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| | Computer Music Center - Wikipedia, the free encyclopedia |
 | | It consists of a large graduate research facility specializing in computer music and multimedia research, as well as a number of composition and recording studios for student use. | | | The original Columbia facility was re-organized in 1995 under the leadership of Brad Garton and was renamed the Columbia University Computer Music Center. | | | The Computer Music Center (CMC) at Columbia University is the oldest center for electronic and computer music research in the United States. |
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http://en.wikipedia.org/wiki/Computer_Music_Center
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| | Center for Computer Research in Music and Acoustics |
| | Center for Computer Research in Music and Acoustics | | | The Stanford University Center for Computer Research in Music and Acoustics is a multi-disciplinary facility where composers and researchers work together using computer-based technology both as an artistic medium and as a research tool. | | | Music 150 Musical Acoustics, MW 3:15-4:30, Knoll 217 |
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http://ccrma.stanford.edu
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| | computer music - Columbia Encyclopedia® article about computer music |
| | Computer music can be divided into two distinct production techniques: MIDI (Musical Instrument Digital Interface—see electronic music electronic music or electro-acoustic music, term for compositions that utilize the capacities of electronic media for creating and altering sounds. | | | Computers can also be used to compose music by a process known as algorithmic composition. | | | The first substantial piece of music composed on a computer was the Illiac Suite (1956) by the avant-garde composer Lejaren Hiller (1925–94). |
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http://columbia.thefreedictionary.com/Computer+music
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| | alphaWorks : Music Sketcher : Overview |
| | Previously, Dr. Abrams spent several years working in and managing the Computer Music Center, where he led a series of projects (including Music Sketcher) that revolve around music, art, and creativity, with a goal of helping people to amplify their natural musical creativity. | | | Under his direction, the Computer Music Center investigated some of the concepts used by composers in their creative process, such as structure, shape, and tension and relaxation; and it is developing tools that use these higher-level abstractions in ways that enhance the composer’s ability to create m usic. | | | Jim Wright was a research staff member in the Computer Music Center since he joined IBM in 1993 until 2001, when the Center closed. |
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http://www.alphaworks.ibm.com/tech/musicsketcher
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| | New computer music center: 10/8/97 |
| | That extra something was to bring the power of the computer to bear on the study of Bach's music, and music in general. | | | The center's efforts are complementary to those of Stanford's Center for Computer Research in Music and Acoustics (CCRMA), which has pioneered new methods for using computers to create music. | | | They are using this musical database in a number of different ways. |
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http://www.stanford.edu/dept/news/report/news/1997/october8/ccarh.html
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| | uwsp department of music |
| | Charles Rochester Young, Director of the Computer Music Center and Chair of Music Theory and Composition, and David Regenberg, a private Music and technology consultant in Middleton, Wisconsin. | | | The Computer Music Center also utilizes a Yamaha DISKLAVIER II Digital acoustic piano which can perform computer realized compositions and performances on an acoustic piano. | | | These students staff the Computer Music Center on a 'round the clock basis seven days a week and work very hard to help each other with advanced technical questions that cannot be covered entirely in the Training sessions. |
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http://www.uwsp.edu/music/academics/CMC
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| | Welcome to (CCM)2 |
| | Computer Music Journal, Perspectives of New Music, ARRAY, | | | Her research deals with Internet 2 improvisation, granular synthesis, representation of electroacoustic music, and her public domain graphical programs for computer music composition, Patchmix and StochGran. | | | The College-Conservatory of Music Center for Computer Music at the University of Cincinnati, (ccm)2, is continually inventing new environments for computer music composition and research. |
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http://meowing.ccm.uc.edu
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| | The Columbia-Princeton Electronic Music Center |
| | Now the Computer Music program owned its own music conversion equipment and no longer had to beg time from Nevis, where the physics people were getting increasingly irritated by the use of their computing equipment for something as trivial as music. | | | This machine's sole purpose was to convert music that was written to digital tape (at the Computer Center) into music that was written to analog tape. | | | Mark Zuckerman took over the Computer Music program in the late 1970s and (at some point) purchased a used Data General Supernova computer and Kennedy tape drive unit (we built a new DAC and filters and the Ampex was brought over from Nevis) and installed them at Prentis to do music conversions. |
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http://www.columbia.edu/acis/history/cpemc.html
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| | cyberband297.html |
| | Early computer music programs, first written in the 1950s, ran on large machines with little or no audio capabilities and the music couldn't be created in real time. | | | The brainchild of Daniel V. Oppenheim, an Israel-born computer musician who began working on it some eight years ago while a graduate student at Stanford University's famed Center for Computer Research in Music and Acoustics, DMIX had the goal of simplifying the composer's task of turning an idea into a composition. | | | The center creates applications such as Kid Riffs® (released in 1995) and Cyberband (now in development), that enable children and adults, with or without musical sophistication, to compose their own music. |
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http://domino.research.ibm.com/comm/wwwr_thinkresearch.nsf/pages/cyberband297.html
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| | Computer Music bibliography |
| | Representations of Musical Signals is aimed at the expanding group of musicians, engineers, and scientists who are interested in innovative approache to digital audio and computer music. | | | ISBN: 0-306-76263-3 : $35.00 ------------------------------------------------------------------------------ ---------------------------- MUSICAL INSTRUMENTS ----------------------------- ------------------------------------------------------------------------------ Moorer, James A. and Grey, John: "Lexicon of Analyzed Tones"; Computer Music Journal, volume 1 Number 2, volume 1 number 3, volume 2 number 2, volume 2 number 3, and continuing The first installment of the lexicon was an analysis of a violin tone. | | | Music and Connectionism is based on a core of articles originally appearing as two special issues of the Computer Music Journal. |
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http://www.faqs.org/faqs/music/midi/bibliography
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| | Computer Science Research at Almaden - Madison - Music on the Web |
| | The trial and the EMMS are tightly coupled to the music industry's recently announced initiative, the Secure Digital Music Initiative (SDMI). | | | Using CD-R drives, users can make their own music CDs, and play them on their hi-fi systems. | | | IBM has partnered with the five major music labels (Sony, Warner, Universal, EMI, and BMG) to run a trial of this system beginning in the summer of 1999, for the purpose of understanding consumer desires. |
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http://www.almaden.ibm.com/cs/madison.html
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| | American Music Center Member: Alice Shields |
| | Former positions include Associate Director of Development at the Columbia University Computer Music Center (1994-96); Associate Director at the Columbia-Princeton Electronic Music Center (1978-82); and Technical Instructor at the Columbia-Princeton Electronic Music Center (1964-78). | | | I have been creating electroacoustic music since 1964, and am one of the original women in electroacoustic music. | | | I received a doctorate in music composition from Columbia University in 1975. |
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http://www.amc.net/member/alice_shields/bio.html
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| | Computer Music: Vanderbilt University; Blair School of Music; Computer and Electronic Music Links |
| | Manager Computer Music Project of the University of Illinois Experimental Music Studios Composition-Theory Division School of Music University of Illinois at Urbana Champaign. | | | He is best known for his music written for computer-synthesized tape, either in combination with live performers or for tape alone, though in recent years he has concentrated upon the composition of large orchestral works. | | | Originally the Columbia-Princeton Electronic Music Center, the CMC is the oldest center for Electroacoustic music in the United States. |
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http://www.ec.vanderbilt.edu/computermusic/musc216site/computer.music.links.html
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| | Columbia News ::: Modern Music of the Imagination -- Concert Features Real Time Computer Augmentation Of Live Music |
| | Modern music, created through the "real-time" computer processing of sound produced during live performance, will be highlighted in a concert and lecture series hosted by Columbia University's Computer Music Center and Miller Theater. | | | The Columbia University Computer Music Center and IRCAM have begun a collaboration allowing artists, researchers and students from the two institutions to join efforts in the realization of artistic and research projects. | | | Thanassis Rikakis, series coordinator and associate director of Columbia's Computer Music Center, credits friend and colleague Professor Paul Lansky of Princeton as most accurately describing computer music by explaining that the computer is the instrument of the imagination and when computers and music merge, any sound you can imagine can be realized. |
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http://www.columbia.edu/cu/news/99/11/thanasis.html
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| | Thomas Moore's New Music Links -- Centers |
| | Future Music Oregon, computer music center at the University of Oregon | | | Center for New Music, University of Iowa School of Music | | | Roger and Phyllis Dancz Center for New Music, University of Georgia |
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http://research.umbc.edu/~tmoore/nml/centers.html
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| | Harvard Department of Music |
| | The Music Department is located in the renovated Fanny Peabody Mason Music Building, which houses classrooms, music practice rooms, the Eda Kuhn Loeb Music Library, John Knowles Paine Concert Hall, the Harvard University Studio for Electroacoustic Composition (HUSEAC), an Ethno Lab, Early Instrument Room, and faculty and administrative offices. | | | Undergraduates receive an A.B. with a concentration in music. | | | The Department sponsors numerous concerts, colloquia, lectures, and special music events each month, which are free to students and the public. |
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http://www.fas.harvard.edu/~musicdpt
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| | links.html |
| | College-Conservatory of Music Center for Computer Music (CCM²) at University of Cincinnati | | | The Center for Computer Research in Music and Acoustics (CCRMA) | | | The Computer Music Project at the University of Illinois at Urbana-Champaign |
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http://www.media.mit.edu/EMS/links.html
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| | Paul Damian Hogan |
| | Mara Helmuth (computer music), Allen Otte, and Darryl Handel | | | Performed by Ray’s Music Exchange (the composer on organ and electric piano). | | | Five Islands, Music2001 at the Unversity of Cincinnati, College-Conservatory of Music. |
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http://www.hoganmusic.com/CV.html
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| | Monolithic Tones: Computer Music |
| | Computer Music Center at Columbia University directed by Brad Garton (where I studied). | | | An early computer music composition in my experimentation with ambient music. | | | A granular resynthesis of the "Roof Dream" computer music piece. |
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http://www.panix.com/~coble/Coble/music
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| | Musicmatch Jukebox - World's best music player |
| | Let the Music Library keep track of your entire digital music collection -- whether you have 100 or 100,000 tracks. | | | Burn music mix CDs of your favorite songs, or archive your MP3s and data files on CD-R and DVD media to maximize hard-drive space. | | | Send music to your portable digital music player in seconds with the Portable Device Manager. |
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http://www.musicmatch.com/download/free/?os=pc&did=999993359
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| | Future Music Oregon - Jeffrey Stolet, Director |
| | Stolet also directs Future Music Oregon, the Computer Music Center at the School of Music, and the C.P.U. Concert Series. | | | At the University of Oregon, Stolet has developed the curriculum for a Bachelor of Science in Music Technology degree, a Master of Music in Intermedia Music Technology, and the curriculum for Intermedia Music Technology as a Secondary Area for music students pursuing doctoral degrees. | | | Jeffrey Stolet joined the University of Oregon faculty in 1988 and is currently a Philip H. Knight Professor of Music and director of the Music Technology programs in the School of Music. |
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http://darkwing.uoregon.edu/~fmo/stolet.html
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| | University of Oregon School of Music and Dance: About Us |
| | The music school's computer music center, Future Music Oregon, features three studios with extensive MIDI-based and computer composition systems containing synthesis environments where all sound material can be created, edited, and saved from a central computer for future recall. | | | The music school houses the Kammerer Microcomputer Lab, with Macintosh computer work stations where you can work with mainstream software for music notation and instructional software in music theory and aural skills. | | | The School of Music contains a broad range of facilities and equipment: band, choir, and orchestra rehearsal rooms with support facilities; the 520-seat Beall Concert Hall, acclaimed by numerous guest artists for its superb acoustics; and the Collier House, home to the music history department and the Early Music Program. |
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http://darkwing.uoregon.edu/~music/About/facilities.htm
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| | Center for Computer Music |
| | Since 1990, the Center for Computer Music has hosted the Electroacoustic Music Festival concert series, offering performances of music, video, film, and live electronic works by artists from universities and centers throughout the United States and abroad. | | | The Center for Computer Music, part of the Conservatory of Music, promotes musical and interdisciplinary projects using a variety of computer platforms and software applications. | | | The centers control room is linked to a medium-sized room for solo and chamber music recordings and to a fully equipped 500-seat theater for larger ensembles. |
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http://www.brooklyn.cuny.edu/bc/fac/music.htm
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| | New Music for Computer and Other Machines by Kitty Brazelton |
| | Brad Garton at Columbia University Computer Music Center)---once my teacher (I took his intro course three times and never retained an algorithm)---has been generous in offering me the use of their facilities. | | | Columbia University Computer Music Composers, Merce Cunningham Studio, May, 1990; Bard College, June 1990; University of Illinois/Champagne-Urbana Computer Music Concert, July 1991; Computer Music Conference, Athens, Greece, Summer 1991. | | | Although I've been making computer music for quite a while now--long enough to have experienced tens of generations of change in UNIX---I still know nothing and have to ask questions and stumble into everything I do. |
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http://www.kitbraz.com/cmpsr/cat/cptr/computer.html
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| | CDCM |
| | The critically acclaimed CDCM Computer Music Series on Centaur Records continues with the production and release, 1988-1999, of thirty-two compact disc releases, Volumes 1-32, produced and distributed worldwide as a recorded repertoire of the best new computer music, maintaining the highest quality performance and recording standards. | | | Inaugurated in 1988, this is a historic series of digital recordings of significant computer music compositions created by composers affiliated with major computer music centers and/or working independently. | | | Four distinctive Series themes are presented: "The Computer Music Studio" (Vols. |
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http://www.music.unt.edu/CDCM
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| | Hickey's Music Center Online - Sheet Music, Accessories, Instruments, Compact Discs & More! |
| | Hickeys is your source for music of the Canadian Brass—brass quintets and quintet collections, graded solo collections & solo play-alongs. | | | Welcome to Hickey's Music Online, one of the internet's longest running catalogs of printed sheet music, accessories, recordings and musical instruments. | | | Use Sheet Music Direct to find, view, transpose & play any of thousands of individual song titles. |
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http://www.hickeys.com
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| | CNMAT Computer Music |
| | We present concerts that cross cultural and musical barriers and could as easily feature traditional ethnic music as state of the art computer music. | | | A satellite of the UC Berkeley Department of Music, CNMAT is an interdisciplinary research center, drawing participants from many university departments including physics, mathematics, electrical engineering, psychology, computer science, cognitive science and music. | | | CNMAT is a music research, composition, teaching, recording and performance facility located in the hills just north of the UC Berkeley campus. |
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http://www.cnmat.berkeley.edu
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| | UW Libraries - Music Library - Electronic Music |
| | History of Electronic and Computer Music including Automatic Instruments and Composition Machines | | | MusiNum - The Music in the Numbers by Lars Kindermann | | | The Center for New Music & Audio Technologies (CNMAT) UC Berkeley |
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http://www.lib.washington.edu/music/electronic.html
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| | Computer Music (MUSC 216) |
| | Welcome to the home page for Blair School of Music's course on Computer Music. | | | This is another good point of departure for access to many good computer music related info sources. | | | There are a few news groups related to computer music, including comp.music and rec.music.synth. |
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http://www.vanderbilt.edu/Blair/Courses/MUSC216/evans/MUSC216.html
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| | WNYC - New Sounds: Computer Music (November 26, 2004) |
| | We hear "Dan’s Toys" by Brad Garton, who is director of the Computer Music Center at Columbia University. | | | A weeklong on-air music festival designed to help you create the classical music library of your dreams. | | | For over half a century, some of the freshest currents in electronic music have emerged from university music departments. |
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http://www.wnyc.org/shows/newsounds/episodes/11262004
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