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Orchestrating with Machines (Spring 2019 Music 202 Seminar)

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.

 

Project

SHAPE

Sound and Habitat Audio Prototyping Environment (SHAPE) is a programmable device which responds directly to environmental sound and is the third iteration of Jason Cress's ongoing audio feedback project. Audio transfer begins with two inputs; a piezo-electric contact mic and an electret air mic. These elements combine to sense both vibration in material (of a given resonator) and pressure waves (in the air). Sound energy is then converted into a(n) analog and digital signal.

Project

CNMAT Multi-Purpose Array

In the Summer of 2018 CNMAT was awarded a grant to construct infrastructure for producing mobile, multi-channel concert events.  We set out to construct a surround audio system, designed with robust mobility in mind, that can be rapidly deployed in numerous performance contexts.  The result is the CNMAT Mobile Array, an expandable mobile infrastructure for sonic events.  The system is conceived to be deployed in under an hour by a small crew of one or two people.  Its speaker elements are weather protected to enable work outdoors and we have included a number of flexible rigging options to

Project

Alice Unchained

Alice Unchained is a virtual chamber for chamber music. It is the third work loosely inspired by Alice in Wonderland, created by media artist Claudia Hart and composer Edmund Campion, Director, at the Center for New Music and Audio Technology, UC Berkeley. Alice mashes 3D animation, motion-captured live performance, and music performed by live and virtual musicians whose sound is analyzed in real-time and remixed in the bodies of sculptural avatars. It feeds-back the virtual and the live, blending them together in a liminal, uncanny mix.

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Giovanni Santini

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.

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CNMAT Demos at the Annual Berkeley AR/VR Retreat

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. 

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Sarah Grace Graves

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.

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CNMAT Users 2018-19

CNMAT is happy to welcome our Graduate Composers, Graduate Student Researchers, Visiting Guest Researchers, and Artists for the 2018-19 Academic Year.  

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Clara Olivares

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.

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Curtis Rumrill

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.