Program and Events
Main congress program

Events

VIth Brazilian Symposium on Computer Music
19 to 22 of July

Chairperson: Dr. Rodrigo Cicchelli Velloso
sbcm99@infogene.ctc.puc-rio.br or rodcv@openlink.com.br
http://www.inf.puc-rio.br/~sbc99/programa/sbcm.html
http://www.di.ufpe.br/~glr/sbcm99/


The Symposium

The Brazilian symposia on computer music have consolidated the position of the country in the field (see previous symposia overview). The 6th Brazilian Symposium on Computer Music will be held in Rio de Janeiro, during the 15th Annual Congress of the Sociedade Brasileira de Computação (SBC) from 19 to 22 of July. The symposium is organized by NUCOM, the computer music branch of SBC.

This is a unique opportunity to visit Rio de Janeiro, one of the most beautiful cities in the world and a leading Latin American cultural center. During the symposium there will be concerts, papers and lectures on topics at the cutting edge of computer music technology. Researchers and musicians interested in the interplay between computer technology and music are invited to submit papers and compositions

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Topics of Interest

This year we are giving special emphasis to "Musical Composition and Computing Technology".

The topics include, but are not limited to,

  • Acoustics, Diffusion, Sonorization
  • Audio Hardware Design
  • Audio Signal Processing
  • Sound Synthesis
  • Artificial Intelligence
  • Psychoacoustics and Cognitive Modeling
  • Computer Aided Music Analysis
  • Computer Aided Musical Education
  • Real-time Interactive Systems
  • Music Data Structures and Representation
  • Music Notation, Printing and Optical Recognition
  • Systems and Languages for Composition
  • Artificial Life and Evolutionary Music Systems
  • Internet Applications
  • Multimedia Integration
  • Computer-Aided Musicology

A selection of papers will be considered for publication in Organised Sound, Cambridge University Press.

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Committees

Program Committee

  • Gerard Assayag, IRCAM, France
  • Aluizio Arcela, Universidade de Brasilia, Brazil
  • Peter Beyls, St Lukas Hogeschool Brussels, Belgium
  • Moisei Boroda, University of Bochum, Germany
  • Marcio Brandão, University of Edinburgh, UK
  • Antonio Camurri, University of Genova, Italy
  • Roger Dannenberg, Carnegie Mellon University, USA
  • Anastasia Georgaki, Ionian University, Greece
  • Ross Kirk, University of York, UK
  • Fabio Kon, University of Illinois Urbana-Champaign, USA
  • Mikhail Malt, IRCAM, France
  • Jonatas, Manzolli, Unicamp, Brazil
  • Eduardo Miranda (chair), Lamesm UFSM-Brazil & Sony CSL Paris, France
  • Peter Nelson, University of Edinburgh, UK
  • Carlos Palombini, Universidade Federal de Pernambuco, Brazil
  • Geber Ramalho (chair), Universidade Federal de Pernambuco, Brazil
  • Francis Rumsey, University of Surrey, UK
  • Xavier Serra, IUA-Pompeu Fabra University, Spain
  • Petri Toiviainen, University of Jyvaskyla, Finland
  • Gerhard Widmer, University of Vienna, Austria

Music Composition Committee

  • Rodolfo Caesar (chair), Universidade Federal do Rio de Janeiro, Brazil
  • Rodrigo Cicchelli Velloso, Universidade Federal do Rio de Janeiro, Brazil
  • Francis Dhomont, Université de Montreal, Canada
  • Silvio Ferraz, Laboratório de Linguagens Sonoras, PUC-SP, Brazil
  • Thomas Kessler, Musik Akademie, Basel, Switzerland
  • Denis Smalley, City University, London, UK

Pieces for String Orchestra or Jazz Ensemble will also be judged by the following:

  • Ernani Aguiar, Universidade Federal do Rio de Janeiro, Brazil
  • André Cardoso, Universidade Federal do Rio de Janeiro, Brazil
  • José Arthur Rua, Universidade Federal do Rio de Janeiro, Brazil

Tutorials and Demonstrations Committee

  • Robert Willey (chair), Universidade Federal do Pará, Brazil
  • Didier Guigue, Universidade Federal da Paraíba, Brazil
  • Rodolfo Coelho da Souza, University of Texas, Austin
  • Paris Psaros, CREATE, University of California, Santa Barbara

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Guidelines for submission

Papers 

Papers describing on-going or concluded research must be submitted in a preliminary version containing no more than 8 pages (Times Roman 12 and 1.5 interline space). Portuguese is acceptable for preliminary submissions but for the final camera-ready papers English is required.

Authors must state the topics on the cover page (refer to topic list above).

Please e-mail submissions to Geber Ramalho (glr@di.ufpe.br) or Eduardo Miranda (miranda@csl.sony.fr) as MS Word 97, pdf or postscript files. Alternatively, indicate the URL where your document may be found.

Tutorial and Demonstration Proposals 

Proposals for didactic demonstrations in any area of computer music will be considered, including demonstrations of commercial products (software or hardware). They will fall under the following categories:

  • Introductory level intended for students and those outside the computer music field. Topics can range from popular music tools to more complex applications (e.g., Orchestral MIDI Sequencing Technique, Algorithmic Processes in Contemporary Music, etc.);
  • Advanced applications for more experienced practitioners (e.g., Digital Signal Processing in Music Composition).

Tutorials shall take place 19 July, followed by the symposium opening in the evening. Exhibition of products will continue to 22 July. Proposals should include a survey of topics and an indication of duration. Presenters should be prepared to supply most or all of the necessary equipment. Online tutorials are welcome, to be accessed by participants through web browsers during and after the symposium. Online tutorials should be operative no later than 24 May.

Please e-mail proposals to Robert Willey (rw@libnet.com.br).

Compositions 

The Music Selection Committee invites submissions in the following categories:

  • Music for Tape (DAT or CD)
  • Pieces for Instruments and Electronics (Tape and/or Live)
    • Solo Instrument
    • String Orchestra*
    • Jazz Ensemble**
  • Algorithmic Instrumental Pieces
    • Solo Instrument
    • String Orchestra*
    • Jazz Ensemble**
* String Orchestra: 4 (1st violins); 4 (2nd violins); 3 (violas); 3 (cellos); 2 (double-basses)
** Jazz Ensemble: 5 saxophones (2.2.1) also doubling flutes; 5 trumpets; 4 trombones (3.1); piano; drums; percussion; electric guitar; electric bass

Pieces composed within the last five years and lasting no longer than 10 minutes will be preferred. Candidates may submit up to three works.

All entries must be accompanied by the attached Entry Form, along with a short CV and program notes. Music for Tape requires submission of a DAT or CD recording. Mixed Pieces (solo, string orchestra or jazz ensemble plus Tape) require submission of the full score, the tape part (DAT or CD) and a recording of the piece. Pieces for Instruments (solo, string orchestra or jazz ensemble) and Live Electronics require submission of the full score, a recording of the piece, and a detailed description of the equipment employed. Algorithmic Instrumental Pieces require submission of the score and information concerning the computing technology (i.e., analytical discussion plus illustrations of patches, tables, etc.).

Submissions shall be sent at the candidate’s own expenses. Under no circumstances will the symposium organizing committee be liable to customs duties or any other costs arising from an application. Entries, whether select or not, will not be returned. Submissions will be added to NUCOM’s music library, located at LaMuT (Escola de Música da UFRJ). Candidates are therefore advised not to send originals.

Please send submissions to:

SBCM99 - Music Selection Committee,
a/c ARTE ELETRONICA - PUC-RIO,
Rua Marquês de São Vicente 225,
Prédio Gênesis - Sala 16 B,
Rio de Janeiro - RJ,
22453-900 Brazil
sbcm99@infogene.ctc.puc-rio.br

The Brazilian Symposium on Computer Music is the joint effort of a number of individuals and institutions. This year we are glad to announce the support of:

  • Escola de Música da Universidade Federal do Rio de Janeiro (Brazil), suplying performers for instrumental pieces;
  • the Electronic Studios of Musik Akademie - Basel (Switzerland), providing live electronics support;
  • ARTE ELETRONICA, in the role of executive producers.

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Important Dates

5 March 1999 - Deadline for postage of compositions
19 March 1999 - Deadline for postage of papers, tutorial proposals and demonstrations
22 April 1999 - Notification of acceptance
28 May 1999 - Deadline for final camera-ready papers

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Selection Results

Papers 

The selected papers are the following

  • Time Morphing using Wigmer Time-Frequency Distribution
    Thomas Lysaght
     
  • Gestural Sounds by means of Wave Terrain Synthesis
    Anderson Mills and Rodolfo Coelho de Souza
     
  • A Bond Graphs approach to Physical Modelling of Musical Instruments
    Peter Gawthrop, Andrew McGregor and Eduardo R. Miranda
     
  • Online additive synthesis by interfacing SOM-A to Java Sound
    Aluizio Arcela and Rodolfo Bezerra Batista
     
  • Towards a vocal synthesiser: problems and prospects
    Anastasia Georgaki
     
  • Virtual pitch and pitch salience in contemporary composing
    Ludger Hofmann-Engl
     
  • Echoic memory in primitive auditory selective attention
    Ben Weedon and Zofia Kaminska
     
  • "MUSAS: um programa para analise e sintese de espacos musicais "
    Gilberto Carvalho e Hudson Lacerda
     
  • The influence of text in computer music composition: an approach to expression modelling
    Juan Reyes and Maria Munoz
     
  • A computer environment for polymodal music
    Jonatas Manzolli
     
  • Computer-aided musical analysis of extended vocal techniques for compositional applications
    Leonardo Fuks
     
  • A stochastic musical composer based on adaptive algorithms
    Bruno Abrantes Basseto and Joao Jose Neto
  • A robotic rhymic system
    Algeir Sampaio, Pablo Javier Cavalcanti and Joao Homero Filho
     
  • Um modelo hibrido inteligente para previsao de acordes
    Uraquitan Sidney Cunha and Geber Ramalho
     
  • Developing a timbre morphing package: the process of automatic feature identification
    C. J. Hope
     
  • Material, Forma e Processo na Musica Eletroacustica
    Fernando Iazzetta
     
  • Modelos de representacao do som na composicao eletroacustica
    Fabio Furlanete
     
  • Electroacoustic music: the performative site of mimetic practice
    Rose Dodd
     
  • The sonic object: preliminary considerations
    Carlos Palombini
     
  • RTSPA1: a program and some technical & practical remarks for real-time sound spatialization
    Oscar Pablo Di Liscia
     
  • Gesture control of musical processes: A MAX environment for the Lightning
    Carlos Cerana
     
  • Using DirectCsound, a realtime-oriented version of Csound
    Gabriel Maldonado
     
  • Evolutionary computation for music evolution
    Artemis Moroni et al.
     
  • GeNotator: an environment for exploring the application of evolutionary techniques in computer assisted composition
    Kurt Thywissen
     
  • Towards an Aritificial Life approach to the Origins of Music
    Eduardo R. Miranda
     
  • Musicology facing the challenges of computer projection of its own interdisciplinarity
    Mirjana Veselinovic-Hofman
     
  • The Principles of Structural Unit Separation for Deciphering the Neume Hymnals
    Irina V. Bakhmutova, Lyubov A. Nemytikova and Tatyana N. Titkova
     
  • The quantitative Study of Local Variation Regularities on the Base of Russian, French and American Folk Songs
    Irina V. Bakhmutova, Vladimir D. Gusev, Lyubov A. Nemytikova and Tatyana N. Titkova
     
  • "Desenvolvimento de software para educacao musical"
    Susana Kruger, Eloy Fritsch et al.

Compositions 

We have finally decided which pieces will be performed during the VI Simpósio de Computação & Música. The performance of some of the listed pieces involving live-electronics will be discussed with the composers via e-mail. 

Due to the large amount and the good quality of most submissions our task was hard. I would like to apologize for the delay in publishing this list. 
I am very grateful to all of you who submitted works.

Rodolfo Caesar,  chair of the Music Selection Committee.  rc@unisys.com.br 
 
Pieces selected for the concerts of the VI SBC&M:

Adkins Matthew - Pagan Circus
Banasik Christian - Begegnung IV
Berger Gary - Transition
Biasutti Michele - Tavola IV
Bürck Rainer - STRINGendo
Calon Christian - Les Corps Éblouis
Carvalho Gilberto - FlutePie
Castagna Sebastian - Tango
Chen Chin-Chin - Points of Arrival
Climent Ricardo - Dsp-bop
Field Ambrose - Pyrotechnic
Freire  Sergio - Cacos para um vitral
Fretwell Paul - Travelling Still
Garro Diego - Strum in a Teacup
Guigue Didier - Rios Brasileiros
Hadfield Graham - Io
Hedman Jens - Relief
Hyde Joseph - Vox Mecanix
Lee Junghae - Animation
Lorenzo Mario - Se Bifurca en Otro
Manzolli Jônatas - RecurSom
Minsburg Raúl - Voces del Recuerdo
Nunez Adolfo - Virtual
Pintér Gyula - Ekide and Monici
Sigal Sefchovich - Jorge Rodrigo Babel
Walsh Craig T. - Pipeline Burst Cache

 

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Format guidelines for final papers

Papers must be submitted in english according to the following format:

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Program (timetable)

 

Day 1 - 19/07

Time

Activity

Venue

Morning

 

Registration

 

Registration Desk

14:00 – 14:45

Opening Ceremony - SBC&M

Venue

Sala 300F

15:00 – 17:15

Conference

Title: The Evolution of Computer Technology Applied to Music Composition

Author: Jean-Claude Risset (CNRS/France)

Language

English / Portuguese

17:30

Activity

Informal Gathering*

At 18:30 Hs, UFRJazz will be performing a concert at Ginásio da PUC as part of SBC’s official entertainment activities.

Venue

Ginásio da PUC

 

Day 2 - 20/07

Time

Activity

 

Venue

 

8:00 - 9:15

Tutorial

Title: Programação de Software para Treinamento Auditivo Utilizando Hypercard

Author: Omar Baracaldo (Universidad de Los Andes/Colombia)

Sala 300F

Language: Spanish

Paper Session I

Venue

Sala 300F

 

Topic: Audio Signal Processing and Sound Synthesis

 

9:30

Timbre Morphing of synthesised transients using the Wigner Time-Frequency Distribution,

Thomas Lysaght and David Vernon

English

9:50

Gestural Sounds by means of Wave Terrain Synthesis,

Anderson Mills and Rodolfo Coelho de Souza

Portuguese / English

10:10

A Bond Graphs approach to Physical Modeling of Musical Instruments,

Peter Gawthrop, Andrew McGregor and Eduardo Miranda

Portuguese / English

10:30

Online additive synthesis by interfacing SOM-A to Java Sound,

Aluizio Arcela and Rodolfo Bezerra Batista

Portuguese / English

Coffee Break (10:50 - 11:00)

11:00

Towards a vocal synthesiser: problems and prospects,

Anastasia Georgaki

English

Topic

Psychoacoustics and Cognitive Modeling

11:20

Virtual pitch and pitch salience in contemporary composing,

Ludger Hofmann-Engl

English

11:40

Echoic memory in primitive auditory selective attention,

Ben Weedon and Zofia Kaminska

English

Lunch Break (12:00 - 13:30)

Paper Session II

Venue

Sala 300F

Topic

Computer-Aided Music Analysis Systems and Languages for Composition

13:30

MUSAS: um programa para análise e síntese de espaços musicais,

Gilberto Carvalho and Hudson Lacerda

Portuguese / English

13:50

The influence of text in computer music composition: an approach to expression modelling,

Juan Reyes and Maria Muñoz

Spanish / English

14:10

A computer environment for polymodal music,

Jonatas Manzolli

Portuguese / English

14:30

Computer-aided musical analysis of extended vocal techniques for compositional applications,

Leonardo Fuks

Portuguese / English

Coffee Break (14:50 - 15:00)

Topic

Artificial Intelligence

15:00

A stochastic musical composer based on adaptive algorithms,

Bruno Abrantes Basseto and João José Neto

Portuguese / English

15:20

Sistema ritmista robótico,

Algeir Sampaio, Pablo Javier Cavalcanti and João Homero Filho

Portuguese / English

15:40

Um modelo híbrido inteligente para previsão de acordes,

Uraquitan Sidney Cunha and Geber Ramalho

Portuguese / English

16:00

Developing a timbre morphing package: the process of automatic feature identification,

C.J. Hope

English

Coffee Break (16:20 - 16:45)

16:45 – 18:15

Conference

Title: Du support à l'espace: musiques fixées et projetées

Author: Francis Dhomont (Canada)

Language

French / Portuguese

Dinner Break (18:15 - 19:00)

Time

19:00

Activity

Concert I

Venue

Cúpula do Planetário

 

Title

Author

Media

Length

 

Voces del Recuerdo

Raúl Minsburg

(Argentina)

tape

9'

 

Flute Pie

Gilberto Carvalho

(Brazil)

flute solo

6'

 

Io

Graham Hadfield

(Great Britain)

tape

11'

 

Babel

Jorge Rodrigo Sigal Sefchovich

(Mexico)

flute, tape and live electronics

9'

 

Pyrotechnic!

Ambrose Field

(Great Britain)

tape

4'30"

 

Begegnung IV

Christian Banasik

(Germany)

piano solo

8'

 

Transition

Gary Berger

(Switzerland)

tape

7'10"

 

Ekide and Monici

Gyula Pintér

(Hungary)

flute, violin and tape

9'20"

 

STRINGendo

Rainer Bürck

(Germany)

violin and live electronics

9'

En Cuerdas

Francis Dhomont* Guest Composer

(Canada)

tape

11’27"

 

Day 3 - 21/07

Time

Activity

Tutorial

Venue

 

8:00 - 9:15

Tutorial

Title: Programação de Software para Treinamento Auditivo Utilizando Hypercard

Author: Omar Baracaldo (Universidad de Los Andes/Colombia)

Sala 300F

Language: Spanish

Activity

Paper Session III

Venue

Sala 300F

Topic

The Composer’s Forum: Electroacoustic Music

9:30

Material, Forma e Processo na Música Eletroacústica,

Fernando Iazzetta

Portuguese / English

9:50

Modelos de representação do som na composição eletroacústica,

Fabio Furlanete

Portuguese / English

10:10

The sonic object: preliminary considerations,

Carlos Palombini

Portuguese / English

Coffee Break (10:30 - 11:00)

Topic

Real-time Interactive Systems and Sound Diffusion

11:00

RTSPA1: a program and some technical & practical remarks for real-time sound spatialization,

Oscar Pablo Di Liscia

English

11:20

Gesture control of musical processes: a MAX environment for the Lightning,

Carlos Cerana

English

11:40

Using DirectCsound, a realtime-oriented version of Csound,

Gabriel Maldonado

English

Lunch Break (12:00 - 13:30)

Paper Session IV

Sala 300F

Topic

Artificial Life and Evolutionary Music Systems

13:30

Evolutionary computation for music evolution,

Artemis Moroni

English

13:50

GeNotator: an environment for exploring the application of evolutionary techniques in computer assisted composition,

Kurt Thywissen

English

14:10

Towards an Aritificial Life approach to the Origins of Music,

Eduardo Reck Miranda

Portuguese / English

 

Topic

Computer-Aided Musicology

 

14:30

Musicology facing the challenges of computer projection of its own interdisciplinarity,

Mirjana Veselinovic-Hofman

English

Coffee Break (14:50 - 15:00)

15:00

The Principles of Structural Unit Separation for Deciphering the Neume Hymnals,

I.V. Bakhmutova, V.D. Gusev, T.N. Titkova.

English

15:20

The quantitative Study of Venue Variation Regularities on the Base of Russian, French and American Folk Songs,

I.V. Bakhmutova, V.D. Gusev, L.A. Nemytikova and T.N. Titkova

English

 

Topic

Computer Aided Musical Education

English

15:40

Desenvolvimento de software para educação musical,

Kruger et al.

Portuguese / English

Coffee Break (16:00 - 16:45)

16:45 – 18:15

Conference

Title: New Technologies in Live-Electronics Compositions

Author: Thomas Kessler (Musik Akademie, Basel/Switzerland)

Sala 300F

Language: English / Portuguese

Dinner Break (18:15 - 19:00)

Time

19:00

Activity

Concert II

Venue

Cúpula do Planetário

 

Title

Author

Media

Length

 

Relief

Jens Hedman

(Sweden)

tape

11'20"

 

Dsp-bop

Ricardo Climent

(Spain)

sax and tape

9'

 

Pagan Circus

Mathew Adkins

(Great Britain)

tape

14'

 

Se Bifurca en Otro

Mario Lorenzo

(Argentina)

tape

12'

 

Harpsichord Control

Thomas Kessler* Guest Composer

(Switzerland)

harpsichord and live electronics

11’

 

Vox Mecanix

Joseph Hyde

(Great Britain)

tape

10'

Cacos para um vitral

Sérgio Freire

(Brazil)

clarinet solo

6'

 

Atracteurs étranges (2 mov.)

Jean-Claude Risset* Guest Composer

(France)

clarinet and tape

9’

Elementa

Jean-Claude Risset*

(France)

tape

21’

 

Day 4 - 22/07

Time

Activity

 

Venue

 

8:00 - 9:15

Tutorial

Title: Programação de Software para Treinamento Auditivo Utilizando Hypercard

Author: Omar Baracaldo (Universidad de Los Andes/Colombia)

Sala 300F

Language: Spanish

9:30 - 12:00

Round Table I

Title: Digital Convergence,

Panelists: Geber Ramalho (chair), Francis Dhomont, Sílvio Meira, François Pachet and Jean-Claude Risset

Sala 300F

Language: English

Lunch Break (12:00 - 13:30)

13:30 - 16:00

Round Table II

Title: Mesa Nucom,

Panelists: Mauricio Loureiro (chair), Aluizio Arcela, Rodrigo Cicchelli Velloso, Carole Gubernikoff, Conrado Silva and Eduardo Reck Miranda

Sala 300F

Language: Portuguese

Coffee Break (16:00 - 16:15)

16:15 – 17:45

Conference

Title: The Active Listening Project at Sony CSL

Author: François Pachet (Sony CSL/France)

Sala 300F

Language: English / Portuguese

Dinner Break (17:45 - 18:30)

Time

18:30

Activity

Concert III

Venue

Cúpula do Planetário

 

Title

Author

Media

Length

 

Strum in a Teacup

Diego Garro

(Italy)

tape

3'30"

 

Points of Arrival

Chin-Chin Chen

(Taiwan)

violin and tape

8'30"

 

Travelling Still

Paul Fretwell

(Great Britain)

tape

12'30"

 

Pipeline Burst Cache

Craig T. Walsh

(USA)

cello and tape

8'

 

Animation

Junghae Lee

(Korea)

tape

5'

Tavola IV

Michele Biasutti

(Italy)

viola and live electronics

11'30"

 

Rios Brasileiros (1st mov.)

Didier Guigue

(France)

string orchestra

8'

 

Virtual

Adolfo Nunez

(Spain)

string orchestra and tape

11'30"

 

RecurSom

Jônatas Manzolli

(Brazil)

string orchestra

5'20"

Tango

Sebastián Castagna

(Argentina)

string orchestra and tape

5'

 

Les Corps Éblouis

Christian Calon

(France)

tape

22'45"

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Organization

For more information, please contact the organizing committee in Rio de Janeiro:

Dr. Rodrigo Cicchelli Velloso
Departamento de Composição
Escola de Musica da UFRJ
Rua do Passeio 98
Rio de Janeiro RJ
20021-290 Brasil
tel: + 55 21 2401391 ramal 38
rodcv@acd.ufrj.br
rodcv@openlink.com.br
sbcm99@infogene.ctc.puc-rio.br

http://www.inf.puc-rio.br/~sbc99/programa/sbcm.html
http://www.di.ufpe.br/~glr/sbcm99/

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The congress is organised by the Departamento de Informática of the PUC-Rio

version 8 feb