Jean Bresson is a computer music researcher and software engineer, currenly working as product owner at Ableton (Berlin). Between 2003 and 2019 he was researcher at IRCAM (Paris). He has been one of the main developers of the OpenMusic environment, and has extended computer-assisted composition applications in a number of new directions such as sound synthesis and processing, sound spatialization, or real-time interaction systems.
Improvising Cellist, Danielle DeGruttola, is an acoustic and electric cellist and composer. Her cello improvisations fuse multiple genres, room acoustics, and electronic sound, creating thoughtful and powerful compositions that interweave elements of contemporary jazz, classical, electronica, folk, blues, rock, and hardcore. Her sublime sound is adventuresome and exploratory yet maintains concrete form.
John-Carlos Perea (Mescalero Apache, Irish, Chicano, German) is an electric bassist, cedar flutist, powwow singer, composer, and ethnomusicologist. He will serve as Visiting Researcher, Composer, and Performer at CNMAT (AY 22-23) to develop a musician-specific augmented performance with voice, cedar flute, drum, and emerging technologies.
Marlon Schumacher is full professor for Music Informatics at the Institute for Music Informatics and Musicology (IMWI) of the Hochschule für Musik in Karlsruhe, Germany. He studied musicology and philosophy at the Eberhard-Karls-University in Tübingen, holds masters degrees (pedagogical and artistic) in music theory, digital media and composition from the HFMDK Stuttgart, and a PhD in Music Technology from McGill University, Montreal, Canada.
Born in Bogotá, Colombia, Juliana Gaona is an oboist, chamber and orchestra musician, improviser, and educator. Juliana has participated in contemporary music festivals and ensembles including the Academia Cervantina in Guanajuato, Mexico, Vértice Ensemble in Mexico City, and soundSCAPE Festival in Italy.
J.J. Burred is a researcher and developer specialized in music technology. He holds a PhD in Engineering from the Technical University of Berlin and has worked as a researcher at IRCAM-Centre Pompidou (Paris) and Audionamix on topics such as source separation, automatic music analysis, sound synthesis and musical applications of machine learning.
Claudia Hart emerged as part of that generation of 90s intermedia artists in the “identity art” niche, but now updated through the scrim of technology. Her work is about issues of the body, perception, nature collapsing into technology and then back again. Everything is fluid in it including gender.
Oakland, CA-based oboist Kyle Bruckmann tramples genre boundaries in widely ranging work as a composer/performer, educator and New Music specialist.
David Milnes presently serves as music director of the UC Berkeley Symphony Orchestra, conductor of the Berkeley Contemporary Chamber Players, and Director of the ECO Ensemble (Ensemble in Residence at CNMAT and the Department of Music).
Transparent yet richly multifaceted, Cindy Cox’s compositions synthesize old and new musical designs. The natural world inspires many of the special harmonies and textural colorations in her compositions, as in her piano trio la mar amarga, the octet Cañon, and the str
