Sound and music computing

Seminar by Mark Sandler on Semantic Audio

MTG (Universitat Pompeu Fabra) - 4 hours 43 min ago
8 Sep 2014

Mark Sandler, from the Centre for Digital Music of Queen Mary University of London, gives a seminar on monday September 8th 2104 at 15:00h in room 55.309 on "Semantic Audio: combining semantic

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Nacht van de Klassieke Muziek [Dutch]

Op vrijdagavond 19 september 2014 zendt de NTR op NPO 2 een live televisieprogramma rond de NPO Radio 4 Hart & Ziel Lijst uit. Presentator Hans Haffmans onderzoekt samen met Mike Boddé en muziekwetenschapper Henkjan Honing waarom en hoe luisteraars zich laten raken door klassieke muziek. Wat is het geheim van het ritme van de Sacre du Printemps, wat maakt Erbarme dich een tranentrekker? Ook verhalen van luisteraars komen aan bod. Waarom kun je zo goed hard autorijden met het Vioolconcert van Philip Glass op de autoradio? Of hoe kan het dat de sonates van Scarlatti voor altijd verbonden zijn met het lezen van een Russische roman?

FRI Student Affairs Availability during Enrolment

FRI - News and Events - Sun, 08/31/2014 - 23:00

In July, our faculty relocated to a brand new building.

Integrating high level information into state of the art language and speaker recognition systems

KTH Royal Institute of Technology - Fri, 08/29/2014 - 19:00

Time: Fri 2014-08-29 15.00 - 17.00

Location: TMH, Room Fantum, 5th floor, Lindstedtsvägen 24

Type of event: Seminars

Saison 2014.15

IRCAM - Fri, 08/29/2014 - 09:00

Découvrez la nouvelle saison artistique de l'Ircam (concerts, spectacles, opéra, théâtre...) et achetez vos places en ligne.

AES E-News: August 26, 2014

AES E-News - Tue, 08/26/2014 - 19:08
1. 137th Convention
2. John Krivit is new President-Elect
3. Upcoming Conferences
4. New Member Benefit
5. Job Board Update
6. AES Journal July/August Issue

Présences électronique Genève - novembre 2014

INA-GRM - Tue, 08/26/2014 - 13:10
21 Novembre, 2014 - 22 Novembre, 2014

21+22 novembre 2014

GENÈVE/Salle BFM

PLACE DES VOLONTAIRES 2_1204 GENÈVE

 

PRÉSENCES ÉLECTRONIQUES GENÈVE

L' Agenda du GRM

PRESENCES électronique Paris - Mars 2015

INA-GRM - Tue, 08/26/2014 - 12:52
6 Mars, 2015 - 8 Mars, 2015

6+7+8 mars 2015

En coproduction avec le CENTQUATRE et RadioFrance

PARIS/CENTQUATRE

5, RUE CURIAL 75019 PARIS- METRO RIQUET-www.104.fr

 

PRESENCES électronique 2015

Vendredi 6 mars

19 h (Salle 400)

Keith FULLERTON WHITMAN

Ilhan MIMAROGLU (1926-2012)

 

21h (Nef Curial)

Vincent-Raphaël CARINOLA

SUPER COLOR PALUNAR (Lionel PALUN+Jérôme NOETINGER)

Antoine CHESSEX

Pete SWANSON

 

Samedi 7 mars

16 h (Salle 400)

Sophie AGNEL

Frederick GALIAY

 

18h (Salle 400)

Pionnières de la musique électronique par Carole RIEUSSEC

 

20h (Nef Curial)

Bernard PARMEGIANI

Bjarni GUNNARSON

Ilpo VÄISÄNEN

Holly HERNDON

 

Dimanche 8 mars

16 h (Salle 400)

Knud VIKTOR (1924 – 2013)

Esther VENROOY

 

18h (Salle 400)

Régis RENOUARD LARIVIÈRE

Benjamin THIGPEN

 

20h (Nef Curial)

Thierry BALASSE

ZAVOLOKA + KOTRA

Norbert MÖSLANG

Charles COHEN

 

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Akousma-MPAA- Octobre 2014

INA-GRM - Tue, 08/26/2014 - 12:41
9 Octobre, 2014 - 12 Octobre, 2014

9+10+11+12 octobre 2014

PARIS/MPAA Saint-Germain

MAISON DES PRATIQUES ARTISTIQUES AMATEURS -4 RUE FÉLIBIEN 75006 PARIS

MÉTRO : ODÉON / MABILLON

 

AKOUSMA

Jeudi 9 Octobre 19h30 : « L’art des sons en quadriphonie »

Bernard PARMEGIANI (1927 – 2013) « Capture éphémère » (1967)

Alain SAVOURET « Valse molle » (1971)

John CHOWNING « Turenas » (1972)

Alejandro VIÑAO « Hendrix haze » (1983)

Kazuyuki Kishino NULL « Cryptozoon quadriphonic » (2013)

 

Vendredi 10 octobre 19h30

Bernard PARMEGIANI « Rêveries » (2007)

Françoise BARRIÈRE « Hera Acedia », arioso pour voix, images et électroacoustique

voix et images : Clarisse CLOZIER création française

Jacques LEJEUNE « Parages » (1972/1974)

 

Samedi 11 octobre 19h30

Bernard PARMEGIANI « L’instant mobile » (1966)

Monique JEAN « T.A.G. » création française

Christophe RUETSCH « Point de fuite » création, commande Ina GRM

Pierre-Yves MACÉ « Phonotopies 1 » création, commande Ina GRM

 

Dimanche 12 octobre 18h00

Concert des lauréats du concours Banc d’essai

 

Corsin VOGEL « Varèse Expanded »

Jules WYSOCKI « Esquisse aux cris »

Aymeric BORNE « Contemplation de l'Evolution »

Ludwig BERGER « Mapping of hypothetical islands on the sale 1:1»

Florent COLAUTTI « Jupiter »

Gianluca VERLINGIERI « Fontana Remix »

Maxime BARTHELEMY « Bleu, Blanche, Rouges »

: SUCH : « Monte-Charge »

Rafael MUNOZ GOMEZ « Stuck »

David TRESCOS « IOS »

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Benjamin Thigpen residency, Rust concert

Bergen Center for Electronic Arts - Tue, 08/26/2014 - 12:38

The composer and musician Benjamin Thigpen is currently artist in residency at USF. In addition to electroacoustic composition, he performs live as an electronic musician. On September 2 Rust (Jean-François Laporte and Benjamin Thigpen) will give a concert and post-concert presentation at the Landmark, in Bergen. The will use and discuss the new instrumental configurations that they have been developing over the past year. BEK supports the residency. The concert is organised by Ny Musikk Bergen.

In addition to electroacoustic composition, I perform live as an electronic musician, primarily in the context of two duos – Rust, with Jean-François Laporte and Les Frères Bobine, with Stefano Bassanese. For these musical activities I construct my own electroacoustic instruments.

“Les Frères Bobine (Benjamin Thigpen and Stefano Bassanese) use inductors, coils, small metallic objects, amplifiers and computers to generate silent magnetic feedback loops. These “electromagnetic oscillators” are our instruments – at once material and virtual, digital, analog and acoustic. Through continual gestural control, we interact with them and influence them, without seeking total control. They behave like natural process, producing sounds that are fascinating, unpredictable and organic."

“Rust consists of Jean-François Laporte and Benjamin Thigpen playing newly-invented instruments – acoustic, electronic or electroacoustic. Since 2013, we have been developing our instrumentarium in a new direction. These configurations consist of numerous “prepared” piezoelectric contact microphones which are manipulated manually in conjunction with various vibrating objects and which are also brought into contact with small speakers and “exciters.” The signals produced in this way pass thru the computer where where the sound is further magnified and enriched. What results are complex fields of short-range acoustic feedback, an immersion in the materiality of sound, direct contact with vibrational energy, a sonic experience that is organic, physical, visceral – at times delicate and subtle, a times overpowering and extreme."

I am currently devoting a three-month artist’s residency at AIRBergen to the development of these two overlapping, intersecting instrumental configurations: soldering, building, exploring, experimenting, researching… It is a fantastic opportunity to systematically and methodically develop these instruments: giving all the time necessary to each element of the chain, moving gradually towards a setup that is ergonomic, portable and musically rich – varied, controllable (at least up to a point!) and fluid. It has become increasingly clear to me that this development will continue for many years, but here in Bergen I am laying a solid foundation for everything to come.

During this residency, the support of BEK has been incredibly helpful! Much of what I am doing would be much more difficult or totally impossible without the open access to the space and use of the tools.

 

Benjamin Thigpen, nomad, born in the United States, with degrees in English Literature, Comparative Literature and “Esthetics, Technologies and Artistic Creations,” immigrated to Paris at the age of 31. Since then, he has composed at GRM (Paris), at Musiques et Recherches (Belgium), at SCRIME (Bordeaux), at EMS (Stockholm), at the Visby International Centre for Composers (Sweden), at STEIM (Amsterdam), at Djerassi (California), at l’Espace Totem (Montreal), in his bedroom and in the train.

After 6 years at Ircam (Paris) and 7 at the Conservatory of Cuneo (Italy), he currently teaches computer music and (psycho)acoustics at Arts2 (Mons, Belgium), while also working as a free-lance programmer and musician.

He makes music for loudspeakers: electroacoustic works (composed on electromagnitic support); pieces for live computer performance; interactive music for computer and acoustic instrument(s); computer improvisation. His music is concerned with issues of energy, density, complexity, movement, simultaneity and violence, and he often works extensively with space as a primary compositional parameter. He thinks that music does not exist in time but rather creates it, and considers that music is not the art of sound but the art of the transcendence of sound.

Time and place:
  • AIR Bergen, USF - 01/07/2014 to 29/09/2014
  • Ny Musikk Bergen, Landmark - 02/09/2014 21:00

Ars musica- Bruxelles - Novembre 2014

INA-GRM - Mon, 08/25/2014 - 12:48
28 Novembre, 2014 - 29 Novembre, 2014

28+29 novembre 2014

BRUXELLES/ La Raffinerie

RUE MANCHESTER, 21_1080 MOLENBEEK-SAINT-JEAN BRUXELLES Ars Musica International Contemporary Music Festival

Vendredi 28 novembre 22h

Bernard PARMEGIANI

KYƵYL (Galiay/Perraud/Zanési)

Mark FELL

 

Samedi 29 novembre 22h

Daniel TERUGGI

Yokô HIGASHI

Hildur GUDNADÓTTIR

BIOSPHERE

 

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Akousma - MPAA - Paris -janvier 2015

INA-GRM - Sun, 08/24/2014 - 12:50
23 Janvier, 2015 - 25 Janvier, 2015

23+24+25 janvier 2015

PARIS/MPAA Saint-Germain

MAISON DES PRATIQUES ARTISTIQUES AMATEURS -4 RUE FÉLIBIEN 75006 PARIS

MÉTRO : ODÉON / MABILLON

 

AKOUSMA

Vendredi 23 janvier 19h30 Concert Horacio VAGGIONE

« Points critiques » (2011)

« Arches » (2013)

« Consort for convolved pianos » (2012)

« Mécanique des fluides » création commande de l’Etat

 

Samedi 24 janvier 19h30

Bernard PARMEGIANI « Immer/sounds » (1999)

Simon ATKINSON « Nocturne aquatique » création, commande Ina GRM

James O’CALLAGHAN « Empties – impetus » création, commande Ina GRM

Partenariat/échange avec LE VIVIER de Montréal

Gilles SIVILOTTO « Cinq matières » création, commande de l’Etat

eRikm « Molaire – meta bruit sociétal » création, commande de l’Etat

 

Dimanche 25 janvier 18h00

Bernard PARMEGIANI « Stries » (1980)

Pour bande magnétique et synthétiseurs

Synthétiseurs : Colette Broeckaert, Martin Lorenz et Sebastian Berweck

François BUFFET « Nous y sommes » création, commande Ina GRM

François BONNET « Suite obsidionale » création

Mirtru ESCALONA MIJARES « L’ermitage au toît de chaume » création, commande Ina GRM

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AKOUSMA et LIVE ELECTRONIC - Paris -avril 2015

INA-GRM - Sat, 08/23/2014 - 12:57
25 Avril, 2015 - 26 Août, 2015

25+26 avril 2015

PARIS/Studio 104 - Olivier Messiaen

MAISON DE RADIO FRANCE, 116 AVENUE DU PRESIDENT KENNEDY 75016 PARIS

 

AKOUSMA et LIVE ELECTRONIC

Samedi 25 avril 20h

Mark APPLEBAUM « Aphasia » (Vidéo)

Bernard PARMEGIANI « L’écho du miroir » création de la version définitive (2008)

Juanjo MOSALINI + Olivier SENS « Discrets times »

ONE (Orchestre National d’Electroacoustique)

Serge DELAUBIER/ Laurence BOUCKAERT/ Pierre COUPRIE/Hugues GENEVOIS/ Vincent GOUDARD/ Jean HAURY/ György KURTAG

 

 

 

Dimanche 26 avril 18h

Gérard BUQUET « L’astre échevelé » pour saxophone et électronique

Saxophone : Vincent DAVID

Eryck ABECASSIS « Chrysalide » création, commande Ina GRM

Agostino DI SCIPIO « Dal fondo » formations sonores avec piano, musique de répertoire, et dispositifs électroacoustiques en direct

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Seminar om intervenerende kunst

Bergen Center for Electronic Arts - Fri, 08/22/2014 - 10:27

Den 31.august arrangerer Skånes Konstforening et seminar som anbefales. Er du i nærheten-‘anmäl dig’! Skånes konstförening ligger i
Bragegatan 15 i Malmö.

http://skaneskonst.se/sweet-seved-ett-forskningsseminarium-om-intervenerande-konst/

Revue de web

IRCAM - Thu, 08/21/2014 - 23:00

Suivez l'actualité de l'Ircam dans les médias

September Writing Workshops

CLaSS is delighted to offer a series of workshops of interest to students who are thinking about improving their grades and getting ahead for this academic year. Come along and meet the CLaSS and Library teams who can support you in your work.
1st September 2014 Managing your dissertation or extended project1st September 2014 Researching your dissertation2nd September 2014 How to cite and reference material using the Harvard referencing system2nd September 2014 Taking a critical approach to  your work2nd September 2014 Making your writing flow3rd September 2014 Get stuff done!4th September 2014 Tips for stepping up your learning in year two4th September 2014 Top tips for academic writing4th September 2014 Planning and structuring your literature review
For further information and to book a place, click on link:http://www.library.dmu.ac.uk/Home/Calendar/

ATK Reaper: The Ambisonic Toolkit as JSFX plugins

Bergen Center for Electronic Arts - Thu, 08/21/2014 - 12:45

Trond Lossius and Joseph Anderson will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents a port of the Ambisonic Toolkit as a series of plugins for the Reaper DAW. ATK for Reaper brings both a comprehensive composition workflow model, the sound-field sound-image paradigm, and a set of versatile tools for working with Ambisonics to the DAW environment.

The paper will be available for download at the time of the conference, along with a first version of the ported plugins. The plugins are licensed according to the GNU LGPL Lesser Public License Version 3.

ATK Reaper: The Ambisonic Toolkit as JSFX plugins

by Trond Lossius (BEK) and Joseph Anderson (DXARTS, University of Washington)

Abstract

While there is a well-established workflow for stereo production in DAWs, options have been more limited when working with Ambisonics. The Ambisonic Toolkit (ATK) brings together a number of tools and transforms for working with first order Ambisonic surround sound, and includes intriguing possibilities for spatial soundfield imaging. These tools have previously only been available for public release via the SuperCollider real-time processing environment.

Cockos Reaper is a reasonably priced and flexible DAW, popular among many composers and sonic artists working with spatial sound. Reaper’s versatile design conveniently supports the ATK’s Ambisonic workflow model. Using the JSFX text-based scripting language, the ATK has now been ported to plugins for Reaper; these include intuitive graphical user interfaces.

Time and place:
  • The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014

Model-View-Controller separation in Max using Jamoma

Bergen Center for Electronic Arts - Thu, 08/21/2014 - 12:45

The upcoming version 0.6 of Jamoma enables model-view-controller separation in Max. The novel features that Jamoma 0.6 enables will be presented in a paper at the joint ICMC|SMC|2014 Conference in Athens, Greece. A demo session will further exemplify the many benefits of MVC separation in Max using Jamoma 0.6.

Both papers will be made available for download at the time of the conference. Alpha versions of Jamoma 0.6 are currently available.

Paper: Model-View-Controller separation in Max using Jamoma

by Trond Lossius (BEK), Theo de la Hogue (GMEA), Pascal Baltazar (L’Arboretum), Tim Place (74objects LLC), Nathan Wolek (Stetson University) and Julien Rabin (GMEA)

Absctract

The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, as well as views that can be dynamically loaded, bound to a model, and then disposed. Jamoma 0.6 enables MVC separation in Cycling’74 Max through custom externals and patching guidelines for developers. Models and views can then be nested for a hierarchal structuring of services. A local preset system is available in all models, along with namespace and services that can be inspected and queried application-wide. This system can be used to manage cues with modular, stringent and transparent handling of priorities. It can also be expanded for inter-application exchange, enabling the distribution of models and views over a network using OSC and Minuit. While this paper demonstrates key principles via simple patchers, a more elaborate demonstration of MVC separation in Max is provided in 1.

Demo: Using Jamama’s MVC features to design an audio effect interface

by Trond Lossius (BEK), Nathan Wolek (Stetson University), Theo de la Hogue (GMEA) and Pascal Baltazar (L’Arboretum)

Absctract

The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, and views that can be dynamically loaded, repurposed, and disposed.

The use of MVC is widespread in web applications, but is far less common in interactive computer music programming environments. Jamoma 0.6 enables MVC separation in Cycling’74 Max, as presented in 1. This demonstration will examine the development of a multi-band equaliser using these recent additions to Jamoma. This review of the design process will serve to highlight many of the benefits of MVC separation.

Time and place:
  • The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014

The SpatDIF library – Concepts and Practical Applications in Audio Software

Bergen Center for Electronic Arts - Thu, 08/21/2014 - 12:44

Jan Schacker, Chikashi Miyama and Trond Lossius will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents recent development of a `libspatdif’ C/C++ software library for SpatDIF, the Spatial Sound Description Interchange Format, as well as prototype implementations in Max, Pure Data and OpenFrameworks making use of the library.

The paper will be made available for download at the time of the conference.

The SpatDIF library – Concepts and Practical Applications in Audio Software

by Jan C. Schacher (Zurich University of the Arts Institute for Computer Music and Sound Technology ICST), Chikashi Miyama (University of Music, Cologne Studio for Electronic Music) and Trond Lossius (BEK).

Abstract

The development of SpatDIF, the Spatial Sound Description Interchange Format, continues with the implementation of concrete software tools. In order to make SpatDIF usable in audio workflows, two types of code implementations are developed. The first is the C/C++ software library `libspatdif’, whose purpose is to provide a reference implementation of SpatDIF. The class structure of this library and its main components embodies the principles derived from the concepts and specification of SpatDIF. The second type of tool are specific implementations in audio programming environments, which demonstrate the methods and best-use practices for working with SpatDIF. Two practical scenarios demonstrates the use of an external in MaxMSP and Pure Data as well as the implementation of the same example in a C++ environment. A short-term goal is the complete implementation of the existing specification within the library. A long-term perspective is to develop additional extensions that will further increase the utility of the SpatDIF format.

Time and place:
  • The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014

Call for beta testers : Ambisonic Toolkit for Reaper

Bergen Center for Electronic Arts - Thu, 08/21/2014 - 12:43

(by Trond Lossius)

Over the past 1 1/2 year I have gradually been porting Ambisonic Toolkit by Joseph Anderson et. al. to a set of JS FX plugins for Reaper. ATK for Reaper consists of a number of plugins for encoding, transforming and decoding FOA sound fields, and contain several functionalities that to the best of my knowledge are not available in existing plugin suites for FOA.

Me and Joseph have been writing a paper on the subject that will be presented as a poster at the upcoming joint ICMC / SMC conference in Athens. I’d like to have an initial release of ATK for Reaper available for download by the time of the conference, but before letting it out in the wild, it would be useful to have some beta-testing in order to ensure that there are no obvious malfunctions, omissions or bad interaction design decisions in the first release. Hence I’m looking for a few beta testers to give some initial feedback on the plugin suite.

I have made an installer for OSX that should make it easy to get up and going. For Windows installing currently will require a bit of manual copying into the correct folders. I have not tested the plugins on Windows myself yet, but as it is all based on the JS FX scripting language, I would expect them to work the same there as on Mac. On Windows it would also be possible to test them with other VST hosts using ReaPlugs.

In particular I’m looking for feedback of the type:

  • “This seems to work well”
  • “This is just not working”
  • “This is just plain wrong”
  • “This is really nice and intuitive”
  • “This is not intuitive at all”
  • “I have a suggestion for an improvement: …”
  • etc.

Initial reactions to the plugins are particular useful, as the first reaction to user interfaces are often quite informative in terms of how the user interaction design works (or not).

If you are (1) a regular user of Reaper, (2) have prior experience with first order ambisonic, and (3) have the interest and some available time over the next two weeks for testing and providing feedback, please contact me. If you have prior experience with ATK for SuperCollider, that would be useful as well. Please also provide me with information on what OS you are using.

And if you have prior experience with building installers for Windows that would be particularly useful, I might need some help when attempting to solve this one.

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