Computer research in music and acoustics (CCRMA)
Submitted by Debbie Barney on Fri, 04/25/2014 - 14:39
Special fields: musical acoustics, signal processing, physical modeling, spectrum analysis, digital filtering.
Articles in the Computer Music Journal, Journal of New Music Research, Journal of the Acoustical Society of America, various IEEE Transactions.
Submitted by Debbie Barney on Fri, 04/25/2014 - 14:36
Dr. Malcolm Slaney is a research scientist in the Machine Hearing Group at Google Research, where he leads a project on saliency and attention. He received his PhD from Purdue University for his work on imaging with inverse scattering. He is an Adjunct Professor at Stanford CCRMA, and he has led the Hearing Seminar for more than 20 years. Dr. Slaney is also an Affiliate Faculty in the Electrical Engineering Department at the University of Washington.
Submitted by Debbie Barney on Fri, 04/25/2014 - 10:44
Special fields: Musical acoustics, acoustics of musical instruments, psychoacoustics.
Author of 15 books and over 400 scientific publications, 9 U.S. and 11 foreign patents, mainly in acoustics, magnetism, and condensed matter physics. Fellow of ASA, APS, AAAS, and IEEE.
Biography in New Grove Dictionary of Music and Musicians, Who’s Who in America.
Received Millikan medal (AAPT) and Silver medal in musical acoustics (ASA).
Submitted by Debbie Barney on Thu, 04/24/2014 - 15:26
Fernando Lopez-Lezcano enjoys building things, fixing them when they don't work, and improving them even if they seem to work just fine. The scope of the word "things" is very wide and includes computer hardware and software, controllers, music composition, performance, and sound. His music blurs the line between technology and art, and is as much about form and sound processing, synthesis, and spatialization, as about algorithms and the custom software he writes for each piece.
Submitted by Debbie Barney on Thu, 04/24/2014 - 15:11
Composer, performer, and media artist.
Studied with Wlodzimierz Kotonski, Jan Ekier, Bronislawa Kawalla, Rand Steiger, Miller Puckette, Roger Reynolds, Brian Ferneyhough, and Joji Yuasa; additional courses with Iannis Xenakis, Louis Andriessen, Tristan Murail, François-Bernard Mâche, and George Lewis.
Selected prizes: UNESCO Film sur l’Art Festival in Paris (1992), VideoArt Festival in Locarno (1993), Manifestation Internationale Vidéo et Art Électronique in Montréal (1994), and International Festival of New Cinema and New Media in Montréal (2000).
Submitted by Debbie Barney on Thu, 04/24/2014 - 15:02
Fields of interest: audio recording and music production, neurophysiology, songwriting, rock and jazz guitar performance. Research articles in Journal of Electrophysiological Techniques and Brain Research while employed as research assistant at Stanford Medical School. Neurology Research Laboratories. Engineered recordings for Ontario Records, Lyrichord, Pictoria Records and two compact discs with his band Offbeats on Dexter Records. Freelance producer/engineer; owner, Dexter Records. Member Audio Engineering Society and faculty advisor to Stanford Student Section.
Submitted by Debbie Barney on Tue, 04/22/2014 - 15:35
Research topics include neural oscillations for auditory perception, auditory-motor coupling, brain plasticity in development and aging, recovery from stroke with music-supported therapy, and re-learning of speech and music after cochlear implantation.
Submitted by Debbie Barney on Tue, 04/22/2014 - 15:10
Pierre Divenyi started his career as a pianist, giving recitals in Europe and the U.S. As a graduate student at the University of Washington, his interests turned toward science; he obtained his doctorate in systematic musicology with a thesis on the effects of tone context on the rhythmic perception in micro-melodies.
Submitted by Debbie Barney on Tue, 04/22/2014 - 14:57
Poppy Crum is Chief Scientist at Dolby Laboratories. At Dolby, Poppy directs the growth of internal science. She is responsible for integrating neuroscience and knowledge of sensory perception into algorithm design, technological development, and technology strategy. At Stanford, her work focuses on the impact and feedback potential of new technologies with gaming and immersive environments on neuroplasticity.
Submitted by Debbie Barney on Tue, 04/22/2014 - 14:40
Osgood Hooker Professor of Fine Arts, Emeritus. B.M., Wittenberg University, D.M.A., Stanford University, Studies with Nadia Boulanger, Paris, 1959-62. Fields: computer music/composition, auditory/music perception. Patents: The Simulation of Moving Sound Sources, The Synthesis of Complex Audio Spectra by Means of Frequency Modulation. Publications/Recordings: Journal of the Audio Engineering Society, Schott/WERGO.