Rodrigo F. Cádiz (1972) is a composer, researcher and engineer. He studied composition and electrical engineering at the Pontificia Universidad Católica de Chile in Santiago and he obtained his Ph.D. in Music Technology from Northwestern University. His compositions, consisting of approximately 40 works, have been presented at several venues and festivals in Latin America, North America and Europe. His catalogue considers works for solo instruments, chamber music, symphonic and robot orchestras, visual music, computers, and new interfaces for musical expression, in particular brain-computer interfaces and the Arcontinuo, a new electronic musical instrument he has been working on with two more colleagues for the past 10 years. He has received several composition prizes and artistic grants both in Chile and the US. He has authored around 40 scientific publications in peer reviewed journals and international conferences. His areas of expertise include sonification, sound synthesis, audio digital processing, computer and electroacoustic music, composition, new interfaces for musical expression and the musical applications of complex systems. He has obtained research funds from Chilean governmental agencies, such as the National Fund for Scientific and Technological Development (Fondecyt) and the National Council of Culture and the Arts (CNCA). He recently received a Google Latin American Research Award (LARA) in the field of auditory graphs. At Stanford, Rodrigo will be a composer in residence with the Stanford Laptop orchestra (SLOrk) at the Center for Computer-based Research in Music and Acoustics (CCRMA), and a Tinker Visiting Professor at the Center for Latin American Studies.
Professor Rodrigo F. Cádiz is teaching MUSIC 154F: Electroacoustic Music Analysis in spring 2018.
NSF-Funded Postdoctoral Research Fellowship
Faculty Mentor: Takako Fujioka
Award Title: Neural Oscillatory and Social Personality Correlates for Perception and Performance of Musical Joint Action
Having played violin and viola for many years, much of my interest in social coordination stems from personal experiences playing in music ensembles. I feel that many aspects of joint musical performance can be used to develop a broader understanding of collaborative behavior, and hope to continue exploring these as a source of ideas about the field of interpersonal coordination throughout my career.
Séverine Ballon’s work focuses on regular performance of key works of the cello repertoire, as well as numerous collaborations with composers; in addition, her research as an improviser has helped her to extend the sonic and technical resources of her instrument. Ballon is currently a visiting scholar at Stanford’s Center for Computer Research in Music and Acoustics (CCRMA). Her concert features works for cello and multichannel electronics, including new compositions by CCRMA’s Fernando Lopez-Lezcano and Eoin Callery.
Robbie Beahrs is an ethnomusicologist, sound artist, and acoustic ecologist.
His fieldwork in Russia, Mongolia, Kazakhstan, and the United States links archival research with collaborative ethnography, voice-driven performance practice, filmmaking, and soundscape art. His current research projects explore genealogies of throat-singing in the Sayan-Altai Mountains of Inner Asia, interspecies listening and voicing in Tyva and western Mongolia, and vibrational sensing with Russian cosmonauts and American astronauts during long-duration space flight.
Robbie has collaborated as a sound artist with performance-makers at FlyTrap Studios (Oakland), Yerba Buena Center for the Arts, CounterPulse, Z-Space (San Francisco), Los Angeles Live Arts, and Dock 11 (Berlin). He holds a PhD in ethnomusicology from the University of California, Berkeley and has worked as a postdoctoral fellow in the Center for Russian and East European Studies at the University of Pittsburgh. His visiting position at Stanford is supported by a Social Sciences Research Council (SSRC) Transregional Research Fellowship entitled InterAsian Contexts and Connections.