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C00013 00004	RESEARCH
C00020 00005	PUBLICATIONS
C00029 00006	.next page
C00033 00007	ASSOCIATIONS WITH OTHER CENTERS
C00037 00008	DEMONSTRATIONS, CONFERENCES, AND PERFORMANCES
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.EVERY HEADING(,{PAGE},);
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.BEGIN CENTER
%5Center for Computer Research in Music and Acoustics
%3Artificial Intelligence Laboratory, Stanford University
Stanford, California 94305

May 1979
.SKIP 3
%5OVERVIEW
.skip 3
John M. Chowning, John M. Grey, James A. Moorer
Loren Rush, Leland C. Smith
.END
A major American contribution to present and future music exists in the
application of a rapidly developing computer technology to the art and
science of music. The extraordinary results already obtained have occurred
in those few instances where scientists and musicians have taken the
opportunity to bring their respective skills to bear on problems of common
interest in a rich interdisciplinary environment. It is an example of
cooperation, but more, an expression of the freedom of intellect and
invention, where creative minds from diverse disciplines have joined in a
common goal to produce fundamental knowledge which must be the source for
new music, and to produce works of art which reflect the
scientific-technological riches of the present.

At Stanford University, such cooperation has been commonplace over the
past twelve years.  In the beginning, progress was made in the analysis,
synthesis, and psychology of sound perception in largely unsupported work
by professors, graduate students, and staff members.  In June of 1975, the
Center for Computer Research in Music and Acoustics (CCRMA) was formed
with funding provided jointly by the National Science Foundation for
research and teaching in computer techniques of interactive sound
production and the perception of timbre, and by a one-time grant from the
National Endowment for the Arts for computing equipment for musical
purposes. One aim of the Center was to establish an international facility
where researchers, composers, and students could work with strong
computer-based technological support.

The status of the facility as it now stands is a multi-faceted topic.  As
a musical instrument, the computer system is possibly the most flexible of
all instruments. To speak of it as a conventional musical instrument,
however, is somewhat misleading because the system is capable of
simultaneously producing a large number of independent voices having
arbitrary timbral characteristics.  It is much more general than a
conventional musical instrument in that it can generate any sound that can
be produced by loudspeakers, modify and transform real sounds entered into
the system by means of microphone and digital-to-analog converters,
remember and modify articulated musical input, and simulate the location
and movement of sounds in a variety of illusory reverberant spaces.
Equally important, the facility is capable of serving a number of
composers and researchers simultaneously, providing for each a direct
control over the medium to a degree which was never before possible.

As a research tool, the computer has shown itself to be uniquely useful in
generating precisely controlled stimuli for perceptual research. The
analysis-synthesis techniques developed here allow for direct
experimentation with the sounds of natural instruments. By modifying the
sounds of these instruments in systematic ways, then testing the
perceptual effects of the modifications, a great deal of information has
been produced on the way musical timbre is perceived. Several papers and
technical reports have been produced describing the techniques and results
of this research.
.SKIP 3
.BEGIN CENTER
.SELECT 5
RESEARCH
.END
The research program at CCRMA crosses several disciplines and is highly
interactive.  The projects involved are digital recording and mixing,
analysis of natural tones through digital signal processing,
psychoacoustic research, advanced synthesis techniques, and the automatic
production of musical scores.  The distinctive aspect of the first four of
these projects is that they find their roots at a level of sound
complexity which is of fundamental interest in music composition and
performance.

The main objectives are 1) to represent natural sound through high-quality
recording - %2digital recording, editing and processing%1, 2) to capture
through analysis a complete physical representation of a sound - %2digital
signal processing%1, 3) to extract from the physical representation the
information which has perceptual significance and thereby create a
perceptual representation - %2psychoacoustic research%1, 4) to use the
perceptual information in formulating efficient generalized models for the
synthesis of various classes of sound - %2advanced synthesis techniques%1,
5) the production of musical scores by graphical definition and
manipulation of music-notational information and hard copy output -
%2automatic production of musical manuscripts.

%2Digital recording, editing and processing - research directed by Rush:%1
Using A/D and D/A converters designed and built by Moorer, this project is
based on a highly flexible set of programs which allow detailed editing
and mixing of digitized acoustical signals.  Once edited the signals are
analyzed for psychoacoustical research or processed directly for the
purpose of musical composition.  The implementation of this work
represents the first all-digital recording studio designed for recording
musical instruments.

%2Digital signal processing - research directed by Moorer:%1 Powerful
programs have been developed for the analysis of acoustical signals of
arbitraty complexity.  The programs yield a physical representation of the
signals in three dimensions - time, amplitude, and frequency.  In the case
of quasi-periodic signals, analysis is straight forward; however, in the
case of aperiodic signals analysis has been elusive.  The program which is
inclusive of the latter case, then, represents a major break-through in
signal processing.

%2Psychoacoustic research - research directed by Grey:%1 The
three-dimensional physical representation of a signal is analyzed through
subjective testing and scaling for the purpose of uncovering a perceptual
representation.  The process involves, first, the exclusion of any data in
the physical representation which has insignificant or no perceptual
effect.  Inferences are then made and tested about the classification of a
large number of different signals with the aim of achieving a
multi-dimensional perceptual representation.

%2Advanced synthesis techniques - research directed by Chowning, Grey and
Moorer:%1 Using the most powerful synthesis techniques and programs, all
developed at CCRMA, faithful replications of natural sounds are
synthesized for the manipulation of perceptual data in the psychoacoustic
research, for musical composition based on the natural sound, and for
composition where natural sound is a rich point of departure for new and
novel sounds.

%2Automatic production of musical manuscripts - research directed by
Smith:%1 A highly interactive program is well under development for the
specification, storage, and manipulation of notational information
required for the production of musical scores.  The output of the program
is a large scale page of music produced by the computer controlled
plotter.  This page is then photo-reduced for the final high quality copy.
The format of the output page can range from a single line in 15th century
notation to a full orchestral score in modern notation.  The program will
also produce performance parts including transposition and page
arrangement optimized for page turns.  The implications of this research
are great for future music publishing.

.SKIP 3
.BEGIN CENTER
.SELECT 5
PUBLICATIONS
.END
CCRMA publishes technical papers describing the results of the most recent
research done at Stanford. Some of these papers have or will be published
in national journals.  The usefullness of CCRMA's internal publications is
that research results can be obtained quickly by other researchers having
a special interest.  The Center has so far filled more than 1000 requests
for these publications from this country and abroad at an average cost of
$5.00 per paper to cover publication costs and mailing.
.BEGIN SELECT 4 SPACING 10 MILLS PREFACE 0
.SKIP 1
CCRMA PUBLICATIONS
.BEGIN NARROW 4,0 INDENT 0,4 SELECT 8
Chowning, J.M., Grey, J.M., Moorer, J.A., and Rush, L., %cComputer Simulation
	of Music Instrument Tones in Reverberant Environments%8. STAN-M-1, 99pp,
	1974.

Grey, J.M., %cAn Exploration of Musical Timbre%8. STAN-M-2, 133pp, 1975.

Loy, G., %cReference Manual and Tutorial for the Systems Concepts Digital
	Synthesizer%8. STAN-M-6, 95pp, 1977.

Moore, F.R., %cReal Time Interactive Computer Music Synthesis%8. STAN-M-7,
	109pp, 1977.

Moorer, J.A., %cOn the Segmentation and Analysis of Continuous Musical Sound
	by Digital Computer%8. STAN-M-3, 165pp, 1975.

Moorer, J.A., %cOn the Loudness of Complex, Time-Variant Tones%8. STAN-M-4,
	18pp, 1975.

Moorer, J.A., %cThe Synthesis of Complex Audio Spectra by Means of Discrete
	Summation Formulae%8. STAN-M-5, 23pp, 1975.

.END
.SKIP 1
PAPERS PUBLISHED
.BEGIN NARROW 4,0 INDENT 0,4 SELECT 8
Chowning, J.M., %cThe Simulation of Moving Sound Sources%8. J. Audio Eng.
	Soc., 2-6, 1971. Reprinted in Computer Music Journal, Vol. 1, #3, 1977.

Chowning, J.M., %cThe Synthesis of Complex Audio Spectra by Means of
	Frequency Modulation%8. J. Audio Eng. Soc. 21, 526-534, 1973.
	Reprinted in Computer Music Journal, Vol 1, #2, 1977.

Gordon, J.W., and Grey, J.M.,  %cPerception of Spectral Modifications on
	Orchestral Instrument Tones%8. Computer Music Journ. July, 1978.

Grey, J.M., %cMultidimensional Perceptual Scaling of Musical Timbres%8.
	Journal of the Acoustical Society of America, May 1977.

Grey, J.M., and Moorer, J.A., %cPerceptual Evaluation of Synthesized Musical
	Instrument Tones%8. Journal of the Acoustical Society of America,
	August 1977.

Grey, J.M., and Gordon, J.W., %cPerceptual Effects of Spectral Modifications
	on Musical Timbres%8. Journal of the Acoustical Society of America,
	May, 1978.

Grey, J.M., %cTimbre Discrimination in Musical Patterns%8.
	Journal of the Acoustical Society of America, 
	August, 1978.

Grey, J.M., %cExperiments in the Perception of Instrumental Timbre%8. 
	invited paper for the Bulletin of the Council for Research in 
	Music Education, (in press) 1978.

Le Brun, Marc, %cA Derivation of the Spectrum of FM with a Complex
	Modulating Wave%8. Computer Music Journal, Vol 1, #4, 1977.

Le Brun, Marc, %cDigital Waveshaping Synthesis%8. Journal of the Audio
	Engineering Society, to appear.

Moore, F.R., %cTable Lookup Noise for Sinusoidal Digital Oscillators%8.
	Computer Music Journal, Vol. 1, #2, 1977.

Moorer, J.A., %cThe Optimum Comb Method of Pitch Period Analysis of
	Continuous Digitized Speech%8. IEEE Trans. on Acoustics, Speech,
	and Signal Processing, Vol. ASSP-22, #5, October 1974, pp330-338.

Moorer, J.A., %cThe Use of the Phase Vocoder in Computer Music Applications%8.
	presented at the 55th Convention of the Audio Engineering Society,
	October 29-November 1, 1976, available as Preprint number 1146 (E-1).

Moorer, J.A., %cThe Synthesis of Complex Audio Spectra by Means of Discrete
	Summation Formulae%8. J. Audio Eng. Soc., Vol. 24, #9, November 1976,
	pp717-727.

Moorer, J.A., %cSignal Processing Aspects of Computer Music - A Survey%8.
	Invited Paper, Proceedings of the IEEE, July, 1977.  Reprinted in
	Computer Music Journal, Vol. 1, #1, 1977.

Moorer, J.A. and Grey, J.M., %cLexicon of Analyzed Tones (Part I: A Violin
	Tone)%8.  Computer Music Journal, Vol. 1, #2, 1977.

Moorer, J.A. and Grey, J.M., %cLexicon of Analyzed Tones (Part II:  Clarinet
	and Oboe Tones)%8.  Computer Music Journal, Vol. 1, #3, 1977.

Schottstaedt, W.G., %cThe Simulation of Natural Instrument Tones using
	Frequency Modulation with a Complex Modulating Wave%8.
	Computer Music Journal, Vol 1, #4, 1977.

Smith, L.C., %cScore, A Musician's Approach to Computer Music%8.
	J. Audio Eng. Soc., Jan. l972.

Smith, L.C., %cEditing and Printing Music by Computer%8.
	Journal of Music Theory, Fall, l973.

Smith, L.C., %cHenry Cowell's `Rhythmicana.'
	%8Yearbook for Inter-American Research, l973.
.END
.SKIP 1
PAPERS IN PREPARATION
.BEGIN NARROW 4,0 INDENT 0,4 SELECT 8
Grey, J.M., %cCategorical versus Continuous Perception of Musical Timbre%8.
	For the Journal of the Acoustical Society of America.

Rush, L., Moorer, J.A., and Loy, G., %cDigital Sound Recording%8. 
	For the Journal of the Audio Engineering Society.

Rush, L., and Moorer, J.A., %cEditing, Mixing and Processing Digitized Audio
	Waveforms%8. For the Journal of the Audio Engineering Society.

Rush, L., Grey, J.M., %cRelating Digital Techniques: Analysis, Synthesis, and
	Processing of Recorded Sound%8.
.END
.END
.SKIP 3
.BEGIN CENTER
.SELECT 5
.next page
TEACHING
.END
Instruction is carried out by the entire staff of CCRMA through the
academic year including a Summer Workshop in Computer Music. The Computer
Music Seminar, offered during three quarters of the year, is open to both
advanced undergraduates and graduates. The seminar enrollment has been
limited to 15 and the summer workshop to 20 because of the restricted
computer time. In addition to the Computer Music Seminar students
currently enrolled, there are 9 graduate students working on advanced
projects.

The Computer Music Seminar is the introductory course to computer
applications in music and assumes competence in music composition or a
related field such as psychology or engineering.  The course is divided
into several streams including sound-synthesis techniques, signal
processing, psychoacoustics, and programming.  The aim is to develop in
the students the required skills for successful use of the medium in
composition and a sensitivity to the importance of related technical
and perceptual issues.

The advanced graduate students work directly with the staff on the
research projects.  Two of these students are supported by the NSF grants.
The remaining are supported by the graduate support program in the
Department of Music.

As an addition to the normal teaching and research function during the
academic year, the Center holds special summer workshops for musicians and
scientists from outside the university. These workshops have been held
every summer since 1969 with students attending from this country and
abroad. In a six-week session, the students are able to learn basic
computer programming, fundamentals of acoustics and psychoacoustics, and
produce a composition.  These summer sessions draw from 20 to 30 people
each year. One of the pieces from a summer session was
chosen for performance at the 1976 Computer Music Conference in Boston.

The Center can support a limited number of composers in residence. Every
year, at least two composers, from Europe and the US, take advantage of this
facility and use the computer system over an extended period of time to
produce major compositions.
One major composition resulting from this residence is 
a piece for computer generated tape with live orchestra and chorus.
by Irmfried Radauer of Austria.
.SKIP 3
.BEGIN CENTER
.SELECT 5
.next page
ASSOCIATIONS WITH OTHER CENTERS
.END
The Center has served as a prototype computer music system. Several
other installations have now chosen to pattern their computer systems
after those of the center, thus allowing extensive program sharing so
that the results of the research done at Stanford can be distributed
throughout a number of basically compatible sites.

The relationship with IRCAM, Paris, the institute directed by Pierre
Boulez, has developed as proposed by Boulez in 1974: %2the two centers
should have a strong interaction through the exchange of research ideas,
results, and personnel%1.  In a special summer session in August, 1975, a
team of thirteen people from IRCAM in Paris attended a ten-day intensive
in the use of the computer. Those attending and using the computer
included Pierre Boulez, Luciano Berio, Jean-Claude Risset, Max Mathews.
Each visiting member made extensive use of the computer in a "hands-on"
environment, receiving instruction in the usage of the computer.  The
members were encouraged to experiment with synthesis techniques.  In
September 1976, the CCRMA team participated in an IRCAM conference in
Baden-Baden, Germany.  As guest researcher at IRCAM during the spring and
summer of 1977, Leland Smith adapted his music printing program to the
IRCAM computer system.  Currently, James A. Moorer is serving a two-year
appointment, begun in the fall of 1977, as Scientific Advisor to IRCAM,
where he will help direct the initial stages of the IRCAM research
program.

CCRMA has aided the Hochschule fur Musik and the University of Hamburg in
the equipment and research planning for a major computer music center
patterned after the Stanford center proposed to begin in 1978.  The
support for this center is expected to be 3,000,000 DM from the DFG
(German national research foundation).  Members of the CCRMA team have
been asked to direct the center in its initial stages.
.SKIP 3
.BEGIN CENTER
.SELECT 5
DEMONSTRATIONS, CONFERENCES, AND PERFORMANCES
.END
Throught the academic year, CCRMA gives a monthly demonstration which is
open to the public, but not widely publicised.  The average attendance is
ca. 50 people.  Each of the team presents his special research area
explaining its relationship to the musical goals.  Compositions utilizing
the research results are presented during the two hour presentation.  These
demonstrations have been very successful and are a very efficient means
of communicating the center's work to the outside world.

Since 1974, members of CCRMA have given or will give papers
and lectures at a number of conferences and colloquia in the U.S. and abroad.
.BEGIN NARROW 4,0 NOJUST NOFILL SELECT 8

Grey, Lecture, Center for Music Experiment, U.C. San Diego, Apr. 1974.
Moorer, Colloquium, Carnegie-Mellon University, Nov. 1974
Rush, Colloquium, Center for Music Experiment, U.C. San Diego, Mar. 1975.
Chowning, IRCAM Conference, La Rochelle, France, July 1975.
CCRMA group, Course for IRCAM group, Stanford, Aug. 1975.
Chowning, Grey and Moorer, one week course for DAAD, Berlin, Sept. 1975.
Moorer and Grey, Computer Music Conference, Michigan State Univ., Oct. 1975.
Moorer, Colloquium, University of Georgia, Feb. 1976.
Chowning, Physics Colloquium, Calif. Institute of Technology, Feb. 1976.
Chowning, Computer Music Presentation with Pierre Boulez, New York, Mar. 1976.
Moorer, Colloquium, Center for Music Experiment, U.C. San Diego, June 1976.
Chowning, Grey, Moore, Moorer and Rush, IRCAM Conference, Baden-Baden, Sept. 1976.
Moorer and Rush, Audio Engineering Society Convention, New York, Oct. 1976.
Moorer and Rush, Computer Music Conference, MIT, Oct. 1976.
Moorer, Colloquium, Boston University, Oct. 1976
Chowning, Colloquium, Calif. Institute of Technology, Nov. 1976.
Chowning and Smith, Computer Arts Society, Los Angeles, Feb. l977.
Chowning, Lecture, Columbia University, Feb. l977.
Moorer and Rush, Audio Engineering Society Convention, Los Angeles, May. 1977.
CCRMA group, IRCAM Psychoacoustic Conference, Paris, July l977.
CCRMA group, 1977 International Computer Music Conference, San Diego, Oct. 1977.
Chowning, lecture and workshop, Tanglewood, Aug. 1978.
Chowning, lecture and workshop, Wittenberg Univ., Sept. 1978.
.END
.SKIP 3
Performances of compositions from CCRMA have been numerous in the U.S.
and abroad.
.TABS 8,16,35,43,51,72,80,88;
.TURN ON "\";
.BEGIN NARROW 4,0 NOJUST NOFILL SELECT 8

Chowning, %cSabelithe%8, a computer-generated quadraphonic tape.
.BEGIN NARROW 4,0
Apr.\1972\Stanford\Mar.\1973\Marseille
June\\Vancouver\Mar.\\Utrecht
July\\Berlin\Sep.\1974\Berlin
Aug.\\Darmstadt\Apr.\1975\Bourges
Nov.\\Michigan State\Aug.\1976\Stanford
Feb.\1973\Stockholm\Feb.\\CalTech
.END

Chowning, %cStria%8, a computer-generated quadrophonic tape.
.BEGIN NARROW 4,0
Commissioned by IRCAM for presentation in Luciano Berio's exhibition of electronic
music.  Premiere:  IRCAM, Paris, Oct. 1977.
Oct.\1977\IRCAM, Paris\Oct.\1978\Urbana-Champagne, Ill.
Oct.\\U.C.,San Diego\Nov.\\Stanford
Nov.\\Berkeley
.END

Chowning, %cTurenas%8, a computer-generated quadraphonic tape.
.BEGIN NARROW 4,0
Apr.\1972\Stanford\Oct.\\Metz
June\\Vancouver\Feb.\1976\CalTech
July\\Berlin\Feb.\\Colgate Univ.
Aug.\\Darmstadt\Feb.\\Utica, N.Y.
Nov.\\Michigan State\Mar.\\Melbourne
Feb.\1973\Stockholm\Apr.\\Syracuse, N.Y.
Mar.\\Marseille\June\\Binghampton, N.Y.
Mar.\\Utrecht\Aug.\\Stanford
Oct.\\De Anza, Ca.\Oct.\\Univ. of Las Vegas
Jan.\1974\GRM, Paris\Oct.\\Univ. of Lousiville
Sep.\\Berlin\Oct.\\Richmond, Ind.
Oct.\\Fest. d'Automne, Paris\Oct.\\Winchester, Va.
Feb.\1975\Elec. Mus. Week, Basel\Oct.\\Univ. of Virginia
Apr.\\Bourges\Nov.\\Harvard
July\\La Rochelle\Feb.\1977\New York
Aug.\\Avignon\Apr.\\IRCAM, Paris
\\\Oct.\\U.C.,San Diego
\\\Nov.\\Berkeley
\\\May\1978\Glasgow, Scotland
.END

Cowell/Smith, %cRhythmicana%8, for orchestra with computer-generated stereo tape.
.BEGIN NARROW 4,0
Computer realization by Smith of Cowell's part for Rhythmicon (an early electronic
instrument now in the Smithsonian Institution).
Dec.\1971\Stanford Symphony, Sandor Salgo cond.
Aug.\1974\Tanglewood Orchestra, Gunther Schuller cond.
May\1975\Buffalo Philharmonic, Michael Tilson Thomas cond.
.END

Erickson/Grey, %cLoops%8, a computer-generated stereo tape.
.BEGIN NARROW 4,0
Computer realization by Grey of R.E. Erickson's composition for unspecified instruments.
Apr.\1974\Mich. State Univ.\Oct.\\Univ. of Lousiville
Feb.\1976\Colgate Univ.\Oct.\\Richmond, Ind.
Feb.\\Utica, N.Y.\Oct.\\Winchester, Va.
Apr.\\Syracuse, N.Y.\Oct.\\Univ. of Virginia
Jun.\\Binghampton, N.Y.\Oct.\1977\U.C.,San Diego
\\\Nov.\\Berkeley
.END

Kirk, %cHues in Blue%8, for tape and bassoon. 
.BEGIN NARROW 4,0
\1978\New York.
\1979\Los Angeles\\\Stanford.
.END

Kirk, %cDesert Dance%8, computer-generated stereo tape.
.begin narrow 4,0
Feb.\1979\Dallas.
.END

Kirk, %cPassages - Dreams and Nightmares%8, Four-channel computer-generated tape.
.begin narrow 4,0
Nov.\1978\Stanford.\Feb.\1979\Stanford.
Dec.\\Los Angeles
.END

Kirk, %cWar of the Mellinnium%8, computer-generated stereo tape.
.begin narrow 4,0
This is the soundtrack for an animated film on space exploration,
produced and written by Hommel, an independent film producer.
Dec.\1978.
.end

Kirk, %cTrident%8, A 4-channel computer tape.
.begin narrow 4,0
Feb.\1978\New York.\Jul.\\Chicago.
.end

McNabb, %cDreamsong%8, computer-generated stereo tape.
.BEGIN NARROW 4,0
1978 ISCM Composers Competition winner
Aug.\1978\Marin, Ca.\Nov.\\Northwestern Univ.
Oct.\\Univ. of Iowa\Nov.\\Stanford Univ.
Jan.\1979\New York\Apr.\1979\Los Angeles.
.END

Moorer, %cPerfect Days%8, computer generated stereo tape.
.BEGIN NARROW 4,0
Study for first part of 5-part piece using computer techniques for modification 
of speech and music.  This study features human speech and flute. 
Oct.\1977\U.C.,San Diego\Oct.\1978\Marin, Ca.
Nov.\\Berkeley\Nov.\\Stanford
.END

Moorer, %cLions are Growing%8, computer generated stereo tape.
.BEGIN NARROW 4,0
Study for second part of 5-part piece using computer techniques for modification 
of speech and music.  This study features human speech.
Oct.\1978\Marin, Ca.\Nov.\\Stanford
.END
.next page
Rush, %cA Little Traveling Music%8, for amplified piano with computer-generated quadraphonic tape.
.BEGIN NARROW 4,0
Recorded on Serenus Records.  In press, General Music Co., Dobbs Ferry, N.Y.
Dwight Peltzer, pianist:
Apr.\l974\New York\July\\Univ. of Indiana
Feb.\l976\Univ. of Utah\Nov.\\York Univ., U.K.
Feb.\\C.W. Post College\Nov.\\Bradford Univ., U.K.
Feb.\\Washington, D.C.\Apr.\1977\IRCAM, Paris
Feb.\\Colgate Univ.\Oct.\\U.C.,San Diego
.END

Rush, %cSong and Dance%8, for orchestra with computer-generated quadraphonic tape.
.BEGIN NARROW 4,0
Commissioned by Seiji Ozawa and the San Francisco Symphony Orchestra.
San Francisco Symphony Orchestra, Seiji Ozawa cond., San Francisco, December
3-6, 1975; national radio broadcast, National Public Radio, November 1976.
St. Louis Symphony Orchestra, Leonard Slatkin cond., St. Louis, December, 1977.
Minnesota Orchestra, Leonard Slatkin cond., Minneapolis, April, 1978.
Also scheduled for performance by the following orchestras:  Cincinatti,
Detroit (Feb. 1978), Pittsburgh, and National.
.END

Schottstaedt, %cSandcastle%8, computer-generated quadraphonc tape.
.BEGIN NARROW 4,0
May\1978\Bourges, France\Oct.\\Urbana-Champagne, Ill.
Aug.\\Stockholm\Nov.\\Stanford
Aug.\\San Francisco, Ca.
Feb.\1979\Bourges, France
.END

Schottstaedt, %cSinfornia for Computer%8, computer-generated quadraphonc tape.
.BEGIN NARROW 4,0
Oct.\1977\U.C.,San Diego\Sept.\1978\E. Lansing, Mich.
Nov.\\Berkeley
.END


Schottstaedt, %cThe Gong-Tormented Sea%8, computer-generated quadraphonc tape.
.BEGIN NARROW 4,0
Nov\1978\Stanford
.END

Schottstaedt, %cThe New Music Liberation Army Computer Chorus and Marching Band%8, 
computer-generated quadraphonic tape.
.BEGIN NARROW 4,0
Aug.\1978\San Francisco, Ca.\Aug.\\Stockholm
.END

Schottstaedt and McNabb, Music for %cMars in 3-d%8, NASA film on Viking project,
computer generated stereo tape.
.BEGIN NARROW 4,0
Mar.\1979\Stanford, Ca.\Apr.\\various cities in U.S.
.END

Smith, %cMachines of Loving Grace%8, for bassoon and narrator with computer-generated tape.
.BEGIN NARROW 4,0
Oct.\1970\Palo Alto\Nov.\l973\New York
Apr.\1971\Mich. State Univ.\Jan.\1975\Philadelphia
.END

Smith, %cRhapsody for Flute and Computer%8, flute and computer-generated stereo tape.
.BEGIN NARROW 4,0
Published in %cSchirmer Scores, a repertory of Western music%8, G. Schirmer & Co., l975.
Apr.\1971\Palo Alto\May\\Santa Rosa, Ca.
May\\U.C.,San Diego\Apr.\1976\Las Vegas
May\1972\Zagreb\Jan.\\So. Carolina
June\\Paris\June\\Conn. State College
Nov.\\Colgate Univ.\July\\Peabody Conservatory
Apr.\1973\Reno\July\\Concordia College
Nov.\1974\Philadelphia\Apr.\1977\IRCAM, Paris
.END

Wieneke, %cOracle - 4am%8, computer-generated stereo tape
.BEGIN NARROW 4,0
Aug.\1978\Marin, Ca.\Nov.\\Northwestern Univ.
Oct.\\Urbana-Champagne, Ill.\Nov.\\Stanford
.END

.END

.END