Miller Puckette was the top scorer in the 1979-1980 William Lowell Putnam
Mathematics competition and was awarded Putnam and NSF fellowships to study mathematics at MIT and Harvard, where he finished his Ph.D. in 1986 under Andrew Gleason. From 1979 through 1986 Puckette also studied computer music with Barry Vercoe at the MIT Media Lab. He then joined IRCAM in Paris, where he wrote the Max graphic programming language, which has become the lingua franca of live computer music. In 1994 Puckette joined UCSD where he is now professor of music and associate director of the Center for Research in Computing and the Arts. Puckette's research interests include human-machine interaction strategies and real-time audio and video processing.

WORKSHOP 2: INTRODUCTION TO MUSIC INFORMATION RETRIEVAL
George Tzanetakis, University of Victoria, Canada

The main objective of this tutorial is to provide an overview of the current status of music information retrieval (MIR). The intended audience are computer music researchers and composers who are interested to learn the main approaches and current status of MIR. Relevant concepts from Signal Processing, Machine Learning, and Human Computer Interaction will be introduced. In addition the strong connection between Computer Music and MIR will be explored. Demonstrations of several of the described algorithms and
techniques will be part of the tutorial presentation.

George Tzanetakis is an assistant Professor of Computer Science at the University of Victoria. He received his PhD degree in Computer Science from Princeton University in May 2002 and was a PostDoctoral Fellow at Carnegie Mellon University working on query-by-humming systems with Prof. Dannenberg and on video retrieval with the Informedia group. In addition, he has worked as a summer intern at SRI on multimedia browsing user interfaces. He was also chief designer of the audio fingerprinting technology of Moodlogic Inc. and developed a real-time music speech classification system for All Music Publishing, The Netherlands. His research deals with all stages of audio content analysis such as feature extraction, segmentation, classification with specific focus on Music Information Retrieval (MIR). His work on musical genre classification is frequently cited and he has presented tutorials on MIR and audio feature extraction at several international conferences. He is also an active musician and has studied saxophone performance, music theory and composition. More information can be found at http://www.cs.uvic.ca/~gtzan.

WORKSHOP 3: INTRODUCTION TO AUDIO CODING WITH SYNTHETIC TECHNIQUES
Corey Cheng (cnc@dolby.com) and Matt Fellers (mcf@dolby.com), Dolby Laboratories, USA

Tuesday, November 2, 3:30 PM - 6:00 PM
USD 40 / EUR 32,50

This lecture will introduce the basic building blocks of modern perceptual audio coders and will also discuss some synthetic audio techniques recently introduced into audio coders. In the first half of the talk, we will give an overview of how transform coding, psychoacoustic masking, quantization, coupling, and lossless coding are applied in audio coders. Time permitting, we will introduce some industry standard coders, and we will briefly listen to common coder audio artifacts. In the second half of the talk, we will introduce some recently developed open-standards based synthetic audio coding tools. Depending on interest, some topics could include:

1. Introduction to audio coding
• Building blocks: transform coding, psychoacoustic masking, quantization, coupling, lossless coding
• AC-3, AAC industry standard coders
• Coding artifacts

2. Synthetic tools in modern audio codecs
• Bandwidth Extension Techniques (MPEG-4 Audio, HE-AAC)
• Spatial Audio Coding. Binaural Cue Coding (BCC), current MPEG standardization efforts.
• Parametric Audio Coding. MPEG-4 Audio Sinusoidal Coding (SSC). Parametric Coding for High Quality Audio).

Corey Cheng is currently a staff engineer in the Research Division at Dolby Laboratories, San Francisco, where he works on the Dolby Digital (AC-3) and the Dolby Advanced Audio Coder (Dolby AAC) audio codecs. His other research interests include applications of wavelets to audio signal processing, head-related transfer functions (HRTF's), econosonometrics, and networked audio for wireless devices. His electronic music has appeared at ICMC and SEAMUS, and he is a member of IEEE, AES, ICMA, and SEAMUS. He has worked on audio-related projects for Fujitsu-Ten Corporation, University of Michigan Department School of Business Administration, and the Naval Submarine Medical Research Laboratories, Groton, CT. Corey holds degrees in electrical engineering (Ph.D. '01, M.S.E. '98 University of Michigan), electro-acoustic music (M.A. '96 Dartmouth College), and physics (B.A. 1994 Harvard University).

Matt Fellers is currently a staff engineer in the Research Division at Dolby Laboratories, San Francisco. Matt's current area of focus is on the development of algorithms for audio codecs such as AC-3 (Dolby Digital), and AAC (Advanced Audio Coding). Matt has recently focused on technologies related to efficient bandwidth extension in audio coders for very low bitrate applications, as well as the tuning of AAC encoders for sound quality enhancement. He is the Primary Member representing Dolby Laboratories at MPEG, and has been involved in MPEG standardization efforts since 1999. He holds multiple patents in audio coding, 3D audio and spatial audio coding. Matt has a degree in electrical engineering (BSEE, '91) from the University of Colorado and a Masters degree in Music Engineering from the University of Miami (GMUE '94).




WORKSHOP 4: INTERACTIVE PERFORMANCE WITH THE WIRELESS BODYSYNTH AND KYMA SYSTEM
Burton Beerman and Celesta Haraszti, Electric Arts Duo, USA

The Electric Arts Duo will introduce the Capybara 320 box and Kyma programming environment, demonstrate a Kyma "sound" (which, in this case, is a sound and/or process) by explaining what parameters can be manipulated and what scripts in the parameters will allow the movements of the dancer(s) to control them. A timeline composed of multiple sounds at different times will then be demonstrated with the dancer(s) to show how the dancer's functions change over time. The complex challenges presented to the choreographer will be presented. The technique of transforming dance into sounds will be demonstrated, and the metamorphosis of dance techniques being transformed into a wide range of sounds from a single note, to an arpeggio or glissando, etc will be observed and discussed. Real-time performance techniques in an interactive video and sound environment will be demonstrated.
    Duo will then perform a segment extracted from their work PLAYTHINGS REVISTED to demonstrate the system in a context4; they will then perform a portion of the STEIM residency work WATERLILIES I with interactive video, followed by a segment of a performance in concert with video.
    The Duo will then put the BodySynth system on volunteers and have them get a feeling for what kind of movements cause what kind of sound behaviors within the Kyma programming environment. Composers, performers and dancers who are involved in interactive video and performing environments will be interested in the seminar.

The ELECTRIC ARTS DUO is an intermedia performing ensemble for clarinet, interactive computer music, dance, and video environments, combining diverse media to produce tech-driven art works. Inherent to the compositions of the ensemble is the music and dance virtuosity of the performers of the group.
    The Capaybara 320 system is the heart of the computer interactivity of the ensemble.
The Kyma System combines a DSP-based sound-design box called the Capybara Sound Computation Engine. Kyma.5 provides a new, high-level Graphic User Interface between the Capybara sound computation engine and the user. The Capybara contains four Motorola DSP 56309s and 96 MB RAM, and the entry-level system includes four 24-bit, 100 kHz A/D/A converters (expandable to eight). It supports an additional 2 to 12 expansion cards, each with two more Motorola DSP chips and 48 MB RAM. The system is connected to a notebook computer with a Firewire interface, permitting simultaneous performance of up to twenty-four sound files.
    The BodySynth, is a MIDI controller that transforms movement, gestures, and other muscle efforts into sounds. The performer attaches electrodes to the body over various muscles with Velcro. The tiny electrical signals generated by muscle contractions are measured and analyzed by a microprocessor. A variety of processing algorithms are available through the keypad on the Processor Unit. These algorithms translate effort into MIDI commands thus causing the body to become a controller.
    Connected to the MIDI input of the Capybara 320 box, the dancer becomes a source of multiple controllers for the Kyma programming system. The Kyma environment is an ideal realtime system to use with the BodySynth. Its timeline permits the implementation of complex sounds for which the dancer's movements act as dynamic controls. As the timeline progresses the parameter assignments of the controllers change.
    PLAYTHINGS REVISITED is a work created by this ensemble for this performing environment of clarinet, dancer with BodySynth, and Capybara 320, sometimes augmented by real-time video manipulation. In this case the movements of the dancer can act as a real-time controller for such video systems as Image/ine, Videodelic and Isadora.

WORKSHOP 5: COMPOSER-PERFORMER COLLABORATION WITH TECHNOLOGY
Mara Helmuth and Allen Otte, University of Cincinnati College Conservatory of Music, USA

Saturday, November 6, 4:00 PM - 6:30 PM
USD 40 / EUR 32,50

Composer-Performer Collaboration with Technology is a workshop exploring the creative processes inherent in composer-performer collaboration, how to encourage these processes in working with technology in studio classes. Initial, or even later, collaborations in these areas can be challenging for performers who may be familiar with different sound worlds and techniques than those the computer allows, and for composers who may be uaware of the
needs of perfomers and of the benefits of involving performers in composition.

Topics:
1. losing predefined roles of performer and composer
2. expanding instrumental capabilities
3. experimental composition
4. software and hardware configurations for realtime processing
5. graphic scoring
6. composing for instruments and "tape" (with an emphasis on percussion)
7. group improvisation
8. collective composition
9. performance contexts
10. spatial aspects
11. multimedia aspects

Those who are contemplating or involved in teaching courses oriented toward collaborations between composers and performers working with technology may find this workshop especially beneficial.
    Mara Helmuth and Allen Otte teach Live Electronic Music at the University of Cincinnati College Conservatory of Music Center for Computer Music. The course has resulted in concerts of works of collaborative and improvised music between musicians and artists.

Mara Helmuth composes for computer and acoustic instruments, and creates creates software for music composition and improvisation. She is Associate Professor in Composition and the director of (ccm)2, the University of Cincinnati College-Conservatory for Music Center for Computer Music. She holds a Doctor of Musical Arts from Columbia University. Her tape music includes "Abandoned Lake in Maine" (1997), based on loon sounds, "Mellipse" (1989,1995), which won third prize in the 1990 NEWCOMP computer music competition and the new "bugs and ice: A Question of Focus" (2002) based on natural sounds. Her writings have appeared in the monograph Audible Traces, and in the Journal of New Music Research and Perspectives of New Music. Recent work includes the Staircase of Light interactive installation in Beijing at the Sino-Nordic Performance Arts Space, an Internet 2 application for improvisation, Soundmesh, an analysis of Barry Truax's Riverrun, Origins of a Fantastic Dream for orchestra and computer, and collaborative projects with Allen Otte, (Implements of Actuation, a CD available from the Electronic Music Foundation), and with pipa virtuoso Ming Ke.

Allen Otte came to the University of Cincinnati in 1977 with The Blackearth Percussion Group which he co-founded in 1972; in 1979 he founded Percussion Group Cincinnati. The three members of the Group are faculty and ensemble-in-residence at the conservatory with an international touring schedule of concerts, concerto appearances, masterclasses, and childrens programs. A large body of new and often experimental music has been created specifically for the Group throughout its history, which has included special relationships with John Cage, Herbert Brun, John Luther Adams, and Qu Xiao-song.
    Otte is professor of percussion, teaches eurhythmics, composition, various literature seminars, and coaches and conducts traditional and contemporary chamber music. He is a regular summer faculty member at Oberlin where he has also done a course in traditional and creative music for Javanese gamelan. With and without the Group he has concertized, recorded and taught throughout North America, Europe, and in Asia, including solo concerts and guest presentations in Shanghai, Saarbrucken, Aukland, and at Tanglewood. As both percussionist and composer he works with soprano Audrey Luna, poet Don Bogen, and in computer music with Mara Helmuth; he has also worked in Lucca, Italy with opera director Malcolm Fraser creating experimental music theater pieces. The evening-length monodrama CLOTHO for percussionist, soprano, and computer, based the life of Camille Claudel, was premiered in 2001; music for Shakespeare's The Tempest in '02. A CD of 5 collaborative works with Mara Helmuth is available on EMS; Percussion Group Cincinnati is recorded on Mode and their own label, ars moderno.