February 2005
Date	Time	Location	Who	What	Cost	Details
Wednesday, February 2	8 pm	Knuth Hall, San Francisco State University	EMPYREAN ENSEMBLE	Concert	Tickets for the February 2 concert in Knuth Hall are available through San Francisco State University's College of Creative Arts Box Office (415-338-2467).	EMPYREAN ENSEMBLE presents Fault Lines: Music from Northern California Concert include's Campion's Mathematica for flute and quadraphonic tape. February 2, 2005 8 pm Knuth Hall, San Francisco State University
Friday, February 18	8 pm	Hertz Hall	The University Symphony, David Milnes, conductor	Concert	$3 UC Berkeley students; $7 other students, seniors, UC Berkeley staff and faculty, groups of 10+; $10 general Ticket Office (510) 642-9988 Zellerbach Hall lobby	University Symphony Directed by David Milnes Shostakovich, Cello Concerto No. 1, Op. 107, Aaron Lay, soloist Edmund Campion, Hold That Thought (2004) Debussy, Jeux   The University Symphony, David Milnes, conductor, gives the U.S premiere of Campion's "Hold that Thought" for string orchestra and computer on February 18, 2005 at 8 p.m. in Hertz Hall.
Saturday, February 19	8 pm	Hertz Hall	The University Symphony, David Milnes, conductor	Concert	$3 UC Berkeley students; $7 other students, seniors, UC Berkeley staff and faculty, groups of 10+; $10 general Ticket Office (510) 642-9988 Zellerbach Hall lobby	University Symphony Directed by David Milnes Shostakovich, Cello Concerto No. 1, Op. 107, Aaron Lay, soloist Edmund Campion, Hold That Thought (2004) Debussy, Jeux

March 2005
Date	Time	Location	Who	What	Cost	Details
Saturday, March 5	8 pm	CNMAT	Earl Howard and David Wessel	Concert	$10 general, $5 students	There is little in today's world of music that is more complex and challenging than Howard's ensemble scores, so alien to melody and rhythm as one can be without sounding cacophonous. Each movement relies on counterpoint and juxtaposition, not on narrative development. It takes a while to realize that the synth is being used as a peer instrument to the others, not as a "novelty item" that "must" play a different role, and to realize that very few musicians have managed to demistify electronics the way Howard does. Whenever the harsh tones prevail, for example, Howard resists the temptation to use the synth to outperform everybody else. In fact, one could even argue that, most of the time, Howard does not use the synth as a keyboard at all. All the instruments are merely tools in the hands of the musicians: it is the musicians, not the instruments, that create the music.
Sunday, March 13	4 pm	CNMAT	Dana Reason Trio	Concert	$10 general, $5 students
Tuesday, March 22	8 pm (Pre-concert talk begins at 7:15 pm.)	Yerba Buena Center for the Arts San Francisco Theater - 700 Howard St. at Third Parking available at 5th and Mission Garage. 415.978.ARTS(2787)	San Francisco Contemporary Music Players, David Milnes conducting	Concert	See the SFCMP web site.	San Francisco Contemporary Music Players, David Milnes conducting. World Premiere of "Out of Order" for ensemble and computer. Pianist Julie Steinberg will be featured.   Pre-concert talk begins at 7:15 pm. Edmund Campion, A Complete Wealth of Time (1990) Julie Steinberg and Gloria Cheng, pianos Edmund Campion, "Out of Order" for ensemble and computer. (world premiere, commission, 2004) Terry Riley, Olde English (world premiere, 2004) Annie Gosfield, The Harmony of the Body Machine (2003) Fred Frith, new work (world premiere, commission, 2005) World-renowned cellist Joan Jeanrenaud performs solo works written especially for her by Terry Riley and Annie Gosfield, and premieres, with percussionist William Winant, a new piece by Fred Frith. The Contemporary Music Players gives a world premiere performance of music by Bay Area composer Edmund Campion. Julie Steinberg and Gloria Cheng collaborate in his duo for two pianos.
Tuesday, March 29	4 pm	CNMAT	David Temperley, University of Rochester	Lecture	Free	TONAL IMPLICATION, TONAL AMBIGUITY, AND TONALNESS In this talk I investigate three tonal properties of pitch-class sets: tonal implication (the implied key or keys), tonal ambiguity (whether the set implies just one key or several), and tonalness (the degree to which the set is characteristic of common-practice tonality). I begin by proposing a simple probabilistic model of tonal implication, and show how this leads naturally to models of tonal ambiguity and tonalness. I then investigate some applications of these models. I show how the tonal ambiguity model makes a prediction about the use of cadences in major and minor keys, which turns out to be empirically confirmed. I then consider several pitch-class sets which are high in tonalness but also high in ambiguity, such as the diatonic hexachord, and discuss some interesting uses of these sets in the common-practice repertoire. ---------- David Temperley is Assistant Professor of Music Theory at the Eastman School of Music, University of Rochester. His main interest is computational modeling of processes of music cognition: the perception of meter, key, harmony, and stream segregation. Other research interests include African rhythm, rock music, and hypermeter. He has also worked in natural language parsing, and was the developer (with Daniel Sleator) of the widely-used link grammar parser. His articles have appeared in Music Perception, Computer Music Journal, Ethnomusicology, Musicae Scientiae, Music Analysis, Popular Music, Current Musicology, Journal of Music Theory (forthcoming), and Language. In 2003, he was awarded the Society for Music Theory's Emerging Scholar Award for his book _The Cognition of Basic Musical Structures_ (MIT Press 2001). Currently, Temperley is writing a book on probabilistic models of music cognition.

May 2005
Date	Time	Location	Who	What	Cost	Details
Sunday, May 1	8 pm	CNMAT	Myra Melford, piano Mark Dresser, bass David Wessel , electroacoustics	Concert	$10 general, $5 students	Duo: Myra Melford, piano, and Mark Dresser, bass Trio: Myra Melford, piano, Mark Dresser, bass, and David Wessel , electroacoustics
Saturday, May 14	8 pm	CNMAT	Words and Music	Concert	Free	Words and Music: final recital of the seminar by visiting Bloch Lecturer William Bolcom and Professor Robert Hass. Performances of collaborations between graduate student composers and poets performed by Jennifer Lane, Tara Geralovich, Zachary Gordin, Leighton Fong, LaDene Otsuki, and Gail Edwards.
Sunday, May 15	8 pm	CNMAT	CNMAT-CCRMA Exchange Concert I	Concert	Free	CNMAT-CCRMA exchange concert I. Composers and performers from Stanford's CCRMA will perform new compositions and improvisations at CNMAT.
Monday, May 16	8 pm	CNMAT	CNMAT-CCRMA Exchange Concert II	Concert	Free	CNMAT-CCRMA exchange concert II. Composers and performers from Berkeley's CNMAT will perform new compositions and improvisations at CCRMA.

June 2005
Date	Time	Location	Who	What	Cost	Details

July 2005
Date	Time	Location	Who	What	Cost	Details
July 11-15	11 am - 3 pm	CNMAT	Max/MSP Day School	Workshop	$400	See our Summer Workshops web site for details.
July 11-15	7-10 pm	CNMAT	Max/MSP Night School	Workshop	$400	See our Summer Workshops web site for details.
July 16-18	7- 10 pm	CNMAT	Jitter Night School	Workshop	$200	See our Summer Workshops web site for details.

September 2005
Date	Time	Location	Who	What	Cost	Details
Wednesday, September 28	8 pm	CNMAT	Gino Robair, percussion Birgit Ulher, trumpet Matthew Wright, electronics	Concert	$10 general/ $5 students	Gino Robair, percussion Birgit Ulher, trumpet Matthew Wright, electronics

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