CNMAT Flashback

A look back at some items in our archives.

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Han Zhang

Han Zhang is a researcher in music technology and a composer. She received her MS degree in Electrical Engineering from Northwestern University, IL in 2020, and she is now working with Prof. Carmine E. Cella on music-technology-related projects and other creative works.

People

Danniel Ribeiro

Danniel Ribeiro is a Brazilian composer from Bahia. His compositional practice is driven by research and creative exploration, with a focus on exploratory instrumental writing and improvised performances supported by emerging technologies and informed by investigations into identity and multiculturalism.

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Alessandro Frullani

Alessandro is an Audio Engineer Researcher who graduated in Mechanical Engineering (BSc and MSc) at Politecnico of Turin, Italy. During his Master's, he specialized in Vibration Mechanics, Acoustics, and Psychoacoustics with a Thesis project on Binaural Recording. Alessandro works at CNMAT with Professor Carmine Emanuele Cella on a project focused on modeling an augmented instrument.

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Marlon Schumacher

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.

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John-Carlos Perea

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.

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Shane Cumming

Shane Cumming is a fourth-year Music major at UC Berkeley from Park City, Utah. Shane has been focused on many different aspects of music for his entire life; lately, his interest has been in sound engineering, specifically studio work and live audio. Shane conducted an Independent Study in the Rear Studio during his junior year and is now working with Dr. Wagner on an Independent Project in the Rear Studio. 

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Ursula Kwong-Brown

Ursula Kwong-Brown is a composer, sound designer and arts technologist based in Los Angeles. She received her Ph.D. in Music Composition & New Media from the University of California, Berkeley (2018) and her B.A. in Music & Biology from Columbia University (2010).

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Danielle DeGruttola

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.

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Jean Bresson

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.

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LINDA BOUCHARD

Born in Québec, Canada, Linda Bouchard has been an active researcher, composer, orchestrator, conductor, and producer for over forty years. Her honors in the United States include first prizes at the Princeton Composition Contest, the Indiana State Competition, and the National Association of Composers USA Contest and a Fromm Music Foundation Award from Harvard University.

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J.J. Burred

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.

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Juan David Rubio

Artist/scholar Juan David Rubio is an Assistant Professor in the Department of Music and Affiliate at CNMAT.  He has performed for over two decades, mostly on drum kit. His instrumental practice spans jazz, improvisation, punk, contemporary music, and Afro-Latin musics, among others.

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Juliana Gaona

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.

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Carmine-Emanuele Cella

Carmine-Emanuele Cella, Co-Director and Lead Researcher at CNMAT, is an internationally acclaimed composer with advanced studies in mathematics. For many years he has worked on the poetical relationships between the structured world of mathematics and the chaotic world of artistic expression, using music as a medium. His music is not based on melodies, chords or rhythms but is more about writing the sound itself.

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Edmund Campion

Edmund Campion is Professor of Music Composition and Co-Director at the Center for New Music and Audio Technologies (CNMAT) at the University of California, Berkeley.

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CNMAT Co-Directors

Associate Professor Carmine-Emanuele Cella is Co-Director and Lead Researcher at the Center for New Music and Audio Technologies (CNMAT).

Professor Edmund Campion is Co-Director at the Center for New Music and Audio Technologies (CNMAT).

Course Description

Music 108

A review of the sensory, perceptual, and cognitive foundations of listening, composing, and performing. Topics include relations among various acoustical and perceptual characterizations of sound; perception of pitch, temporal relations, timbre, stability conditions, and auditory space; auditory scene analysis and perceptual grouping mechanisms; perceptual principles for melodic, rhythmic, and harmonic organization; orchestration as spectral composition. A course research project is required. Music majors should enroll in Music 108M.

Course Description

Music 208A

A review of the sensory, perceptual, and cognitive foundations of listening, composing, and performing. Topics include relations among various acoustical and perceptual characterizations of sound; perception of pitch, temporal relations, timbre, stability conditions, and auditory space; auditory scene analysis and perceptual grouping mechanisms; perceptual principles for melodic, rhythmic, and harmonic organization; orchestration as spectral composition. A graduate-level course research project is required.

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