • Speaker 8: Ryan Wixen
    • Speaker 9: Asger Langhoff
    • Speaker 10: Signe Henriksen
    • Speaker 11: Ningxin Zhang
    • Speaker 12: Chengyi Xing
    • Speaker 13: Brian Brown
    • Speaker 14: Richard Berrebi
    • Speaker 15: Max Jardetzky
  • 10/04/23 (Week 2) - Faculty and Staff Rapid Fire (part 1)
    • Speaker 1: Takako
    • Speaker 2: Ge
    • Speaker 3: Matt Wright
    • Speaker 4: Marina
    • Speaker 5: Julius
    • Speaker 6: Eleanor
    • Speaker 7: Craig
    • Speaker 8: Nando
  • 10/11/23 (Week 3) - Faculty and Staff Rapid Fire (part 2) and CCRMA History
    • Speaker 1: Chris Chafe
    • Speaker 2: Jarek Kapuscinski
    • Speaker 3: Scott Oshiro
    • Speaker 4: Constantin Basica
    • Speaker 5: Patricia
    • Speaker 6: Hongchan Choi
    • Presentation: history of CCRMA and The Knoll (Matt Wright / John Chowning / Nette Worthey)
  • 10/18/23 (Week 4) - Two completely different talks (sequence TBD):
    • Fernando Lopez-Lezcano -- Free What?? -- a look at the worldwide movement that created free/libre operating systems and software
    • Satoshi Yamaguchi (Keio Research Institute at SFC, RADWIMPS) -- Drummer's Dystonia: Incidence and Affected Limb in 1003 Japanese Drummers.
  • 10/25/23 (Week 5) - Matthew Goodheart talk on transducer-activated instruments (host: Matt Wright)
  • 11/01/23 (Week 6) - Fernando Lopez-Lezcano -- Modular Synthesis Workflows, or The Modules I Loved
  • 11/08/23 (Week 7) - CCRMA Town Hall
  • 11/15/23 (Week 8) - Brian Baumbusch: "Polytempo Music" - A new interactive VR music application (host: Constantin)
  • 11/22/23 (Week T) - NO SEMINAR (Thanksgiving break)
  • 11/29/23 (Week 9) - Planning session for Winter and Spring colloquium - bring your ideas!
  • 12/5/23 (Week 10) - Georg Essl: Looking at Sound Synthesis through the Lens of Topology
    • Topology is the science of connectivity. Topological topics have increasingly become part of digital signal processing and sound synthesis in recent years. In this talk I will discuss topology in the context of familiar sound synthesis methods and digital signal foundations. Ultimately the goal is to show that thinking topologically about making algorithmic noises, is interesting, fruitful, and different -- making it worth a closer look.

Past - Spring Quarter (2023)

  • 4/19 (Week 3) - Skills Share (Matt organizing)
  • 4/26 (Week 4) - Suzanne Dikker & Aurie Hsu (Julia Mills & Alex Han)
  • 5/3 (Week 5) - Conference-style talks. This includes longer form presentations or lectures. Reach out to Mike (mulshine@stanford.edu) to sign up.
  • 5/10 (Week 6) - CCRMA Town Hall (Kunwoo, Nette, & Matt)
  • 5/17 (Week 7) - Gareth Loy -- Introduction to the Player programming language
  • 5/24 (Week 8) - CANCELED: Fernando Lopez-Lezcano -- Modular Synthesis Workflows, or The Modules I Loved
  • 5/31 (Week 9) - Zehao Wang (new researcher visitor from UCSD / Miller Puckette) -- Real-time sound synthesis for 2-D plates using FDTD methods (Julius)
  • 6/7 (Week 10) - MST Capstone Project showcase! (Nette)


Past - Winter Quarter (2023)

  • 1/11 (Week 1) - Kanru Hua, CEO of Synthesizer V, Japan (https://dreamtonics.com/en/synthesizerv/)(Contact: MAMST Student Benny (Shicheng) Zhang
  • 1/18 (Week 2) - Game and International Snacks Night (Nette & Kunwoo)
  • 1/25 (Week 3) - Community-wide rapid-fire talks! Share your recent thoughts, explorations, work, hobbies. Get to know what your peers are up to. Everyone is invited to share.
    • Speaker 1: Mike Mulshine
    • Speaker 2: Ge Wang
    • Speaker 3: Jarek Kapuscinski and Eito Murakami
    • Speaker 4: Fernando Lopez-Lezcano
    • Speaker 5: Chris Chafe
    • Speaker 6: Julius Smith 1 minute announcement of Music 423 Thursdays 4:30 pm in Seminar Room - 20 min update tomorrow (there)
    • Speaker 7: Kimia Koochakzadeh-Yazdi
    • Speaker 8: Travis Skare
    • Speaker 9: Matt Wright
    • Speaker 10: Julie Zhu
    • Speaker 11: Nima Farzaneh
    • Speaker 12:
  • 2/1 (Week 4) - Skills Share (Matt / democratic)
  • 2/8 (Week 5) - Laura Steenberge meet in Listening Room (Chris Chafe)
  • 2/15 (Week 6) - Scott Oshiro [quantum music] / Mischa Dohler [Ericsson, low-latency XR] (Chris Chafe)
  • 2/22 (Week 7) - Webchuck (Chris Chafe + lots of webchuck contributors)
  • 3/1 (Week 8) - Luna Valentin cave acoustics / Music Business talk from Anne Van Der Erve from Warner Music Benelux
  • 3/8 (Week 9) - Per Bloland: MaxOrch and Orchidea
  • 3/15 (Week 10) - Jay Afrisando (Constantin)


Past - Autumn Quarter (2022)

  • 09/28 (Week 1) New Student Introductions
    • Speaker 1: Sneha Shah
    • Speaker 2: Josh Mitchell
    • Speaker 3: Emily Kuo
    • Speaker 4: Balazs & Truls
    • Speaker 5: Julia Yu
    • Speaker 6: Senyuan Fan
    • Speaker 7: Celeste Betancur
    • Speaker 8: Victoria Litton
    • Speaker 9: Yiheng Dong
    • Speaker 10 Eito Murakami
    • Speaker 11 Soohyun Kim
    • Speaker 12 Luna Valentin
    • Speaker 13 Terry Feng
    • Speaker 14 Alex Han
    • Speaker 15 Benny Zhang
    • Speaker 16 Sami Wurm
    • Speaker 17 Neha Rajagopalan
  • 10/05 (Week 2) Faculty and Staff Rapid Fire
    • Speaker 1 Chris Chafe
    • Speaker 2 Ge Wang
    • Speaker 3 Patricia Alessandrini
    • Speaker 4 Marina Bosi
    • Speaker 5 Julius Smith
    • Speaker 6 Jarek Kapuściński
    • Speaker 7
    • Speaker 8
    • Speaker 9
    • Speaker 10 Mark Rau
    • Speaker 11
    • Speaker 12
    • Speaker 13
    • Speaker 14
    • Speaker 15
  • 10/12 (Week 3) WINGS and Peer Mentoring in Music (Mara Mills visit postponed to Spring)
  • 10/19 (Week 4) Faculty and Staff Rapid Fire, part 2
    • Speaker 1 Takako Fujioka
    • Speaker 2 Eleanor Selfridge-Field
    • Speaker 3 Craig Stuart Sapp
    • Speaker 4 Craig Stuart Sapp
    • Speaker 5 Poppy Crum
    • Speaker 6 Jonathan Berger
    • Speaker 7 Matt Wright
    • Speaker 8 Fernando Lopez-Lezcano
    • Speaker 9 Constantin Basica
    • Speaker 10 Stephanie Sherriff
    • Speaker 11
    • Speaker 12
    • Speaker 13
    • Speaker 14
    • Speaker 15
  • 11/2 (Week 6) - TBD
  • 11/9 (Week 7) - Pizza & Pegagody: Assignments and Evaluations
  • 11/16 (Week 8) - Student-only Town Hall
  • 11/23 (Week 9) - NO SEMINAR (Thanksgiving break)
  • 11/30 (Week 10) - planning session for Winter and Spring colloquium



Past - Spring Quarter (2022)

  • 03/30 - Spring Welcome Dinner at Treehouse
  • 04/06 - In-House Project and Research Updates (Everyone is encouraged to present)
  • 04/13 - BREAK
  • 04/19* Tuesday - Installation by J. Mills
  • 04/27 - Mara Mills (Virtual Talk)
  • 05/04 - Inclusive Teaching Workshop (Lloyd May & CTL)
  • 05/11 - BREAK
  • 05/18 - BREAK
  • 05/25 - BREAK
  • 06/01 - BREAK


  • Future Colloquiums already booked:
  • 10/12 Mara Mills - History of PCM

Past - Winter Quarter (2022)

  • 01/05 - BREAK
  • 01/26 - Walker Davis & Alex Mitchell from boomy
  • 02/02 - Social Event and Student-Only Meeting
  • 02/16 - Unofficial Social and Welcome to WasteLAnd!
  • 02/23 - Break
  • 03/02 - Rapid Fire and Conference Style Talks (Sign-ups are open!)
    • (Conference Style = 15 minutes, Rapid Fire = 5 minutes)
    • Speaker 1: Tamilore Awosile (10 mins)
    • Speaker 2: Frank Mondelli (Conference Style)
    • Speaker 3: Lloyd May (Rapid Fire)
    • Speaker 4: Julia Mills (Conference Style)
    • Speaker 5: Nima Farzaneh (Conference Style)
  • 03/09 - CCRMA Town Hall
  • 03/16 - Break

Past - Autumn Quarter (2021)

  • 9/22 New Student Introductions
    • Speaker 1: Kimia Koochakzadeh-Yazdi
    • Speaker 2: Taylor Goss
    • Speaker 3: Julia Mills
    • Speaker 4: Kiran Gandhi
    • Speaker 5: Dirk Roosenburg
    • Speaker 6: Aaron Hodges
    • Speaker 7: Nick Shaheed
    • Speaker 8: Nima Farzaneh
    • Speaker 9: Noah Berrie
    • Speaker 10: Angela Lee
  • 10/13 Faculty/Staff Introductions Part 2
    • Speaker 1: Constantin
    • Speaker 2: Nando
    • Speaker 3: Jonathan (B)
    • Speaker 4: Jarek
    • Speaker 5: Nick
    • Speaker 6: Chris C
    • Speaker 7: Patricia
    • Speaker 8: Marina
  • 10/20 - CCRMA Town Hall
  • 10/27 BREAK
  • 11/03 Social Event (TBD)
  • 11/10 Rapid Fire & Conference Style (Sign-ups are open!)
    • (Conference Style = 15 minutes, Rapid Fire = 5 minutes)
    • Speaker 1: Lloyd May (Rapid Fire)
    • Speaker 2: Chris Chafe (Rapid Fire via zoom, assuming my internet works after the storm)
    • Speaker 3: Mark Rau (Rapid Fire)
    • Speaker 4: Champ Darabundit (Conference)
    • Speaker 5: Eleanor Selfridge-Field (Rapid Fire)
    • Speaker 6: Crag Stuart Sapp (Rapid Fire)
  • 11/17 BREAK
  • 12/1 Special Guest Talks: Nils Tonnätt & Victoria Shen

Past - Spring Quarter (2021)

  • 3/31: Town Hall
  • 4/07: CCRMA Open House Prep
  • 4/14:
  • 4/21: 12pm - CCRMA Colloquium Phase Shift -1.88 degrees (social hang)
  • 4/28: Avneesh Sarwate: Digital Audiovisual Interactive Media
  • 5/05: Break! Rapid-Fire Talks Postponed to 5/19
  • 5/12: Jeff Snyder: "Unusual Embedded Instruments"
  • 5/19: Rapid Fire & Conference Style Talks - sign up here via your CCRMA login
    • Rapid Fire Signups (5 min)
      • Speaker 1: CC waveguide mesh, part 2, realtime wavefield output
      • Speaker 2:
      • Speaker 3:
      • Speaker 4:
      • Speaker 5: Ge "ChucK: new features, new bugs, new worlds (ChucKTrip?)"
      • Speaker 6:
      • Speaker 7:
      • Speaker 8:
    • Conference Style Signups (15 min)
      • Speaker 1: Marise van Zyl (rapid fire)
      • Speaker 2: Prateek Verma
      • Speaker 3: Fernando Lopez-Lezcano
  • 5/26: Allison Parrish: Poet and Programmer
  • 6/02: Sasha Leitman: Physical Interaction Design for Music

Past - Winter Quarter (2021)

  • 1/13: Break
  • 1/20: Informal Hangout / Dance Party
  • 1/27:
  • 2/03:
  • 2/10: CCRMA Town !!
  • 2/17: Rapid-Fire Talks (5 min) - sign up here via your CCRMA login
    • Speaker 1: Kunwoo Kim
    • Speaker 2: John Chowning
    • Speaker 3: Noah Fram
    • Speaker 4: Camille Noufi
    • Speaker 5: Barbara Nerness
    • Speaker 6: (maybe) Julie Zhu
    • Speaker 7: Chris Chafe
    • Speaker 8: Lloyd May
    • Speaker 9: Mike Mulshine
    • Speaker 10: Ge Wang
    • Speaker 11: Jatin (hopefully)
    • Speaker 12: Alex Chechile
    • Speaker 13: Fernando Lopez-Lezcano
    • Speaker 14:
    • Speaker 15:
  • 2/24:
  • 3/03: Conference Style Talks (15-20 min) - sign up here via your CCRMA login
    • Speaker 1: Ty Sadlier
    • Speaker 2: Travis Skare
    • Speaker 3: Constantin Basica & Prateek Verma
    • Speaker 4:
  • 3/10: Sasha Leitman
  • 3/17: Break

Past - Autumn Quarter (2020)

In person colloquiua will not be held for the 2020 Autumn Quarter. All events will be held remotely.

  • 9/16 New Student Introductions
    • Speaker 1: Lloyd May
    • Speaker 2: Andrew Zhu
    • Speaker 3: Kathleen Yuan
    • Speaker 4: Marise van Zyl
    • Speaker 5: Hannah Choi
    • Speaker 6: Joss Saltzman
    • Speaker 7: Champ Darabundit
    • Speaker 8: Clara Allison
    • Speaker 9: David Braun
    • Speaker 10: Austin Zambito-Valente
  • 9/23 Faculty/Staff Introductions
    • Speaker 1: Jonathan Berger
    • Speaker 2: Ge Wang
    • Speaker 3: Takako Fujioka
    • Speaker 4: Seán O Dalaigh (new DMA)
    • Speaker 5: Eleanor Selfridge-Field
    • Speaker 6: Craig Stuart Sapp
    • Speaker 7: Blair Kaneshiro
  • 9/30 Faculty/Staff Introductions
    • Speaker 1: Patricia Alessandrini (via video)
    • Speaker 2: Julius Smith
    • Speaker 3: Marina Bosi
    • Speaker 4: Nando (aka Fernando Lopez-Lezcano)
    • Speaker 5: Stephanie Sherriff
    • Speaker 6: Constantin Basica
    • Speaker 7: Matt Wright
    • Speaker 8: Chris Chafe
  • 10/7 - Break
  • 10/14 - Town Hall
  • 10/21 - Adjunct Faculty Talks
    • Speaker 1: Malcolm Slaney
    • Speaker 2: Poppy Crum
    • Speaker 3: Paul Demarinis
    • Speaker 4: Jonathan Abel
    • Speaker 5: Doug James
  • 11/4 - Break
  • 11/18 - Mona Shahnavaz

ABSTRACT & BIO: Mona is an enthusiastic musician, whose focus and passion has been to share the joy of music with others. In 2018, a successful outcome of her innovative music program designed for senior citizens was the turning point for her to decide to change the course of learning piano in a less complex route. Her engineering background helped her to start working on the idea that bridges the gap between music and technology.

The approach to fingering in music has always been and still is one of the major elements of success for keyboard players. Correct fingering assists the performer in delivering a better technical and musical performance. This research presents the best technique to generate fingering for any sequence of music notes. Dynamic programming and mathematics are major parts of this paper, they work alongside rules set by pianists to calculate the most practical fingerings for any musical passage.

The ultimate goal is to facilitate the process of playing the piano using an AR platform. This is helpful for scaling music instructors and allows for efficient teaching. Through solving this problem, virtual instructions would be more productive and impactful. Success of this research applied in the AR field can be applied to robotic tasks in educational programs, video games, and medical fields.

  • 11/25 - THANKSGIVING WEEK - Break
Retrieved from "http://ccrma.stanford.edu/mediawiki/index.php?title=Colloquium&oldid=25261"