Peter Vuust (Aarhus University, Denmark) is a unique combination of a jazz musician and a world class scientist. As a researcher, he is Denmark’s leading expert in the field of music and the brain – a research field he has single-handedly built up as leader of the group Music In the Brain. He is internationally recognised, widely quoted and received in October 2014 the Danish National Research Foundation’s centre grant of DKK 52 million to found the Center for Music In the Brain. As a composer and bass player he has collaborated with a variety of artists, from Danish pop stars to some of the world’s major, international jazz artists, and in November 2014 he was nominated for a Danish Music Award for “Best Danish vocal jazz album” with his own quartet and Veronica Mortensen.
Since 2007, Peter Vuust leads the multidisciplinary research group Music In the Brain, which aims at understanding the neural processing of music, by using a combination af advanced music theory, behavioral experience, and state-of-the-art brain scanning methods. This research has the potential to significantly influence the way we play, teach, and use music clinically, and impact on our understanding of human brain function in general. Owing to the Danish National Research Foundation’s centre grant, the group has now transformed into a Center for Music In the Brain, consisting of PhDs, post-docs and a wide international network of collaborators who engage through weekly meetings, workshops and international symposia.
Peter Vuust will also be performing at CMMR 2017!
Margaret Schedel (Stony Brook University, USA) is a composer and cellist specializing in the creation and performance of ferociously interactive media whose works have been performed throughout the United States and abroad. While working towards a DMA in music composition at the University of Cincinnati College Conservatory of Music, her interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She holds a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle. She is a joint author of Electronic Music recently edited an issue of Organised Sound on the aesthetics of sonification. Her work has been supported by the Presser Foundation, Centro Mexicano para la Música y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra and the percussion ensemble Ictus. In 2009 she won the first Ruth Anderson Prize for her interactive installation Twenty Love Songs and a Song of Despair. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data. She sits on the boards of 60×60, the International Computer Music Association, and is a regional editor for Organised Sound. From 2009-2014 she helped run Devotion, a Williamsburg Gallery focused on the intersection of art, science, new media, and design. In 2010 she co-chaired the International Computer Music Conference, and in 2011 she co-chaired the Electro-Acoustic Music Studies Network Conference She ran SUNY’s first Coursera Massive Open Online Course (MOOC) in 2013. As an Associate Professor of Music at Stony Brook University, she serves as Co-Director of Computer Music and is the Director of cDACT, the consortium for digital art, culture and technology.
Amílcar Cardoso (University of Coimbra, Portugal) is a Full Professor at the University of Coimbra, where he teaches Artificial Intelligence, Computational Creativity, Programming for Design and other topics. He developed pioneering work on Computational Creativity in the 90’s, ever since assuming important roles in the area, including: Chair of the Working Group on Computational Creativity of Action COST 282 (2001-2003), co-founder of the series of workshops “Creative Systems” (2001 -2003), member of the Steering Committee of the International Conference on Computational Creativity (2006-present). He currently is involved in the FET Coordination Action ProSECCo – Promoting the Scientific Exploration of Computational Creativity – and in the FP7-ICT STREPS project ConCreTe – Concept Creation Technology. His research interests also extend to the Affective Computing and Multi-Agent Systems, especially in contexts of creative systems, automatic music composition, sound and music computing, interactive music. He has been involved in FP7, FET and H2020 evaluations pannels. He is currently acting as President of the External Evaluation Commission for the HE Polytechnics programs in Informatics. He is Coordinator of the Doctoral Program on Science and Technology of Information.
Carlos Guedes (New York University Abu Dhabi, United Arab Emirates) has a multifaceted activity in composition and sound design, counting numerous commissioned projects for dance, theatrical performance, film and interactive installations besides conventional concert music. His creative work has been presented around the world in several shapes and forms. Carlos Guedes holds a PhD (2005) and MA (1996) in composition from NYU and a BM (1993) from ESMAE. He lived for three years in the Netherlands where he attended the Institute of Sonology in the Hague between 2001 and 2002.
Since 2007, he has developed a research activity in generative music systems through different projects at the Sound and Music Computing Group, a research group he co-founded at INESC Technology and Science (formerly, INESC Porto). Since joining New York University Abu Dhabi, Carlos Guedes has been working in projects “Cross-disciplinary and multicultural perspectives on musical rhythm,” “Creation and Analysis of a Digital Repository of Middle Eastern Music,” and “Sounds from Sir Bani Yas Island.” Carlos Guedes is currently Associate Arts Professor of Music at New York University Abu Dhabi.
Carlos Guedes will premiere a new piece at CMMR 2017!