Serving the San Francisco Bay Area New Music Community

660 Lomita Dr.
Stanford CA 94305  

The Stanford Center for Computer Research in Music and Acoustics (CCRMA) 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.

Pronouncing "CCRMA":
CCRMA is an acronym for the Center for Computer Research in Music and Acoustics it is pronounced "karma" (the first "c" is silent).

Areas of ongoing interest:
Composition, Applications Hardware, Applications Software, Synthesis Techniques and Algorithms, Physical Modeling, Music and Mobile Devices, Sensors, Real-Time Controllers, Signal Processing, Digital Recording and Editing, Psychoacoustics and Musical Acoustics, Perceptual Audio Coding, Music Information Retrieval, Audio Networking, Auditory Display of Multidimensional Data (Data Sonification), and Real-Time Applications.

The CCRMA community:
Administrative and technical staff, faculty, research associates, graduate research assistants, graduate and undergraduate students, visiting scholars, visiting researchers and composers, and industrial associates. Departments actively represented at CCRMA include Music, Electrical Engineering, Mechanical Engineering, Computer Science, Physics, Art, Drama, and Psychology.

Center activities:
Academic courses, seminars, small interest group meetings, summer workshops and colloquia. Concerts of computer music are presented several times each year, including exchange concerts with area computer music centers. In-house technical reports and recordings are available, and public demonstrations of ongoing work at CCRMA are held periodically.

Research results:
Are published and presented at professional meetings, international conferences and in established journals including the Computer Music Journal, Journal of the Audio Engineering Society, the Journal of the Acoustical Society of America, and various transactions of the Institute of Electrical and Electronic Engineers (IEEE). Compositions are presented in new music festivals and radio broadcasts throughout the world and have been recorded on cassette, LP, and compact disk.

CCRMA affiliation:
The Center for Computer Assisted Research in the Humanities (CCARH), also located at Stanford. CCARH conducts research on constructing computer databases for music, and on creating programs that allow researchers to access, analyze, print, and electronically perform the music. This focus is complementary to research at CCRMA in several ways.

Support for CCRMA:
The late Doreen B. Townsend, Walter Hewlett, the California Arts Council, the Ann and Gordon Getty Foundation, the Mellon Foundation, the National Endowment for the Arts, the National Science Foundation, the Rockefeller Foundation (for artists-in-residence), the System Development Foundation, Apple Computer, ATR Human Information Processing Research Labs, Aureal Semiconductor, Bio Control, Crystal Semiconductor, Digidesign, Dynacord, E-mu, Fast Mathematical Algorithms and Hardware, Fender Musical Instruments Corporation, Hewlett Packard, IBM Computer Music Center, Interval Research, ITRI CCL Taiwan, Kind of Loud Technologies, Korg, Matsushita, Media Vision, McDSP, NEC, NeXT Computer, Nokia Group, NTT Communication Science Laboratories, Opcode Systems, Philips Semiconductors, Rockwell International, Roland, Sony, Symbolics, Texas Instruments, Universal Audio/Kind of Loud Technologies, Xerox Palo Alto Research Center, Yamaha, Young Chang R&D Institute, Zeta Music Partners, and private gifts.

Upcoming Events:
Thursday, February 20 2020 7:30 PM
CCRMA presents a double bill concert with Ezra Buchla and Alex Chechile.

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Thu | Feb 20 | 7:30pm
CCRMA Stage, The Knoll
FREE and open to the public
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Alex Chechile: Ear Tone Etudes & Interludes (2020)

Difference tones are sounds generated inside the ear and are perceived as emerging from within the head. Unlike acoustic tones in the room, difference tones are not physically present outside of the body. The phenomenon allows for creative opportunities such as expanded harmony, and the creation of a spatial depth of field between the acoustic tones in the room and the tones generated in the ear. Chechile recently completed a psychoacoustic study examining the perception of a spectrum of difference tones. The "Ear Tone Etudes" is a series of short pieces that explore the unique properties of the results.

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Ezra Buchla makes music, primarily using viola, voice and computer. His solo musical work deals in folk tonality, indeterminacy, dense psychedelic song, and electronic formalism. A common theme is the realtime generation of large musical and harmonic structure from small musical gestures captured as acoustic feature sets. As a collaborator, Ezra fronted two fairly notorious live bands in the west coast "experimental pop" world of the early 2000's, and has collaborated widely with a diverse cast of artists including Carla Bozulich, Clipping., Claire Cronin, Andre Vida, Tashi Wada, Chelsea Wolfe, and many others. as a technologist, Ezra has spent many years building software and firmware in collaboration with Buchla and associates,, and many individual creative clients. He currently works as a researcher in the hearing-assistance space and remains involved as an open-source developer on project such as monome's 'norns' linux audio device. Ezra studied viola performance, mathematics, and music composition at oberlin and calarts, his academic mentors including Tom Erbe, Michael Pisaro, and James Tenney.

Alex Chechile is an artist and composer whose work develops in parallel with research in neuroscience, psychoacoustics, and the biomechanics of hearing. His electroacoustic compositions and installations bring transparency to otherwise invisible processes in biology and technology. He received awards and support from the Mellon Foundation, the New York State Council on the Arts, Harvestworks, Issue Project Room, the Experimental Television Center, the Deep Listening Institute, and the American Embassy. His work has been presented worldwide at festivals and venues including the Cité Internationale des Arts, MoMA, ICMC, Electronic Music Midwest, EMPAC, the New York Electronic Arts Festival, and IRCAM. Alex was a founding member of Pauline Oliveros’ Tintinnabulate ensemble, collaborated with Mercury Rev, and opened for Primus. Chechile is in the final year of his doctoral studies at Stanford University, where he is completing his dissertation Practical Applications of Difference Tones in Electronic Music Composition and Synthesis.  More...

Friday, March 6 2020 7:30 PM
CCRMA presents "Salt Itinerary", a new op-era by the Miso Ensemble.
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Fri | Mar 6 | 7:30pm
CCRMA Stage, The Knoll
FREE and open to the public

"Salt Itinerary" multimedia opera transcends theatrical and music conventions. A New form of Opera, Electroacoustic Theatre, Musical Theatre, Sound Poetry?

Reflecting on Art and Madness, it revolves around languages, words as meaning and words as sound. Both are used as an extension of the body and melted in the construction of the staging as a tangible projection of the resonance of the words through sound and image.

Live audio and video electronic processing and diffusion of the voice, poetry, gestures, music and the drawings creates a polyphony of senses and a counterpoint of meanings.

Molding sounds, lights, pictures and movements as if being drawn, painted or carved, "Salt Itinerary" is a powerful, engaging and challenging combination of music and drama by one performer that shapes new grounds in electronic music and breaks boundaries between music, theatre, opera.

Miguel Azguime: performance, composition, texts, and concept
Paula Azguime: staging & video creation; sound projection, live-electronics
Perseu Mandillo: video directing & live video, computer assistant
Andre Bartetzki: video programming
Miso Studio: technical development

DGARTES (Direção-Geral das Artes)
República Portuguesa Cultura
Co-funded by the Creative Europe Programme of the European Union  More...


July 10-14
CCRMA Summer Workshop
Stanford University, CA

Electronic Arts Ensemble is designed for musicians, visual artists, programmers, designers, writers, dancers, actors, or artists of any discipline to collaboratively develop improvisatory performances using custom digital toolkits. 
The workshop will address topics including:
performance practices, with a focus on improvisation
music performance software (Max/MSP, Max4Live, Ableton Live, etc.)
video performance software (Jitter, Premiere Pro, After Effects, etc.)
hardware and sensors (Arduino, Kinect, MIDI controllers, etc.)
networked performance (OSC, JackTrip, etc.)

The schedule includes lectures, demos, discussions, and lab time. At the core of the workshop, daily group improvisations using customized toolkits will enable participants to develop a novel approach to their individual artistic practice. Participants are encouraged to experiment with the technology presented during the demos, and to engage with their peers in synergetic creation. The multidisciplinary ensemble will stage a public performance on the last day of the workshop.
Participants should either have an established artistic discipline, or have experience with programming and digital media. Both would be ideal, but not required. It is recommended that participants bring their own laptops and instruments, cameras, projectors, or other electronic gear.

About the instructors
Alex Chechile is an artist and composer whose work develops in parallel with research in neuroscience, psychoacoustics, and the biomechanics of hearing. His electroacoustic compositions and installations bring transparency to otherwise invisible processes in biology and technology. His work has been shown across the United States, Europe, and Asia. His projects have been supported by The New York State Council on the Arts (NYSCA), Harvestworks (NYC), Issue Project Room (NYC), the Experimental Television Center (NY), the Deep Listening Institute (NY), and the American Embassy. His work has been presented at MoMA, The 2011 New York Electronic Arts Festival, and SIGGRAPH San Diego. Alex performs in the SideLObe chamber laptop ensemble with Ge Wang, was a founding member of Pauline Oliveros' Tintinnabulate ensemble, collaborated with Mercury Rev, and opened for Primus. Chechile is a Ph.D. candidate at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), and holds an MFA in Electronic Art from Rensselaer Polytechnic Institute and a BA in Music from Tufts University.
Constantin Basica is a Romanian composer living in the San Francisco Bay Area, whose current work explores perceptual illusions in the context of audiovisual performance. His compositions include pieces for solo instruments, chamber ensembles, orchestra, and opera. In recent years, he has been composing multimedia works for acoustic instruments, electronics, and video, which have been performed in Europe and in the United States by artists such as Séverine Ballon, Tony Arnold, Elision Ensemble, Ensemble Dal Niente, Ensemble Liminar, JACK Quartet, and Spektral Quartet. Constantin is the Alice Wilber Chapman graduate fellow at Stanford University, where he is working toward a D.M.A. in Composition. He received an M.A. degree in Multimedia Composition from the University of Music and Theater Hamburg, Germany, and two B.A. degrees in Composition and Conducting from the National University of Music Bucharest, Romania. As a teaching assistant at Stanford University, Constantin received the Chair’s Award for Excellence in Teaching in 2015. He was also one of the lecturers at the 2016 Sound and Music Computing Conference and Summer School in Hamburg, Germany.