The first symposium, held in August '94, in Caxambu, went very well. There were 38 papers selected for presentation and 40 compositions selected for the concerts, from submissions from all over the world. Undoubtedly, this was a significant point of departure for the formation of a substantial computer music community based in South America.
The symposium is organized by NUCOM, the Computer Music Commission of SBC. The objective of the symposium is to present ongoing research on the specification, design, implementation, and evaluation of computer systems for music, as well as to present novel computer music compositions. The symposium is primarily aimed at stimulating the exchange of ideas among computer scientists and musicians, but we also welcome interested researchers from other areas such as electronics, linguistics, psychology, antropology, physics, and education. Also there will be tutorials for beginners and advanced computer musicians.
Researchers and composers of any nationality are most welcome to submit papers, tutorial proposals, and compositions for the concerts of the symposium. All selected papers will appear in the proceedings edited by SBC and selected compositions will be considered for the recording of a CD that forms part of the proceedings, and which will also be broadcast by the university's radio station in Porto Alegre.
Other topics not listed above will be considered by the program comittee.
Eduardo Reck Miranda II Simpósio Brasileiro de Computação e Música Universidade Federal do Rio Grande do Sul (UFRGS) Caixa Postal 15064 91501-970 Porto Alegre, RS BRAZIL Fax: + 55 51 336 55 76 E-mail: emiranda@inf.ufrgs.br
Carlos Cerrana - LIPM, Argentina
Conrado Silva - University of Brasilia, Brazil
Geber Ramalho - University of Paris VI, France
Jamary Oliveira - Federal University of Bahia, Brazil
Francisco Kropfl - LIPM, Argentina
José Augusto Mannis - University of Campinas, Brazil
Maurício Loureiro - Federal University of Minas Gerais, Brazil
Robert Willey - University of California, San Diego, USA
March 20, 1995 - Deadline for postage of compositions
May 20, 1995 - Notification of acceptance
June 22, 1995 - Final camera-ready
Lourdes Tessinari Setor de Eventos - Instituto de Informática Universidade Federal do Rio Grande do Sul Caixa Postal 15064 91501-970 Porto Alegre, RS BRAZIL Tel: +55 51 336 83 99 r: 6166 or 6158 Fax: +55 51 336 55 76 E-mail: conf95@inf.ufrgs.br
Pieces for tape only whose duration does not exceed 8 minutes will be considered by the committee for the symposium's CD, which will be distributed to all participants of the SBC conference, as part of the proceedings. Composers of longer pieces may wish to also submit excerpted versions for the recording. Pieces which require performers will be considered if a version is supplied which includes the live part.
It it suggested that once the material has been posted, composers give us a note by e-mail or FAX in order to inform us of the submission.
Conrado Silva Colina Bl.F Ap. 105 70910-900 Brasilia Tel: +55 61 349-8978 E-mail: conrado@guarany.cpd.unb.br
15:00 - 17:30
Annual Meeting of SBC/NUCOM - restricted to SBC/NUCOM members (venue to be announced)
20:00 - 22:00
Concert (Concert room): "Musica Contemporanea Gaucha"
"Grupo de Percussao da Universidade Federal de Santa Maria", conducted by Ney Rosauro
Featuring new works for percussion ensemble by composers of Rio Grande do Sul:
.Ney Rosauro
.Frederico Richter
.Celso Loureiro Chaves
.Eduardo Reck Miranda
30/July - Sunday
09:00 - 10:00
Openning (Concert room)
10:30 - 11:30
(Concert room)
Key Lecture by Chris Chaffe (Stanford, USA)
"Non-linear Systems meet Computer Music in Composition and Performance"
10:30 - 13:30
(Lecture room A)
Tutorial 1(a): Introduction to Algorithmic Composition
(Rick Taube, ZKM, Germany)
14:00 - 15:00
(Concert room)
Key Lecture by Trevor Wishart (York, UK)
"Computer Audible Design: a new approach to musical form"
15:30 - 16:45
Papers section I (Lecture room A) and II (Lecture room B)
17:15 - 18:30
Papers section III (Lecture room A) and IV (Lecture room B)
20:00 - 21:30:
Electroacoustic Music Concert I (Concert room)
31/July - Monday:
09:30 - 12:30(Lecture room A)
Tutorial 1(b): Introduction to Algorithmic Composition
(Rick Taube, ZKM, Germany)
(Lecture room B)
Tutorial 2(a): Somando Sons
(Aluizio Arcela and co-workers, UnB, Brazil)
10:30 - 11:30
(Concert room)
Key Lecture/Tape Concert by Stephen Trevis Pope
(Editor of Computer Music Journal, MIT Press, USA)
"Fifteen years of Computer-Assisted Composition"
14:00 - 15:00
(Concert room)
Key Lecture by Rick Taube (ZKM, Germany)
"Musical Pattern Definition in Common Music"
15:30 - 16:45
Papers section V (Lecture room A) and VI (Lecture room B)
17:15 - 18:30
Papers section VII (Lecture room A) and VIII (Lecture room B)
20:00 - 21:30:
Electroacoustic Music Concert II (Concert room)
01/August - Tuesday:
09:30 - 12:30
(Lecture room A)
Tutorial 1(c): Introduction to Algorithmic Composition
(Rick Taube, ZKM, Germany)
(Lecture room B)
Tutorial 2(b): Somando Sons
(Aluizio Arcela and co-workers, UnB, Brazil)
10:30 - 11:30
(Concert room)
Key Lecture by Marc Leman (University of Ghent, Belgium)
"A Survey on Subsymbolic Paradigms in Music Research"
14:00 - 15:00
(Concert room)
Round table discussion
(main topic to be announced)
15:30 - 16:45
Papers section IX (Lecture room A) and X (Lecture room B)
17:15 - 18:30
Papers section XI (Lecture room A) and XII (Lecture room B)
20:00 - 21:30:
Electroacoustic Music Concert III (Concert room)
by: Heinrich Konrad Taube
ZKM - Karlshure
Germany
Language: English
Duration: 3 sessions of 3 hours each
Level: advanced beginners with experience in computer music;
suitable for composers who wish to get introduced to
algorithmic composition;
basic knowledge of Lisp is desired;
Introduction to Algorithmic Composition
This three day workshop focuses on the computer as a compositional
tool independent from its role in digital synthesis. The course
provides an introduction to basic principles and procedures in
algorithmic composition and covers topics such as data
representation and abstraction, random selection (weighted
probability, Markov processes, tendency masking, etc.), enveloping,
algorithmic editing, pattern generation and scheduling. The
workshop will be taught using Common Music, which provides a
hardware independent environment that supports a number of synthesis
models such as the Music Kit, Common Lisp Music, CSound, and MIDI.
To remain as general as possible the workshop will be taught using
MIDI output, but composers who wish to work with one or more of the
other synthesis possibilities during the workshop are free to do so.
Tutorial 2: SOMANDO SONS
by: Aluizio Arcela and co-workers
Laboratorio de Processamento Espectral
Universidade de Brasilia
Brazil
Language: Portuguese
Duration: 2 sessions of 3 hours each
Level: beginners with some experience in computer music;
suitable for students who wish to get introduced to computer music;
Abstract:
Programa (provisorio, sujeito a modificacoes)
- Fundamentos da producao de sons por computador
- Exercicios com o algoritmo basico do oscilador digital
- A unidade-H
- Sintese aditiva de sinais musicais
- Treinamento com a linguagem SOM-A
- Manipulacao de cartas espectrais complexas
- Conversao de cartas SOM-A em arquivos MIDI
Fifteen Years of Computer-Assisted Composition Stephen Trevis Pope Computer Music Journal, editor, USA This 75-minute lecture and tape concert will focus on several generations of computer music systems and the music they have enabled. I plan to introduce the software tools used in my compositions realized 1979-94 at a variety of studios using a variety of software and hardware systems and programming languages. These tools use a wide range of compositional methods, including (among others): high-level graphical notations, limited stochastic selection, Markhov transition tables, forward-chaining expert systems, non-deterministic Petri networks, and hierarchical rule-based knowledge systems. I will discuss and play short excerpts from the following compositions: "WAKE: Ten Tangents for Dance" "4: Ballet Music for my Siblings" "Terpsichore: 2 Dances from Michael Praetorius (1612)" "Bat out of Hell: Stories for Dance" "Requiem Aeternam Dona Eis" "Day: Installation" "Celebration: Laments and Simple Truths for a Quiet Spiritual Place" "Paragraph 31: All Gates Are Open" I will leave time for an extended audience discussion of the topics and questions I raise. ----------------------------------------------------------------------------- Musical Pattern Definition in Common Music Dr. Heinrich Konrad Taube Zentrum fuer Kunst und Medientechnologie, Alemanha Pattern definition is a fundamental component of music composition. This paper describes the implementation of item streams, an object-oriented representation of musical patterns that is capable of controlling any number of sound attributes simultaneously. As a rule, all patterns permit each element of pattern data or pattern control information to be a basic value or another pattern. Hybrid patterns are then created from a basic pattern set through recursive definition, by expressing a larger pattern in terms of one or more subpatterns. The scope of each subpattern is controlled by its period length, which sets the current limit of a subpattern's contribution to its superior pattern. The period length may also be used to force breadth first or depth first traversal, or it may vary dynamically according to its own pattern. ----------------------------------------------------------------------------- A Survey on Subsymbolic Paradigms in Music Research Dr. Marc Leman Institute for Psychoacoustics and Electronic Music University of Ghent, Belgica This survey gives an overview of the subsymbolic systems and paradigms that are currently used in music analysis and in models of music perception. This includes a discussion of neural network and connectist systems for learning, as well as systems that deal with the preprocessing stage of musical signal processing (such as auditory systems). In the recent past, some advanced subsymbolic paradigms for music have been based on data driven long-term processing (learning), while other systems have been based on shema-based short-term processing. Subsymbolic systems for music, nowadays, are able to transform acoustical signals into auditory images and develop stable perception structures which in turn can be used to process music at higher semantic levels. The survey will provide a general framework for subsymbolic research in music and by means of examples, it will give an overview of the work that has been done in tone perception, rhythm analysis, and timbre recognition. Systems within hybrid environments (that combine both subsymbolic and symbolic approaches) are discussed, as well as the significance for computer interactive systems and cognitive modelling in general. Finally, the subsymbolic paradigm is discussed within the context of its epistemological relevance (the question to what extend subsymbolling modelling can/should be related to empirical and physiological data). ------------------------------------------------------------------------------ Computer Audible Design: a New Approach to Musical Form Trevor Wishart Composer's Desktop Project, Inglaterra In this talk I will focus mainly on my composition Tongues of Fire. The composition fails into 3 major sections. The first section lasts for about 10 minutes, and end with a gradually granulating voice slowly changing into a clock tick. After a brief pause the opening phrase is recapitulated, leading to a rhythmic variation of the same material. After further sonic development, the climactic rhythmic sequence is reached. Here the rhythmic material becomes strongly pitched and leads into the "fireworks" tranformations which begin the third section, the Coda of the work. Tongues of Fire uses the whole gamut of signal-processing and sound-texturing procedures available on the computer. Many new and non-standard techniques are used, such as "constructive distortion" and "sound-shredding". It was realised almost entirely on a low cost home Atari computer using software developed by the composer and other participants of the Composer's Desktop Project (a composers cooperative based in York, England) with the support of public domain software (for example, Csound and Phase Vocoder). As such, it seeks to demonstrate the power now available to the ordinary computer music composer. ------------------------------------------------------------------------------- Non-linear Systems Meet Computer Music in Composition and Performance Dr. Chris Chafe CCRMA - Stanford University, USA The lecture will describe methods for composition, synthesis and control of synthesizers using non-linear techniques. In recent work, vortex-like noise and non-linear models have been used to simulate a flute's breath noise and switching air jet. The same computer algorithms can be modified to provide interesting patterns on different levels. Examples will demonstrate their use in composing and performing in real time. ------------------------------------------------------------------------------ http://crca-www.ucsd.edu/bobw/symposium.html