David Cope (b. San Francisco, 1941) completed degrees in composition at
Arizona State University and the University of Southern California. His
over seventy published compositions have received thousands of performances
throughout the U.S. and abroad, including those by the Vermont, Pittsburgh,
Indianapolis, Cabrillo Festival, and Santa Cruz Symphony Orchestras, as
well as numerous university orchestras and wind ensembles. Twenty-one of
his works appear on recordings. His book New Directions in Music now
appears in its seventh edition and his New Music Composition, New Music
Notation, and Techniques of the Contemporary Composer continue to be used
as standard reference tools. His books Computers and Musical Style (1991),
Experiments in Musical Intelligence (1996), The Algorithmic Composer
(2000), all in A-R Editions' Computer Music and Digital Audio Series and
Virtual Music (2001, MIT Press) describe his work with the computer program
Experiments in Musical Intelligence which he created in 1981. His articles
in Computer Music Journal (1987, 1992, and 1997), Computer (1991),
Electronic Musician (1993), Leonardo Music Journal (2000) and chapters in
books such as Understanding Music with AI (1992) and Machine Models of
Music (1992) further elaborate on the complexities of machine creativity.
Experiments in Musical Intelligence works can also be found on Centaur
Records CDs Bach by Design (2184), Classical Music Composed by Computer
(2329), and Virtual Mozart (2452) and the MW2 Ensemble of Poland has
recently recorded his Towers for chamber ensemble on Vienna Modern Masters
(VMM 2024). David Cope is currently Professor of Music at the University of
California at Santa Cruz.
Roger B. Dannenberg is a Senior Research Computer Scientist and Artist at
Carnegie Mellon University, where he received a Ph.D. in Computer Science in
1982. He is internationally known for his research in the field of computer
music. His current work includes research on computer accompaniment of live
musicians, content-based music retrieval, interactive media, and high-level
languages for sound synthesis. Products based on his computer accompaniment
research are used by music students around the world.
Dr. Dannenberg sometimes poses as a trumpet player and composer, and he has
performed in concert halls ranging from the historic Apollo Theater in
Harlem to the modern Espace de Projection at IRCAM in Paris. His most
recent musical efforts involve real-time computer graphics and computer
music systems that interact with live musicians. Dannenberg also performs
regularly with the Roger Humphries Big Band in Pittsburgh.
Jef Raskin is best known for having created the Macintosh computer when he
worked for Apple. Less well known is his work in music and computer music.
His "Lingua Musica pro Machinationibus" in the early 1960s led to DARMS when he
joined the Columbia-Princeton Computer Music project, working with Leonard
Bernstein and Stephan Bauer-Mengleberg. As an undergraduate, his first
Fortran program composed chords to a given melody. As a graduate student he built a
music input device and in 1967 published the Quick Draw Graphics System
which included music printing. Jef also built Pennsylvania State Universityís
first electronic music studio. He was a Ph.D. student in music at the University
of California at San Diego, working with Harry Partch, studying composition
with Pauline Oliveros and conducting with Thomas Nee. Jef then became a professor
and computer center director at the university.
After moving to San Francisco he taught early music at the Community Music
Center, and was the conductor of the San Francisco Chamber Opera Co.,
specializing in Monteverdi on early instruments.
Currently he is a consultant on human-machine interface design and writes
for many magazines, including Wired, Forbes ASAP, and a dozen others. He is
author of the book, "The Humane Interface" (Addison Wesley 2000), which is about to
receive its 4th printing, is being translated into five languages, and which
is in use at over 20 universities.
Jef lives with his family (who play horn, cello, guitar, and piano) near San
Francisco, where he practices on his baroque Positiv of 3 ranks, and is
trying to learn to play the chalumeau.
Youngmoo Kim is a PhD candidate in the Machine Listening Group of the MIT
Media Lab performing research on parametric and symbolic audio coding and
audio perception. His thesis topic is analysis and synthesis of the singing
voice. He has been a member of the MPEG audio standards committee for three
years, contributing to MPEG-4 and MPEG-7. Before coming to MIT, Youngmoo
worked as a digital audio software engineer for Digidesign. He received
Masters degrees in Electrical Engineering (signal processing) and Music
(vocal performance practice) from Stanford University. He also holds a BS
in Engineering and BA in Music, both from Swarthmore College. He performs
regularly with the Tanglewood Festival Chorus in conjunction with the Boston
Adam Lindsay is a member of the research staff in the Department of
Computing at Lancaster University (UK). This follows his position as the
Principal Investigator in multimedia representation in the Belgian
research company, Starlab. Adam arrived in Brussels in 1996 following a
Master's degree from the MIT Media Lab (on an enhanced melodic contour as
a searchable representation of melody) as one of the charter researchers
in what was then Riverland Research. He also holds two BS degrees, in
Cognitive Science and in Music, from MIT. Following his interests in the
description of audio-visual material, over the past four years he has
emerged to be one of the leaders in MPEG-7 standardisation, focusing on
applications, audio, systems, and philosophy.