CNMAT@cnmat.berkeley.edu (510) 643-9990 1750 Arch Street Berkeley, CA 94709
* David Wessel * Adrian Freed * Guy Garnett * Leslie Delehanty
Jay Cloidt; sound design and diffusion
Mark Goldstein; musical software engineering
David Wessel Director of CNMAT; Professor of Music; Affiliate of the Department of Psychology Interests include interactive composition and performance, analysis and synthesis of sound, music perception and cognition.
David Wessel studied mathematics and experimental psychology at the University of Illinois and received a doctorate in mathematical psychology from Stanford in 1972. His work on the perception and compositional control of timbre in the early 70's at Michigan State University led to a musical research position at IRCAM in Paris in 1976. In 1979 he began reshaping the Pedagogy Department to link the scientific and musical sectors of IRCAM. In 1985 he established a new IRCAM department devoted to the development of interactive musical software for personal computers. In 1988 he began his current position as Professor of Music at the University of California, Berkeley where he is Research Director of CNMAT. He is particularly interested in live-performance computer music where improvisation plays an essential role. He has collaborated in performance with a variety of improvising composers including Roscoe Mitchell, Steve Coleman, Ushio Torikai, Thomas Buckner, and Jin Hi Kim, and has performed throughout the US and Europe.
Adrian Freed CNMAT Software and Systems Development Director Interests include reactive real-time systems design and implementation, spectral and physical models for sound synthesis, user interfaces, musical hypermedia.
Guy Garnett CNMAT Music & Technology Director; Director of the CNMAT Ensemble
Interests include score following, performance gesture tracking, compositional tools.
Guy is a composer, conductor, researcher, and theorist. He specializes in using new technologies to extend composition and performance resources, especially in the area of live electronic performance. He is currently Music and Technology Coordinator at CNMAT. He is a cofounder, with David Wessel, and director of the CNMAT Ensemble, an Ensemble dedicated to the presentation of works involving both performers and live electronics. He recently performed new works in Korea with the CNMAT Ensemble and his Concerto for violin, orchestra, and conducted electronics was performed by the University Orchestra at UC Berkeley, with Mari Kimura in the solo role.
DR. GUY E. GARNETT
1831 VIRGINIA STREET
BERKELEY, CA 94703
(510) 704-8804 (HOME)
(510) 642-8731 (WORK)
Director, The CNMAT Ensemble. This is a brand new music ensemble devoted to new music with technology.
Music and Technology Coordinator, Center for New Music and Audio Technologies, (CNMAT), University of California at Berkeley (since 1990). Responsibilities include: teaching music technology; research in new technology for composition, performance, and conducting; program development; concert promotion and production; industrial liaison and fundraising; and technical management including computer systems and audio studios.
Visiting Researcher, Center for New Music and Audio Technologies (CNMAT), University of California at Berkeley (1989). Research in music composition systems, especially a Smalltalk compositional environment for the Macintosh.
Teaching Assistant, Musical Applications of Computers, CNMAT, University of California, Berkeley. Instructed graduate and undergraduate students in the use of Macintosh computers in a MIDI and multimedia lab for composition and performance.
Chief Engineer, Yamaha Music Technologies (YMT), Larkspur Landing, CA (October 1988- May 1989). Various research areas.
Research Assistant, Center for Computer Research in Music and Acoustics (CCRMA), Stanford University (March 1988 - September 1988). Programming graphical interfaces for DSP analysis in Lisp and Smalltalk.
Visiting Researcher, Center for Computer Research in Music and Acoustics (CCRMA), Stanford University (September 1986 - August 1989). Research in composition environments and new synthesis techniques, such as physical modeling using waveguide filters.
Graduate Research Assistant in Computer Music, Columbia University (September 1984 - August 1986). Instruction to graduate students in using computers to synthesize music, using Paul Lansky's MIX program.
Assistant Conductor, Columbia University Orchestra (September 1983 - August 1984). Conducted concerts, conducted and organized rehearsals of the university orchestra, managed auditions, personnel, and publicity.
The following are among those pieces currently available for performance:
Concerto, for violin, conducted electronics, and orchestra, (1994) 2222-4-strgs; premiered March 4, 1994 by Mari Kimura and UC Berkeley Orchestra;
Interactions I, (1993) for violin and computer; premiered at the Asian Contemporary Music Festival in Seoul, South Korea, 1993;
Variations for orchestra and electronics (1992) 222-bcl-sax-2, 222, synths, strings: 66442 (ca. 45 min.);
Flute Fantasy, (1990/1992) for flute and conducted electronics, written for Rachel Rudich;
Babbitt Backgrounds (1991) for synthesizer;
Two Songs, (1985/89) for soprano and conducted electronics;
Four Trios, (1984/90) computer-synthesized tape;
Absolute Clearance, (1983) for tenor and small orchestra, 2222-2hn,trp,trmb-strings;
Sonatina, (1983) for violin and piano.
Passingalia, (1982) a passacaglia for large ensemble, fl,ob,cl,bcl,vl,vla,vc,cb,pn,timp,perc;
Study, (1982) for solo violin;
Arias and Interruptions, (1981) for large orchestra, pc,222,bc,2,dbn-4331-tmp,pc,hp,pn-str;
Three Bagatelles, (1981) for flute and guitar;
Clarinet Concertante, (1980) cl, hn, vl, vc;
String Quartet, (1980) 2vl, vla, vc;
Language, (1979) tenor and cello, text by W.C. Williams;
SELECTED PAPERS, PUBLICATIONS:
"The Design of a Pen-based Music Notation System," Leroy, Müller, and Garnett. Proc. of the 1994 International Computer Music Conference. Aarhus, 1994.
"Neural Networks and Electronic Conducting," invited presentation at the SEAMUS conference, University of Texas, Austin, 1993.
"An Adaptive Conductor Follower," Lee, Garnett, Wessel; Proc. of the International Computer Music Conference, 1992.
"Representations for Synthesis Control," invited paper for the International Workshop on Models and Representations of Musical Signals. Capri (Napoli), 1992.
"Music, Signals, and Representations," in Representations of Musical Signals, MIT Press, DePoli, Piccialli, and Roads, eds.,1991.
"Virtual Digital Signal Processor," Mellinger, Garnett, Mont-Reynaud; in The Well-Tempered Object, MIT Press, Pope, ed., 1991.
"Meta-issues in Music Representation," paper and panel discussion at the 1989 International Computer Music Conference. Essay in Proceedings of the International Computer Music Conference, 1989.
"Hierarchical Waveguide Networks," with Bernard Mont-Reynaud, Proceedings of the International Computer Music Conference, 1988, Köln, West Germany.
"Modeling Piano Sound Using Waveguide Digital Filters," Proceedings of the International Computer Music Conference, 1987.
"Head to Head: Milton Babbitt's Arie da capo," an analysis with special emphasis on the rhythmic structure of the work; unpublished manuscript, available from the author, 1986.
D.M.A., Composition, Columbia University (May 1993);
M.M., Composition; Manhattan School of Music (May 1982);
B.M., Composition; Manhattan School of Music (May 1981);
B.A.; C.W. Post Center, L.I.U. (May 1977).
Composition with Raoul Pleskow, Giampaolo Bracali, Jack Beeson, Chou Wen-chung, Jacques Monod, George Edwards (dissertation);
Computer music studies with Mark Zuckerman, David Jaffe, Julius O. Smith, and John Chowning;
Harmony and Counterpoint with Howard Rovics, Ludmilla Ulehla;
Non-tonal theory and analysis with Ursula Mamlok, Mark Zuckerman, George Edwards, George Perle;
Schenkerian theory with Fred Lerdahl;
Conducting with Gilbert Levine, Meir Minsky, Arthur Weisberg, Howard Shanet;
Performance Practice with Arthur Weisberg (contemporary), Henry Schuman (baroque);
Piano with Glenn Jacobson, Sonia Vargas.
In 1993 I spent 5 weeks as a guest researcher at IRCAM in Paris where I also attended the Summer Course. I worked mainly with the ISPW and Patchwork.
Since 1986 I have been involved in several computer music research projects. These are sketched below. I have experience with computer music systems as a user, programmer, and designer as well as in system management. This includes Unix-based workstations (SGI, NeXT/ISPW, Sun), Lisp machines (Symbolics), and Macintosh and MIDI systems, software such as cmusic, cmix, csound, SoundDesigner, Finale, Max, MacMix, and others. I am an expert on Max.
REAL-TIME HANDWRITTEN MUSIC SYSTEM
This project is in the early stages of design. The goal is to be able to use real-time handwriting, on a touchscreen for example, as a basis for entering music scores. We have tested some prototype networks, based on work in cursive script recognition, and successfully recognized simple music characters. We have also defined a large part of the software architecture to handle the complex internal representation of the score and editors.
Since 1992, I have been developing software for computer following of conducting gestures. The system as currently developed uses a Buchla Lightning and a Macintosh computer and will follow the tempo, dynamics and phrasing of an orchestral conductor (as used in my recent Concerto for violin, orchestra and conducted electronics). The software is written in Max.
CNMAT RESEARCH PROJECTS
I have been involved in a number of research projects at CNMAT since its beginning. These have included work on highlevel control software for the RESON8, neural network control of DSP, and, currently, developing new control paradigms for realtime synthesis on SGI computers.
SMALLTALK COMPOSITION PROJECT
From 1987 through 1990 I developed Smalltalk systems for use by composers. I wrote a suite of Smalltalk MIDI primitives that was distributed widely. I developed software tools to assist my compositional interest in exploiting various non-pulse-based temporal systems.
YAMAHA MUSIC TECHNOLOGIES
In 1988 I was hired by Yamaha Music Technologies as a Chief Engineer. My main work there was exploratory research, system design, and representation issues.
At Stanford University's CCRMA, I was hired as a Research Associate in the Music Representation Project working under Bernard Mont-Reynaud and funded through the NSF. I developed Smalltalk software for display of signal representations.
While at CCRMA, I organized and funded (through the German audio company Dynacord) a project to research the use of waveguide filters to simulate the acoustics of the grand piano.
LECTURES, COURSES, PERFORMANCES, ETC.
My teaching experience includes the following:
I give lectures and individual instruction in Computer Music Technology at CNMAT. This includes: Max, Finale, synthesis, signal processing, composition and score following techniques. I am also the principal technical assistant for our visiting composers and researchers.
Workshops on Max: International Computer Music Conference, 1992, Opcode-sponsored seminar series at UC Berkeley.
I have lectured extensively on computer music and related topics in the United States, Europe, and Asia.
Lectures on Physical Modeling of Music Instruments, at CCRMA, ICMC, Yamaha (Japan).
Some recent concerts and performances:
CNMAT Ensemble, Interactions I, Karen Bentley, vln, Guy Garnett, electronic keyboard.
UC Berkeley Orchestra, premiere of my Concerto for violin, orchestra, and conducted electronics;
American Music Week, at San Jose State, composer/keyboard/electronics;
Asian Contemporary Music Festival, Seoul, composer and member of CNMAT Ensemble;
Society for Electroacoustic Music (SEAMUS), composer/conductor;
International Computer Music Conference (ICMC), as composer/conductor.
CNMAT, Prelude/Interlude/Postlude, Flute Fantasy, Two Songs, composer/conductor.
CNMAT (Joint AMS/MTS concert), Four Trios.
Cal Arts, Flute Fantasy (Rachel Rudich);
I perform regularly as a conductor, keyboardist, and electronic specialist. In the latter capacity I have worked with the San Francisco Symphony and with Alternate Currents new music ensemble.
PRINCIPAL MUSICAL/THEORETIC INTERESTS:
Rhythmic theory and practice, meter and phrase grouping phenomena (e.g., Lerdahl and Jackendoff), and non-pulse-based systems (as used in my computer-performed composition Four Trios).
New models of music theory based on phenomenological approaches to understanding musical perception and organization (Clifton, Lewin).
Synthetic performance using computers and/or synthesizers. Recent performances have used my computer conductor-follower techniques and interactive electronics.
This page is maintained by Kalina G. Wilson (email@example.com) using HTML Author. Last modified on 05/02/95.
MICHAEL A. LEE
Post Doctoral Researcher and BISC Administrator
Computer Science Division
University of California
Berkeley, CA 94720
(510) 642 9827
Center for New Music and Audio Technologies
1750 Arch Street
University of California
Berkeley, CA 94709
(510) 643 9990
MICHAEL A. LEE
Post Doctoral Researcher and BISC Administrator Computer Science Division University of California Berkeley, CA 94720 (510) 642 9827
Center for New Music and Audio Technologies 1750 Arch Street University of California Berkeley, CA 94709 (510) 643 9990
My interests include adaptive methods and learning algorithms based on neural networks, fuzzy systems, and genetic algorithms with application to intelligent and adaptive user interfaces, learning control, knowledge acquisition and extraction, embedded systems, interactive music systems, and reflective programming systems. Particular goals are to develop techniques for building expressive user interfaces, explore techniques for auditory display, and to develop highly interactive data exploration environments.
3/94 Ph.D., Computer Science, University at California at Davis. Dissertation title: "Automatic Design and Adaptation of Fuzzy Systems and Genetic Algorithms using Soft Computing Techniques."
Committee Chair: Professor Richard Walters
Research Advisor: Professor Lotfi A. Zadeh.
Major Area: Software Systems
Minor Areas: Computer Architecture and Music
5/86 B.S. Electrical Engineering and Computer Science, University of California at Berkeley.
3/94-present Postdoctoral Research/Berkeley Initiative in Soft Computing (BISC) Administrator, U.C. Berkeley. Researching techniques for building hybrid intelligent systems based on connectionist models, fuzzy systems, and genetic algorithms. Ongoing research includes fuzzy system design for power systems, robot control, and analysis and design of strategies for controlling genetic algorithms. BISC administrator duties include assisting with organizing weekly seminars and acting as liaison for institutional affiliates. Supervisor: Professor Lotfi A. Zadeh
1/94-present Neural Engineer, Gibson Western Innovations Zone Laboratories. Develop connectionist based methods and tools for musical instrument modeling. Researching and developing advanced learning and network architectures with emphasis on real-time performance. Supervisor: Keith McMillen
6/92-3/94 Investigating Adaptive Methods based on Soft Computing Paradigms, U.C. Berkeley. My thesis research explores adaptive methods using fuzzy logic and genetic algorithm techniques. In my work, I develop an integrated fuzzy system design technique that determines structure and parameter values simultaneously and can exploit a priori knowledge. Applications include lateral vehicle control, dental age estimation, and double link robot control. My thesis also proposes a dynamic parametric genetic algorithm: a genetic algorithm that uses a fuzzy system to dynamically control its parameters. In my work, I show how to use my fuzzy design technique to automatically design high performance strategies for controlling genetic algorithms. Supervisor: Professor Lotfi A. Zadeh
9/90-1/94 Investigating Adaptive Methods for Interactive Musical Systems, CNMAT, U.C. Berkeley. My work at CNMAT focuses on investigating applying adaptive methods to real-time musical applications such as musical instrument control, gesture recognition, and conductor following. I have implemented Neural Network and Fuzzy System computation objects for the MAX real-time graphical environment and for the HTM real-time synthesis environment. I have also developed various interactive visualization tools for assisting in neural network analysis. Ongoing research includes applying fuzzy systems to identify acoustic gestures, investigating efficient neural network and fuzzy system implementations, and exploring musical instruments that learn. Supervisor: Professor David Wessel
1/92-12/92 Implementing Remote Piano Tutoring Environment, CNMAT, U.C. Berkeley. As a member of networking communications group, I was responsible for implementing a real-time remote piano tutoring environment that used ordinary ethernet protocols to communicate real-time video and midi data. Implementation of the environment involved network and video device driver programming. The purpose of the project was to study the feasibility of providing multi-modal remote instruction to residential sites. Supervisors: Professor David Wessel and Professor David Messerschmitt
6/83-10/85 Implemented Test System for Performing Experiments in Magnetic Recording, Memorex. As a co-op engineer at the Recording Technology Center, I implemented an integrated test system used to evaluate and investigate flying height effects on vertical recording performance. My duties included software system design and experimental design. Supervisor: Dr. Bill Baker
RELATED COMMERCIAL EXPERIENCE
6/92-6/93 Software Developer, OpCode Systems Developed graphical sequence editor, the Timeline Object, for the commercially available MAX real-time graphical programming environment that runs on the Macintosh. The Timeline Object is an extensible editor that facilitates synchronization of multiple data types such as movies, sound, and midi data. Supervisor: Dr. David Zicarelli
6/90-10/90 Software Engineer, ACM Systems Developed real-time software for Motorola 68K series embedded system using Ready Systems VRTX. Supervisor: Robert Thompson
1/89-10/89 Software Engineer, MIMD Systems Developed portable multi-thread execution library and scheduler for sequential machines. Ported transputer host system, Helios, from PC environment to VAX Ultrix Environment. Wrote UNIX device driver for transputer communications board. Supervisors: Dr. Jack O'Reilly and Dr. Bob Larson
12/86-1/89 Software Engineer, Expert EASE Systems Managed a group of programmers in porting user interface management tool system from PC to VAX VMS system. Designed and implemented auto-placement and auto-routing algorithms for `pretty printing' schematic flow diagrams. Implemented and designed user interfaces for Nuclear and Process control applications. Developed object oriented graphics editor. Programmed in XWindows, MSWindows, and proprietary windowing systems. Supervisor: Dr. Alex Long and Dr. Cheh-Suei Yang
Professional Performer and Music Technologist Performing keyboardist, vocalist, and pianist specializing in jazz-fusion-pop styles. Extensive experience in using breath controllers and in synthesizer voicing for expressive real-time control. Studio experience includes working as an assistant recording engineer for 24-track studio. Fluent in current music technology and its capabilities and limitations.
1/91-6/91 Teaching Assistant, U.C. Davis computer science department.
* Member of A.C.M., SIGCHI, and INNS. * Reviewer for I.E.E.E. Transactions on Fuzzy Systems. * Reviewer for NAFIPS/IFSA/NASA Conference
Refereed Journals and Conferences
 Freed, A., Goldstein, M., Lee, M., McMillen, K., Wright, M.,Wessel, D.,"Real-Time Additive Synthesis Controlled by a Mixture of Neural-Networks and Direct Manipulation Perceptual and Physical Attributes," to appear in Proc. of the Int. Conf. on Computer Music, Denmark, 1994.
 Lee, M., Freed, A. and Wessel, D., "Neural Networks for Simulation Classification and Parameter Estimation in Musical Instrument Control," Proc. of the SPIE Conf. on Adaptive and Learning Systems, Orlando, FL, 1992.
 Lee, M., Garnett, G. and Wessel, D., "An Adaptive Conductor Follower," Proc. of the Int. Conf. on Computer Music, San Jose, CA, 1992.
 Lee, M. and Wessel, D., "Connectionist Models for Real-Time Control of Synthesis and Compositional Algorithms," Proc. of the Int. Conf. on Computer Music, San Jose, CA, 1992.
 Lee, M. A., Freed, A. and Wessel, D., "Real-Time Neural Network Processing of Gestural and Acoustic Signals," Proc. of the Int. Conf. on Computer Music, Montreal, Canada, 1991.
 Lee, M. A. and Wessel, D., "Neuro-Fuzzy Systems for Adaptive Control of Musical Instruments," Proc. of the SPIE Int. Conf. on Fuzzy Logic Applications, Boston, MA, 1993, to appear.
 Lee, M. A. and Wessel, D., "Neuro-Fuzzy Systems for Adaptive Control of Musical Processes," Proc. of the Int. Conf. Computer Music, Tokyo, Japan, 1993, pp. 172-175.
 Zicarelli, D. and Lee, M. A., "The Max Timeline Object," Proc. of the Int. Conf. Computer Music, Tokyo, Japan, 1993, pp. 453-456.
Updated February 13, 1995 by Kalina Wilson (firstname.lastname@example.org).