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Aren Jansen on AudioSet: Real world audio event classification

CCRMA-Stanford University - Thu, 10/19/2017 - 18:19
Date:  Fri, 11/03/2017 - 10:30am - 12:00pm Location:  CCRMA Seminar Room Event Type:  Hearing Seminar AudioSet is an attempt to do for audio processing what big image databases like ImageNet have done for computer vision. Arguably big image datasets like ImageNet, by Prof. Li Fei-Fei at Stanford, and the competitions they have spawned, have advanced image recognition more than any other research result.

Aren Jansen, from Google, will be talking about AudioSet. He will talk about their data collection effort, how the data is organized and the first results on sound object recognition from this large dataset.  By large, they mean 2.1M human-annotated videos, 5.8M hours of audio, and 527 classes of sounds.
FREE Open to the Public

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Malcolm Slaney on Cool Audio Projects from the Telluride Neuromorphic Workshop

CCRMA-Stanford University - Thu, 10/19/2017 - 18:10
Date:  Fri, 10/27/2017 - 10:30am - 12:00pm Location:  CCRMA Seminar Room Event Type:  Hearing Seminar For many years a collection of world-reknown faculty and amazing students have gathered in the mountains of Telluride to propose and pilot interesting auditory experiments. This past summer was no exception, and Prof. Fujioka and I would like to review the 11 auditory projects that were successful this year. This ranges from music perception, to decoding EEG responses, to matching deep neural networks and brains. We were studying musical scales, tension, and rhythm.  What could be more fun?!!?!?

The projects include:
    Tension decoding ♪
    Musical scales ♪
    Salience detection
    Hierarchical features for decoding FREE Open to the Public

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Invisible Choirs, a solo exhibition by Nolan Lem

CCRMA-Stanford University - Wed, 10/18/2017 - 20:57
Date:  Fri, 11/03/2017 - 6:00pm - Fri, 12/01/2017 - 6:00pm Location:  Pro Arts Gallery 150 Frank H Ogawa Plaza, Oakland, CA 94612 Event Type:  Other CCRMA PhD student Nolan Lem will premiere his first solo exhibition comprised of new mixed media and sound-based works at Pro Arts Gallery in Oakland, CA. Invisible Choirs examines the automation of of artificial intelligence by exploring the pathological ramifications of an increasingly technocentric society. Focusing on the emergence of artificially intelligent machines, Lem questions the relationship between technological modes of production and physical labor, visibility and identity, and autonomy and monotony. Comprised as a set of mixed-media, kinetic, and sound-based works, the installation's environment is constructed as an interactive neural network--one that renders visible the physical and algorithmic automata that seek to govern our daily lives. 
FREE Open to the Public

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Generative Models for Music and Art

CCRMA-Stanford University - Mon, 10/16/2017 - 21:32
Date:  Thu, 10/26/2017 - 6:00pm - 7:20pm Location:  CCRMA Classroom [Knoll 217] Event Type:  Guest Lecture

Abstract: Doug Eck will discuss Magenta, a Google Brain project investigating music and art generation using deep learning and reinforcement learning. The goals of Magenta and how it fits into the general trend of AI moving into our daily lives will be described. One crucial question is: Where does AI and Machine Learning fit in the creative process? The speaker argues that generative models are the core tools to import from machine learning, and introduces concepts from generative models such as autoencoders, recurrent neural networks, variational methods, generative adversarial networks (GANs) and different sampling methods.

FREE For CCRMA Users Only

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SMART Workshop on The Musical Phenotype | Call for participation

SMART Workshop on The Musical Phenotype. Cal for participation. Deadline: 1 November 2017 See [1] for more information.

Séverine Ballon: Works for Cello and Multichannel Electronics

CCRMA-Stanford University - Mon, 10/09/2017 - 20:18
Date:  Tue, 11/28/2017 - 7:30pm - 9:00pm Location:  CCRMA Stage Event Type:  Concert Séverine Ballon presents an evening of works for solo cello and cello with multichannel electronics. Her work focuses on regular performance of key works of the cello repertoire, as well as numerous collaborations with composers; in addition, her researches as an improviser have helped her to extend the sonic and technical resources of her instrument. She studied the cello at the Hochschule für Musik in Berlin and in Lübeck with Joseph Schwab and Troels Svane. During 2004-05, she was an academist at the Ensemble Modern (Internationale Ensemble Modern Akademie). She perfected her contemporary cello technique with cellists Siegfried Palm, Pierre Strauch, and Rohan de Saram. FREE Open to the Public

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CCRMA-Stanford University - Mon, 10/09/2017 - 18:27
Date:  Thu, 11/09/2017 - 7:30pm - 9:00pm Location:  CCRMA Stage Event Type:  Concert Chartreuse is violinist Myra Hinrichs (Chicago), violist Carrie Frey (New York City), and cellist Helen Newby (San Francisco). The tricoastal trio aims to take advantage of the distance by pooling the strengths of their chosen cities, commissioning new works from composers across the U.S. and in Norway and collaborating with fellow performers in each of their musical residences on "Chartreuse +/-" projects. The trio has toured extensively in the U.S. Northeast, the Midwest, and California, as well as in Norway.
FREE Open to the Public

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Gareth Loy on What does music do that engages and holds our interest?

CCRMA-Stanford University - Fri, 10/06/2017 - 21:41
Date:  Fri, 10/20/2017 - 10:30am - 12:00pm Location:  CCRMA Seminar Room Event Type:  Hearing Seminar With all the new interest in computer generated music (e.g. Project Magenta) it is good to revisit the issue of what makes music intereting. Generating truly random "music" is easy, but what does it take to make it interesting?  Gareth Loy is a CCRMA alumni, coming back to talk about this topic.  With the great combination of perception and computer folks near CCRMA, I expect this will be a vigorous discussion.

Who:  Gareth Loy
When: Friday October 20 at 10:30AM
What: What does music do that engages and holds our interest?
Where: CCRMA Seminar Room (come early to get a place at the table)
Why: Because music perception and computers are fun!
FREE Open to the Public

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Call for Papers for EMS'18

Call for papers for the 2018 Electroacoustic Music Studies, in Florence, June 20th - 23rd 2018, on the theme 'Electroacoustic Music: is it still a form of experimental music?'

In the early years of musique concrète Schaeffer proposed that this new approach was a form of experimental music. Of course, during this period and later, others were to use this term as well, meaning something slightly different. Still, the rationale that organising sounds was an innovative form of music making was clearly a logical and just thing to say.
How true is this today? Has experimentation and innovation been overtaken by skill and technique?
Today, the term electroacoustic music now encompasses a wide variety of practices and even genres. Seventy years after the birth of concrete music, it has now become very difficult to circumscribe what electroacoustic music is or can be, because it is so diversified and has so many different styles. Clearly electroacoustic music has come a long way over the last 70 years and many will clearly state that (aspects of) their work are indeed experimental.
On the other hand, there are many who have claimed, for example, that a good deal of acousmatic music has common tendencies and some even go so far to suggest that much of it sounds similar. In the field of musicology, new impulses to research are provided by various forms of technical experimentation. New musical interfaces, bio sensors, the return of hybrid synthesis and DIY devices exemplify challenges for performance studies or creative process analysis.
Has experimentalism taken a back seat to technique and, if so, is that a bad thing? Or is technique now sufficiently mature to stimulate new forms of musical experimentation?
What new forms of experimental have arisen? To what extent do new technologies and techniques allow for experimentalism in electroacoustic music? This is why the theme of EMS2018 is:

Electroacoustic Music: is it still a form of experimental music?

EMS18 proposes its community to investigate the experimental of its broad horizon of musical creativity, its dynamic or lack thereof.

Augmented Reality Dialog Interface for Multimodal Teleoperation

KTH Royal Institute of Technology - Fri, 09/29/2017 - 17:09

Time: Fri 2017-09-29 15.00 - 16.00

Location: Fantum, Lindstedsvägen 24, 5th floor

Type of event: Seminars

Music and Machine Learning Concert

Phonos project - UPF - Thu, 09/28/2017 - 13:02
Series: Friday, 2017, October 6 - 19:30 06.10.2017 - 19:30h Sala Polivalent UPF Poblenou C/ Roc Boronat 138 Barcelona

Free admission

In the frame of the 10th International Workshop on Machine Learning and Music, the researchers of TELMI (Technology Enhanced Learning of Musical Instrument Performance) project will perform a concert/ demo where some prototypes developed in the project will be shown.

TELMI is a project that arises from the need to facilitate the learning process of a musical instrument, avoiding abandonment and frustration. The project involves institutions from different fields with the main objective of creating a unified system that uses advanced audio, video and motion capture technologies to be able to adapt it to different musicians, levels and learning situations. This system will help musicians to take full advantage of their lessons and practices, reduce injuries and inefficiency, expand their access to communities of musical knowledge and become better performers.


Introduction: Rafael Ramirez

Piece: Generation No. 1. Author: Darrell Conklin, interpreters: Sergio Giraldo (Guitar), David Dalmazo (Guitar).

Piece: Generation No. 2. Author: Darrell Conklin, interpreters: Sergio Giraldo (Guitar), Zacharias Vamvakousis (Accordion).

Piece: Generation No. 3. Author: Darrell Conklin, interpreters: Sergio Giraldo (Guitar), Pedro Ponce de León (sax)

TELMI Exercise No. 1: bow tracking. Author: Zacharias Vambakuosis, interpreter: Alfonso Perez (Violin)

TELMI Exercise No. 2: tone quality. Author: Sergio Giraldo, interpreter: Alfonso Perez (Violin).

TELMI Exercise No. 3: bow force/velocity. Author: Alfonso Perez, interpreter: Alfonso Perez.

Concerto for 2 violins (TELMI RT demo). Author: J. S. Bach, interpreter: Rafael Ramirez

Mañana de Carnaval (Dynamics modelling). Author: A. C. Jobim, interpreters: Rafael Ramirez (violin), Zacharias Vamvakuosis (Accordion).

Invention for extended guitar. Author: David Dalmazo, interpreters: David Dalmazo (guitar)

Invention for extended for air violin. Author: David Dalmazo, interpreters: David Dalmazo (guitar), Rafael Ramirez (violin).

Moliendo Café. (popular). Interpreters: The MML all stars.


with the support of:

Generalitat de Catalunya: Departament de Cultura
Ajuntament de Barcelona: Barcelona Cultura
Universitat Pompeu Fabra European Union’s Horizon 2020 research and innovation programme



The Origins of Musicality | Expected to be out in April 2018

Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can’t carry a tune and consider ourselves “unmusical.” This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it.

"Sorry, what was your name again?” – How to use a Social Robot to simulate Alzheimer’s Disease and exploring the Effects on its Interlocutors

KTH Royal Institute of Technology - Fri, 09/22/2017 - 21:51

Time: Fri 2017-09-22 10.00 - 11.30

Location: Fantum, Lindstedsvägen 24, 5th floor

Type of event: Seminars

Farewell, MTI Noticeboard

The MTI Noticeboard is now retiring. It has been replaced by a new notices blog and information portal for the whole Music and Audio Technology subject area at De Montfort University. This can be found at

All the past posts from this blog have been copied to the new blog.

AES E-News: September 19, 2017

AES E-News - Mon, 09/18/2017 - 22:52
1. 143rd Convention News
2. 144th Convention To Celebrate "The Power of Sound"
3. New AES Live Videos Available
5. Upcoming Conference News
6. Standards News
7. Job Board Update
8. AES September Issue Now Available
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