Stanford Historical Society A BRIEF HISTORY OF CCRMA John Chowning Osgood Hooker Professor of Fine...
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![Page 1: Stanford Historical Society A BRIEF HISTORY OF CCRMA John Chowning Osgood Hooker Professor of Fine Arts and Professor of Music, Emeritus May 15 jc@ccrma.stanford.edu.](https://reader038.fdocuments.in/reader038/viewer/2022103111/55167c945503469d698b5bfa/html5/thumbnails/1.jpg)
Stanford Historical Society
A BRIEF HISTORY OF CCRMAJohn Chowning
Osgood Hooker Professor of Fine Arts and Professor of Music, Emeritus
May 15
[email protected] Center for Computer Research in Music and Acoustics
CCRMA
Stanford University
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Stanford Symphony Orchestra1964
© J. Chowning
STRINGS STRINGS
HORNS
WOODWINDS
BRASSES
TRUMPETS TROMBONES TUBA TYMPANI PERCUSSION
CONDUCTOR
Sandor Salgo
JC Joan Mansour
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Joan Mansour & Max Mathews meet for the 1st time2007
43 years later
© J. Chowning
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John chowning
Max standing next to IBM 7094 (BTL)Max Mathews, to whom we owe much,1926 - 2011
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Mathews, M.V., “The Digital Computer as a Musical Instrument,” Science, Vol. 142, No. 3592, 553-557, 1963.
John chowning
“There are no theoretical limitations to the performance of the computer as a source of musical sounds, in contrast to the performance of ordinary instruments.”
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© J. Chowning
COMPUTER
DIGITALTO
ANALOGCONVERTER
DAC
Max Mathews’ sound synthesis program–Music IV
Compared to electronic music studios of the time, with circuit boards, test equipment, wires and patch cords, I would not have to learn to solder But, I had to learn to program!
In the Summer of 1964 on a visit to BTL, Max gave me the program and its compiler in a box and said forcefully
“DON’T DROP THE CARDS!”
this was a conceptually simple system having three well-defined stages and pieces of machinery.
LOUDSPEAKER
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Stanford Symphony Orchestra1964
© J. Chowning
STRINGS STRINGS
HORNS
WOODWINDS
BRASSES
TRUMPETS TROMBONES TUBA TYMPANI PERCUSSION
CONDUCTOR
JC Joan MansourDavid Poole
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David Poole(my angel)
© J. Chowning
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Computer Music Project moved with the AI Laboratory from Pine Hall to the D. C. Power Laboratory in 1966
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© J. Chowning
D. C. Power Lab at 1600 Arastradero Rd.
►
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Leland Smith
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Leland Smith’s “Score” programs
© J. Chowning
• Score as complement to Max’s synthesis program
• 1967-68 begins adapting Score for music printing
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Score became, and remains, the hi-end industry standard
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90º
90º
90º
90º
0º
0º
0º
0º
CH1CH2
CH3 CH4
Listeners space within the speaker perimeter
j. chowning
Music for loudspeakers
listeners
sounds moving through anillusory sound space
I continued my work in creating music in an illusory space that would allow compositional constructions in which sound could be positioned and moved through the space.
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Localizationand Moving Sound Sources
FAST
FASTER
FASTER YET!
J.M. Chowning 11/30/02
90º
90º
90º
90º
0º
0º
CH1CH2
CH3CH4
0º
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x
System to process signal using functions shown in preceding slide.
Rev CH1Rev CH2Rev CH3Rev CH4
AMAMAMAM
CH1CH2CH3CH4
AMFM
x
AM
% signal(to rev) x
Originalsignal1.0
1
2
4
x
x
x
x
Spatial Processing Scheme -1968
√d1
dtdd (distance)d1+
+
+
+
+
+
+
+
-
DIRECT SIGNALSIGNAL→REVERB
j. chowning
(doppler)CONTROL SIGNALS
3REALIZATIONSCOMPUTERS AND LANGUAGES:
• ALLOW DIRECT CONROL OF THE MATERIAL OF MUSIC• SOUND STRUCTURE AND MUSIC STRUCTURE CAN BE JOINED IN A NEW WAYTHE VALUE OF A MULTI-DISCIPLINARY ENVIRONMENTMY EARS ARE MY MOST IMPORTANT TOOL!
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x
Rev CH1Rev CH2Rev CH3Rev CH4
AMAMAMAM
CH1CH2CH3CH4
AMFM
x
AM
% signal(to rev) x
Originalsignal1.0
1
2
4
x
x
x
x
Spatial Processing Scheme -1968
√d1
dtdd (distance)d1+
+
+
+
+
+
+
+
-
DIRECT SIGNALSIGNAL→REVERB
j. chowning
(doppler)CONTROL SIGNALS
3
DAC
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© J. Chowning
(still, without knowing how to solder)
METHOD AND APPARATUS FOR SIMULATING LOCATION AND MOVEMENT OF SOUNDPatent number: 3665105Filing date: Mar 9, 1970Issue date: May 1972Income:
a few thousand $(enough to purchase a 4-ch sound
recording system)
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j. chowning
Discovery of FM SynthesisNovember, 1967
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e =A{J0(I) sin αt
+ J1(I)[sin(α+β)t - sin(α-β)t]
+ J2(I)[sin(α+2β)t + sin(α-2β)t]
+ J3(I)[sin(α+3β)t - sin (α-3β)t]
…
+ Jn(I)[sin(α+nβ)t ± sin(α+nβ)t]}
e = Asin(2πfct+Isin2πfmt)
FM EQUATION AND THE TRIGONOMETRIC EXPANSION
© J. Chowning
For a complete description of FM/PM Synthesis see Bill Schottstaedt's tutorialhttps://ccrma.stanford.edu/software/snd/snd/fm.html
The FM paper can be downloaded from https://ccrma.stanford.edu/people/john-chowning
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+
+
Percussive tonesBrass-like tones
modulation Index(bandwidth)
amplitude
B a n d w i d t h frequency
I
© J. Chowning
c
m
= 1.0
= 1.4= 1.0
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© J. Chowning
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John M. Chowning
+
+
Singing voice
modulation Index(bandwidth)
amplitude
FREQ
AMP
f 2f 3f …
Formants (resonances) 1 2 3
+ +
© j. chowning
Vibrato with resonances causes complex modulation of the partials, enriching the color.
1 2 3
Synthesis of the Singing Voice by Means of Frequency Modulation. Current Directions in Computer Music Research, Edited by Max V. Mathews and John R. Pierce, MIT Press, 1989.
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© J. Chowning
METHOD OF SYNTHESIZING A MUSICAL SOUND Patent number: 4018121Filing date: May 2, 1975Issue date: Apr 19, 1977Income:
?
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1975 - Founding of theCenter for Computer Research in Music and Acoustics
CCRMA (kar·ma)
© J. Chowning
Photo Patte Wood
Leland Smith
James (Andy) Moorer
John Grey John Chowning Loren Rush
from the beginning, our work was multidisciplinary
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Ligeti at Stanford Jan –Jun 1972
--informed Boulez of our work
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1975- Pierre Boulez brings IRCAM team to CCRMA for two week course in computer music
© J. Chowning
Photo Patte Wood
Pierre Boulez
James (Andy) Moorer
Steve Martin – graduate student
John Chowning
Max Mathews
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© J. Chowning
John PierceJean-Claude Risset
John ChowningMax Mathews
IRCAM- 1979 PDP-10
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Pete Samson with the “SamsonBox” digital synthesizer — a highly optimized computer for synthesizing and processing audio signals in real-time. It was built for CCRMA in 1977 and was retired in 1992.
It is now part of the collection at the Musée de la Musique in the Cité de la Musique, Paris.
In early January 2010, Mike McNabb and Bill Schottstaedt generated the original music for Mars in 3D using a software emulator of the Samson Box programmed by Bill Schottstaedt.
Mute!
Mute off!
The “Samson Box” Digital synthesizerc
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© J. Chowning
1983 – DX7
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© J. Chowning
METHOD OF SYNTHESIZING A MUSICAL SOUND Patent number: 4018121Filing date: May 2, 1975Issue date: Apr 19, 1977Income:
a lot more than the 1st patent(enough to endow CCRMA,
thanks to Stanford)
?
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1985-Move to the Knoll
Patte Wood
Heidi Kugler
John R. Pierce1910 - 2001
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Chris ChafeDirector CCRMA
Jay KadisJulius Smith
Fernando oLpez-LezcanoBill Schottstaedt
Max Mathews 1926-2011
AND CCRMA FLOURISHESRadio Baton
The JOS Global IndexRecording Engineering
Planet CCRMACLM
1996 – CHOWNING RETIRES – CHRIS CHAFE IS APPOINTED DIRECTOR
Tricia SchroeterPatte Wood
Heidi Kugler
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Ge Wang
Fernando Lopez-Lezcano
Sasha Leitman
Jonathan Abel
Takako Fujioka
Jonathan BergerChris ChafeDirector CCRMA
Julius Smith
Max Mathews 1926-2011
MODULATIONS
1996 - 2013
Jay Kadis
Tricia Schroeter
Bill Schottstaedt Carr Wilkerson
Nette Worthey
HAGIA SOPHIALISTENING ROOM
Bill retired 2012
Max died April 2011
INSTRUMENTMAKING
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BANF/SEOUL/NY/SAN DIEGO
STANFORD/ST JOHNS
CHRIS CHAFE
STANFORD/BEIJING
-NETWORKCONCERTS-SONIFICATION-HUMAN/COMPUTER PERFORMANCE
CHRIS CHAFE
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JULIUS SMITH
Impulse response from a Schroeder / Feedback Delay Network reverberator (recently implemented in Faust)
A waveguide model of a cylindrical tube with a conical tip
-FAUST -DIGITAL WAVEGUIDES-STUDENTS
Waveguide model of a bowed string
JULIUS SMITH
Pablo Castellanos Macin
MEXICO
Romain Michon FRANCE
Zhengshan Shi CHINA
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JONATHAN BERGER
Sonification of satellite data from Jiyeh 2007 oil spill
-SONIFICATION
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JONATHAN BERGER
-SONIFICATION-MUSIC AND THE BRAIN-OPERAS THEOTOKIA THE WAR REPORTER
JONATHAN BERGER
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GE WANG
CHUCK AUDIO PROGRAMMING LANGUAGE & BOOKOCARINA, FOR IPHONE (OVER 10 MILLION DOWNLOADS)STANFORD LAPTOP ORCHESTRA
GE WANG
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TAKAKO FUJIOKA
Interests of my research
Biological nature of human musicality• How does our brain work to understand sounds?• How does the brain change when learning musical
skills?• How do learning and brain development/aging
interact?• How can that knowledge be used for education,
therapy, and sound application?
TAKAKO FUJIOKA
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TAKAKO FUJIOKA
The upcoming NeuroMusic Lab @ CCRMA!!
-BRAIN COMPUTER INTERFACE -BEHAVIOURAL AND EEG ANALYSIS-MOTION, VIDEO, AND AUDIO ANALYSIS- REHABILITATION
TAKAKO FUJIOKA
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the teaching/research is enriched further (and still) by
Max Mathews 1926-2011
David BernersMarina Bosi
Poppy Crum
Tom RossingMalcolm Slaney
Eleanor Selfridge-Field
Jaroslaw Kapuscinski
Computational Models of Sound Perception
Perceptual Audio Coding
Musical Acoustics
Music Gaming and Neuroplasticity
Music Query, Analysis, and StyleSimulation
Introduction to Digital Audio Signal Processing
Intermedia Workshop
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© J. Chowning
Photo Patte Wood
DISCOVERY INVENTION CREATION
COMMUNICATION TEACHING PUBLICATIONPERFORMANCE
STUDENTS FACULTY STAFF
STUDENTS FACULTYSTAFF
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© J. Chowning