Search results

Page title matches

• Computer Music
  #REDIRECT [[Alan Blackwell Research Theme: Computer Music]]
  59 bytes (7 words) - 10:31, 26 August 2011
• Centre for Music and Science
  ...cience, directed by [[Ian Cross]], is based in the University of Cambridge music faculty.
  143 bytes (21 words) - 16:48, 28 August 2011
• Music technology (Crucible theme)
  ...cience and music, usually in collaboration with the Cambridge [[Centre for Music and Science]].
  840 bytes (101 words) - 07:17, 24 September 2011
• Crucible Theme: Music Technology
  #REDIRECT [[Crucible Theme: Music technology]]
  46 bytes (5 words) - 08:36, 14 August 2011
• Digital music discussion group
  .... 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
• Crucible Theme: Music technology
  #REDIRECT [[Music technology (Crucible theme)]]
  47 bytes (5 words) - 06:55, 1 September 2011
• Community music in the streaming age
  ...music/youth demographic that is generally regarded as shaping the recorded music industry.
  570 bytes (86 words) - 17:24, 24 May 2014
• Computer listens to robot music
  1 KB (178 words) - 08:07, 13 November 2014
• Alan Blackwell Research Theme: Computer Music
  #REDIRECT [[Computer music (Alan Blackwell's research theme)]]
  62 bytes (7 words) - 07:01, 1 September 2011
• Computer music (Alan Blackwell's research theme)
  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 [[I
  1 KB (153 words) - 07:01, 1 September 2011

Page text matches

• Music technology (Crucible theme)
  ...cience and music, usually in collaboration with the Cambridge [[Centre for Music and Science]].
  840 bytes (101 words) - 07:17, 24 September 2011
• Centre for Music and Science
  ...cience, directed by [[Ian Cross]], is based in the University of Cambridge music faculty.
  143 bytes (21 words) - 16:48, 28 August 2011
• Community music in the streaming age
  ...music/youth demographic that is generally regarded as shaping the recorded music industry.
  570 bytes (86 words) - 17:24, 24 May 2014
• Nick Collins
  ...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
• Nicholas Cook
  ...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
• Bert Bongers
  ...[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
• Andrew Lovett
  * Music lecturer at [[CUMIS]] * Affiliated lecturer in the Cambridge [[Music Faculty]]
  420 bytes (53 words) - 08:53, 2 September 2011
• Alejandro Viñao
  ...USA and more recently at the [[Computer Laboratory]] and the [[Centre for Music and Science]] at Cambridge University. He is particularly interested in sou
  720 bytes (109 words) - 09:25, 2 September 2011
• Digital music discussion group
  .... 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
• Chris Nash
  ...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 d'Escriván
  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 Dixon
  Martin is a lecturer in Music at Glasgow University. After a PhD in the [[Music]] faculty supervised by [[Ian Cross]], Martin completed the postgraduate Di
  281 bytes (42 words) - 19:01, 3 September 2011
• SoundCodr graphic score interpreter
  ...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
• The Crackle
  ...in contemporary music within the context of a Faustian extension to school music curriculum.
  385 bytes (52 words) - 07:23, 16 August 2014
• Martin Rohrmeier
  ...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 Resea
  344 bytes (49 words) - 15:01, 29 August 2011
• Computer music (Alan Blackwell's research theme)
  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 [[I
  1 KB (153 words) - 07:01, 1 September 2011
• Simon Godsill
  ...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
• John Rink
  ...bridge Digital Humanities Initiative]], with a special interest in digital music editions.
  294 bytes (39 words) - 07:13, 31 August 2011
• Composer in residence - Alejandro Viñao
  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
• Matt Rogalsky
  ...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 Cross
  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
• Jonathan Impett
  ...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
• Virtuosity in computer use
  ...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 th
  568 bytes (87 words) - 07:36, 15 August 2011
• Sound Garden
  ...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
• Improcess
  [[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
  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 min
  885 bytes (119 words) - 09:02, 15 April 2013
• Virtual Violins
  ...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
• Automated performance accompaniment
  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
• Turning Worlds Dance: Quantum
  Collaborative music/sculpture/dance art production including:
  193 bytes (22 words) - 17:39, 15 August 2014
• Rachel Sweeney
  ...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
• Leo Impett
  * [[Computer listens to robot music]]
  205 bytes (23 words) - 12:48, 22 February 2016
• Untraditional Folk
  ...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 acad
  955 bytes (123 words) - 05:31, 6 September 2014
• Tone row explorer
  [[Music technology (Crucible theme)]]
  254 bytes (33 words) - 19:03, 3 September 2011
• Claudia Fritz
  ...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
• Alistair Stead
  [[Crucible Theme: Music technology]]
  292 bytes (37 words) - 09:10, 17 August 2014
• The Mephistophone
  ...by an organic and animate entity that dramatically conveys the mystery of music-making machines.
  1 KB (165 words) - 07:19, 16 August 2014
• Peter Tregear
  ...of opera), director of studies, college lecture and affiliated lecturer in Music. Since returning to Australia, he has engaged in a number of entrepreneuria
  333 bytes (45 words) - 09:05, 13 August 2011
• Jonathan Hook
  ...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
  Triggered was a crossdisciplinary music, dance and technology performance created for the launch of the Digital Per
  442 bytes (56 words) - 17:08, 2 September 2011
• Jim Woodhouse
  [[Crucible Theme: Music technology]]
  384 bytes (46 words) - 07:22, 30 August 2011
• Satinder Gill
  ...in the [[Rainbow Group]], and has also collaborated with the [[Centre for Music and Science]], and [[Cultures of the Digital Economy]] research institute i
  541 bytes (71 words) - 17:56, 28 August 2011
• Carl Gombrich
  ...y BASc introduced at [[UCL]] in 2012. He previously taught maths, physics, music and philosophy, and has also worked professionally as an opera singer. Befo
  488 bytes (66 words) - 15:03, 12 November 2011
• Sonic Pi: Live and Coding
  ...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
• Interaction with musical polytempi
  ...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
• Alan Blackwell
  ...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
• Performing with Gadgeteer
  [[Crucible Theme: Music technology]]
  613 bytes (76 words) - 08:56, 2 September 2011
• Richard Hoadley
  [[Crucible Theme: Music technology]]
  536 bytes (64 words) - 05:41, 26 August 2011
• Inference Group Reunion
  17:10-18:00 Music in the dining hall * Darwin College Music Society (vocal group)
  1 KB (186 words) - 17:01, 18 March 2016
• Cross-disciplinary diagrams group
  ...f the later working practices for Crucible. Collaborators from Psychology, Music, Architecture, Linguistics, Engineering, Computer Science and History and P
  740 bytes (92 words) - 17:04, 2 September 2011
• Artefacts of Encounter
  ...cultural treasures acoss traditional cultures in England (traditional folk music) and New Zealand Maori.
  686 bytes (90 words) - 15:50, 1 September 2014
• Maschinist Hopkins
  ...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 digi
  680 bytes (99 words) - 10:03, 26 August 2011
• Cross-cultural partnership template
  ...ating collaboration between [[Anglia Ruskin University]], the [[Centre for Music and Science]] and [[Computer Laboratory]], and staff at [[Microsoft Researc
  1,021 bytes (140 words) - 16:46, 2 September 2011
• Sonic Pi
  ...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 thei
  2 KB (299 words) - 09:33, 16 September 2016
• Undergraduate Research Opportunities Programme (UROP)
  3D control of music structures [[Music]]
  3 KB (318 words) - 06:11, 6 September 2014
• Digital culture in society
  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 and
  4 KB (608 words) - 17:49, 5 September 2014
• Visual representation (Alan Blackwell's research theme)
  ...cluding computer science, cognitive psychology, engineering, architecture, music, anthropology).
  2 KB (287 words) - 17:32, 23 September 2020
• Michael Nitsche
  ...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
• Crucible Network Members
  * Music: [[Ian Cross]], [[Nicholas Cook]], [[John Rink]]
  4 KB (427 words) - 08:27, 12 October 2013
• Defining Pi
  music.
  5 KB (808 words) - 08:11, 5 September 2013