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Design & Creativity

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Next session opens March 27th.

About this course

In this course you will learn about audio signal processing methodologies that are specific for music and of use in real applications. 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.

Who is this class for

This course is primary aimed at advanced undergraduate or master students, along with professionals, interested in signal processing, programming and music.

Created by: Universitat Pompeu Fabra of Barcelona, Stanford University

FAQs

Can I take this course for free?
Yes, there is no fee in this course. You can follow the course, do the assignments, and obtain a final grade completely for free.

Can I pay to get a Course Certificate?
No, we do not offer this option.

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

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

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

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.

Instructors

Xavier Serra

Associate Professor, Dept. of Information and Communication Technologies, UPF

Julius Smith

Professor of Music and (by courtesy) Electrical Engineering, CCRMA


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Date: 
Monday, June 20, 2016 to Friday, August 12, 2016
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COURSE DESCRIPTION

What makes one product good and another great? Is the ability to drive game-changing innovation an inborn gift or a practice any person can develop? This course explores the brain science and psychological methodology of creative ideation and introduces new paths to elevating our “visionary quotient” as business innovators and leaders. 

We will explore neuroscience, design thinking, and mindfulness in product development as they relate to new thinking about the innovation process and the creation of extraordinary brand experiences. Drawing on leading-edge research in design and psychology— as well as timeless wisdom, Silicon Valley history, and the classic book Zen and the Art of Motorcycle Maintenance, which has guided many of the Valley’s most impactful business leaders—this course zeros in on the tangible and intangible attributes that make products great. With case studies spanning Apple, Google, Airbnb, Facebook, and other success stories, this course will illuminate new ways to guide product ideation, brand, and design. Entrepreneurs, marketers, developers, or anyone who wants to “think different” about innovation and take their impact to the next level will find actionable, differentiating insight in this course. 

Ellen Leanse, Tech Advisor; Entrepreneur

Ellen Leanse coaches startup teams and writes on innovation, mindfulness, and product design. She has advised more than forty technology companies, including Facebook, Microsoft, NeXT, Oracle, Intuit, and Samsung, and has worked with entrepreneurs in Africa, Asia, India, Latin America, and across the US. A member of the Macintosh launch team, Leanse was Apple’s first User Evangelist and forged the company’s pioneering steps into online communities. In 2012, PandoDaily named her as one of technology’s “Top Five Marketers” and the Silicon Valley Business Journal recognized her as a “Silicon Valley Woman of Influence.” She spoke on “Happiness by Design” at TEDxBerkeley 2016.

Textbooks for this course

(Required) David Rock, Your Brain at Work (ISBN 0061771295)
(Recommended) Nir Eyal, Hooked (ISBN 1591847788)

DOWNLOAD THE PRELIMINARY SYLLABUS » (subject to change)- See more at: https://continuingstudies.stanford.edu/courses/professional---personal-development/unleashing-creative-innovation-and-building-great-products/20154_BUS-135-W#sthash.gWCsNSbE.dpuf

 

 

 

Unleashing Creative Innovation

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Date: 
Monday, June 20, 2016 to Friday, August 26, 2016
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Course topic: 

COURSE DESCRIPTION: 

Taking a product or service to market is the final stage in a design-led innovation process, and can be just as creative as the earlier brainstorming and prototyping stages. This course will focus on how and why design plays a crucial role in the successful launching and marketing of any business. You will learn how to determine market “fit” and begin a relationship with your community of users or customers; how to monitor trends and cultural shifts that impact product design; and the importance of a well-designed brand strategy and how it is communicated through every touchpoint with customers. We will also cover how design relates to business models and why investors are increasingly attracted to design-led businesses. The overarching goal is to provide a solid understanding of design principles that can contribute to and influence every viable business.

No previous business or design training is necessary.

Christopher Ireland 

Adjunct Professor, Design, California College of the Arts; Founder, Mix & Stir Studio

Christopher Ireland is a co-author of China’s New Culture of Cool and Rise of the DEO: Leadership by Design. She advises early-stage startups and teaches entrepreneurship. Previously, she was CEO of Cheskin, a consultancy focused on design innovation that supported Microsoft, Intel, Pepsi, and Apple, among others. Ireland received an MBA from UCLA.

Textbooks for this course

No required textbooks

DOWNLOAD THE PRELIMINARY SYLLABUS » (subject to change)- See more at: https://continuingstudies.stanford.edu/courses/professional---personal-development/design-implementation--getting-to-market/20154_DSN-103-W#sthash.S53g7oj2.dpuf

Design Implimentation

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Course Offered in Adaptive Mode, Enrollment Open

COURSE DESCRIPTION

Max is a powerful platform that accommodates and connects a wide variety of tools for sound, graphics, music and interactivity using a flexible patching and programming environment. Max allows most computer users to write a simple meaningful program within a few minutes, even with limited programming knowledge. But to do something more substantial it's necessary to approach Max as an actual programming language, by taking advantage of its various mechanisms for abstracting program elements into scalable, reusable components that can be combined in increasingly powerful ways.

This class will not cover every single capability of the language, but instead will focus on key concepts and mechanisms that will allow for tremendous new freedom and possibilities in Max. The class will touch upon:

• sound and movie playback
• sound synthesis
• sound and video effects processing
• algorithmic composition
• cross-modal mappings (e.g., video affecting audio and vice versa)
• interactive control (e.g., from QWERTY keyboard, mouse, USB devices, Open Sound Control)

Max programming, like most interesting topics, has deep aspects and shallow aspects. This course will largely focus on the deep aspects: principles, concepts, techniques, and theory. If you understand these underlying aspects, your capacity to create in Max will deepen exponentially.


At the same time, this is not just a theory class. You will also create your own projects using Max. This course will teach the minimum you need to start working on assignments, but mostly I will teach you how to learn or look up the shallow knowledge on your own using Max’s built-in documentation, the Internet, and the Kadenze course forum, as well as how to program your own tests that answer specific questions or reveal potential bugs. Working in this way, you will also develop essential skills and habits that will develop confidence and self-sufficiency, and serve you in the future.

Instructors

Matthew Wright, Technical Director of CCRMA

Dr. Matthew Wright is a media systems designer, improvising composer/musician, and computer music researcher.  He was the Musical Systems Designer at U.C. Berkeley's Center for New Music and Audio Technology (CNMAT) from 1993-2008, and is known for his promotion of the Sound Description Interchange Format (SDIF) and Open Sound Control (OSC) standards, as well as his work with real-time mapping of musical gestures to sound synthesis.  His dissertation at Stanford's Center for Computer Research in Music and Acoustics (CCRMA) concerned computer modeling of the perception of musical rhythm: "The Shape of an Instant: Measuring and Modeling Perceptual Attack Time with Probability Density Functions."  He spent one year as a visiting research fellow at the University of Victoria on the theme of "Computational Ethnomusicology" developing tools for analysis and visualization of detailed pitch and timing information from musical recordings.  He was the Research Director of UC Santa Barbara's Center for Research in Electronic Arts and Technology (CREATE) for eight years, where he taught classes, advised students, founded and directed the CREATE Ensemble dedicated to research and musical creation with technology in a live performance context, as well as being Principal Development Engineer for the AlloSphere, a 3-story full-surround immersive audiovisual instrument for scientific and artistic research. As a musician, he plays a variety of traditional plucked lutes, Afro-Brazilian percussion, and computer-based instruments of his own design, in both traditional music contexts and experimental new works.

Guest Lecturer

David Zicarelli

David Zicarelli is the founder and CEO of Cycling '74, a software company that maintains and develops the MAX graphical programming environment. The company introduced Max extensions for audio (MSP) in 1997 and video (Jitter) in 2001. Before starting Cycling '74, Zicarelli worked on Max and other interactive music software at Opcode Systems, Intelligent Music, and IRCAM, and earned a doctorate from the Stanford Program in Hearing and Speech Sciences.

Programming Max: Structuring Interactive Software for Digital Arts from KadenzeOfficial on Vimeo.

Programming Max Kadenze

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Date: 
Thursday, November 19, 2015
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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

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

    Chris Chafe is a composer, improvisor 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: 
    Tuesday, November 3, 2015 to Tuesday, February 2, 2016
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    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

      Chris Chafe is a composer, improvisor 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: 
      Tuesday, May 17, 2016
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       COURSE DESCRIPTION

      The string quartet can be defined in several ways. At the most basic level the musical term refers to the medium of four string instruments: two violins, viola, and violoncello. It can also be used to describe the collective identity of the instrumentalists themselves, in particular established professional ensembles. One such ensemble is the St. Lawrence String Quartet, Stanford University’s celebrated ensemble-in-residence, whose members are featured in this course, performing in Stanford’s 842-seat Bing Concert Hall as well as in that splendid facility’s smaller studio space.

      Thanks to Joseph Haydn, the acknowledged father of the string quartet, the medium evolved into a genre. It is Haydn’s compositions for the medium above all — he composed 68 of them — that established the formal conventions and aesthetic values that secured the string quartet a special status and significance in Western musical culture. As developed by Haydn, the quartet became the preferred vehicle through which composers ever since, from Mozart to John Adams, have honed and displayed their compositional craft.

      Technique and expression go hand in hand. The German poet Goethe described the quartet in terms of a musical conversation. For the audience, Goethe wrote, a quartet performance is like “listening to four rational people conversing among themselves.” Reflecting aesthetic sensibilities commonly associated with the genre in the Enlightenment age of Haydn, Mozart and Beethoven, the conversation metaphor nicely captures two defining features of the genre: its intimate, personal nature as well as its capacity to convey profound musical thought through the essential ingredients of four-part harmony and counterpoint. And, as Haydn’s compositions amply demonstrate, the medium of the string quartet can also lend itself to the expression of wit and humor.

      This course, in defining the string quartet in these various ways, pays particular attention to Haydn’s towering, history-shaping achievement. In the first part of the course, after providing some general background on the origins of the medium in the seventeenth and early eighteenth century, we look at some examples of early string quartet writing by Allegri, Scarlatti and early-period Haydn. In the second half, because the very essence of the genre resides in musical detail and nuance, we develop the tools for informed listening and appreciation by presenting an in-depth analysis of a single work, Haydn’s String Quartet in F minor, opus 20, no. 5 from 1772. With frequent musical illustrations by the St. Lawrence Quartet, we explore the F-minor Quartet in terms of three complementary concepts: form, language, and gesture.

      In a concluding section we analyze the final movement, comparing Haydn’s use of the compositional technique known as “fugue” to other fugues by Bach, Handel and Mozart. By means of this “learned style,” we argue, the composer connects his musical language to ecclesiastical traditions, just as the movement’s rhetorical character reflects his penchant for musical effects drawn from the world of opera. The aesthetic spheres of the chamber, church and theater converge. Haydn thus defines his watershed opus — in microcosm — as something at once intimate, recondite and playful.

      PREREQUISITES

      Defining the String Quartet is designed to appeal to participants with different musical backgrounds and levels of musical literacy. The ability to read music is not required, although we do supply musical notation for those of you who wish to follow along, and have developed some technology to help you do that: instead of being displayed in the usual black, the notes being played are highlighted on screen in red. Intended as tests of comprehension and knowledge, the quizzes are offered in two degrees of difficulty, indicated thus: ♪ (entry-level) and ♪♪ (advanced). We hope you enjoy the course!

      COURSE STAFF

      Stephen Hinton

      Stephen Hinton is the Avalon Foundation Professor in the Humanities and Professor of Music and, by courtesy, of German Studies at Stanford University. Since coming to Stanford in 1994, he has held the positions of chair of the Department of Music, Senior Associate Dean for Humanities and Arts, and, most recently, Denning Family Director of the Stanford Arts Institute. A leading authority on the composer Kurt Weill, he has published widely on many aspects of modern German music history, with contributions to publications such as Cambridge Opera Handbooks, Handwörterbuch der musikalischen Terminologie,New Grove Dictionary of Opera, New Grove Dictionary of Music,Musik in Geschichte und Gegenwart, and Funkkolleg Musikgeschichte. He has also served as editor of the journal Beethoven Forum. His most recent book, Weill’s Musical Theater: Stages of Reform (University of California Press: Berkeley, 2012), the first musicological study of Weill’s complete stage works, received the 2013 Kurt Weill Book Prize for outstanding scholarship in music theater since 1900. He is an avid amateur chamber musician who regrets having too little time to practice his two instruments (viola and piano).

      St. Lawrence String Quartet

      The St. Lawrence String Quartet (SLSQ) enters its second quarter century of growth and worldwide concert-giving with acclaim from audiences, critics and the music community alike. “It's a modern string quartet that brings flexibility, dramatic fire and a hint of rock 'n' roll energy,” writes the Los Angeles Times. “Player for player, this is a superb group,” writes the New York Times...“[conveying] the excitement of playing whatever is on their stands at the moment.”

      In recent seasons, the SLSQ has made a specialty of the 68 string quartets of Joseph Haydn. In the Quartet's opinion, the true genius of Haydn often suffers from a formulaic and glossed-over familiarity on concert programs. In response, the SLSQ's interpretations of Haydn lay down a new standard for gripping, tender, hilarious, wicked, and charming performances of these masterpieces. The SLSQ often performs “Haydn Discovery” programs, which provide audiences with an engaging guided tour through the moment-to-moment architecture of his quartets to encourage active listening. A recording of Haydn's Symphony no. 102 (in its crisp arrangement for chamber ensemble by Salomon) has recently been released by the SLSQ, and a recording of the six groundbreaking quartets of Op. 20 is expected to be completed in 2016.

      Violinist Geoff Nuttall and violist Lesley Robertson founded the quartet in Canada in 1989. Cellist Christopher Costanza joined the group in 2003, and violinist Owen Dalby is the most recent member. With its appointment as faculty members in the Department of Music and as ensemble-in-residence at Stanford University for almost two decades, the SLSQ is deeply involved in teaching musicians from all academic backgrounds and disciplines. Its seminars, masterclasses and interdisciplinary collaborations attract students from around the world. Cultivating a wide repertoire that embraces the great works of the classical literature, off-the-beaten-path composers, and new works (often written specially for the group), the SLSQ continues to engage with audiences in over one hundred concerts a year. In the words of Alex Ross of The New Yorker: "The St. Lawrence are remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection."

      For further information about the SLSQ and its members, see the Quartet's homepage at www.slsq.com.

      Victoria Chang

      Victoria Chang is a graduate student in musicology at Stanford University with interests ranging from 20th-century genres such as electronic dance music, experimental jazz and new media to the sacred vocal music of the Renaissance and Baroque periods. Her dissertation explores representations of loneliness and lyric expression in operas and melodramas of the early 20th century. She conducts several small vocal ensembles and is a freelance musician specializing in site-specific works.

      FAQ: 

      Do I need to buy a textbook?

      No. All of the required course materials (lectures, musical examples, digital scores, and performances by the St. Lawrence String Quartet) are included here online.

      Is it possible to earn a Statement of Accomplishment?

      Yes. Each of the given exercises is marked with its point value; the maximum score for the whole course is 132 points. Participants who earn at least 50 points will be eligible for a Statement of Accomplishment marked ♪, for "Entry Level." Participants who earn at least 80 points will be eligible for a Statement of Accomplishment marked ♪♪, for "Advanced."

      How much time can I expect to spend on the course each week?

      This is a self-paced course. Although it is recommended that you work through the materials in the prescribed sequence from start to finish, you may study and review the lessons, listen to the performances, and do the exercises at your own chosen speed.

      St. Lawrence String Quartet

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      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) Textbooks & Prerequisites:

      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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          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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