Music and Technology Senimar



April 14, 3:30pm - 4:30pm at GHC 9115

Haris






April 7, 3:30pm - 4:30pm at GHC 9115

Andrew Russel






Mar 31, 3:30pm - 4:30pm at GHC 9115

John La Grou






Mar 24, 3:30pm - 4:30pm at GHC 9115

Pittsburgh Modular






Mar 17, 3:30pm - 4:30pm at GHC 9115

Ziyun Peng






Mar 3, 3:30pm - 4:30pm at GHC 9115

Can Ozbay






Feb 24, 3:30pm - 4:30pm at GHC 9115

Tina Liu: Is there really a such thing as hit song prediction?

Abstract:

Wouldn't it be exciting if we can know whether a new song will be a hit? Some believe that there's a formula to producing a hit song, while others believe not. Companies and researchers have been investigating this problem in different ways. In this talk, I will review commercial products that give "popular" scores to new songs. I will also give an overview of how researchers deal with this problem.






Feb 17, 3:30pm - 4:30pm at GHC 9115

Haochuan Liu: Drum Mixing Techniques

Abstract:

Mixing drums is one of the most challenging aspects of music production. Most of the time your drums are a large component of your mix, and with so many variables, you can't just ­fly at it willy-nilly and hope to get good results.

In this senimar, I will talk about some basic knowledge and techniques of drum mixing, including:

  • General way to mic up a drum ki.t

  • Audio plug-ins for drum mixing.

  • Demo: walking through a real drum mixing of a pop rock song.






Feb 10, 3:30pm - 4:30pm at GHC 9115

Anders Øland: The Commodore 64 & The History of Chip Music

Abstract:

Chip music aka 8-bit music stems back to the mid 1970s, when the first arcade (game) machines were produced. Needles to say that the music and sound effects were very simple - and mostly just plain bad. However, in 1982 the Commodore 64 (C64) arrived on the scene - and changed the game, so to speak. It was the first home computer to be priced at a reasonable level ($599), and it pretty much wiped the floor with the PCs and Mac's of its time; technologically as well as price-wise. It went on to become the best-selling computer of all time; 20 million units were sold worldwide. The C64 had a 3-voice sound chip - with both analog and digital circuitry. The SID chip, as it was called, had 4 waveforms and a multi-mode analog filter. Using these, by today's standards, limited tools, musicians were able to produce surprisingly expressive sounds and music. For the first time in history computer game music became truly enjoyable, and arguably turned into an artform of its own. The C64 musicians became famous in the community, and their music - and the unique sound of the C64 - has stayed popular even to this day.






Feb 3, 16:30PM - 17:30PM, GHC 9115

Roger Dannenberg: Recent Work on Compositions and Aura

Abstract:

Roger Dannenberg will give a preview of a new interactive piece for flute and computer, written using Aura, which he will also describe in brief. He will also describe a separate project, the GlobalNetOrchestra.






Jan 27, 16:30PM - 17:30PM, GHC 9115

Video from David Wessel, University of California, Berkeley, USA: "Designing musical instruments that privilege improvisation"

Abstract:

Computer technology now plays an important role in musical composition and performance. Most popular music software applications involve a time line upon which musical material is placed in a sequence and performance is accomplished by rendering the sequence with adjustments in timing so as to synchronize with other musicians. While this approach may be satisfactory for a wide variety of music it overly constrains improvised performance. Improvisation requires a higher degree of context dependant interactivity and expressive control.

This talk will address the design of computer-based musical instruments that serve the more mutable musical practices. Central are gestural interfaces and their mapping to musical material as well as machine listening strategies that assist the performer in assessing the rhythmic, tonal, and timbral characteristics of the ongoing performance. Special emphasis will be given to the design of expressive instrumentation that invites exploration and discovery and to a musical practice that involves a coordinated balance of software development and daily bodily engagement with one's instrument.