January 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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Friday, January 27 | 3:00 | CNMAT | Trevor Wishart | Colloquia in Composition | Free | The UC Berkeley Department of Music Colloquia in Composition presents: Composer and performer Trevor Wishart: Trevor Wishart began extensive research on extended human voice in early 1970s, working as an improvising vocal performer. One performance can be heard on CD Beach Singularity, while video Trevor by Steina Vasulka, derives from the sounds and faces of another. He developed sound transformation notation to capture complex and changing vocal sounds, first used in Tuba Mirum, and described in the book On Sonic Art. In 1979-80 he composed Anticredos for 6 amplified voices using extended vocal techniques for Singcircle: premiered at St John's, Smith Square, London (1980). 1982-88 Wishart explored a variety of new approaches (tape as environmental backdrop, live electronics, polyrhythm, abstract theatre) in The Vox Cycle, written for Electric Phoenix and commissioned variously by Paris Biennale, Mobius Studio (Boston,USA), IRCAM (Vox 5), the Huddersfield Festival and the BBC Promenade Concerts. For Vox5, he developed new tools for sound morphing, described in Audible Design and available as part of the Sound Loom. The piece Tongues of Fire pushes these techniques to their limit. In recent pieces, called 'Voiceprints', Wishart uses a computer to recreate and transform voices of public figures - Mrs Thatcher, Princess Diana in Two Women, Martin Luther King, Neil Armstrong in American Triptych. |
February 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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Saturday, February 11 | 8:00 | Hertz Hall | Mark Dresser, Myra Melford, Bob Ostertag & David Wessel | Concert | $22 - see the Cal Performances site for info | Cal Performances presents: The UC Improvisors Tour, supported by The University of California's Institute for Research in the Arts (UCIRA). Each an internationally recognized and acclaimed improviser, Mark Dresser, Myra Melford, and Bob Ostertag joined the University of California faculty in the fall of 2004. Together with electronic musician David Wessel, these musical pioneers fuse acoustic with live computer-based performance in a program demonstrating the excitement and possibilities of the improvised musical medium. Presented in collaboration with CNMAT. |
Sunday, February 12 | 8:00 | CNMAT | Jon Rose | Concert | $10 general, $5 students | Jon Rose presents: The Hyperstring Project Hyperstring pushes the envelope of musical expression through the use of Midi controllers measuring the physicality of high speed improvisation. Hyperstring uses three primary controllers... a sensor mounted on the violin bow which measures the bow pressure; an accelerometer mounted on the bowing arm, measuring bowing arm movement (and more importantly) speed of movement; and footpedals which are played independently by both feet... not to mention the use of analogue feed back effects (sound generated in space) |
Saturday, February 18 | 8:00 | CNMAT | Sebastian Berweck | Concert | $10 general, $5 students | With over 70 world premieres to his name, Sebastian Berweck is one of the most sought-after pianists for contemporary music. He has appeared at the Salzburger Festspielen, the Schleswig- Holstein Music Festival, Spring in Heidelberg, the Darmstadt International Summer Courses, and other major festivals for contemporary music. In 2004 he was featured at the World New Music Days in the opera Rote Asche, by Johannes Schöllhorn and Ludger Engels. He has recorded for the Swiss Radio DRS, the Hessian Radio He gave concerts and lectures at Stanford University, Denison In 2000 he initiated a series of new works for piano entitled The series has by now expanded to over two dozen works, of which a |
March 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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Friday, March 17 | 7:30pm | Zankel Hall, Carnegie Hall, New York | American Composers Orchestra | Concert | Buy tickets online or call 212-247-7800 | American Composers Orchestra presents: MASON BATES Omnivorous Furniture (NY Premiere) |
Saturday, March 18 | 7:30pm | Zellerbach Theater, Annenberg Center for the Arts Philadelphia, PA |
American Composers Orchestra | Concert | Buy tickets online. | Same program as above. |
Thursday, March 23 | 6:00 PM | CNMAT | John Chowning and David Wessel | Lecture/demo | Free | CNMAT and the Berkeley Symphony Orchestra present: An evening with John Chowning and David Wessel FOR MORE INFORMATION: |
April 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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Monday, April 17 | 4:00 pm | 3105 Tolman Hall (Beach Room | Psyche Loui, graduate student in Psychlogy | Talk | Free | Psyche Loui An important question to music cognition, and to the psychology of learning in general, concerns whether and how the human brain can develop expectations and preferences for sounds in the auditory environment. I will present several studies that investigate the learning of a novel system of musical sounds. The system is based on the Bohlen-Pierce scale, a microtonal system tuned differently from the traditional Western scale. Chord progressions and melodies were composed in this scale as legal exemplars of two sets of grammatical rules. Participants listened to melodies in one of the two grammars, and completed learning-assessment tests which include forced-choice recognition and generalization, pre- and post-exposure probe tone ratings, and subjective preference ratings. Results suggest that given exposure to a small number of melodies, listeners recognized and preferred melodies they had heard, but when exposed to a sufficiently large set of melodies, listeners were able to generalize their recognition to previously-unencountered instances of the familiar grammar. Event-Related Potentials in response to infrequent chords in the new system revealed two negative components, one of which is interpreted as an index of expectancy violation and the other as an attempt at cognitive integration. This pattern of results is very similar to ERPs elicited by unexpected chords in traditional Western music. We conclude that humans can learn new musical grammars, and that musical experience recruits a flexible set of neural mechanisms that can rapidly integrate sensory inputs into preceding contexts. |
Friday April 21 | 8 PM | Herbst Theater San Francisco | David Wessel and Thomas Buckner | Concert | See their web site | Four Seasons Concerts presents: Thomas Buckner, Baritone Featuring: Bodies of Music - (2006) co-composed by David Wessel - live computer-based instrumentation and Thomas Buckner - voice The title is a play on the double meaning of Bodies: human bodies as makers of music and large collections of musical material. Rather than using studio prepared sequences, Wessel's approach to computer music involves the composition of the instrument itself. The meaning of gesture, its capture by a touch sensitive interface, the mapping of its parameters to the control of sound structures, and the organization of the musical material are the subjects of this design process. In tonight's performance the musical material is drawn from a number of sources. It includes the recombination of tiny fragments from Buckner's recorded repertoire, as well a harmonies that are derived in real-time during the course of the performance. David Wessel and Thomas Buckner began making music together in the mid-60's. Technical Note: Wessel's controller interface was designed by Don Buchla and provides for continuous polyphonic control. Gestures sensed by the controller are mapped to various compositional algorithms in software written by Wessel in the Max/MSP environment.. |
Saturday, April 22 | 12-4 | CNMAT | CNMAT staff | Cal Day | Free | Cal Day is the annual campus-wide open house. CNMAT will be open from 12 noon to 4 p.m., with music/technology demonstrations and opportunities to meet with faculty, composers, students and staff. Also... The CNMAT Users Group presents: The Sound Garden: Hertz Hall, North Courtyard, 12 noon - 3pm listen closely...the intangible sonic foliage reveals its secrets in a tantalizing mix of the real and the unreal Produced by the CNMAT Users Group; sculptures by Dawn Frasch |
Sunday, April 23 | 8:00 pm | CNMAT | TrioMetrik | Concert | $10 | TrioMetrik plays NuRoque Music Keith McMillen, guitar TrioMetrik is a modern composer's dream come true. -- Paul Dresher, Composer and Musician The synthesis of man, mind, machine and music is TrioMetrik. TrioMetrik represents twenty-five years of development focused on the successful marriage of enhanced musical instruments with computer driven innovation. It is a sophisticated integration of live instruments, captured audio, synthesis, processing and real-time video. The music is haunting, surprising sometimes challenging and never more than a few bars from humorous. Compositions from Jaron Lanier, Jay Cloidt, and Keith McMillen. |
Monday, April 24 | 3:10-5 p.m. | CNMAT | François Paris | Lecture | Free | Composer Francois Paris, Director of the Centre Internationale de Recherche Musicale in Nice, France will present a series of lectures on topics related to his music compositions. The lectures are free and open to the public and will will be held at The Center for New Music and Audio Technologies (CNMAT), 1750 Arch Street. Monday, April 24, 2006 3:10-5 p.m. "Anamorphosis, a new dimension in musical language" (concerning Paris' work with microtonality. |
Monday, April 24 | 8:00 pm | Yerba Buena Center for the Arts Forum 701 Mission St. at 3rd St., San Francisco, CA |
The San Francisco Contemporary Music Players | Concert | See the SFCMP web site | The San Francisco Contemporary Music Players Presents Donnacha Dennehy, Jason Eckardt, Roberto Morales-Manzanares Wendell Logan, and Ken Ueno PROGRAM: Donnacha Dennehy, Glamour Sleeper (U.S. premiere, 2003) Wendell Logan, Transition (world premiere, commission, 2005) Ken Ueno, . . . blood blossoms . . . (2002) Roberto Morales-Manzanares, Cenzontle (2004) Jason Eckardt, After Serra (2000) FEATURING: Roberto Morales-Manzanares, flute, electronics, video David Milnes, Music Director |
Tuesday, April 25 | 3:10-5 p.m. | CNMAT | François Paris | Lecture | Free | Composer Francois Paris, Director of the Centre Internationale de Recherche Musicale in Nice, France will present a series of lectures on topics related to his music compositions. The lectures are free and open to the public and will will be held at The Center for New Music and Audio Technologies (CNMAT), 1750 Arch Street.
Tuesday, April 25, 2006 3:10-5 p.m. "Music and image" (concerning Paris' music for Jean Vigo's film "A Propos de Nice") |
Wednesday, April 26 | 3:10-5 p.m. | CNMAT | François Paris | Lecture | Free | Composer Francois Paris, Director of the Centre Internationale de Recherche Musicale in Nice, France will present a series of lectures on topics related to his music compositions. The lectures are free and open to the public and will will be held at The Center for New Music and Audio Technologies (CNMAT), 1750 Arch Street.
Wednesday, April 26, 2006 3:10-5 p.m. "The instrumental model and its representation (with or without technology)" |
Thursday, April 27 | 8:00 pm | Merkin Concert Hall - 129 W. 67th Street, NY | Thomas Buckner, baritone | Concert | See their web site | Thomas Buckner, baritone Featuring: Bodies of Music - (2006) co-composed by David Wessel - live computer-based instrumentation and Thomas Buckner - voice |
Friday, April 28 | Noon-1pm | Hertz Hall, UCB Campus | Myra Melford with student performers and guests | Concert | Free | Jazz Improvisation Current Trends in Improvised Music: Myra Melford with student performers and guests (including CNMAT researcher Michael Zbyszynski on Saxophones and Flute) |
Saturday, April 29 | 8 pm | Wyatt Pavilion Theatre, UC Davis | Mark Dresser, contrabass Myra Melford, piano Bob Ostertag, live electronics David Wessel, live electronics |
Concert | Free | UC Davis Technocultural Studies presents: Mark Dresser, contrabass Each an internationally recognized and acclaimed improviser, Mark Dresser, Myra Melford, and Bob Ostertag joined the University of California faculty in the fall of 2004. Together with electronic musician David Wessel, these musical pioneers fuse acoustic with live computer-based performance in a program demonstrating the excitement and possibilities of the improvised musical medium. Presented in collaboration with CNMAT. Supported by The University of California's Institute for Research in the Arts (UCIRA). |
May 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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Monday, May 8 | 1:00 pm | CNMAT | Peter Kassakian | Dissertation Talk | Free | Peter Kassakian
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Monday, May 8 | 3:00 PM | CNMAT | Jason Freeman | Talk | Jason Freeman Auracle: A Voice-Controlled, Networked Sound Instrument Auracle is a voice-controlled, networked sound instrument which enables users to control a synthesized instrument with their voice and to interact with each other in real time over the Internet. This paper describes the architecture of the system in detail, including the multi-level analysis of vocal input, the communication of that analysis data across the network, and the mapping of that data onto a software synthesizer. |
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Thursday, May 11 | 8 p.m. ( pre-concert lecture at 7 p.m.) |
CNMAT | John Shoptaw (UC Berkeley) and Eric Sawyer (Amherst College) | Concert | Free | music + voices + electronics + movement + poetry + music + voices + electronics + movement + poetry + music Itasca : a poem for voices & live electronics on the 1832 journey of Henry Schoolcraft & Oza Windib to the source of the Mississippi River words by John Shoptaw (UC Berkeley) + music by Eric Sawyer (Amherst College) + choreography by Wendy Woodson featured performers : sponsored by : Note: pre-concert lecture at 7 p.m. |
Friday May 12 | 1:00 PM | CNMAT | Dr. Edward W. Large | Talk | Free | Ed Large Ed Large writes: I will introduce a theory of tonality that predicts tonal stability, attraction, and categorization based on the principles of nonlinear resonance. I will argue that perception of tonality is the natural consequence of neural resonance, arising from central auditory nonlinearities. I will describe a network of weakly connected nonlinear oscillators, in which each oscillator is each tuned to a different resonant frequency. Such networks produce nonlinear time-frequency transformations of incoming stimuli. When when stimulated with musical sounds, the result is a tonal percept. Dr. Edward W. Large is an Associate Professor of Psychology and Director of the NIMH training program in Complex Systems and Brain Sciences at Florida Atlantic University. Prior to coming to Florida, Dr. Large was a faculty member at the University of Pennsylvania, and he has also conducted research at Toshiba's Artificial Intelligence Research Laboratory in Kawasaki, Japan, and at the Air Force's Armstrong Laboratories. His scientific research addresses questions of how the brain responds to complex, temporally structured sequences of events, such as music and speech. His research employs a synergy of techniques, including dynamical systems modeling, perceptual experiments, neurophysiology (EEG & MEG) and neuroimaging (fMRI). He has authored over forty papers in the area of music perception and cognition, publishing in journals such as Psychological Review, Cognitive Science, Music Perception, Journal of Computational Neuroscience, Cognitive Brain Research and Physica. His research is funded by a is National Science Foundation CAREER Award, and he was recently awarded and Fulbright Scholar Grant. |
Saturday, May 13 | 8 PM | CNMAT | CNMAT Users Group | Concert | Free | In Concert: The CNMAT Users Group Featured performers include: The ensemble will be performing several structured improvisations; solo, duo, trio and as a quartet. MARIÉ ABE first started tickling the ivories at the age of three, and studied classical piano performance throughout her teens in Tokyo, Japan, Siena, Italy and Düsseldorf, Germany. In college, she started to explore contemporary piano repertoire with Marcantonio Barone, and also took up composition seriously and studied with Gerald Levinson. The turning point came to her in the summer of 2003, when she picked up a shiny white accordion. With the accordion on her back, a suitcase in her left hand, and an ice cream cone in her right hand, she traveled throughout Europe to absorb and play as much various accordion musics as possible. Since then, Marié has studied Balkan Roma (gypsy) repertoire with Dan Cantrell and technique with Shibasaki Waka and Henri Ducharme. Eager to depart from her classical piano training, Marié recently started to explore the world of improvisation under the mentorship of Myra Melford with whom she studies composition, arrangement and jazz harmony. Currently, Marié performs with the indie rock band the Lark, Balkan/Sephardic Trio Al-Ferrabe, acoustic free-improv trio Smirkers, Japonize Elephants and Four Flea Circus. HEATHER FRASCH, a native of Philadelphia, just returned to the United States to pursue her doctorate in composition from UC Berkeley, from France where she lived as an expatriate for the past seven years. She received her Medaille d‚Argent in composition and electro-acoustic music from the Conservatoire Nationale de Region de Lyon where she studied with Professor Christophe Maudot and Stephane Borrell. Before her sejourn in Lyon, she lived in Paris where she took private lessons with Betsy Jolas and Yoshishia Taira. She also holds a Bachelor of Arts in flute performance from Temple University. Ensembles locate in France, Holland and the US has performed her music. She has received commissions from the New Piano Quartet, based in Boston, and Fiati Complesso, based in Utrecht, Holland. LISA MEZZACAPPA is an Oakland-based doublebassist and improviser. She has studied with Michael Formanek, Henry Threadgill, Ralph Alessi and Steve Coleman, and has performed and workshopped with the Sun Ra Arkestra, Meredith Monk, Bob Moses, Myra Melford, Art Baron, Terry Riley, David Murray, Jerry Bergonzi and Clark Terry, among others. Lisa has performed extensively in Bay Area and New York City music venues and performance spaces, and has played festivals and theaters throughout the United States, including Milwaukee Summerfest, the Earshot Jazz Festival, and the Montreal Jazz Festival, Canada. She has also toured in Japan, and performs in Italy this summer. She was artist-in-residence at the Banff International Jazz Workshop (2000), and holds an MA in ethnomusicology from the University of California, Berkeley (2003). This spring, she is artist-in-residence at the Headlands Center for the Arts in Sausalito, CA. Current and recent projects and collaborations include duo B., a drums and bass duo with Jason Levis; the new music groups Walnut Chamber Ensemble and Heftpistole; the trombone reggae band Joseph's Bones; the structured-improvisation ensemble Model Band; Aaron Novik's minimalist psychedelia project Kipple and his chamber pop band Floating World; the improvising bass quartet the Transbass Ensemble; Jeff Ray's electro-folk project Extraordinary Forest; the improv trio Ghostcandle Derby; the Balkan-jazz fusion group Four Flea Circus; Micha Patri's Wailing Junk Symphony for the Most High; and performances with jazz-pop singer Pyeng Threadgill and sixties folk-pop sensation Donovan. In addition to her work as a performer, Lisa also works as a music educator and independent music curator in the San Francisco Bay Area. JASON LEVIS has been playing drums since 1995. As a composer, arranger and bandleader, he works with a full roster of bands packed with Bay Area improvisational talent, including duo B, a drums and bass duo with Lisa Mezzacappa, the angular chamber jazz ensemble Heftpistole; the texturally-driven new music group the Walnut Chamber Ensemble; the nine piece instrumental reggae band Joseph's Bones; and the original jazz groups Blowout and Married Couple. In addition to his many projects as bandleader, Jason also performs with Bay Area singer/songwriter Sean Hayes, the klezmer group the Maccabeats (sometimes known as the Yiddiots), Bill Noertker's Moxie, sixties pop star Donovan, the Larks and the quartet Four Flea Circus. Levis has studied composition with pianist/composer Art Lande, improviser/composers Henry Threadgill and Myra Melford, and contemporary music composers Cindy Cox, Edwin Dugger and Jorge Liderman. He earned a BA in music from Naropa University, Boulder, CO where he wrote his thesis on the connection between improvisation and meditation and held the high honor of speaking on behalf of his graduating class of 1999 at graduation. He is currently a PhD student in composition at the University of California, Berkeley studying with Edmund Campion researching new forms of structured improvisation in composition. |
Wednesday, May 24 | 8 PM | Ashby Stage, 1901 Ashby Ave., Berkeley | Del Sol String Quartet | Concert | $7-20 | Del Sol String Quartet will showcase four of the most innovative living composers from Canada in the next concert of the Del Sol Performing Arts Organization’s Home Season. At the upcoming "Northern Lights” concert, DSSQ will perform: |
Thursday, May 25 | 7 PM | Tateuchi Hall, Finn Center, 230 San Antonio Cir., Mountain View | Del Sol String Quartet | Concert | $7-20 | See program from 5/24 above. |
Friday, May 26 | 8 PM | Green Room of the SF War Memorial, 401 Van Ness Ave.,San Francisco | Del Sol String Quartet | Concert | $7-20 | See program from 5/24 above. |
Sunday, May 28 | 4 PM | Dance Palace, 5th and B Streets, Point Reyes Station | Del Sol String Quartet | Concert | $7-20 | See program from 5/24 above. |
June 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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July 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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July 21-23 | 6-9 pm | CNMAT | Workshop | $200 | Jitter Night School |
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July 24-28 | 9 AM - 5 PM | CNMAT | Workshop | $1000 | Sensor Workshop for Performers and Artists |
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July 24-28 | 6-9 PM | CNMAT | Workshop | $400 | Max/MSP Night School (for intermediate to advanced users) |
August 2006 |
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Date | Time | Location | Who | What | Cost | Details |
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July 24-28 | 9 AM - 5 PM | CNMAT | Workshop | $400 | Max/MSP Day School (for beginners to intermediate users) |
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