UC Berkeley faculty composer Carmine-Emanuele Cella was selected as a finalist in the 2019 Basel Composition Competition. His piece "Verso la fine del Giorno" was performed on 22 February 2019.
M.A./Ph.D. composition student, Andrew Harlan, will have his newest work, HYPHA, performed by the New York Ensemble, loadbang, on March 7th at 7:30 pm at the National Opera Center in Brooklyn, NY. The work was commissioned after Harlan won first prize in the ensemble’s 2017 commission competition. The concert will also feature a world premiere by Chaya Czernowin, a NY premiere by Andrew List, and works by John Cage and Helmut Oehring.
The Université Côte d’Azur and UC Berkeley have signed a Memorandum of Understanding (MOU) on December 8, 2018. This partnership will facilitate the development of research and education projects, as well as encourage the exchange of faculty and students in all disciplines.
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.
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
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.
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.
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. 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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Orchestrating with Machines (Spring 2019 Music 202 Seminar)
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CNMAT Users 2018-19
