Center for Computer Research in Music and Acoustics (CCRMA) Workshops Fwd:


Subject: Center for Computer Research in Music and Acoustics (CCRMA) Workshops Fwd:
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Thu May 26 2005 - 21:02:53 EDT


               CCRMA Summer Workshops 2005
           Stanford University, California, USA
         http://ccrma.stanford.edu/workshops/2005/

GENERAL INFORMATION
The Center for Computer Research in Music and Acoustics offers four
intensive programs where top educators and researchers from the
fields of music, engineering, and computer science will present a
detailed study of specialized subjects. The workshops are one or two
week programs located on Stanford Campus from June 27 through August
12, 2005.

The workshops are open to the public.  Each day begins at 9:00 am and
ends at 5:00 pm with an hour for lunch on your own.  The workshops
are held at the Wilbur Modules B and C located  on the Stanford
Campus at 684 Escondido Road, Stanford California, 94302.  These
buildings are the temporary location of CCRMA, while our permanent
home, The Knoll, is undergoing renovation.  The culmination of the
workshops will end with a CCRMA concert Frost. Details will posted as
information becomes available.

Directions to the Workshop can be found at : Wilbur Modules B and C .
Parking information and directions to campus can be found at: 
http://transportation.stanford.edu/index.shtml.

WORKSHOP CALENDAR JUNE 27- AUGUST 12, 2005

---------------------------------------------------------
Human Computer Interaction Theory and Practice (HCI)
2 weeks
June 27 - July 8 (including July 4)
Matthew Wright, Wendy Ju
Guest Lecturers:  Bill Verplank and David Wessel
---------------------------------------------------------
This workshop integrates programming, electronics, interaction design,
audio, and interactive music. Focus will be on hands-on applications using
sensors and microprocessors in conjunction with real-time DSP to make music.
Specific technologies will include C programming for Atmel AVR
microcontrollers, PD and/or Max/MSP for music synthesis, and sensors
including force-sensitive resistors, bend sensors, accelerometers, IR range
finders, etc.  Participants will design and build working prototypes using a
kit that can be taken home at the end of the workshop. Further issues to be
explored will include modes and mappings in computer music, exercises in
invention, and applications of sensors and electronics to real-time music.
The course will be augmented by a survey of existing controllers and pieces
of interactive music.

  This workshop is intended for:

€ Musicians or composers interested in exploring new possibilities in
interactive music in a hands on and technical way; 
€ Anyone looking to gain valuable skills in basic analog and digital
electronics, with a focus on invention; 
€ Engineers, computer scientists, or product designers intereste in
exploring artistic outlets for their talents an collaborating with
performers and composers.
The workshop will consist of half-day supervised lab sessions, and half-day
lectures, classroom exercises and discussions. Classroom
  sessions will feature live demos and/or concerts of interactive music and
instruments. Participants are encouraged (but by no means required)
  to bring their own laptop computers with any music software/hardware they
already use.

---------------------------------------------------------
Digital Signal Processing:  Spectral and Physical Models (DSP)
2 weeks
July 11 - July 22
Perry Cook, Xavier Serra
---------------------------------------------------------
This course will cover analysis and synthesis of sounds based on spectral
and physical models. Models and methods for synthesizing real-world sounds,
as well as musical sounds, will be presented. The course will be organized
into morning lectures, covering theoretical aspects of the models, and
afternoon lab sessions. The morning lectures will present topics such as
Fourier theory, spectrum analysis, the phase vocoder, digital waveguides,
digital filter theory, pitch detection, linear predictive coding (LPC),
high-level feature extraction, and various other aspects of signal
processing of interest in sound applications.

The afternoon labs will be hands-on sessions using SMS, the Synthesis
ToolKit in C++, Matlab, and other software systems and utilities.
Familiarity with engineering, mathematics, physics, and programming will be
useful, but the lectures and labs will be geared to a musical audience with
basic experience in math and science. Most of the programs used in the
workshop will be available to take home.

Given the short duration of the workshop and the broad spectrum of topics to
cover, the lectures will be comprehensive in nature. However, a full
complement of in-depth readings will be provided for those who wish to
investigate the details of the material. Also, the last two days of the
workshop will include a more detailed treatment of some advanced topics and
the corresponding afternoon labs will give the students a chance to solve
some specific problems of their interest.

Perry R. Cook, is the author of Real Sound Synthesis for Interactive
Applications

---------------------------------------------------------
Signal Processing Techniques for Digital Audio Effects (DAE)
  2 weeks
  July 25 - August 5
Jonathan Abel, Dave Berners
---------------------------------------------------------
Digital signal processing methods for audio effects used in mixing and
mastering will be covered.  Topics include techniques for dynamic
range compression, reverberation and room impulse response measurement,
equalization and filtering, and panning and spatialization, with attention
given to digital emulation of analog processors and implementation of time
varying effects.  Among the effects studied will be single-band and
multiband compressors, limiters, noise gates, de-essers, feedback delay
network and convolutional reverberators, flangers and phasors, parametric
and linear-phase equalizers, wah-wah and envelope-following filters, and
the Leslie.

The course material will be presented in daily lecture sessions with
laboratory exercises interspersed.  The lecture sessions will
concentrate on theoretical issues in the design of digital audio effects,
and are complemented by laboratory work in which students
will develop effects algorithms of their own design.

The course is geared for musicians and recording engineers with an
engineering background, and for engineers and computer scientists
with an interest in music technology.  An exposure to digital signal
processing, including familiarity with digital filtering and the
Fourier Transform is helpful.  Some knowledge of Matlab and/or a modest
amount of C programming experience are also helpful for the
laboratory exercises.

---------------------------------------------------------
Perceptual Audio Coding (PAC)
1 week
August 8-12
Marina Bosi, Richard Goldberg
---------------------------------------------------------
Perceptual audio coders are currently used in many applications including
Digital Radio and Television, Digital Sound on Film, Multimedia/Internet
Audio, Portable Devices, and Electronic Music Distribution (EMD). This
Workshop integrates digital signal processing, psychoacoustics, and
programming to provide the basis for building a simple perceptual audio
coding system. The first part of the workshop addresses the basic principles
of perceptual audio coding. In the second part, design choices applied in
state-of-the-art audio coding schemes, e.g. AC-3; MPEG Layers I, II, and III
(MP3); MPEG AAC; MPEG-4 are presented. In-class demonstrations will allow
students to hear the quality of state-of-the-art implementations at varying
data rates and they will be required to program their own simple perceptual
audio coder during the workshop.

This Workshop is intended for:
€ Musicians/composers interested in exploring widely used digital audio
technology;
€ Anyone looking to know more about media technology used in our
every-day lives;
€ Engineers / computer scientists / product designers interested in
exploring the principles and practices of audio coding standards.

The workshop will consist of half-day lectures, half-day supervised lab
sessions, and classroom exercises and discussions. In addition to addressing
basic theory and implementations, classroom sessions will feature
state-of-the-art audio coding demos. Participants are encouraged (but by no
means required) to bring their own laptop computers. Knowledge of basic
digital audio principles and C programming is expected.

Marina Bosi, Richard E. Goldberg and Leonardo Chiariglione are co-authors of
the book, Introduction to Digital Audio Coding and Standards.
---------------------------------------------------------

APPLICATION
You may apply online, by FAX, E-mail, regular US Mail or phone. Please
register by JUNE 15, 2005.

Register ONLINE and call to make payment.

Tricia Schroeter
CCRMA Administrator
660 Lomita Court
Stanford University
Stanford, CA  94305-8180
650-723-4971 x320
650-723-8468 (fax)
tricia@ccrma.stanford.edu

TUITION AND FEES
Courses are $620 per week, some lab fees may be associated and payable to
Stanford University on first day of class.

HOUSING
Housing costs are not included in the course fee. Campus housing is
available for the summer workshops through the Stanford University
Conference Office. Information on lodgings in Stanford/Palo Alto vicinity
will be sent to all workshop participants. No academic credit is offered for
participation in the workshops.



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