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C00004 00003	STATUS REPORT
C00013 00004	RESEARCH
C00020 00005	PUBLICATIONS
C00027 00006	TEACHING
C00031 00007	ASSOCIATIONS WITH OTHER CENTERS
C00035 00008	DEMONSTRATIONS, CONFERENCES, AND PERFORMANCES
C00045 00009	PATENTS
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STATUS REPORT
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%5Center for Computer Research in Music and Acoustics
%3Artificial Intelligence Laboratory, Stanford University
Stanford, California 94305

March 15, 1977
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%5OVERVIEW
.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.
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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.
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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.
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CCRMA PUBLICATIONS
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Chowning, J.M., Grey, J.M., Moorer, J.A., 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.

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
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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.

Chowning, J.M., %cThe Synthesis of Complex Audio Spectra by Means of
	Frequency Modulation%8. J. Audio Eng. Soc. 21, 526-534, 1973.

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. Journal of the Audio Engineering
	Society, Volume 24, #9, November 1976, pp717-727.

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
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PAPERS ACCEPTED FOR PUBLICATION
.BEGIN NARROW 4,0 INDENT 0,4 SELECT 8
Moorer, J.A., %cSignal Processing Aspects of Computer Music - A Survey%8.
	Invited Paper, accepted for publication in the Proceedings of the IEEE,
	Scheduled for July, 1977

Grey, J.M., Moorer, J.A., %cA Perceptual Evaluation of Synthetic Music
	Instrument Tones%8. Journal of the Acoustical Society of America.

Grey, J.M., %cMultidimensional Perceptual Scaling of Musical Timbres%8.
	Journal of the Acoustical Society of America, May, 1977.
.END
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PAPERS IN PREPARATION
.BEGIN NARROW 4,0 INDENT 0,4 SELECT 8
Grey, J.M., Gordon, J.W., %cPerceptual Effects of Spectral Modifications
	on Musical Timbres%8. For the Journal of the Acoustical Society of America.

Grey, J.M., %cPerceptual Continuity of Interpolations Between Musical Timbres%8.
	For the Journal of the Acoustical Society of America.

Grey, J.M., %cMultidimensional Scaling of Interpolated Music Instrument Tones%8.
	For the Journal of the Acoustical Society of America.

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, 1977.

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

Rush, L., 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
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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 technical and perceptual
issues which are related.

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 16 to 20 people each year. One of the
pieces from the most recent summer session was chosen for performance
at the 1976 Music Computation Conference in Boston.

The Center can support a limited number of composers in residence. Over
the last year, two composers, both from Europe, took advantage of this
facility and used the computer system over an extended period of time.
Two major pieces resulted from this residence, both by Irmfried Radauer
of Austria, one of which is for computer generated tape with live
orchestra and chorus.
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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.
Leland Smith has been invited to develop his music printing program
for the IRCAM computer system during the Spring and Summer of 1977.
J.A. Moorer will spend a year in Paris, beginning in the fall of 1977, as
Scientific Advisor to IRCAM, where he will oversee the initial
stages of their 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.
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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.
.END
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Performances of compositions from CCRMA have been numerous in the U.S.
and abroad.
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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, %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
.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.
.END

Rush, %cA Little Traveling Music%8, for amplified piano with computer-generated quadraphonic tape.
.BEGIN NARROW 4,0
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.
.END

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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.
Premiere: San Francisco Symphony, Seiji Ozawa cond., San Francisco, December 3-6, 1975.
Interview with composer and concert broadcast, National Public Radio, November l976.
Scheduled for performance by the following orchestras: Cincinatti, Detroit, Minneapolis,
Pittsburgh, National and St. Louis.
.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

.END
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PATENTS
.END
The patent on Illusory Sound Sources (Chowning) is currently without
a licensee, having been dropped by GRT Corp. in 1970.  There is no
immediate prospect for marketing this idea.

The patent for Frequency Modulation Synthesis (Chowning) has passed the
Patent Office with all claims approved. Nippon-Gakki Ltd. (Yamaha) has bought
the world-wide exclusive rights to this technique for the production
of an advanced electronic organ.  Chowning spent 10 days at the Yamaha
research facility in March 1976 helping in the development of the
prototype organs.  Recent phone conversations with Yamaha indicate
that the LSI chips will begin production in 1977 and the organ will
in all probability be in production soon after.  Yamaha agreed to pay
royalty fees of $10 per organ with an anticipated production of 180,000
organs per year.  The net royalty income is anticipated to be $1.8 million
per year, 1/3 of which will be used for the operating expenses and endowment
of the Center.

Another patent for Sine Summation Synthesis (Moorer) is currently
being reviewed and will probably be bought by Yamaha.  Its value is
similar to the FM technique, being more general but at slightly more
technical complexity.  Its value in organ building will increase with
the advancing technology.
.END