Search results

Page title matches

• Music technology (Crucible theme)
  ...cience and music, usually in collaboration with the Cambridge [[Centre for Music and Science]]. * [[Collaborative performance technology]]
  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
• Crucible Theme: Music technology
  #REDIRECT [[Music technology (Crucible theme)]]
  47 bytes (5 words) - 06:55, 1 September 2011

Page text matches

• Julio d'Escriván
  Julio is an electro-acoustic composer, and reader in Creative Music Technology at [[Anglia Ruskin University]]. * [[Collaborative performance technology]]
  347 bytes (40 words) - 08:27, 30 August 2011
• Music technology (Crucible theme)
  ...cience and music, usually in collaboration with the Cambridge [[Centre for Music and Science]]. * [[Collaborative performance technology]]
  840 bytes (101 words) - 07:17, 24 September 2011
• 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
• 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
• Andrew Lovett
  * [[Collaborative performance technology]] * Music lecturer at [[CUMIS]]
  420 bytes (53 words) - 08:53, 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
• 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
• 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
• 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
• 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
• 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
• 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
• Richard Hoadley
  * [[Festival of Interactive Technology]] * [[Collaborative performance technology]]
  536 bytes (64 words) - 05:41, 26 August 2011
• 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
• Tone row explorer
  [[Music technology (Crucible theme)]]
  254 bytes (33 words) - 19:03, 3 September 2011
• 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
• Alistair Stead
  [[Crucible Theme: Music technology]]
  292 bytes (37 words) - 09:10, 17 August 2014
• Triggered
  Triggered was a crossdisciplinary music, dance and technology performance created for the launch of the Digital Performance Lab at Anglia
  442 bytes (56 words) - 17:08, 2 September 2011
• Jim Woodhouse
  [[Crucible Theme: Music technology]]
  384 bytes (46 words) - 07:22, 30 August 2011
• Sonic Pi: Live and Coding
  ...project led by [[Cambridge Junction]] is creating an adventurous new music technology curriculum for schools, based on the [[Performance Programming]] practice o
  538 bytes (70 words) - 05:22, 6 September 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
• Performing with Gadgeteer
  [[Crucible Theme: Music technology]]
  613 bytes (76 words) - 08:56, 2 September 2011
• Artefacts of Encounter
  ...the different communities of scholars and public who engage with them via technology. ...cultural treasures acoss traditional cultures in England (traditional folk music) and New Zealand Maori.
  686 bytes (90 words) - 15:50, 1 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
• Digital culture in society
  This research aims to invent new kinds of digital technology that help people to have rich and fulfilling lives, not simply researchers who invent new digital technology. Commercial opportunities tend to come later, after businesses and
  4 KB (608 words) - 17:49, 5 September 2014
• Michael Nitsche
  ...aphics & 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
• Defining Pi
  ...digital opportunities for artists to produce new work using extraordinary technology that has yet to be tested in this way *to develop new partnerships between the arts and Cambridge’s world renowned technology innovation sector
  5 KB (808 words) - 08:11, 5 September 2013
• 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
• Crucible Network Members
  * Centre for Applied Research in Educational Technology: [[John Norman]], [[Anne-Sophie Baets]], * Music: [[Ian Cross]], [[Nicholas Cook]], [[John Rink]]
  4 KB (427 words) - 08:27, 12 October 2013