Serving the San Francisco Bay Area New Music Community

                 
CCRMA
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.
https://ccrma.stanford.edu/

Upcoming Events:
Thursday, October 17 2019 7:30 PM
CCRMA presents ENS EKT

ENS EKT features the experimental musical inventions of Paul Stapleton (Californian born, Belfast-based) placed in dialogue with the circular breathed multiphonics and harmonic textures and the resonant gestural and spectrally focused playing of the other band members. The group explores emergent timbral, dynamic and social musical structures through improvisation. Having worked together more frequently in duo settings, the trio configuration offers an opportunity to explore new modes of interactions in part facilitated by purpose built technologies that intertwine metallic, wooden and electronic resonances in real time.

− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −
Thu | Oct 17 | 7:30 PM
CCRMA Stage, The Knoll
FREE and open to the public
ccrma.stanford.edu/about/directions
music.stanford.edu/venues/ccrma-stage/ccrma-accessibility
− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −  More...

Friday, October 25 2019 7:30 PM
CCRMA presents "In Search of Lost Beauty..." by Žibuoklė Martinaitytė

“In Search of Lost Beauty…” (2016) is a sequence of audiovisual novellas for violin, cello, piano, electronics and video on the elusive subject of beauty. Here the experience of time is slowed down as to transport us into an alternate dimension where the commonly apprehended reality is inverted into the otherworldly mystique of reflections and shadows. The amplitude of this ephemeral search for beauty encompasses phenomena found in nature, everyday life and art. The piece consists of 10 sections, which are woven into one structural entity of suggestive coherence.


Concept, music and video by Žibuoklė Martinaitytė

Performers:
Karen Bentley Pollick, violin
Monica Scott, violoncello
Marja Mutru, piano

− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −
Fri | Oct 25 | 7:30pm
CCRMA Stage, The Knoll
FREE and open to the public
ccrma.stanford.edu/about/directions
music.stanford.edu/venues/ccrma-stage/ccrma-accessibility
− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −

Described by WQXR as a “textural magician”, Žibuoklė Martinaitytė is a New York- based Lithuanian composer whose works explore the tensions and longings of identity and place. In her chamber and orchestral compositions, she creates sonic environments where musical gestures emerge and disappear within transparencies and densities of sound layers. It’s music that slides on the very blades of emotions.

Having started her creative career in Europe after graduating from the Lithuanian Music Academy, for the last decade Žibuoklė’s activity has been rooted in the USA. In 2008 the MATA festival commissioned her to write the piece “Polarities” for the Knights Chamber Orchestra. She received commissions from the Barlow Endowment (2012), “Look+Listen” festival (2017), Volti (2018), a fellowship for the Other Minds festival (2011) and the New Works residency at Harvestworks, New York (2016). Her first USA orchestral performance of Horizons took place at the Composers Inc. concert in Berkeley, California (2015). In 2017, she was granted the Copland House Sylvia Goldstein award and the Composers Now award for residency at the Pocantico Center, NY. She received several fellowships for creative residencies at the MacDowell Colony (2009, 2011, 2019), Aaron Copland house (2010, 2019), Millay Colony (2012), The Blue Mountain Center (2015), Cité Internationale des Arts in Paris, France (2015), Djerassi Artists Residency (2017) and Willapa Bay residency (2018).

Martinaitytė studied composition at the Lithuanian Music Academy (BM, MA) with Bronius Kutavičius and Julius Juzeliūnas. Constantly attempting to broaden her horizons and advancing her compositional technique after completing formal studies, Martinaitytė has been taking part in various composition workshops and courses in Europe. She attended the Darmstadt New Music Summer Courses, Centre Acanthes/Ircam, Royaumont, the 6th International Academy for New Composition and Audio Art in Schwaz, Tirol and Stavanger studying with Brian Ferneyhough, Boguslaw Schaffer, Magnus Lindberg, Tristan Murail and Jonathan Harvey. In 2001, she was granted her first creative residency at Künstlerhaus Lukas der Stiftung Kulturfonds, Germany.

Martinaitytė’s music has been performed throughout Europe, The USA and Asia by Nouvel Ensemble Moderne (Canada), The Smith Quartet (UK), ERGO Ensemble (Canada), The Orchestra of Mons Royal Conservatoire (Belgium), The Lithuanian Chamber Orchestra, The Lithuanian National Symphony Orchestra and others.

− · − ·  − · − · · − ·  − − · −

Karen Bentley Pollick (violin) has performed as violinist with Paul Dresher’s Electro Acoustic Ensemble since 1999 and performs a wide range of solo repertoire and styles on violin, viola, piano and Norwegian hardangerfele. A native of Palo Alto, California, she studied with Camilla Wicks in San Francisco and with Yuval Yaron, Josef Gingold and Rostislav Dubinsky at Indiana University where she received both Bachelors and Masters of Music Degrees in Violin Performance. She has several recordings of original music, including Electric Diamond, Konzerto & Succubus, and Ariel View, for which she has received three music awards from Just Plain Folks, including Best Instrumental Album and Best Song. On her own record label Ariel Ventures she has produced Dancing Suite to Suite, , Homage to Fiddlers, Russian Soulscapes, and Peace Piece. She filmed Dan Tepfer’s Solo Blues for violin & piano in Shoal Creek, Alabama, in June 2009.

Pollick was concertmaster of the New York String Orchestra at Carnegie Hall in 1983 and 1984 and has participated in the June in Buffalo and Wellesley Composers Conferences. She has appeared as soloist with Redwood Symphony in the world premiere of Swedish composer Ole Saxe’s Dance Suite for violin and orchestra, the Alabama Symphony, and orchestras in Panama, Russia, Alaska, New York and California. She has performed in recital with Russian pianist/composer Ivan Sokolov at the American Academy of Rome, Seattle and New York City, throughout the Czech Republic with cellist Dennis Parker at the American Spring Festival, and in England at the Huddersfield Contemporary Music Festival. Along with choreographer Teri Weksler and percussionist John Scalici, Pollick received a Cultural Alliance of Greater Birmingham 2008 Interdisciplinary Grant to Individual Artists. Pollick received a grant from the Alabama State Council for the Arts and the National Endowment for the Arts for her March 2010 Solo Violin & Alternating Currents concerts in Birmingham, Seattle and at Music Olomouc 2011. She launched Violin, Viola & Video Virtuosity with New York video artist Sheri Wills in November 2012 in Brooklyn and Seattle. She has toured with the Paul Dresher Double Duo since 2009. Pollick performs on a violin made by Jean Baptiste Vuillaume in 1860 and a viola made in 1987 by William Whedbee.

− · − ·  − · − · · − ·  − − · −

Marja Mutru (piano) received her Master’s degree in piano performance from the Sibelius Academy in her native Finland. In 1995, she participated in the European premiere of John Adams’ opera I Was Looking at the Ceiling and Then I Saw the Sky, which toured extensively through Europe, and recorded the piece for Nonesuch Records with Finnish ensemble Avanti! Since settling in the San Francisco Bay Area, Marja has worked with local chamber music ensembles, such as Earplay, the San Francisco Contemporary Music Players, and the Kronos Quartet. She has also performed solo piano repertoire by local composers, including John Adams, Richard Felciano, Paul Dresher, Mark Grey, and Erling Wold, and has recorded Wold’s two chamber operas, as well as his Albrecht’s Flügel for solo piano. She joined the Paul Dresher Ensemble in 1998. In addition, Marja has worked as a vocal repertory coach at San Jose State University and the California Institute of the Arts, and most recently participated in the world premiere of Sheli Nan’s chamber opera The SAGA of the 21st Century Girl.

− · − ·  − · − · · − ·  − − · −

Monica Scott (‘cello) has performed throughout the United States, in almost every European country, Argentina, Canada and South Korea, engaging audiences with her energetic, eloquent playing. After an artist residency at the Banff Centre (Canada) in 1994, Monica performed for four seasons with the Orquestra Metropolitana de Lisboa in Portugal, with whom she also appeared as concerto soloist. Since moving to the Bay Area in 1998, Monica has been actively promoting new music, as a member of the composer/improviser collective sfSound, and performing with Composers’ Inc., the Composers Alliance, and in numerous chamber music groups; she was the cellist of the award-winning San Francisco-based Del Sol String Quartet from 2001-2005. In 2006, Monica formed the cello-piano duo martha & monica with pianist Hadley McCarroll. They perform regularly throughout the region, presenting ambitious programs of masterworks and challenging contemporary repertoire – recent projects included a year-long residency at Old First Concerts offering pre-concert moderated discussions with novelist Sylvia Brownrigg, art historian John Zarobell and composer Thomas Adès – a mini-series at Z-below that showcased 11 contemporary works, including Morton Feldman’s 100-minute Patterns in a Chromatic Field, and a 10th anniversary program at Berkeley Chamber Performances featuring a commissioned work by Omid Zoufonoun and Thomas Adès’ Lieux retrouvés. Monica is also a devoted teacher, serving on the faculty of the Crowden School (cello, chamber music and music history), coaching for the Chamber Musicians of Northern California, and maintaining a large private studio.  More...

Thursday, October 31 2019 7:30 PM
"HYLAEA ReSpoken" is a collection of live cinema (sound/moving image) movements that seeks to reanimate the residues of lost ecological memory. The project enriches the transcoding of bio- and ecoinformatic data to soundscape thru the re-witnessing of endangered and extinct habitats and uncertain biodiversity.

The compendium of works interlaces lifecycles to the afterlife, through sonic and visual immersion, to recollect the complex imagined distance between genomic and ecoacoustic expression. "HYLAEA ReSpoken" folds and refolds the digital/visual residues from emergent extremophiles into the tenuous fate of terrestrial and ocean ecosystems as they have become ensnared by the hand of human-induced extinction. The intent of the work is a temporal suspension of audience into a sensorial crosslinking of time, space and phylogeny.

− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −
Thu | Oct 31 | 7:30pm
CCRMA Stage, The Knoll
FREE and open to the public
ccrma.stanford.edu/about/directions
music.stanford.edu/venues/ccrma-stage/ccrma-accessibility
− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −

Timothy Weaver is a new media artist, life scientist and bioenvironmental engineer whose concerted objective is to contribute to the restoration of ecological memory through a process of speculative inquiry along the art | science interface. His recent interactive installation, live cinema, video, and sonic projects have been featured at 100+ venues across North America, South America, Europe and Asia, including: FILE/FILE Hipersonica (Brazil), Transmediale (Berlin), New Forms Festival (Vancouver), Subtle Technologies (Toronto), Korean Experimental Art Festival (Seoul), Museum of Modern Art (Cuenca, Ecuador) and nationally at the 92nd Street Y (NYC), Denver Art Museum, Boston CyberArts/MIT, SIGGRAPH, the New York Digital Salon and the National Institutes of Health.

Weaver is Professor of Emergent Digital Practices at the University of Denver with research, creative and teaching specializations in biomedia, ecoacoustics, sustainable design and art-science synergies. More details on Timothy’s project and research activities are available at: http://www.timothyweaver.org  More...

Thursday, November 14 2019 7:30 PM
CCRMA presents Ellen Phan and Nisa Karnsomport

This collaborative audiovisual performance by sound experimentalist Ellen Phan and video artist Nisa Karnsomport will feature live manipulation of sounds and moving images. | Cycling ’74: Interview and video with Nisa Karnsomport and Ellen Phan - https://cycling74.com/articles/an-interview-with-nisa-karnsomport-and-ellen-phan


− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −
Thu | Nov 14 | 7:30pm
CCRMA Stage, The Knoll
FREE and open to the public
ccrma.stanford.edu/about/directions
music.stanford.edu/venues/ccrma-stage/ccrma-accessibility
− · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · − − · − ·  − · − · · − ·  − − · −  More...

News:
05/20/2017

July 10-14
CCRMA Summer Workshop
Stanford University, CA
https://ccrma.stanford.edu/workshops/eae-2017

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.