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Design & Creativity

Date: 
Wednesday, March 2, 2016 to Wednesday, August 31, 2016
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About the Course

This course introduces the basics of Digital Signal Processing and computational acoustics, motivated by the vibrational physics of real-world objects and systems. We will build from a simple mass-spring and pendulum to demonstrate oscillation, learn how to simulate those systems in the computer, and also prove that these simple oscillations behave as a sine wave. From that we move to plucked strings and struck bars, showing both solutions as combined traveling waves and combined sine wave harmonics. We continue to build and simulate more complex systems containing many vibrating objects and resonators (stringed instruments, drum, plate), and also learn how to simulate echos and room reverberation. Through this process, we will learn about digital signals, filters, oscillators, harmonics, spectral analysis, linear and non-linear systems, particle models, and all the necessary building blocks to synthesize essentially any sound. The free open-source software provided will make it possible for anyone to use physical models in their art-making, game or movie sound, or any other application.

SCHEDULE *

Course runs until August 31, 2016

Session 1: The Time Domain: Sound, Digital Audio, PCM Files, Noise Vs. Pitch, A Hint Of Spectra 
a) Sound in Air, Traveling Waves b) Digital Audio, Sampling, Quantization, Aliasing c) Soundfiles, Wavetables, Manipulating PCM d) Pitch (vs. Noise), Spectral Analysis 0.1 e) Time-domain Pitch/Noise Detection: ZeroXings, AMDF, Autocorrelation
Session 2: Physics, Oscillators, Sines & Spectra, Spectral/Additive Synthesis 
a) Mass-Spring-Damper system, also simple Pendulum b) Fourier analysis/synthesis, Spectrum Analysis 1.0 c) More on additive Sine-wave synthesis
Session 3: Digital Filters, Modal Synthesis 
a) Digital Filters, Finite Impulse Response (FIR) b) Linearity, Time-invariance, Convolution c) Infinite Impulse Response (IIR) Digital Filters d) BiQuad Resonator Filter, Modal Synthesis
Session 4: Physical Modeling Synthesis: 1D Systems 
a) 1-D systems, Strings, Modal (Fourier) Solution b) Strings II: Waveguide (D’Alembert) Solution c) 1-D systems, Bars, Tubes, solutions d) Advanced Waveguide Synthesis for 1-D systems
Session 5: Physical Modeling II: 2 And 3-D Systems 
a) 2-D systems, plates, drums, higher-order modes Fourier (Sine and/or Modal) Solutions, Waveguide Solutions b) 3-D systems, rooms, resonators, Meshes, Waveguides c) Resonator/Modal view and solution of 3-D systems Pop bottles and other lumped resonators
Session 6: Subtractive Synthesis, Vocal Sounds And Models 
a)  Subtractive Synthesis, Voice Synthesis, Formants b) Linear Prediction, LPC c) FOFs d) FM Synthesis: Horns, Bells, Voices
Session 7: Grains, Particles And Statistical Models 
a) Wavelets b) Granular Synthesis c) Particle Models, Statistical Modal Synthesis d) Wind, Water, Surf, and Other Whooshing Sounds
Session 8: Extending And Refining Physical Synthesis Models 
a) Waveshaping Synthesis, Distortion Modeling b) Time-Varying Systems c) Stiffness, All-Pass Filters, Banded Waveguides d) Commuted Synthesis e) JULIUS on KS, strings, demos
Session 9: Tying It All Together: Applications, Sonification, Interactions, And Control 
a) Scanned Synthesis b)  Don’t forget the laptop!!! SMELT:   c) Controlling Synthesis with game controllers (Wii, mobile TouchOSC, more) d) Walking Synthesis, a complete system e) Procedural Audio: Driving synthesis from process, game state, etc. f) Data set Sonification
* This course is running in Adaptive Scheduling mode. You can learn more about how Adaptive Scheduling works in this help article

What you need to take this course:

  • Software: ChucK (also optionally STK, PeRColate for Max/MSP, Processing, GL/Glut)

Recommended (highly) Textbook:

  • Operating system: Mac OS X, Windows, or Linux (Planet CCRMA recommended)
  • Desired: familiarity with algebra. no calculus required.
  • Helpful to have: some personal sound-making things: a guitar or other stringed instrument, a drum, a kitchen pan, a prayer bowl, glasses, bowls, voice...

COURSE INSTRUCTORS

Perry Cook

    Perry R. Cook is Emeritus Professor of Computer Science (also Music) at Princeton University, founding advisor/consultant to social music company SMule, and consulting professor at CalArts, Stanford CCRMA. With Dan Trueman, he co-founded the Princeton Laptop Orchestra, which received a MacArthur Digital Learning Initiative Grant in 2005. With Ge Wang, Cook is co-author of the ChucK Programming Language. His newest book is “Programming for Digital Musicians and Artists,” with Ajay Kapur, Spencer Salazar, and Ge Wang. The recipient of a 2003 Guggenheim Fellowship, Cook is (still) working on a new book, "La Bella Voce e La Macchina (the Beautiful Voice and the Machine), A History of Technology and the Expressive Voice." Perry is also co-founder of Kadenze.

    Julius Smith

      Julius O. Smith normally teaches a music signal-processing course sequence and supervises related research at the Center for Computer Research in Music and Acoustics (CCRMA). He is formally a professor of music and (by courtesy) electrical engineering. In 1975, he received his BS/EE degree from Rice University, where he got started in the field of digital signal processing and modeling for control. In 1983, he received the PhD/EE degree from Stanford University, specializing in techniques for digital filter design and system identification, with application to violin modeling. His work history includes the Signal Processing Department at Electromagnetic Systems Laboratories, Inc., working on systems for digital communications, the Adaptive Systems Department at Systems Control Technology, Inc., working on research problems in adaptive filtering and spectral estimation, and NeXT Computer, Inc., where he was responsible for sound, music, and signal processing software for the NeXT computer workstation. Prof. Smith is a Fellow of the Audio Engineering Society and the Acoustical Society of America. He is the author of four online books and numerous research publications in his field.

      Physics Based Sound Synthesis

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      Date: 
      Monday, January 11, 2016
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      Course Description

      This course is designed for curious people who enjoy wine, especially wine from California and France, and would like to learn more about it. We will examine the connection between wines and their terroir—the complete natural environment in which a wine is produced—and learn why “place” and its geologic history—along with the grapes, their viticulture, the climate, and the winemaker’s skills—are all crucial to the characteristics of wines. We will explore the geologic setting of wine regions in California and France and with comparative tastings form the basis for understanding why certain grapes seem to prosper and others do not. As we delve into the geologic history of wine country, we will also learn about the geography, the wines, the names, and the history of numerous wine regions in California and France. By the end of the course, we will have gained a better understanding of why wines are a reflection of “place” and have firsthand knowledge of many of the tastes that result. The wines we will taste will be comparable from both Old World (France) and New World (California) wineries: chardonnay, sauvignon blanc, Bordeaux and Bordeauxstyle blends, and Rhone and Rhone-varietal blends. 

      In order to participate in tasting discussions, students will spend approximately $160–$200 on California and French wines. A wine list will be provided at the start of the course. Students will taste the wines in advance of the optional online videoconferencing sessions (which will be recorded and posted). During these sessions, students will compare notes and discuss aspects of terroir, winemaking styles, flavor characteristics, etc. 

      Please be aware that some of the optional activities in this course include the consumption of alcohol. Students enrolling in this course must be either: at least 21 years of age (if a resident of the United States), or of legal drinking age for the country in which they reside. 

      Please note: Stanford Continuing Studies will offer a separate course excursion to Napa this Spring. The course, led by instructor David Howell, will review the 140 million-year history of the valley, the origin of the mountains and the valley itself, and processes of sedimentation that characterize many of the valley floor vineyards. Participants will examine how elements of topography, climate, and soil, essential elements of terroir, have been used to subdivide Napa into fourteen distinct viticultural areas. The course will focus on Oakville, with vineyard and winery visits along with tastings. Students will also meet with winemakers and vineyard managers. For more information, please see the Spring 2016 catalogue (available in February 2016). While this course excursion builds upon Winter’s “The Geology and Wines of California and France” (GEO 03 W), each can be taken independently as well. 

      The Geology and Wines of California and France

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      Date: 
      Sunday, April 19, 2015
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      [[{"type":"media","fid":"55161","view_mode":"teaser","link_text":null,"attributes":{"alt":"Online Jamming And Concert Technology","height":"390","width":"640","class":"panopoly-image-video media-element file-teaser"}}]]

      Course Description

      Today's vast amount of streaming and video conferencing on the Internet lacks one aspect of musical fun and that's what this course is about: high-quality, near-synchronous musical collaboration. Under the right conditions, the Internet can be used for ultra-low-latency, uncompressed sound transmission. The course teaches open-source (free) techniques for setting up city-to-city studio-to-studio audio links. Distributed rehearsing, production and split ensemble concerts are the goal. Setting up such links and debugging them requires knowledge of network protocols, network audio issues and some ear training.

      Course Schedule

      Course runs through November 3, 2015 - February 2, 2016

      Session 1Basics And Setup 
      Basics: Network protocols, audio signals + soundcards and network audio.
      Session 2Jacktrip Application + Connection 
      Things that go wrong with Jacktrip: Network & Audio. P2P Sessions and Multi-site setups.
      Session 3Debugging 
      Debug examples of typical problems.
      Session 4Polish And Practice 
      Polish techniques and spawn more practice sessions.
      Session 5Future 
      Future of the art and practice of network audio, alternative platforms for network audio.

      Instructor

      Chris Chafe, Professor of Music and Director of CCRMA

        Chris Chafe is a composer, improviser, and cellist, developing much of his music alongside computer-based research. He is Director of Stanford University's Center for Computer Research in Music and Acoustics (CCRMA). At IRCAM (Paris) and The Banff Centre (Alberta), he pursued methods for digital synthesis, music performance, and real-time internet collaboration. CCRMA's SoundWIRE project involves live concertizing with musicians the world over. Online collaboration software including jacktrip and research into latency factors continue to evolve. An active performer either on the net or physically present, his music reaches audiences in dozens of countries and sometimes at novel venues. A simultaneous five-country concert was hosted at the United Nations in 2009. Chafe's works are available from Centaur Records and various online media. Gallery and museum music installations are into their second decade with "musifications" resulting from collaborations with artists, scientists and MD's. Recent work includes the Brain Stethoscope project, PolarTide for the 2013 Venice Biennale, Tomato Quintet for the transLife:media Festival at the National Art Museum of China and Sun Shot played by the horns of large ships in the port of St. Johns, Newfoundland.

        Requirements

        Equipment: Computer (Mac or Linux) with installation privileges 

        Software: ChucK, Jacktrip

        Online Jamming and Concert Technology

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        Date: 
        Friday, October 16, 2015 to Monday, February 1, 2016
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        Course Description

        This course introduces the basics of Digital Signal Processing and computational acoustics, motivated by the vibrational physics of real-world objects and systems. We will build from a simple mass-spring and pendulum to demonstrate oscillation, how to simulate those systems in the computer, and also prove that simple oscillation behaves as a sine wave. From that we move to plucked strings and struck bars, showing both solutions as combined traveling waves and combined sine wave harmonics. We continue to build and simulate more complex systems containing many vibrating objects and resonators (mandolin, drum, plate), and also learn how to simulate echos and room reverberation.  Through this process,  we will learn about digital signals, filters, oscillators, harmonics, spectral analysis, linear and non-linear systems, particle models, and all the necessary building blocks to synthesize essentially any sound. The free open-source software provided make it possible for anyone to use physical models in their art-making, game or movie sound, or any other application.

        Schedule

        Session 1: The Time Domain: Sound, Digital Audio, PCM Files, Noise Vs. Pitch, A Hint Of Spectra 
        a) Sound in Air, Traveling Waves b) Digital Audio, Sampling, Quantization, Aliasing c) Soundfiles, Wavetables, Manipulating PCM d) Pitch (vs. Noise), Spectral Analysis 0.1 e) Time-domain Pitch/Noise Detection: ZeroXings, AMDF, Autocorrelation
        Session 2: Physics, Oscillators, Sines & Spectra, Spectral/Additive Synthesis 
        a) Mass-Spring-Damper system, also simple Pendulum b) Fourier analysis/synthesis, Spectrum Analysis 1.0 c) More on additive Sine-wave synthesis
        Session 3: Digital Filters, Modal Synthesis 
        a) Digital Filters, Finite Impulse Response (FIR) b) Linearity, Time-invariance, Convolution c) Infinite Impulse Response (IIR) Digital Filters d) BiQuad Resonator Filter, Modal Synthesis
        Session 4: Physical Modeling Synthesis: 1D Systems 
        a) 1-D systems, Strings, Modal (Fourier) Solution b) Strings II: Waveguide (D’Alembert) Solution c) 1-D systems, Bars, Tubes, solutions d) Advanced Waveguide Synthesis for 1-D systems
        Session 5: Physical Modeling II: 2 And 3-D Systems 
        a) 2-D systems, plates, drums, higher-order modes Fourier (Sine and/or Modal) Solutions, Waveguide Solutions b) 3-D systems, rooms, resonators, Meshes, Waveguide synthesis c) Resonator/Modal view and solution of 3-D systems Pop bottles and other lumped resonators
        Session 6: Subtractive Synthesis, Vocal Sounds And Models 
        a)  Subtractive Synthesis, Voice Synthesis, Formants b) Linear Prediction, LPC c) FOFs d) FM Synthesis: Horns, Bells, Voices
        Session 7: Grains, Particles And Statistical Models 
        a) Wavelets (just for completeness) b) Granular Synthesis c) Particle Models, Statistical Modal Synthesis d) Wind, Water, Surf, and Other Whooshing Sounds
        Session 8: Extending And Refining Physical Synthesis Models 
        a) Waveshaping Synthesis, Distortion Modeling b) Time-Varying Systems c) Stiffness, All-Pass Filters, Banded Waveguides d) Commuted Synthesis e) JULIUS on KS, strings, demos
        Session 9: Tying It All Together: Applications, Sonification, Interactions, And Control 
        a) Scanned Synthesis b)  Don’t forget the laptop!!! SMELT:   c) Controlling Synthesis with game controllers (Wii, mobile TouchOSC, more) d) Walking Synthesis, a complete system e) Procedural Audio: Driving synthesis from process, game state, etc. f) Data set Sonification

        What you need to take this course:

        • Software: ChucK (also optionally STK, PeRColate for Max/MSP, Processing, GL/Glut)
        • Recommended (highly) Textbook:

        Real Sound Synthesis for Interactive Applications (Kadenze discount available soon!)

        • Familiarity with ChucK programming language

        Introduction to Programming for Musicians and Digital Artists (Kadenze ChucK course)

        Programming for Musicians and Digital Artists (ChucK book, Kadenze Discount)

        • Operating system: Mac OS X, Windows, or Linux (Planet CCRMA recommended)
        • Desired: familiarity with algebra. no calculus required.
        • Helpful to have: some personal sound-making things: a guitar or other stringed instrument, a drum, a kitchen pan, a prayer bowl, glasses, bowls, voice...

        Instructors:

        Perry Cook

          Perry R. Cook is Emeritus Professor of Computer Science (also Music) at Princeton University, founding advisor/consultant to social music company SMule, and consulting professor at CalArts, Stanford CCRMA, and University of Arizona. With Dan Trueman, he co-founded the Princeton Laptop Orchestra, which received a MacArthur Digital Learning Initiative Grant in 2005. With Ge Wang, Cook is co-author of the ChucK Programming Language. His newest book is “Programming for Digital Musicians and Artists,” with Ajay Kapur, Spencer Salazar, and Ge Wang. The recipient of a 2003 Guggenheim Fellowship, Cook is (still) working on a new book, "La Bella Voce e La Macchina (the Beautiful Voice and the Machine), A History of Technology and the Expressive Voice." Perry is also co-founder of Kadenze.

          Julius Smith

            Julius O. Smith normally teaches a music signal-processing course sequence and supervises related research at the Center for Computer Research in Music and Acoustics (CCRMA). He is formally a professor of music and (by courtesy) electrical engineering. In 1975, he received his BS/EE degree from Rice University, where he got started in the field of digital signal processing and modeling for control. In 1983, he received the PhD/EE degree from Stanford University, specializing in techniques for digital filter design and system identification, with application to violin modeling. His work history includes the Signal Processing Department at Electromagnetic Systems Laboratories, Inc., working on systems for digital communications, the Adaptive Systems Department at Systems Control Technology, Inc., working on research problems in adaptive filtering and spectral estimation, and NeXT Computer, Inc., where he was responsible for sound, music, and signal processing software for the NeXT computer workstation. Prof. Smith is a Fellow of the Audio Engineering Society and the Acoustical Society of America. He is the author of four online books and numerous research publications in his field.

            Physics Based Sound Synthesis

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            Date: 
            Monday, September 21, 2015 to Thursday, January 7, 2016
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            About the Course

            Audio signal processing is an engineering field that focuses on the computational methods for intentionally altering sounds, methods that are used in many musical applications.

            We have tried to put together a course that can be of interest and accessible to people coming from diverse backgrounds while going deep into several signal processing topics. We focus on the spectral processing techniques of relevance for the description and transformation of sounds, developing the basic theoretical and practical knowledge with which to analyze, synthesize, transform and describe audio signals in the context of music applications. 

            The course is based on open software and content. The demonstrations and programming exercises are done using Python under Ubuntu, and the references and materials for the course come from open online repositories. We are also distributing with open licenses the software and materials developed for the course.

            Course Syllabus

            Week 1: Introduction; basic mathematics 
            Week 2: Discrete Fourier transform
            Week 3: Fourier transform properties
            Week 4: Short-time Fourier transform
            Week 5: Sinusoidal model
            Week 6: Harmonic model
            Week 7: Sinusoidal plus residual modeling
            Week 8: Sound transformations
            Week 9: Sound/music description
            Week 10: Concluding topics; beyond audio signal processing

            Recommended Background

            The course assumes some basic background in mathematics and signal processing. Also, since the assignments are done with the programming language Python, some software programming background in any language is most helpful. 

            Suggested Readings

            The main software tools used are in https://github.com/MTG/sms-tools and the sounds to be studied come from https://freesound.org. Most of the external references come from Julius O Smith website, https://ccrma.stanford.edu/~jos, or from https://www.wikipedia.org.

            Course Format

            Each week is structured around 6 types of activities:

            • Theory: video lectures covering the core signal processing concepts.   
            • Demos: video lectures presenting tools and examples that complement the theory.
            • Programming: video lectures introducing the needed programming skills (using Python) to implement the techniques described in the theory. 
            • Quiz: questionnaire to review the concepts covered. 
            • Assignment: programming exercises to implement and use the methodologies presented. 
            • Advanced topics: videos and written documents that extend the topics covered.

            FAQ

            • How much programming background is needed for the course?
              All the assignments start from some existing Python code that the student will have to understand and modify. Some programming experience is necessary.

            • Do I need to buy a textbook for the course?
              No, it is self-contained.

            • What resources will I need for this class?
              All the materials and tools for the class are available online under open licences.

            • What is the coolest thing I'll learn if I take this class?
              You will play around with sounds a lot, analysing them, transforming them, and making interesting new sounds.

            • Will I earn a Statement of Accomplishment for completing this course?
              Yes you will earn an Statement of Accomplishment if you do well in the course.

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            Date: 
            Monday, June 22, 2015 to Friday, July 31, 2015
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            COURSE DESCRIPTION

            Everyone agrees that most presentations have room for improvement. But how does one move beyond the dreaded slide show of bulleted lists? What skills and techniques are needed to create a vivid and memorable slide deck? And, how can anyone do this when pressed for time? 

            This overview will help you break out of using the traditional PowerPoint template and deliver memorable messages to your audience. You will explore three major areas of presentation design and delivery: organizing your information, using graphic design elements with the appropriate technological tools, and connecting with your audience by understanding the performance aspects of presentation. In the first part of this hands-on online course, we will explore these elements in small-group exercises. In the second half, each student will create, deliver, receive, and incorporate feedback on a three-minute presentation. With extensive time for rehearsing and integrating feedback, you will leave with both a process and a repertoire of skills that can be used in any communication setting. - See more at: https://continuingstudies.stanford.edu/courses/detail/20144_COM-12-W#sth...

            Course Staff

            Carolyn Gale, Founder, Elevator Talk

            Carolyn Gale has taught researchers and technical experts across four continents how to communicate their work to nonspecialized audiences. Earlier, she co-founded Clear Communication Group and was director of Stanford’s Research Communication Program. She is also a co-founder of PresentationCamp, community-driven conferences that focus on creating compelling presentations. She received an MS in Instructional Technology from Vanderbilt.

            DOWNLOAD THE PRELIMINARY SYLLABUS » (subject to change)- See more at: https://continuingstudies.stanford.edu/courses/detail/20144_COM-12-W#sth...

            Presentation_Continuing_Studies

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            Date: 
            Monday, April 27, 2015 to Friday, June 5, 2015
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            Fee Applies.
            This course is offered through Stanford Continuing Studies.

            COURSE DESCRIPTION: 

            This course invites students on a tour of the films of the Coen Brothers, from their first film, Blood Simple, to Fargo and beyond. Each week we will view a Coen film, along with a film classic that influenced it directly or indirectly, so that the Coens’ use of cinema history and Hollywood conventions will be given context and depth. Watching The Big Sleep alongside The Big Lebowski, and Double Indemnity with The Man Who Wasn’t There, students will understand and appreciate how the Coens use and stretch the crime genre and make brilliant fun of film noir, while at the same time paying homage to the great directors Howard Hawks and Billy Wilder. Equally illuminating is a double bill of Preston Sturges’sSullivan’s Travels and the Coens’ Depression-era O Brother, Where Art Thou?, a contemporary take on Sturges’s unusual approach to comedy. How these films “talk to each other” across the decades becomes a way into learning both about Hollywood pictures and genres and about the Coens’ irreverent takes on the classics. Instructor lectures, assigned viewings and readings, and group discussions will connect with the films of the week. Students will keep and share a “viewing notebook” containing their own reflections, observations, and quotations. All films can be purchased or rented on DVD and most can be rented or streamed instantly through Netflix, Amazon Prime, iTunes, Google Play Movies, and other online providers.

            This is an online course. Thanks to the flexibility of the online format, this course can be taken anywhere, anytime—a plus for students who lead busy lives or for whom regular travel to the Stanford campus is not possible. While necessarily structured differently from an on-campus classroom course, this course maintains a similar level of instructor engagement through videos, interactive exercises, and discussion with fellow students, as well as optional online video conferencing sessions.

            J.M. Tyree, Film Critic; Former Stegner Fellow, Stanford

            J.M. Tyree is the co-author of BFI Film Classics: The Big Lebowski, and the author of BFI Film Classics: Salesman. His newest book, Our Secret Life in the Movies (with Michael McGriff), was named an NPR Best Book of 2014. He is an associate editor at the New England Review.

            Textbooks for this course:

            (Required) William Rodney Allen, The Coen Brothers: Interviews (Conversations with Filmmakers) (ISBN 978-1578068890)
            (Required) J. M. Tyree and Ben Walters, BFI Film Classics: The Big Lebowski (ISBN 978-1844571734)

            DOWNLOAD THE PRELIMINARY SYLLABUS » (subject to change)- See more at: http://continuingstudies.stanford.edu/courses/detail/20143_FLM-109-W#sth...


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            Date: 
            Thursday, October 23, 2014
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            Course topic: 

            This dynamic program offers your team a unique opportunity to master the art—and science—of design thinking and use it to address challenges specific to your work. In these workshops, Stanford's d.school's Perry Klebahn and Jeremy Utley will lead your team through a series of exercises and activities that will get you out of your chairs and working together to apply design thinking to real projects and do it now. Participants are encouraged to get out of their chairs and on their feet—take risks, try new behaviors—and work together to generate creative solutions. 

            Overview

            Get your team into the "Innovation at Work" mindset! In this workshop, Perry and Jeremy will show you some valuable techniques and approaches to generate new ideas, and lots of them.

            You won't just be listening to them talk through examples and demonstrate how to use them. You and your team will be on your feet, post-its and markers in hand, as Jeremy and Perry help you apply 4 key tools to your projects in real time:

            • "Yes and..." to defer judgment and build on each other
            • Constraints to generate volume
            • Analogous situations to take you to new territory
            • Selection criteria to choose the ideas you will take forward

            By the end of this session, you will have a reserve of viable ideas ready for prototyping.

            Instructors

            FAQ: 

            This program is available for faciliation at work.

            Fees apply.

            Stanford Innovation at Work

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            Date: 
            Wednesday, October 1, 2014 to Friday, December 19, 2014
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            About the Course

            Audio signal processing is an engineering field that focuses on the computational methods for intentionally altering sounds, methods that are used in many musical applications.

            We have tried to put together a course that can be of interest and accessible to people coming from diverse backgrounds while going deep into several signal processing topics. We focus on the spectral processing techniques of relevance for the description and transformation of sounds, developing the basic theoretical and practical knowledge with which to analyze, synthesize, transform and describe audio signals in the context of music applications.

            The course is based on open software and content. The demonstrations and programming exercises are done using Python under Ubuntu, and the references and materials for the course come from open online repositories. We are also distributing with open licenses the software and materials developed for the course.

            Recommended Background

            The course assumes some basic background in mathematics and signal processing. Also, since the assignments are done with the programming language Python, some software programming background in any language is most helpful. 

            Suggested Readings

            The main software tools used are in https://github.com/MTG/sms-tools and the sounds to be studied come from https://freesound.org. Most of the external references come from Julius O Smith website, https://ccrma.stanford.edu/~jos, or from https://www.wikipedia.org.

            Course Format

            Each week is structured around 6 types of activities:

            • Theory: video lectures covering the core signal processing concepts.   
            • Demos: video lectures presenting tools and examples that complement the theory.
            • Programming: video lectures introducing the needed programming skills (using Python) to implement the techniques described in the theory. 
            • Quiz: questionnaire to review the concepts covered. 
            • Assignment: programming exercises to implement and use the methodologies presented. 
            • Advanced topics: videos and written documents that extend the topics covered.
            FAQ: 
            • How much programming background is needed for the course?
              All the assignments start from some existing Python code that the student will have to understand and modify. Some programming experience is necessary.

            • Do I need to buy a textbook for the course?
              No, it is self-contained.
            • What resources will I need for this class?
              All the materials and tools for the class are available online under open licences.

            • What is the coolest thing I'll learn if I take this class?
              You will play around with sounds a lot, analysing them, transforming them, and making interesting new sounds.

            • Will I earn a Statement of Accomplishment for completing this course?
              Yes, you will receive a Statement of Accomplishment if you successfully complete the course.

            Instructors

            Xavier Serra; Universitat Pompeu, Fabra of Barcelona

            Julius O Smith; Stanford University


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            Date: 
            Wednesday, April 2, 2014
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            Course topic: 
            With the power to cross borders and languages, music serves as a compelling tool for unlocking creative potential. 

            Creativity: Music to My Ears is a six-week course designed to explore several factors that stimulatecreativity in individuals, teams, and organizations. In each session we will focus on a different variable related to creativity, such as reframing problems, connecting and combining ideas, and challenging assumptions. All of the projects in this experiential course will deal with some aspect of music, including listening, creating, and sharing. No musical talent is required – just an interest in exploring the role that music plays in our lives. 
             
            To deepen your understanding of music, throughout the course we will include video clips from experts in the music industry, including world-renowned Warner Music recording artists, Stanford music scholars, and industry executives who work to bring new and innovative musical expression to a global audience.
             
            The course includes weekly projects that will each take approximately 5 hours to complete. EachWednesday a new challenge will be presented, and the results are due the following Tuesday. The first two weeks there are individual challenges, followed by a two week team project, and a final individual assignment. 
             
            For the two-week, team project, you can select your own team members, we can put you on a team, or you can work by yourself. All assignments will be submitted on the course website and viewed by fellow class participants, allowing you to see a breadth of solutions for each challenge and get feedback on your work. There will also be a course Twitter feed and Facebook page, and several Google Hangouts that will enable active discussions on specific topics. 
             
            As Plato is quoted as saying, "Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything."

             

            Creativity: Music to My Ears

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