#Max msp student full#
#Max msp student registration#
#Max msp student professional#

Research results:ДЄre 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). In-house technical reports and recordings are available, and public demonstrations of ongoing work at CCRMA are held periodically. Concerts of computer music are presented several times each year, including exchange concerts with area computer music centers. Center activities:ДЄcademic courses, seminars, small interest group meetings, summer workshops and colloquia. Departments actively represented at CCRMA include Music, Electrical Engineering, Mechanical Engineering, Computer Science, Physics, Art, Drama, and Psychology.

Auditory Display of Multidimensional Data (Data Sonification)ДЄdministrative and technical staff, faculty, research associates, graduate research assistants, graduate and undergraduate students, visiting scholars, visiting researchers and composers, and industrial associates.

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). 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.

Recent honors include a finalist nomination for the 2021 ASCAP/SEAMUS commission competition, winning the gold-prize for вЂњcontemporary computer musicвЂќ in the Verband Deutscher Tonmeister Student 3D Audio Production Competition, and being awarded the runner-up nomination for the International Confederation of Electroacoustic Music's 2019 CIME PrixДouglas is currently a DMA candidate at Stanford University, working towards his doctorate in Composition while studying with Chris Chafe, Patricia Alessandrini, Jaroslaw Kapuscinski, Fernando Lopez-Lezcano, and Mark Applebaum. His works have been performed internationally at festivals and symposiums including: Sonorities (SARC), SEAMUS, the San Francisco Tape Music Festival, Splice, MISE-EN Music Festival, Klingt Gut!, Sounds Like THIS!, Electronic Music Midwest, NYCEMF, Sonicscape, CEMEC, Eureka!, and CEMICircles. Through his work, he investigates the various intersections of real-time electronic music performance with handmade interfaces / instruments, spatial audio (higher-order ambisonics and binaural), dynamic / interactive systems, the musical applications of machine- learning, experimental sound design, and DIY electronics / hardware-hacking.

#Max msp student registration#

This workshop will be delivered online via Zoom, with a registration fee of $225 (half of the standard 'in-person' fee).Дouglas McCausland is a composer / performer who is fascinated with new aesthetic and technological domains, and whose chaotic and dense works explore the extremes of sound and the digital medium. Note that this workshop will primarily be taught using Max/MSP however, participants may opt to use their own preferred tools or languages, such as Pure Data or SuperCollider, at their discretion (the instructors cannot guarantee technical support in this case). The week will culminate in the creation of a final project or prototype to be presented in a public forum.

#Max msp student full#

These activities are supplemented by a full schedule of instructor lectures, live demonstrations, theoretical / historical context, and guest lectures from other members of the CCRMA community. This practice-oriented workshop emphasizes experience first, providing ample opportunities to experiment and actively create. Machine learning tools and applications for gestural interactionДЄimed at musicians of all backgrounds and practices, the workshop will provide extensions to numerous avenues of music-making, such as performance, improvisation, sound design, and spatial audio.Max/MSP packages such as MuBu, ml.star, ICST, etc.An introduction to Arduino, Teensy, sensors, and bespoke devices.Proprietary gestural devices such as Leap Motion and Genki Wave Ring.HIDs and other 'non-musical' devices such as joysticks, video game controllers, GameTrak, etc.On the technical side, participants in the workshop can expect to learn about and experiment with a robust array of tools / systems including, but not limited to: The course will include topics such as: building interfaces, performance practice, designing interactive systems, mapping strategies, parsing gestural data, and more.

This workshop is a 5-day intensive exploration of the art of gestural music-making through different applications of music technology.