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- #REDIRECT [[Alan Blackwell Research Theme: Computer Music]]59 bytes (7 words) - 10:31, 26 August 2011
- ...cience, directed by [[Ian Cross]], is based in the University of Cambridge music faculty.143 bytes (21 words) - 16:48, 28 August 2011
- ...cience and music, usually in collaboration with the Cambridge [[Centre for Music and Science]].840 bytes (101 words) - 07:17, 24 September 2011
- #REDIRECT [[Crucible Theme: Music technology]]46 bytes (5 words) - 08:36, 14 August 2011
- .... In particular, although several of the members were actively involved in music research, the group intentionally met in "neutral premises" outside of any [[Crucible Theme: Music technology]]650 bytes (83 words) - 18:59, 3 September 2011
- #REDIRECT [[Music technology (Crucible theme)]]47 bytes (5 words) - 06:55, 1 September 2011
- ...music/youth demographic that is generally regarded as shaping the recorded music industry.570 bytes (86 words) - 17:24, 24 May 2014
- 1 KB (178 words) - 08:07, 13 November 2014
- #REDIRECT [[Computer music (Alan Blackwell's research theme)]]62 bytes (7 words) - 07:01, 1 September 2011
- http://www.cl.cam.ac.uk/~afb21/publications/index.html?showonly=music I work closely with the Cambridge [[Centre for Music and Science]], where I have co-supervised PhD and Masters students with [[I1 KB (153 words) - 07:01, 1 September 2011
Page text matches
- ...cience and music, usually in collaboration with the Cambridge [[Centre for Music and Science]].840 bytes (101 words) - 07:17, 24 September 2011
- ...cience, directed by [[Ian Cross]], is based in the University of Cambridge music faculty.143 bytes (21 words) - 16:48, 28 August 2011
- ...music/youth demographic that is generally regarded as shaping the recorded music industry.570 bytes (86 words) - 17:24, 24 May 2014
- ...He is now a lecturer at the [[University of Sussex]], where he directs the Music Informatics degree programme. He is a well-known exponent of Live Coding, a He is author of the popular textbook Introduction to Computer Music.699 bytes (99 words) - 13:59, 26 August 2011
- ...Multimedia'', The ''Cambridge History of Twentieth-Century Music'', and ''Music as Performance: New Perspectives Across the Disciplines''.478 bytes (58 words) - 07:26, 30 August 2011
- ...[Rainbow Group]]. His main interest was in the development of new computer music interfaces. [{Crucible Theme: Computer music]]234 bytes (34 words) - 14:07, 30 August 2011
- * Music lecturer at [[CUMIS]] * Affiliated lecturer in the Cambridge [[Music Faculty]]420 bytes (53 words) - 08:53, 2 September 2011
- ...USA and more recently at the [[Computer Laboratory]] and the [[Centre for Music and Science]] at Cambridge University. He is particularly interested in sou720 bytes (109 words) - 09:25, 2 September 2011
- .... In particular, although several of the members were actively involved in music research, the group intentionally met in "neutral premises" outside of any [[Crucible Theme: Music technology]]650 bytes (83 words) - 18:59, 3 September 2011
- ...computer use]] through the remote observation of digital composers using a music package developed by Chris. ...s PhD, he spent 6 months working as the first user interface specialist at music software company Steinberg.645 bytes (89 words) - 08:26, 12 October 2013
- Julio is an electro-acoustic composer, and reader in Creative Music Technology at [[Anglia Ruskin University]]. [[Crucible Theme: Music Technology]]347 bytes (40 words) - 08:27, 30 August 2011
- Martin is a lecturer in Music at Glasgow University. After a PhD in the [[Music]] faculty supervised by [[Ian Cross]], Martin completed the postgraduate Di281 bytes (42 words) - 19:01, 3 September 2011
- ...into music synthesis control parameters. Users can define their own novel music notation, then create a score and play it by pointing the mobile phone came [[Crucible Theme: Music technology]]657 bytes (99 words) - 13:34, 26 August 2011
- ...in contemporary music within the context of a Faustian extension to school music curriculum.385 bytes (52 words) - 07:23, 16 August 2014
- ...nd jazz pianist. He completed a PhD in music cognition at the [[Centre for Music and Science]], supervised by [[Ian Cross]], and funded by [[Microsoft Resea344 bytes (49 words) - 15:01, 29 August 2011
- http://www.cl.cam.ac.uk/~afb21/publications/index.html?showonly=music I work closely with the Cambridge [[Centre for Music and Science]], where I have co-supervised PhD and Masters students with [[I1 KB (153 words) - 07:01, 1 September 2011
- ...artment]]. He has contributed to several Crucible proposals in the area of music signal processing. [[Crucible Theme: Music technology]]331 bytes (41 words) - 07:23, 30 August 2011
- ...bridge Digital Humanities Initiative]], with a special interest in digital music editions.294 bytes (39 words) - 07:13, 31 August 2011
- working with [[ Ian Cross]] in the [[Centre for Music and Science]], and one funded by the [[Leverhulme Trust]], working with [[A [[Crucible Theme: Music technology]]537 bytes (78 words) - 07:07, 31 August 2011
- ...val]], the [[Live Experimental Arts Performing Society]] and the [[Digital music discussion group]] that prepared ground for Crucible.402 bytes (57 words) - 06:53, 31 August 2011
- Ian is director of the Cambridge [[Centre for Music and Science]] * [[Virtuosity and flow in computer music]]538 bytes (64 words) - 13:58, 30 August 2011
- ...rd]]. He was a member of an interdisciplinary cross-departmental [[digital music discussion group]] that predated the establishment of Crucible.421 bytes (60 words) - 14:01, 30 August 2011
- ...rch project by Chris Nash has involved the development and deployment of a music synthesis tracker plugin, which has been instrumented to collect data on th568 bytes (87 words) - 07:36, 15 August 2011
- ...for a site-specific sound installation that would demonstrate algorithmic music synthesis seeded by the path that visitors take through a formal garden. Th ...ive music that might result, check out the video of Dave Griffiths' techno music composing robots in al‐ jazari.2 KB (271 words) - 17:50, 25 May 2014
- [[Crucible Theme: Music technology]] ...ten on stage, in front of an audience. Improcess is creating new tools for music programming.747 bytes (96 words) - 16:39, 2 September 2011
- Performance programming: digital and generative dance, music and art ...erimented with technical and compositional rules, including live coding of music (Sam Aaron) and generative dance (Jane Turner). The event included a 20 min885 bytes (119 words) - 09:02, 15 April 2013
- ...man perception of musical sound. The results inform not only research into music perception and performance, but understanding of the perception of vibratio [[Crucible Theme: Music technology]]942 bytes (118 words) - 08:37, 14 August 2011
- Personal music research project by Computer Lab PhD students [[Ian Davies]] and [[Meredydd [[Music technology (Crucible theme)]]714 bytes (99 words) - 07:17, 24 September 2011
- Collaborative music/sculpture/dance art production including:193 bytes (22 words) - 17:39, 15 August 2014
- ...raditional Folk]] project, undertaken during her musicology MPhil in the [[Music]] faculty, supervised by [[Nicholas Cook]] and [[Alan Blackwell]].204 bytes (26 words) - 15:19, 30 August 2011
- * [[Computer listens to robot music]]205 bytes (23 words) - 12:48, 22 February 2016
- ...roject created an interactive model for analysing alternative-popular folk music with a research-based web community database. As an MPhil student in Music, [[Rachel Sweeney]] explored use of the Web as site for conjunction of acad955 bytes (123 words) - 05:31, 6 September 2014
- [[Music technology (Crucible theme)]]254 bytes (33 words) - 19:03, 3 September 2011
- ...post funded by the [[Leverhulme Trust]], and was based at the [[Centre for Music and Science]].237 bytes (39 words) - 11:48, 29 August 2011
- [[Crucible Theme: Music technology]]292 bytes (37 words) - 09:10, 17 August 2014
- ...by an organic and animate entity that dramatically conveys the mystery of music-making machines.1 KB (165 words) - 07:19, 16 August 2014
- ...of opera), director of studies, college lecture and affiliated lecturer in Music. Since returning to Australia, he has engaged in a number of entrepreneuria333 bytes (45 words) - 09:05, 13 August 2011
- ...esearch Cambridge]] with [[Stuart Taylor]], working on a range of arts and music interfaces, as well as more conventional interaction design projects.435 bytes (62 words) - 13:46, 26 August 2011
- Triggered was a crossdisciplinary music, dance and technology performance created for the launch of the Digital Per442 bytes (56 words) - 17:08, 2 September 2011
- [[Crucible Theme: Music technology]]384 bytes (46 words) - 07:22, 30 August 2011
- ...in the [[Rainbow Group]], and has also collaborated with the [[Centre for Music and Science]], and [[Cultures of the Digital Economy]] research institute i541 bytes (71 words) - 17:56, 28 August 2011
- ...y BASc introduced at [[UCL]] in 2012. He previously taught maths, physics, music and philosophy, and has also worked professionally as an opera singer. Befo488 bytes (66 words) - 15:03, 12 November 2011
- ...rtner project led by [[Cambridge Junction]] is creating an adventurous new music technology curriculum for schools, based on the [[Performance Programming]]538 bytes (70 words) - 05:22, 6 September 2014
- ...time is a simple orchestration technique that adds complexity to classical music). It is also possible to create dramatic musical effects with musical parts [[Crucible Theme: Music technology]]2 KB (233 words) - 06:38, 28 August 2011
- ...esign research students in Computing, Architecture, Psychology, Languages, Music and Engineering. His recent research activity has developed critical techni * [[Computer Music]]2 KB (198 words) - 18:03, 14 February 2022
- [[Crucible Theme: Music technology]]613 bytes (76 words) - 08:56, 2 September 2011
- [[Crucible Theme: Music technology]]536 bytes (64 words) - 05:41, 26 August 2011
- 17:10-18:00 Music in the dining hall * Darwin College Music Society (vocal group)1 KB (186 words) - 17:01, 18 March 2016
- ...f the later working practices for Crucible. Collaborators from Psychology, Music, Architecture, Linguistics, Engineering, Computer Science and History and P740 bytes (92 words) - 17:04, 2 September 2011
- ...cultural treasures acoss traditional cultures in England (traditional folk music) and New Zealand Maori.686 bytes (90 words) - 15:50, 1 September 2014
- ...st in Cambridge, and then on the London Southbank in a festival devoted to music that had been suppressed. The machine chorus was represented by a live digi680 bytes (99 words) - 10:03, 26 August 2011
- ...ating collaboration between [[Anglia Ruskin University]], the [[Centre for Music and Science]] and [[Computer Laboratory]], and staff at [[Microsoft Researc1,021 bytes (140 words) - 16:46, 2 September 2011
- ...hrough the medium of digital music. Using the Raspberry Pi as a standalone music synthesis engine, students can connect a keyboard and screen to define thei2 KB (299 words) - 09:33, 16 September 2016
- 3D control of music structures [[Music]]3 KB (318 words) - 06:11, 6 September 2014
- media (music, film, games) in new ways, but also looking at the way that digital culture .... Working with research techniques from history, literature, anthropology, music and4 KB (608 words) - 17:49, 5 September 2014
- ...cluding computer science, cognitive psychology, engineering, architecture, music, anthropology).2 KB (287 words) - 17:32, 23 September 2020
- ...the Graphics & Visualization Unit (GVU) and of the Georgia Tech Center for Music Technology (GTCMT), as well as other interdisciplinary centers.2 KB (375 words) - 08:56, 9 November 2011
- * Music: [[Ian Cross]], [[Nicholas Cook]], [[John Rink]]4 KB (427 words) - 08:27, 12 October 2013
- music.5 KB (808 words) - 08:11, 5 September 2013