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9.30AM - 11.30AM INTRODUCTING THE UPIX FREEWARE PROJECT
11.30AM - 11.45AM BREAK 11.45AM - 12.30PM EXPERIENCING UPIC
12.30PM - 1.00PM LUNCH BREAK 1.00PM - 3.15AM GRAPHIC SOUND SYNTHESIS
3.15PM - 3.30PM Break 3.30PM - 5.00PM INTERFACING MUSIC COMPOSITION TOOLS
5.00PM - 6.00PM OPEN DISCUSSION
8.30PM Please join us over at UCSC's Quarry Amphitheater for
the WOODSTOCKHAUSEN
2002 festival of esoteric sound, music and visuals! (also,
check out the sound installations before the show starting at 7.30PM)
Biographies & Detailed Program Info Gérard Pape has composed more than 40 works: orchestra, chamber music, vocal music, electronic works for voices, instruments and/or tape. His music has been played in numerous festivals and he has been granted ASCAP standard awards each year from 1992 through 1997. Among his most recent compositions is the work Feu Toujours Vivant for large orchestra and 4 sampler keyboards, commissioned by the electronic ensemble Art Zoyd and the National Orchestra of Lille, conducted by Jean-Claude Casadesus. Its world premiere took place in Lille, March 9, 1997. His discography consists of a previous monographic disk released in 1992 by Mode, including works played the Arditti Quartet, the Prism Orchestra of New York, and William Albright. The Computer Music Journal released an anthology disk in 1997 that contained an excerpt of Pape's Le Fleuve du Désir in its version for string quartet and tape, as played by the Arditti Quartet. Currently, Pape is working on an opera based on Clive Barker's novel Weaveworld. This project involves a very close collaboration with Yann Kersal&eacaute;, French visual artist, known worldwide for his visionary use of dynamic light projections. Gerard Pape directs Les Ateliers UPIC in Paris, a center for musical creation supported by the French Ministry of Culture, since 1991. Matthew Burtner music explores ecoacoustic processes, and extended polymetric and noise-based musical systems. Currently he is Assistant Professor of composition and computer music at the University of Virginia where he is also Associate Director of the VCCM Computer Music Center. A native of Alaska, Burtner studied composition, philosophy, saxophone and computer music at St. Johns College, Tulane University (B.F.A. summa cum laude), Iannis Xenakis's UPIC/CEMAMu, the Peabody Institute of the Johns Hopkins University (M.M.), and Stanford Universitys CCRMA (D.M.A,). He has also been composer-in-residence at the Banff Centre for the Arts, Simon Fraser University in Vancouver and the IUA/Phonos Institute in Barcelona. His most recent pieces include Somata/Asomata, commissioned by MiN, for electric string quartet and computer-generated sound, Ukiuq Tulugaq, a large-scale multimedia work for ensemble, electronics, dance, video and theater based on ecological and anthropological studies of the Arctic, and Polyrhythmicana commissioned by Ensemble Noise, a piece involving acoustic instruments and computer-generated multichannel click track. Architectures of Noise: the integration of micro and macro-level compositional structures using the UPIC system. This talk draws on my experience working with noise-based compositional systems, looking in particular at my early work with UPIC. As Xenakis intended, the UPIC system allows for extensive and flexible macro-level sound structuring possibilities. By combining the system with the use of carefully controlled and evolving noise-based timbres, a compositional approach evolved focusing on the concurrent structuring of micro-timbral and macro-formal materials. While originally inspired by the technical capabilities of UPIC, this approach to composition has remained an important aesthetic and philosophical component of my work. "Incantation 1" (1993) for amplified cello and computer-generated tape, and "Incantation 2" (1994) for computer-generated tape will be referenced as early examples of this technique. Incantation 1: "Incantation 1" (1993) for amplified cello and computer-generated tape was composed in Paris at Iannis Xenakis Les Ateliers UPIC. The tape incorporates granular synthesis microstructures into the musically architectural UPIC computer system. The cellist is required to carefully control many musical parameters including bow pressure and position, tremolo density, and microtonal pitch variations. The piece was premiered at the International Computer Music Conference (ICMC) in Banff, Canada and has been recorded for Germanys DACO records. It received the Hultgren Award for new cello music and has been performed internationally by leading cellists such as Dorothea von Albrecht, Craig Hultgren, Hugh Livingston, Paul Pulford, and Dariusz Skoraczewski. "Incantation 1" relies on the internal poetic processes from which music flows: An incantation -- the casting of signs and sounds, bringing forth a transformation -- from silence into sound, from sound into music, and from music back into silence. Incantation S4: "Incantation
S4" (1997) explores the integration of the saxophone and electronics
as equal elements within a single, non-narrative sound-space. Techniques
of digital audio synthesis such as granular synthesis, spectral mutation,
and spectral resonance influenced the compositional approach to the saxophone
1while the electronic part was inspired by a natural and organic conception
of sound. Elements of harmonicity and noise intersect through the saxophone
acoustics creating structural and timbral evolution in the work. "Incantation
S4" was recorded by Innova Records for a solo CD of Burtner's music,
"Portals of Distortion: Music for Saxophones, Computers, and Stones"
(Innova 526). Curtis Roads teaches in CREATE, Department of Music, University of California, Santa Barbara. He studied music composition at California Institute of the Arts, the University of California, San Diego (B. A. Summa Cum Laude), and the University of Paris VIII (Ph.D). From 1980 to 1987 he was a researcher in computer music at the Massachusetts Institute of Technology. He then taught at the University of Naples "Federico II," Harvard University, Oberlin Conservatory, Les Ateliers UPIC (Paris), and the University of Paris VIII. Certain of his compositions feature granular and pulsar synthesis, methods he developed for generating sound from acoustical particles. He has recently developed the Creatophone, a system for spatial projection of sound in concert. Another new invention is the Creatovox, an expressive new instrument for virtuoso performance that is based on the synthesis of sound particles. The Creatovox, developed in collaboration with Alberto de Campo, was first demonstrated to the public in March 2000. He recently completed a new book entitled Microsound (forthcoming, The MIT Press), which explores the aesthetics and techniques of composition with sound particles. Mark Applebaum is assistant professor of composition and theory at Stanford University. He received his Ph.D. in composition from the University of California at San Diego where he studied principally with Brian Ferneyhough. His solo, chamber, choral, orchestral, electro-acoustic, and electronic work has been performed throughout the United States, Europe, and Asia. He has received commissions from Betty Freeman, the Merce Cunningham Dance Company, the Paul Dresher Ensemble, Zeitgeist, MANUFACTURE (Tokyo), the Jerome Foundation, and the American Composers Forum, among others. Since 1990 Applebaum has built electro-acoustic instruments out of junk, hardware, and found objects for use as both compositional and improvisational tools. He is also active as a jazz pianist and performs with his father, Robert Applebaum of Chicago, in the Applebaum Jazz Piano Duo. Prior to his current appointment, he taught at UCSD, Mississippi State University, and Carleton College where he served as Dayton-Hudson Visiting Artist. His recordings can be heard on the Innova label. Additional information is available at www.markapplebaum.com. An Introduction to Metasynth and Compositional Applications The presentation will serve as an introduction to the Metasynth program with an emphasis on its image synthesizer as a means of creating visual images and transforming them into sound. Stanford University composer Mark Applebaum will illustrate his presentation with examples from his recent work, "Skumfiduser!", for orchestra and tape. Peter Elsea is a graduate of the University of Iowa, where he studied composition with Peter Todd Lewis and Richard Hervig, and music technology with Lowell Cross. After receiving his master's degree in 1974, he was appointed staff technician in the electronic music studio, where he served for six years designing and building equipment and occasionally writing computer code. In 1980, he moved to the University of California, Santa Cruz, and became teacher, technical staff and janitor for the electronic music studios. He is currently studio director, which is the same job with a nicer title. These days he mostly writes computer code and occasionally builds a piece of hardware. He is best known as the author of the lobjects, a set of more than 100 external objects for the Max music programming environment. Towards Lupic: Graphic Composition with Max Max is one of the most popular composition environments currently in use. Although building Max patches is definitely a graphical experience, free form input a la UPIC is still rather primitive. Some techniques for achieving this with standard objects will be demonstrated, and a new graphic input object will be introduced. Stephen Travis Pope is a senior research specialist and composer at the Center for Research in Electronic Art Technology (CREATE), in the Dept. of Music, UC Santa Barbara, teacher in the UCSB Media Arts and Technology Program, former editor-in-chief of Computer Music Journal (CMJ), published by the MIT Press, and a software developer and consultant through The Nomad Group. (http://www.create.ucsb.edu/~stp/). Software Interfaces for Interaction with Musical Structures and Algorithms Advances in human-computer interface technology enable us to interact with ever more complex and dynamic data structures. Unfortunately, most software user interfaces for manipulating music and sound data are still based on very old models such as tape recorders, mixing consoles, and analog synthesizers. This presentation will introduce several systems (some over 15 years old) that have provided truly novel methods for visualizing and interacting with sophisticated software systems that manage multimedia data. Miller Puckette obtained a B.S. in Mathematics from MIT (1980) and Ph. D. in Mathematics from Harvard (1986). Puckette was a member of MIT's Media Lab from its inception until 1987, and then a researcher at IRCAM (l'Institut de Recherche et de Coordination Musique/Acoustique, founded by composer and conductor Pierre Boulez). There he wrote the Max program for MacIntosh computers, which was first distributed commercially by Opcode Systems in 1990 and is now available from Cycling74.com. In 1989 Puckette joined IRCAM's "musical workstation" team and put together an enhanced version of Max, called Max/FTS, for the ISPW system, which was commercialized by Ariel, Inc. This system became a widely used platform in computer music research and production facilities. The IRCAM real-time development team has since reimplemented and extended this software under the name jMax, which is distributed free with source code. Puckette joined the Music department of the University of California, San Diego in 1994, and is now Associate Director of the Center for Research in Computing and the Arts (CRCA). He is currently working on a new real-time software system for live musical and multimedia performances called Pure Data ("Pd"), in collaboration with many other artists/researchers/programmers worldwide. Pd is free and runs on Linux, IRIX, and Windows systems. Since 1997 Puckette has also been part of the Global Visual Music project with Mark Danks, Rand Steiger, and Vibeke Sorensen, which has been generously supported by a grant from the Intel Research Council. Dan Overholt is a composer, performer, and instrument builder based at CREATE (Center for Research in Electronic Art Technology). He designs gestural control instruments and custom DSP software for the real-time performance of musical works. Recent advancements include new musical mappings and synthesis techniques that extend technology Mr. Overholt developed at the M.I.T. Media Laboratory, where he received the M.S. degree. Dan is currently pursuing an interdisciplinary Ph.D. in Music Technology at University of California, Santa Barbara.
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