Podcast appearances and mentions of curtis roads

Curtis Roads creates and pursues research in music technology. He is Professor Emeritus of Media Arts and Technology (MAT) and in Music at the University of California, Santa Barbara (UCSB), where he also managed the Center for Research in Electronic Art Technology (CREATE). He studied composition at California Institute of the Arts and the University of California, San Diego and received a Doctorate from the Université Paris 8. A researcher at MIT for six years, he also taught at Harvard and the University of Naples "Federico Due." He was Editor and Associate Editor of Computer Music Journal (The MIT Press) from 1978 to 2000, and cofounded the International Computer Music Association (ICMA) in 1979. His album POINT LINE CLOUD was reissued in 2019 by Presto Records. His album Flicker Tone Pulse (2019) was published on DVD by Wergo (Schott Musik). The textbook The Computer Music Tutorial, Second Edition (The MIT Press) appeared in 2023. Curtis Roads Links Mr. Bills Links

Episode 146 Chapter 07, Computer Music Basics. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 07, Computer Music Basics from my book Electronic and Experimental music.   Playlist: Early Computer Synthesis     Time Track Time* Start Introduction –Thom Holmes 01:30 00:00 1 Max Mathews, “Numerology” (1960). Direct computer synthesis using an IBM 7090 mainframe computer and the Music III programming language 02:45 01:32 2 James Tenney, “Analog #1: Noise Study” (1961). Direct synthesis and filtering of noise bands at Bell Labs' facilities. 04:24 04:04 3 Lejaren Hiller, “Computer Cantata” (third movement) (1963). Direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 08:28 4 Jean-Claude Risset, “Mutations I” (1969). Used frequency modulation. 10:23 14:06 5 Charles Dodge, “The Earth's Magnetic Field” (Untitled, part 1) (1970). Used an IBM mainframe computer and the Music 4BF programming language to convert geophysical data regarding the Earth's magnetic field into music. 14:00 24:28 6 Laurie Spiegel, “Appalachian Grove I” (1974). Used the Groove program at Bell Labs. 05:23 38:22 7 Curtis Roads, “Prototype” (1975). Used granular synthesis. 06:11 43:48 8 John Chowning, “Stria” (1977). Used the composer's patented FM synthesis algorithms. 05:14 50:00 9 Jean-Baptiste Barriere, “Chreode” (1983). Granular synthesis using the Chant program at IRCAM; computer-controlled organization of material—a grammar of musical processes prepared with IRCAM's Formes software. 09:24 55:10 10 Barry Truax, “Riverrun” (1986). Composed using only granulated sampled sound, using Truax's real-time PODX system. 19:42 01:04:30   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Técnica de producción de sonidos basada en la premisa de que un sonido puede dividirse en partículas, granoso cuantos, entidades sonoras de una duración de 10 a 100 milisegundos. El sonido lo producen pequeñas explosiones de energía encapsuladas en una envolvente y agrupadas en conjuntos mayores._____Has escuchadoHalf​-​Life, Part I: Sonal Atoms (1999) / Curtis Roads. presto!? (2019)PianoHertz (2012) / Horacio Vaggione. empreintes DIGITALes (2012)Riverrun (1986) / Barry Truax. Cambridge Street Records (1987)_____Selección bibliográficaASSAYAG, Gérard y Andrew Gerzso (eds.), New Computational Paradigms for Computer Music. Delatour; IRCAM, 2009*BESSELL, David, “Formant Synthesis, Granular Synthesis, and Waveshaping in ‘Halo, Bells and Voices', Bessell”. Perspectives of New Music, vol. 45, n.º 1 (2007), pp. 236-252*GRABÓCZ, Márta, Entre naturalisme sonore et synthèse en temps réel. Images et formes expressives dans la musique contemporaine. Éditions des Archives Contemporaines, 2013MCGUIRE, Sam y Nathan van der Rest, The Musical Art of Synthesis. Focal Press, 2016*MIRANDA, Eduardo Reck, “Granular Synthesis of Sounds by Means of a Cellular Automaton”. Leonardo, vol. 28, n.º 4 (1995), pp. 297-300*PHILLIPS, Thomas, “Composed Silence: Microsound and the Quiet Shock of Listening”. Perspectives of New Music, vol. 44, n.º 2 (2006), pp. 232-248*POLI, Giovanni de, “A Tutorial on Digital Sound Synthesis Techniques”. Computer Music Journal, vol. 7, n.º 4 (1983), pp. 8-26*ROADS, Curtis, Microsound. The MIT Press, 2001—, The Computer Music Tutorial. The MIT Press, 2023*ROCHA ITURBIDE, Manuel, Les techniques granulaires dans la synthèse sonore. Tesis Doctoral, Universidad de París VIII, 1999SU, Isabelle et al., “Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis”. Computer Music Journal, vol. 44 (2020), pp. 43-59*TRUAX, Barry, “Composing with Real-Time Granular Sound”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 120-134*—, “Composing with Time-Shifted Environmental Sound”. Leonardo Music Journal, vol. 2, n.º 1 (1992), pp. 37-40*WAKEFIELD, Graham y Gregory Taylor, Generating Sound & Organizing Time: Thinking with Gen-: Book 1. Cycling 74, 2022* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Técnica de producción de sonidos basada en la premisa de que un sonido puede dividirse en partículas, granoso cuantos, entidades sonoras de una duración de 10 a 100 milisegundos. El sonido lo producen pequeñas explosiones de energía encapsuladas en una envolvente y agrupadas en conjuntos mayores._____Has escuchadoHalf​-​Life, Part I: Sonal Atoms (1999) / Curtis Roads. presto!? (2019)PianoHertz (2012) / Horacio Vaggione. empreintes DIGITALes (2012)Riverrun (1986) / Barry Truax. Cambridge Street Records (1987)_____Selección bibliográficaASSAYAG, Gérard y Andrew Gerzso (eds.), New Computational Paradigms for Computer Music. Delatour; IRCAM, 2009*BESSELL, David, “Formant Synthesis, Granular Synthesis, and Waveshaping in ‘Halo, Bells and Voices', Bessell”. Perspectives of New Music, vol. 45, n.º 1 (2007), pp. 236-252*GRABÓCZ, Márta, Entre naturalisme sonore et synthèse en temps réel. Images et formes expressives dans la musique contemporaine. Éditions des Archives Contemporaines, 2013MCGUIRE, Sam y Nathan van der Rest, The Musical Art of Synthesis. Focal Press, 2016*MIRANDA, Eduardo Reck, “Granular Synthesis of Sounds by Means of a Cellular Automaton”. Leonardo, vol. 28, n.º 4 (1995), pp. 297-300*PHILLIPS, Thomas, “Composed Silence: Microsound and the Quiet Shock of Listening”. Perspectives of New Music, vol. 44, n.º 2 (2006), pp. 232-248*POLI, Giovanni de, “A Tutorial on Digital Sound Synthesis Techniques”. Computer Music Journal, vol. 7, n.º 4 (1983), pp. 8-26*ROADS, Curtis, Microsound. The MIT Press, 2001—, The Computer Music Tutorial. The MIT Press, 2023*ROCHA ITURBIDE, Manuel, Les techniques granulaires dans la synthèse sonore. Tesis Doctoral, Universidad de París VIII, 1999SU, Isabelle et al., “Sonification of a 3-D Spider Web and Reconstitution for Musical Composition Using Granular Synthesis”. Computer Music Journal, vol. 44 (2020), pp. 43-59*TRUAX, Barry, “Composing with Real-Time Granular Sound”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 120-134*—, “Composing with Time-Shifted Environmental Sound”. Leonardo Music Journal, vol. 2, n.º 1 (1992), pp. 37-40*WAKEFIELD, Graham y Gregory Taylor, Generating Sound & Organizing Time: Thinking with Gen-: Book 1. Cycling 74, 2022* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

En un Japón destrozado por la victoria aliada, una nueva generación de músicos nacidos en la década de los 30, se divide entre el nacionalismo y la aceptación de las tendencias occidentales. Toshirō Mayuzumi,Toshi IchiyanagiyTōru Takemitsusonalgunos de ellos._____Has escuchadoMandala Symphony (1960) / Toshirō Mayuzumi. NHK Symphony Orchestra; Hiroyuki Iwaki, director. Odyssey (1967)November Steps (1967) / Tōru Takemitsu. Saito Kinen Orchestra; Seiji Ozawa, director.Sello: Philips (1991)Requiem: For String Orchestra (1957) / Tōru Takemitsu. Toronto Symphony Orchestra; Seiji Ozawa, director. RCA (1969)Sapporo (1962) / Toshi Ichiyanagi. Ensemble Musica Negativa; Reiner Riehn, director. Odeon (1972) _____Selección bibliográficaBATTIER, Marc y Kenneth Fields (eds.), Electroacoustic Music in East Asia. Routledge, 2020BURT, Peter, The Music of Tōru Takemitsu. Cambridge University Press, 2001COOK, Lisa M., “Venerable Traditions, Modern Manifestations: Understanding Mayuzumi's ‘Bunraku' for Cello'”. Asian Music, vol. 45, n.º 1 (2014), pp. 98-131*FUKUNAKA, Fuyuko, “World Music History and Interculturality: Toward Recontextualizing Post-War Japanese Avant-Garde Music”. The World of Music, vol. 6, n.º 1 (2017), pp. 59-71*GALLIANO, Luciana y Martin Mayes, Yōgaku: Japanese Music in the Twentieth Century. Scarecrow Press, 2002HEIFETZ, Robin J., “East-West Synthesis in Japanese Composition: 1950-1970”. The Journal of Musicology, vol. 3, n.º 4 (1984), pp. 443-455*HERD, Judith Ann, “The Neonationalist Movement: Origins of Japanese Contemporary Music”. Perspectives of New Music, vol. 27, n.º 2 (1989), pp. 118-163*LOUBET, Emmanuelle, Curtis Roads y Brigitte Robindoré, “The Beginnings of Electronic Music in Japan, with a Focus on the NHK Studio: The 1950s and 1960s”. Computer Music Journal, vol. 21, n.º 4 (1997), pp. 11-22*PACUN, David, “Nationalism and Musical Style in Interwar ‘Yōgaku': A Reappraisal.” Asian Music, vol. 43, n.º 2 (2012), pp. 3-46*SMALDONE, Edward, “Japanese and Western Confluences in Large-Scale Pitch Organization of Tōru Takemitsu's November Steps and Autumn”. Perspectives of New Music, vol. 27, n.º 2 (1989), pp. 216-231*TAKEMITSU, Tōru, “Contemporary Music in Japan”. Perspectives of New Music, vol. 27, n.º 2 (1989), pp. 198-204*UTZ, Christian, Musical Composition in the Context of Globalization: New Perspectives on Music History in the 20th and 21st Century. Transcript Verlag, 2021*YANG, Chien-Chang, “Technologies of Tradition in Post-War Musical Avant-Gardism: A Theoretical Reflection”. The World of Music, vol. 6, n.º 1 (2017), pp. 41-58* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

After Dinner Mints - Episode 30 - 21.12.15Interview with Darien BritoArt Blocks home website: www.artblocks.ioJoin us on discord: discord.gg/artblocksSubscribe to our weekly newsletter: https://artblocksinc.eo.page/subscribeReferences=============================* Working conditions (unpublished statement) by Hans Haacke https://app.koofr.net/content/links/6...*What is Generative Art? Complexity Theory as a Context for Art Theory by Phillip Galanterhttps://www.philipgalanter.com/downlo...Early generative work=============================* An additive Streamhttps://vimeo.com/manage/videos/65210262* Generative Music Etude (2014)https://soundcloud.com/darien-brito/s...* Vsig~ (2014)https://vimeo.com/92750954Suggested books and resources=============================* Complexity: a Guided Tour by Melanie Mitchell* Chaos: Making a New Science by James Gleick* The Computational Beauty of Nature by Gary William Flake* Gödel, Escher, Bach: an Eternal Golden Braid by Douglas Hofstaedter* The Algorithmic Beauty of Plants by Przemyslaw Prusinkiewicz and Aristid LindenmayerMicrosound by Curtis Roads * The Evolutionary Dynamics of Complex Systems by Charles Dyke* What is Generative Art? Complexity Theory as Context for Art Theory by Phillip GalanterOn Growth and Form by D'Arcy Wentworth ThompsonThe Book of Shaders by Patricio Gonzales Vivo and Jen LowePretty much every single article by Inigo Quilez

Scott Perry earned his PhD in music composition from UCSB in 2019. He holds a BA from UCSB (CCS), an MFA from California Institute of the Arts, and a MA from UC Davis. His teachers include Beverly Grigsby, Jeremy Haladyna, Kurt Rohde, Wolfgang von Schweinitz, Ulrich Krieger, Pablo Ortiz, Mika Pelo, David Rosenboom, Curtis Roads and Clarence Barlow.Pieces featured, in order heard:Continuum Music OneThree SpellsRegression, Tone Painting for OrchestraStudy in A-RhythmiconStudy in C-Utonal-RhythmiconContinuum Music Thirteen AContinuum Music Thirteen B

Iniciamos aquí una nueva serie de programas, titulada “A la escucha del virus”, en la que intentaremos acompañarles mientras atravesamos esta situación, tan excepcional, generada por la pandemia que actualmente nos afecta a todos. La propuesta consiste, básicamente, en escuchar ciertas obras sonoras desde el novedoso marco -conceptual, pero también existencial- que estas terribles circunstancias representan. Quizás una interpretación renovada de esos trabajos pueda ayudarnos, en alguna medida, a entender mejor los diferentes procesos, de muy distinto orden, que todos estamos llamados a atravesar en estos días extraños. Comenzamos esta serie planteando una exploración radiofónica del concepto de virus, (des)orientados por la poética del escritor estadounidense William S. Burroughs (1914-1917). Además de algunos de sus "cut-ups", escuchamos obras que le fueron dedicadas, como "Rag for William Burroughs", del dúo MATMOS (formado por Martin Schmidt y Drew Daniel), "Language is a virus", de Laurie Anderson y "La muerte de William Burroughs", de John Giorno. En la segunda mitad del programa presentamos otra serie de trabajos -más bien vinculados al dominio de la creación electroacústica- que también pueden ser escuchados a partir de la metáfora vírica. Es el caso de la obra titulada "Living Structures", del compositor sueco Peter Lundén, "Half Life", de Curtis Roads (quien, como Lundén, emplea en sus composiciones técnicas de síntesis granular) o "Mutations", de Jean-Claude Risset. Finalmente escuchamos dos piezas extraídas de una recopilación recientemente coordinada por el murciano Sergio Sánchez dentro de su netlabel República Ibérica Ruidista, que lleva por título "Confinescapes" y que reúne "ideas, sensaciones, y discursos sobre la reclusión". Ofrecemos dos de las piezas incluidas en esta antología: “Pandemia”, una composición firmada por Mary X (uno de los pseudónimos del propio Sergio Sánchez) y "Retroviral Drones", de Erizonte (Julián Sanz). Acompañamos todas estas audiciones de algunas citas textuales extraídas del primer capítulo (titulado "La voz límite como voz vírica") de "La voz límite. Una aproximación estética a la vocalidad teratológica desde el arte sonoro", tesis doctoral de Miguel Álvarez-Fernández (accesible gratuitamente en Internet). Escuchar audio

If you are into electronic/computer music, you already know the name of this week's guest. From the Computer Music Tutorial, through Microsound and his latest book (Composing Electronic Music: A New Aesthetic), he has been pushing the envelope for all of us, bringing spacialization, granular synthesis and complex timing systems from the realm of the theoretical into everyday studio use. But he is far more than a technological cool-hunter; he's an active composer, and is just about to release a new DVD in collaboration with Brian O'Reilly. In this chat, we get to hear how Curtis went from band-kid to music researcher, and we also talk about how he goes about making the music that he produces. Since he works with such intricate sound elements, you can imagine that it is painstaking work.  Well, his description doesn't disappoint, but his use of tools - and perspectives on what makes a great composition - might surprise you. This was, as hoped, an eye-opening experience for me, and a great way to learn more about both Curtis and his work. You can find out a lot more about him from his updated website at https://www.curtisroads.net, and by checking out his books and recordings. Thanks to Splice for their support of this podcast. You can help out the podcast by checking out our special link to their system, and or by using our code (MUSICARTTECH) to get a free month trial of their sample library offering. Help us out, and check out the cool collaboration tools that Splice provides!

In today’s episode Oliver was joined via Skype by Aaron McLeran, Lead Audio Programmer at Epic Games. Aaron’s first taste of audio programming was writing computer music in CSound while in graduate school at University of Notre Dame (when he was supposed to be doing astrophysics research). Realising his true calling, he left physics to study procedural and interactive computer music, audio synthesis, and audio analysis with Dr. Curtis Roads at the University of Santa Barbara. His first game audio experience was writing procedural music on Spore where he got to collaborate with Brian Eno and Maxis’ audio director Kent Jolly on writing much of the game’s truly procedural music. His next game audio gig was a sound designer on Dead Space 2 where he wrote much of the games interactive audio systems in Lua along with accomplished audio director Don Veca. He made the leap from technical sound designer to audio programmer at Sledgehammer Games where he worked on Call of Duty: Modern Warfare 3 and Call of Duty: Advanced Warfare. His next audio programming gig was at ArenaNet where he got to wrangle with the unpredictability and scale of game audio in the context of an MMO and developed some pretty cool tech around for player-created music and musical interaction. He’s currently working on a new multi-platform audio mixer backend for UE4 and developing new tech and approaches to game audio for VR. Aaron speaks to Oliver about all things Game Audio and Procedural Audio and his unusual entry into the industry. For more information follow: http://1618digital.com/immersive-audio-podcast-episode-7-aaron-mcleran/ Subscribe: 1618digital.com/#contact

ZKM Kunstpreise: Giga-Hertz-Preis 2016 | Preisverleihung 27.11.2016 ZKM_Medientheater Der Giga-Hertz-Preis für Elektronische Musik wurde in diesem Jahr an Curtis Roads verliehen. Curtis Roads gilt als einer der einflussreichsten Komponisten im elektroakustischen Genre und hat in seinen Kompositionen die Granularsynthese ästhetisch und theoretisch weiterentwickelt. Ebenso wie seine Kompositionen beeindruckt sein publizistisches Œuvre: Curtis Roads hat nicht nur »The Computer Music Tutorial« (1996) herausgegeben, sondern auch das Buch »Microsound« (2001). Seine letzte Veröffentlichung »Composing Electronic Music« (2015) ist mit »A New Aesthetic« untertitelt, womit er den aktuellen Anspruch dieses Mediums verdeutlicht. Sein Schaffen führte ihn an fast alle wichtigen Studios, u. a. an das MIT, IRCAM, Les Ateliers UPIC und das CREATE in Santa Barbara, an dem er gegenwärtig arbeitet. /// Lecture/Talk 27.11.2016 ZKM_Media Theater The Giga-Hertz Award for Electronic Music was being awarded to Curtis Roads this year. Curtis Roads is considered one of the most influential composers in the electro-acoustic genre and has aesthetically and theoretically developed granular synthesis in his compositions. Just as impressive as his compositions are his published oeuvre: Curtis Roads has published both »The Computer Music Tutorial« (1996) and the book »Microsound« (2001). His last publication »Composing Electronic Music« (2015) is subtitled as »A New Aesthetic«, with which he highlights the current demand of this medium. His creativity has led him to almost every important studio, including the MIT, IRCAM, Les Ateliers UPIC and the CREATE in Santa Barbara, at which he currently works.

ZKM Kunstpreise: Giga-Hertz-Preis 2016 | Preisverleihung 27.11.2016 ZKM_Medientheater Der Giga-Hertz-Preis für Elektronische Musik wurde in diesem Jahr an Curtis Roads verliehen. Curtis Roads gilt als einer der einflussreichsten Komponisten im elektroakustischen Genre und hat in seinen Kompositionen die Granularsynthese ästhetisch und theoretisch weiterentwickelt. Ebenso wie seine Kompositionen beeindruckt sein publizistisches Œuvre: Curtis Roads hat nicht nur »The Computer Music Tutorial« (1996) herausgegeben, sondern auch das Buch »Microsound« (2001). Seine letzte Veröffentlichung »Composing Electronic Music« (2015) ist mit »A New Aesthetic« untertitelt, womit er den aktuellen Anspruch dieses Mediums verdeutlicht. Sein Schaffen führte ihn an fast alle wichtigen Studios, u. a. an das MIT, IRCAM, Les Ateliers UPIC und das CREATE in Santa Barbara, an dem er gegenwärtig arbeitet. /// 27.11.2016 ZKM_Media Theater The Giga-Hertz Award for Electronic Music was being awarded to Curtis Roads this year. Curtis Roads is considered one of the most influential composers in the electro-acoustic genre and has aesthetically and theoretically developed granular synthesis in his compositions. Just as impressive as his compositions are his published oeuvre: Curtis Roads has published both »The Computer Music Tutorial« (1996) and the book »Microsound« (2001). His last publication »Composing Electronic Music« (2015) is subtitled as »A New Aesthetic«, with which he highlights the current demand of this medium. His creativity has led him to almost every important studio, including the MIT, IRCAM, Les Ateliers UPIC and the CREATE in Santa Barbara, at which he currently works.

Dave Robinson tells us all about the Eurovision massive production and the enormous redundancy they put in place, then it's the recent BBC Radiophonic Workshop gig at the Roundhouse in London, after which we suffer a network outage which sees me scrambling around for multiple re-boot - don't worry , we made it back on air, but minus Dave Robinson unfortunately. We then discuss the excellent documentary/interview with Peter Zinovieff of EMS, followed by a bit of a mixed bag from Sony and there new X-Series Walkman announced just at the time when they also post enormous losses. We finish up with Curtis Roads and his digital granular synthesis and what this pre 1970s work means to the modern musician.

Dave Robinson tells us all about the Eurovision massive production and the enormous redundancy they put in place, then it's the recent BBC Radiophonic Workshop gig at the Roundhouse in London, after which we suffer a network outage which sees me scrambling around for multiple re-boot - don't worry , we made it back on air, but minus Dave Robinson unfortunately. We then discuss the excellent documentary/interview with Peter Zinovieff of EMS, followed by a bit of a mixed bag from Sony and there new X-Series Walkman announced just at the time when they also post enormous losses. We finish up with Curtis Roads and his digital granular synthesis and what this pre 1970s work means to the modern musician.