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:
Friday, January 18 2019 7:30 PM
Please join us on the CCRMA Stage for a concert of works by Clarence Barlow. Chryssie Nanou will perform a selection of preludes and fugues for piano from "Ludus Ragalis" in alternation with some of his multichannel electroacoustic pieces.

Pre-concert lecture at 5:30pm:
Before the concert, Mr. Barlow will give a talk about "Five Dodecaphonic Pieces", a series of 12-channel electroacoustic pieces realized in 2016 and 2017. He will also briefly talk about "Approximating Pi" and "Four ISIS Studies", electroacoustic pieces from 2003-2008. These works will be presented in the concert.

FREE and Open to the Public
Friday, January 18
Lecture at 5:30pm
Concert at 7:30pm
CCRMA Stage, The Knoll
Directions and parking:

Clarence Barlow was born in 1945 into the English-speaking minority of Calcutta, where he went to school and college, studied piano and music theory, started composing in 1957 and obtained a science degree in 1965. After activities as pianist, conductor and music theory teacher he moved in 1968 to Cologne, where he studied composition and electronic music until 1973, also studying sonology at Utrecht University from 1971-1972. His use of a computer as a compositional aid dates from 1971. From 1982-1994 he was in charge of computer music at the biannual Darmstadt New Music Summer Courses and from 1984-2005 lecturer on computer music at Cologne Music University. From 1990-1991 he was guest professor of composition at the Folkwang University Essen, from 1990-94 artistic director of the Institute of Sonology at the Royal Conservatory The Hague, where from 1994-2006 he was professor of composition and sonology. From 1994-2010 he was a member of the International Academy of Electroacoustic Music in Bourges. From 2005-2006 he was guest professor of composition at the School of Music and Performing Arts ESMAE in Porto. In 2006 he was appointed Corwin professor and head of composition at the Music Department, University of California in Santa Barbara. in 2018 he served as guest professor at the Catalonia College of Music ESMUC in Barcelona.

Born in Greece, Chryssie Nanou showed an exceptional musical talent at an early age winning First Prize at the “Filonos” National Youth Competition and a prize in the European Young Soloist Competition. Pursuing her musical studies in France, she graduated from the Ecole Normale de Musique de Paris / Alfred Cortot where she studied with Germaine Mounier, obtaining in consecutive years the Diplome Superieur d’Enseignement, Execution and Concertist. After pursuing a graduate diploma in piano and computer music from the Peabody Institute of the Johns Hopkins University (Baltimore, Maryland), Chryssie became a 2003 Visiting Scholar at CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University. A prizewinner at the Albert Roussel International Competition, she performs regularly in recitals and chamber music concerts around the world, featuring an eclectic repertoire that includes works from Couperin, Berio, Crumb, Beethoven, Sciarrino and Davidovsky. As a solo artist and chamber musician, she has given the world premieres of works by many young composers including the first performance of George Antheil’s Ballet Mechanique in a version with synchronized film. Among her recent performances are concerts with the San Francisco Contemporary Players, SEAMUS, the Third Practice Festival and the Electric Rainbow Coalition Festival at Dartmouth. Chryssie has served as the Artistic Coordinator of CCRMA (Stanford University, Palo Alto, California) where she oversaw both the CCRMA Concert Series as well as the stricly Ballroom concert series. She currently sits on the board of the International Computer Music Association (ICMA) and performs extensively in the United States and around the world.  More...

Wednesday, January 23 2019 7:30 PM
"Multiverse" is Gadi Sassoon’s debut immersive LP: it explores the physical equations of imaginary worlds suspended between organic and synthetic, truth and deception. This unique auditory experience is created through experimental physical models woven with modular textures and live strings; impossible digitally-modelled instruments create a soundtrack to alternate universes, while the analogue and acoustic timbres blur the line between tangible and abstract.
 The work in "Multiverse" is based on a long term collaboration between the composer and NESS (NExt generation Sound Synthesis), a research team headed by Dr. Stefan Bilbao at the University of Edinburgh. The NESS physical modelling algorithms are the backbone on which "Multiverse" has been built over the course of 2 years, where the equations have been fine tuned to create impossible instruments and acoustic phenomena. The music from "Multiverse" is currently being used for R&D and showcases in the fields of VR games, Audio AR and musical AI.
The immersive live version of "Multiverse" has been showcased at NIME 2018, Ircam, Hong Kong Sound Forms Festival and Stockholm MusicTech Fest.

FREE and Open to the Public
Wed, Jan 23, 7:30pm
CCRMA Stage, The Knoll
Directions and parking:

Gadi Sassoon is a Milan based composer and producer from NinjaTune’s Just Isn’t Music roster: his output ranges from orchestral, to beats, to experimental electronic music. He has released under many monickers in the past including Memory9, Fred Christ, Shaolin Cuts, The Murders and The Infinity Orchestra. Sassoon’s first solo single “Predator” with Elenna Canlas (of US band Sinkane), released independently in 2016, became the season opening music for NBC’s Blacklist and end credits music for Syfy series Killjoys. His production work for major and indie labels and collaborations include such diverse artitsts as Coldcut, DJ Vadim, Savages, Noisettes singer Shingai Shoniwa and many more. His soundtrack work appears in shows on NBC, AMC, HBO, 21st Century Fox, BBC, Disney, ITV and MTV. Sassoon has performed countless eclectic shows in wildly different settings such as symphony halls, art galleries and underground raves.  More...

Thursday, January 24 2019 7:30 PM
Evolving over the last seven years, "A Solo Voice", composed and performed by Odeya Nini, is an investigation of resonance, extended vocal techniques, performance, and pure expression, exploring the relationship between mind and body and the various landscapes it can yield. The work is a series of malleable compositions and improvisations that include field recordings and theatrical elements, aiming to dissociate the voice from its traditional attributes and create a new logic of song that is not only heard but seen through movement and action. In a multi-dimensionality that serves to both provoke and soothe in abstract communication, the voice is presented in its spectrum of natures as it travels through cultures, ages, emotions and colors, like photographs, with tender intimacy and bold aberrance.

FREE and Open to the Public
Thu, Jan 24 7:30pm
CCRMA Stage, The Knoll
Directions and parking:

Odeya Nini is a Los Angeles based experimental vocalist and contemporary composer. At the locus of her interests are performance practices, gesture, textural harmony, tonal animation, and the illumination of minute sounds, in works spanning chamber music to vocal pieces and collages of musique concrète. Her solo vocal work extends the dimension and expression of the voice and body, creating a sonic and physical panorama of silence to noise and tenderness to grandeur. Odeya has collaborated extensively with dancers, visual artists, filmmakers and theater directors as both a composer and soloist and has worked with and appeared in works by artists and ensembles such as Meredith Monk, Butch Morris, Lucy & Jorge Orta, The Industry & Wild Up.

Odeya's work has been presented at venues and festivals across the US and internationally, such as Resonant Bodies Festival, Banff Centre, The Hammer Museum, The LA Phil, MONA and Art Basel Miami, from Los Angeles to Tel Aviv, Australia, Mongolia, Madagascar and Vietnam. She leads vocal sound baths, seminars, workshops and retreats exploring the transformative and healing qualities of embodying the voice.

Odeya holds a BFA from the New School for Jazz and Contemporary Music and an MFA in composition from California Institute of the Arts.  More...

Saturday, January 26 2019 7:30 PM

improvisation and performance by

Michele Cheng
Julie Herndon
Barbara Nerness
Stephanie Sherriff
Michiko Theurer
Julie Zhu

with works by

Michele Cheng
Robert Fleitz
Kerrith Livengood
Barbara Nerness
Stephanie Sherriff  More...

Wednesday, January 30 2019 7:30 PM
"this title refers to a counterproductive piece of private property"

Colin Tucker and Charlie Sdraulig realize a new work by Colin Tucker for speakers and two performers thematizing the given embodied actualities in everyday and performance settings. The work begins with an installation in which recordings of ambient sounds of the performance space are played back, activating ambiguities between live and recorded sounds. The installation proceeds seamlessly into a work for two human performers and speakers featuring subtle modifications of breath sounds.

FREE and Open to the Public
Wed, Jan 30, 7:30pm
CCRMA Stage, The Knoll
Directions and parking:

Colin Tucker is a Buffalo-based artist, researcher, and curator whose work explores institutions of historical Western art music such as score, musical instrument, and concert performance in relation to embodied materialities.

Charlie Sdraulig composes interactions at perceptual and physical thresholds. His work has featured at the SPOR, MATA, and Akademie Schloss Solitude festivals, among others. His research encompasses writing upon social dynamics in experimental sonic practices, as well as empirical studies in timbre perception. He is represented by the Australian Music Centre.  More...

Saturday, February 16 2019 7:30 PM
Sharkiface and Danishta Rivero perform at CCRMA

FREE and Open to the Public
Saturda, Feb 16, 7:30pm
CCRMA Stage, The Knoll
–––––––––––––––––––––––––––––––––––  More...

Thursday, February 21 2019 7:30 PM
David Behrman’s program will include revivals of two pieces from the early days of electronic/computer music as well as one or two recent ones. These are pieces in which the electronics provide situations to be explored rather than fixed compositions with specific instructions to performers. The concert will follow a week of collaborative work with Mills students during Behrman’s residency there, and will feature participation by two of the Mills grad students.

FREE and Open to the Public
Thu, Feb 21, 7:30pm
The Knoll

David Behrman has been active as a composer and artist since the 1960s. Over the years he has made sound and multimedia installations as well as compositions for performance in concerts. My Dear Siegfried, Leapday Night, On the Other Ocean, Interspecies Smalltalk and Open Space with Brass are among Behrman's works for soloists and ensembles. Among his sound and multimedia installations are Cloud Music (a collaboration with Robert Watts and Bob Diamond); Pen Light (2002), and View Finder (2005). Cloud Music was acquired (2013) into the permanent collection of the Smithsonian Museum. Together with Robert Ashley, Alvin Lucier and Gordon Mumma, Behrman founded the Sonic Arts Union in 1966. Sonic Arts performed extensively in North America and Europe from 1966 till 1976. He was co-director of the Center for Contemporary Music at Mills College from 1975 to 1980. Over a period of several decades Behrman was associated as composer / performer with the Cunningham Dance Company and received commissions to compose music for several of the repertory dances. The first of those, “Walkaround Time” from 1968, was revised and restaged in 2017 for the Paris Opera Ballet. During the Sixties and Seventies he assisted John Cage and David Tudor with several projects, among them 9 Evenings: Theatre and Engineering (EAT) in 1966. Behrman has received grants, commissions and residencies from various sources, among them the Foundation for Contemporary Arts, the DAAD, the Atlantic Center for the Arts and the Japan / United States Friendship Commission. In 2016 he held the Inge Maren Otto composer’s fellowship at the American Academy in Berlin.

Audio recordings of his works are on the Alga Marghen, XI, Lovely Music, Wergo and Pogus labels; videos can be viewed at and  More...

Friday, March 1 2019 10:00 AM
CCRMA Open House

Stanford's Center for Computer Research in Music and Acoustics (CCRMA) will hold its annual free open house on Friday, March 1, 2019, from 10am to 5pm. CCRMA students, faculty, and staff will present their research in a wide variety of formats.

Throughout the day, there will be musical performances, lectures, hands-on demonstrations, and posters showcasing recent CCRMA research in fields including but not limited to: music in the virtual reality; internet reverb; neuroscience of music and of narrative engagement; digital signal processing; programming languages for music and sound synthesis; data-driven research in music cognition; and a musical instrument petting zoo.

CCRMA is located at The Knoll, 660 Lomita Court, Stanford CA 94305 (

Check for continuously updated details and a schedule of events.

For more information contact Matthew Wright at or 650-723-4971 x304.  More...

Thursday, March 14 2019 7:30 PM
Thomas Buckner presents "Songs Without Words", for voice (no text) and electronics. These works were written for, and dedicated to him by some of the most pioneering composers in experimental music: Alvin Lucier, Robert Ashley, Annea Lockwood, and Phill Niblock.

FREE and Open to the Public
Thu, Feb 21, 7:30pm
CCRMA Stage, The Knoll
Directions and parking:

For more than 40 years, baritone Thomas Buckner has dedicated himself to the world of new and improvised music. Buckner has collaborated with a host of new music composers including Robert Ashley, Noah Creshevsky, Tom Hamilton, Earl Howard, Matthias Kaul, Leroy Jenkins, Bun Ching Lam, Annea Lockwood, Roscoe Mitchell, Phill Niblock, Wadada Leo Smith, Chinary Ung, Christian Wolff and many others. He has made appearances at Carnegie Hall, Lincoln Center, the Herbst Theatre, the Art Institute of Chicago, the Ostrava Days Festival, the Prague Spring Festival, and the Sibelius Academy in Helsinki. Buckner is featured on over 40 recordings, including 6 of his own solo albums. His solo recording “New Music for Baritone & Chamber Ensemble” includes works by Annea Lockwood, Tania Leon, and Petr Kotik. He also appears in the CD/DVD release “Kirili et le Nymphéas (Hommage à Monet)”. This recording documents the latest in his ongoing series of collaborations between the sculptor Alain Kirili and improvising musicians and dancers. For the past thirty years, Buckner has co-produced the Interpretationsseries in New York City.  More...

Wednesday, March 27 2019 7:30 PM
"Barrier, Stop for inspection" was commissioned for the 2018 Warsaw Autumn Festival, and employs sounds, texts and images. The text, about the activity of remembering, was written in June 2018, and was translated to Polish by Halina Cieplińska. It appears both in English and in Polish orally and visually in fixed times during the piece. Most other materials, musical and visual, are performed and controlled during the live performance.

A memory that I create right now.

In fact right now, there are two “right nows”.

Mine when I am typing these words, and yours (possibly in the future) when you are reading them,

Possibly, we may agree that you are there (in time and space) and I am here at a linked “right-now.”

A mutual agreement on an uncertain truth.

— Amnon Wolman, 2018

FREE and Open to the Public
Wed, Mar 27, 7:30pm
CCRMA Stage, The Knoll
Directions and parking:

Amnon Wolman is a sound artist and composer who pursues a sound world in which social interactions are part of the musical information, and of the creative process. He is interested in the peculiar and subjective listening of an individual. and not with the generalizations that all listeners are presented with. His work is presented by various soloists, performance organizations, galleries, and museums. Publications of some of his audio and text works are available commercially and on the web. He currently teaches at the Jerusalem Academy of Music and Dance and lives with his partner Eyal Levinson in Kfar Vradim, Israel, doing his best to support a just solution for the Palestinians living under Israeli rule.  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.