Assisted orchestration can be thought as the process of searching for the best combinations of orchestral sounds to match a target sound under specified metric and constraints. Although a solution to this problem has been a long-standing request from many composers, it remains relatively unexplored because of its high complexity, requiring knowledge and understanding of both mathematical formalization and musical writing.
Recent developments in Augmented Reality (AR) and Virtual Reality (VR) are opening up new, unprecedented ways of representation and interaction.
The research of Giovanni Santini is focusing on most recent developments of Virtual and Augmented Reality applied to musical performance. He is especially interested in exploring the new possibilities offered in terms of musical notation and virtual interfaces.
CNMAT presented virtual reality and augmented reality demonstrations at the Annual Berkeley AR/VR Retreat on November 30, 2018, at the Claremont Hotel in Berkeley, California.
The CNMAT team included: Jeremy Wagner, Researcher, and Composer; Andrew Blanton, Visiting Researcher; Edmund Campion, Director, CNMAT; and Giovanni Santini, Composer, and Researcher.
Image: Professor Eric Paulos, EECS, trying out the CNMAT 24-channel spatial audio demonstration.
Composer-vocalist Sarah Grace explores aspects of live performance—such as performance space, individual performers, and audience—that color how a piece comes into the world.
CNMAT is happy to welcome our Graduate Composers, Graduate Student Researchers, Visiting Guest Researchers, and Artists for the 2018-19 Academic Year. Clara Olivares (b. 1993) is a Franco-Spanish composer. After studying the piano at the Conservatory of Strasbourg, she entered the composition curriculum with Mark André in 2011, then continued studying with Philippe Manoury, Daniel D’Adamo, Thierry Blondeau and Annette Schlüntz. She also received advice from Chaya Czernowin, Philippe Schoeller and Alberto Posadas. The music of Curtis Rumrill explores the intersection of literary form and modern chamber music. His works with writer, naturalist and visual artist Zachary Webber tell darkly comic stories of animals in desperate or violent predicaments. Rather than look back on our 30 years in retrospect, I decided the best way to celebrate the series would be to continue doing what we have been doing: presenting a stylistically varied season comprising composers, interpreters, and improvisers, both emerging and established, local and international, each of whom has a unique approach to music making. Thomas Buckner, Producer & Director CNMAT welcomes the Tana String Quartet as an ensemble in residence for November, 2018. Public events include a concert at CNMAT on November 11th featuring new works by UC Berkeley graduate student composers and a concert at the Center for New Music in San Francisco on November 13th featuring works from the group's repertoire. As a continuation of previous audio feedback and instrumental prototyping projects, this analog audio feedback system generates a Helmholtz-like standing wave inside a resonant semi-sphere. The electronic configuration is based on a generic bullhorn circuit (with an electret mic and two 4ohm transducers) and is filtered with a passive RC low-pass filter. Few components are required and the circuitry can be easily embedded into a variety of hardware interface designs. Telfair Museums presents a Contemporary Spotlight commission with American composer, vocalist, and improvisor Ken Ueno (American, b. 1970) off-site at the Cluskey Embankment Stores, or “Cluskey Vaults” in Historic Downtown, Savannah, GA.
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CNMAT Users 2018-19
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Clara Olivares
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Curtis Rumrill
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Interpretations 30th Season at Roulette in NYC
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Tana String Quartet
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Standing Wave Audio Feedback Prototype
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Telfair Museums presents Contemporary Spotlight with Ken Ueno
