Presentation on theme: "Stanford Historical Society A BRIEF HISTORY OF CCRMA John Chowning Osgood Hooker Professor of Fine Arts and Professor of Music, Emeritus May 15"— Presentation transcript:
Stanford Historical Society A BRIEF HISTORY OF CCRMA John Chowning Osgood Hooker Professor of Fine Arts and Professor of Music, Emeritus May 15 The Center for Computer Research in Music and Acoustics CCRMA Stanford University
John chowning Max standing next to IBM 7094 (BTL) Max Mathews, to whom we owe much,
Mathews, M.V., The Digital Computer as a Musical Instrument, Science, Vol. 142, No. 3592, , John chowning There are no theoretical limitations to the performance of the computer as a source of musical sounds, in contrast to the performance of ordinary instruments.
Score became, and remains, the hi-end industry standard
90 º 0º0º 0º0º 0º0º 0º0º CH 1 CH 2 CH 3 CH 4 Listeners space within the speaker perimeter j. chowning Music for loudspeakers listeners sounds moving through an illusory sound space I continued my work in creating music in an illusory space that would allow compositional constructions in which sound could be positioned and moved through the space.
x System to process signal using functions shown in preceding slide. Rev CH1 Rev CH2 Rev CH3 Rev CH4 AM CH1 CH2 CH3 CH4 AMFM x AM % signal (to rev) x Original signal x x x x Spatial Processing Scheme d 1 dtd (distance) d DIRECT SIGNAL SIGNAL REVERB j. chowning (doppler) CONTROL SIGNALS 3 REALIZATIONS COMPUTERS AND LANGUAGES: ALLOW DIRECT CONROL OF THE MATERIAL OF MUSIC SOUND STRUCTURE AND MUSIC STRUCTURE CAN BE JOINED IN A NEW WAY THE VALUE OF A MULTI- DISCIPLINARY ENVIRONMENT MY EARS ARE MY MOST IMPORTANT TOOL!
x Rev CH1 Rev CH2 Rev CH3 Rev CH4 AM CH1 CH2 CH3 CH4 AMFM x AM % signal (to rev) x Original signal x x x x Spatial Processing Scheme d 1 dtd (distance) d DIRECT SIGNAL SIGNAL REVERB j. chowning (doppler) CONTROL SIGNALS 3 DAC
Pete Samson with the SamsonBox digital synthesizer a highly optimized computer for synthesizing and processing audio signals in real- time. It was built for CCRMA in 1977 and was retired in It is now part of the collection at the Musée de la Musique in the Cité de la Musique, Paris. In early January 2010, Mike McNabb and Bill Schottstaedt generated the original music for Mars in 3D using a software emulator of the Samson Box programmed by Bill Schottstaedt. Mute! Mute off! The Samson Box Digital synthesizerc
1985-Move to the Knoll Patte Wood Heidi Kugler John R. Pierce
Chris Chafe Director CCRMA Jay Kadis Julius Smith Fernando oLpez- Lezcano Bill Schottstaedt Max Mathews Nette Worthey AND CCRMA FLOURISHES Radio Baton The JOS Global Index Recording Engineering Planet CCRMA CLM 1996 – CHOWNING RETIRES – CHRIS CHAFE IS APPOINTED DIRECTOR Tricia Schroeter Patte Wood Heidi Kugler
Ge Wang Fernando Lopez-Lezcano Sasha Leitman Jonathan Abel Takako Fujioka Jonathan Berger Chris Chafe Director CCRMA Julius Smith Max Mathews MODULATIONS Jay Kadis Tricia Schroeter Bill Schottstaedt Carr Wilkerson Nette Worthey HAGIA SOPHIA LISTENING ROOM Bill retired 2012 Max died April 2011 INSTRUMENT MAKING
BANF/SEOUL/NY/SAN DIEGO STANFORD/ST JOHNS CHRIS CHAFE STANFORD/BEIJING -NETWORK CONCERTS -SONIFICATION -HUMAN/COMPUTER PERFORMANCE CHRIS CHAFE
JULIUS SMITH Impulse response from a Schroeder / Feedback Delay Network reverberator (recently implemented in Faust) A waveguide model of a cylindrical tube with a conical tip -FAUST -DIGITAL WAVEGUIDES -STUDENTS Waveguide model of a bowed string JULIUS SMITH Pablo Castellanos Macin MEXICO Romain Michon FRANCE Zhengshan Shi CHINA
JONATHAN BERGER Sonification of satellite data from Jiyeh 2007 oil spill -SONIFICATION
JONATHAN BERGER -SONIFICATION -MUSIC AND THE BRAIN -OPERAS THEOTOKIA THE WAR REPORTER JONATHAN BERGER
GE WANG CHUCK AUDIO PROGRAMMING LANGUAGE & BOOK OCARINA, FOR IPHONE (OVER 10 MILLION DOWNLOADS) STANFORD LAPTOP ORCHESTRA GE WANG
TAKAKO FUJIOKA Interests of my research Biological nature of human musicality How does our brain work to understand sounds? How does the brain change when learning musical skills? How do learning and brain development/aging interact? How can that knowledge be used for education, therapy, and sound application? TAKAKO FUJIOKA
The upcoming NeuroMusic CCRMA!! -BRAIN COMPUTER INTERFACE - BEHAVIOURAL AND EEG ANALYSIS -MOTION, VIDEO, AND AUDIO ANALYSIS - REHABILITATION TAKAKO FUJIOKA
the teaching/research is enriched further (and still) by Max Mathews David Berners Marina Bosi Poppy Crum Tom Rossing Malcolm Slaney Eleanor Selfridge-Field Jaroslaw Kapuscinski Computational Models of Sound Perception Perceptual Audio Coding Musical Acoustics Music Gaming and Neuroplasticity Music Query, Analysis, and StyleSimulation Introduction to Digital Audio Signal Processing Intermedia Workshop