Abstract

The UCSD Center for Research in Computing and the Arts (CRCA) collection documents the activities of the experimental music and computer-based music research unit between 1972-1993. The documents were collected internally by staff and faculty for educational and archives purposes. The materials include subject files representing the development and founding of the department, performance fliers, photographs, writings describing the technological aspects of various projects and research.

Admisistrative History

The Project for Music Experiment, funded by the Rockefeller Foundation, opened in 1972 under the direction of UCSD professor Roger Reynolds. In 1973, the project became an organized research unit at the University of California, San Diego and was re-named the Center for Music Experiment (CME). Although autonomous, the Center was monitored by an inter-departmental advisory board with UCSD Music Department faculty. The director was nominated by the board and appointed by the Chancellor for terms up to five years. The Center was designed as a performance, composition, and a technological research space for innovations with digital computer music. The Center also facilitated the Studio for Extended Performance, the Extended Vocal Techniques Ensemble (EVTE), and the KIVA Improvisation Ensemble. In 1977, under the direction of Pauline Oliveros, CME received additional funding for a computer music facility designed to integrate technology and research into both the graduate and undergraduate curriculum. Notable faculty included Will Ogden, Robert Erickson, Pauline Oliveros, Harry Partch, Kenneth Gaburo, Thomas Nee, James Campbell, Bernard Rands, and John Silber. In 1991, the UC Regents approved the change of name from CME to CRCA - the Center for Research in Computing and the Arts.

Scope and Contents note

The Center for Research in Computing and the Arts (CRCA) collection contains the organizational files for the research unit. The materials include a substantial amount of subject files and writings reflecting the technology development of experimental music research and performance. The items are arranged in four series: 1) SUBJECT FILES, 2) PHOTOGRAPHS, 3) PUBLICATIONS, and 4) WRITINGS.

Series 1: SUBJECT FILES

Arranged alphabetically, the SUBJECT FILES pertain to the department's general administrative duties, policies, and organization of performances. The files include performance fliers, conference materials, bibliographic lists, and comprehensive materials related to the Extended Vocal Techniques Ensemble (EVTE).

Series 2: PHOTOGRAPHS

The PHOTOGRAPHS series documents CRCA performances, staff, and faculty from primarily 1976-1977.

Series 3: PUBLICATIONS

The PUBLICATIONS series, arranged by title, contains University-related documents representing annual reports, manuals, informational reports, and brochures produced internally by CRCA.

Series 4: WRITINGS

The WRITINGS series, arranged alphabetically author and title, contains journal articles, essays, project proposals, and software documentation reflecting avant-garde, experimental, and electronic music topics written by faculty, staff, fellows and researchers at CRCA.

SUBJECT FILES

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Box Folder Oversize
9 Archive card file. Includes tape archive card file.
1 1 Archive lists.
1 2 Biographies and lists.
1 3 Campus Computer Policy Committee - Computer Audio Research Laboratory (CARL) equipment, 1980.
1 4 Center for Music Experiment Advisory Committee - Meeting minutes, 1976-1977.
1 5 Computer Audio Research Lab (CARL) - User policies, 1980.
1 6 "Conversations Around the Pacific Ring - Pacific Ring Festival" - Performance materials, May, 1986.
1 7 Correspondence - Miscellaneous office, 1977-1993.
1 8 "Disklaver Discovery" - Performance, July 25, 1988.
1 9 Exhibition and Festival of New Instrumental Resources, May 4-6, 1979.
Extended Vocal Techniques Ensemble (EVTE).
1 10 Correspondence, 1977-1978.
1 11 Fundraising, 1977-1978.
1 12 History and brochures, 1977-1980.
2 1 Reviews, 1977.
2 2 Harmonics - Bass research.
2 3 International Computer Music Conference, October 26-30, 1977.
2 4 International Stravinsky Centennial Symposium - Grant proposal, 1982.
2 5 Music Frontiers 1993: Darmstadt - San Diego Theory and Aesthetics Colloquium - Conference materials.
2 6 New York Philharmonic - Roger Reynolds performances, 1984.
2 7 News clippings, 1972-1980.
Performance flyers and brochures.
2 8 1972-1974.
2 9 1975-1978.
2 10 1979-1984.
2 11 1985-1992.
Includes undated material.
3 12 FB-479-03 Performance posters.
3 1 Planning conference on proposed UCSD computer music facility, October 1978.
Redolfi, Michel: "Sonic Waters" Underwater concert.
3 2 Brochures, 1982-1983.
3 3 Photographs and notes, 1982-1983.
3 4 Schedule of weekly events, 1972-1974.
3 5 "Seven Compositions" - Performance, November 15, 1984.

PHOTOGRAPHS

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3 6 "Child Birth" - Performance.
3 7 Faculty and staff, 1976-1977.
3 8 KIVA group.
3 9 "Loops Console," Ron George - 35mm b/w negatives.
3 10 Performance and events.
3 11 "Rainforest" - Rose Montaño, February, 1977.
3 12 "Trans Museq" - LaDonna Smith and Davey Williams, 1983.
3 13 "What's Cooking?" - Performance, April - May, 1977.

PUBLICATIONS

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Box Folder Oversize
4 1 List of publications.
Annual Reports.
4 2 1974-1984.
4 3 1984-1991.
4 4 Computer Audio Research Lab (CARL) - A Prospectus and Retrospective: An Evening in Two Parts - Performance, May 16, 1988.
4 5 Computer Audio Research Lab (CARL), 1979-1988: A Report in Two Parts, August, 1988.
4 6 Catalogue for the Exhibition/Festival: For New Instrumental Resources I and II, May 1979, 1980.
4 7 Center for Research in Computer and the Arts, 1992-1995.
4 8 CME Roster, 1982, 1984-1985.
4 9 CME Staff and Facilities Manual.
4 10 "Colloquia: Music and Contemporary Society." Bertram Turetzky, principal investigator, and John D. Lauer, editor, January - March, 1985.
4 11 "Darmstadt Internationale Ferienkurse fur Neue Musik", 1988.
4 12 Directions - Newsletter, March 1977 - December 1979.
4 13 Four Views of the Music Department at the University of California San Diego.
4 14 "Informal Report on the NMCE IV Activities within the Center for Music Experiment, Rockefeller - UCSD", 1973-1974.
4 15 "Project for Music Department: Report", 1972-1973.
4 16 "Report on an Experimental General Music Program", June, 1969.
4 17 UCSD Music Department - Brochure.
Box Folder Oversize
5 1 Abbot, Chris. Cleopatra: A Language for ASP's (and Other Snakes), June 20, 1983.
5 2 Abbot, Curtis and Gareth Loy. Programming Languages for Computer Music Synthesis, Performance, and Composition, June 2, 1985.
Amuedo, John W.
5 3 AP-Lisp Language Definition.
5 4 Paul Lenert of National Public Radio's 'The Sound of Science' - Interviewing John Amuedo at M.I.T., July 10, 1986.
5 5 Analog Studio User's Manual.
5 6 Bachauer, Walter. Avantgarde in Southern California: A Report on the 'Center for Music Experiment' at the University of California in San Diego/La Jolla.
5 7 Balzano, Gerald J. The Structural Uniqueness of the Diatonic Order, April 20, 1978.
Boulanger, Richard.
5 8 Electronic Violin Project: Documents.
5 9 An Interview with Roger Reynolds, Joji Yuasa, and Charles Wuorinen, March 9, 1984.
5 10 Reviews, 1979-1983.
5 11 Burt, Warren. Talk and Music: With Three Pieces from Aardvarks IX, October - December, 1984.
5 12 Chabot, Xavier. User Software for Realtime Input by a Musical Instrument, 1985.
5 13 Chabot, Xavier, Roger Dannenberg, and Georges Bloch. A Workstation in Live Performance: Composed Improvisation.
5 14 Coelho de Souza, Rodolfo. Semiotics of Music in Brazilian 'Tristes Tropicos', February 8, 1991.
5 15 Cohen, Howard. MX-2: A Real-Time Software Synthesizer, November 1977.
5 16 Composition of Music by Interpretation of Symbolic Descriptions.
5 17 The Development of the Extended Vibraphone: Appendix B, 1966-1977.
5 18 Dolson, Mark. Musical Applications of the Phase Vocoder, 1986.
5 19 Dolson, Mark, Abe Singer, and David Rivas. Personal-Computer Microwords for Learning about Signals and Sounds.
Dunn, David.
5 20 Mappings and Entrainments: Introduction to Work in Progress, 1984.
5 21 Music and the Holonomic Metaphor, 1984.
5 22 Erickson, Robert. Loops an Informal Timbre Experiment, March 11, 1974.
6 1 EVTE: Index to a Recorded Lexicon of Extended Vocal Technique.
Francois, Jean-Charles.
6 2 FYHYT I: Algorithm for the Generation of Complex Rhythms, March 1978.
6 3 Perspectives on the Center for Music Experiment and Related Research.
6 4 Gaburo, Kenneth. An Informal Report on NMCE IV Activities within the Center for Music Experiment. Rockefeller - UCSD, 1973-1974.
6 5 General Design Specifications for a UCSD RJE Terminal, October 4, 1973.
6 6 George, Ronald. Research into New Areas of Multiple-Percussion Performance and Composition, 1975.
Gross, Robert.
6 7 The CME Patchbay System User's Manual, November 9, 1976.
6 8 The CME Synthesizer.
6 9 Generating Pitch Deviation Functions for a Sound Synthesis System, June 1978.
6 10 Using the CME Patchbay, April 16, 1976.
6 11 Gross, Robert and Bruce Leibig. A Compositionally Oriented Sound Synthesis System, August 17, 1976.
6 12 Gross, R., B. Leibig, and J. Goldstein. Timbre Tuning System (Version I) - Operation Manual, December 14, 1975.
6 13 Gross, Robert and Linda Vickerman. Preliminary Remarks on Extended Vocal Capabilities with the Artifical Larnyx, June 4, 1974.
Gygax, Otto A.
6 14 Adaptation of the HVE Engineering Synergist III VME-VME Board to the Requirements of the Inter-Computer Link in the Computer Audio Research Laboratory Computer Music Workstation, August 13, 1986.
6 15 VMEbus Interface Bus Circuitry, February 17, 1986.
6 16 VMEbus Interface Board Circuitry (VIBC) Design Review.
6 17 Hallock, Don and Richard Stephens. Suggestions Toward a Small Video Facility.
Harkins, Edwin.
6 18 Compositional Access Towards Everything Rhythmic.
6 19 Performance and Electronic Instrument Design.
6 20 A Programmable Rhythm Sequencer.
6 21 Harkins, Edwin and Robert Gross. LASAR: A Language for Rhythm Input to a Sound Synthesis System, October 1977.
6 22 How Does a Computer Make Music.
6 23 Hybrid IV, Volume I: User's Manual. Second Printing, June 30, 1975.
6 24 Inger, Lester. Attention to Attention in the Fine Arts, February 8, 1979.
6 25 Kavasch, Deborah. "An Introduction to Extended Vocal Techniques: Some Compositional Aspects and Performance Problems," Reports from the Center, November 1980.
6 26 Kobrin, Ed, R. Reynolds, J. Celona and Bruce Rittenbach. Hybrid IV: Volume I - User's Manual, 1975-1976.
6 27 Kobrin, Edward and Jeffrey Mack. The Hybrid II: A Real-Time Composing/Performing Computer Synthesis System, January 10, 1974.
7 1 Labor, Tim. Report on CME Activities at LIPM, May 15, 1991.
7 2 Lanevi, Robert. Towards a World Music: A Proposal.
Loy, Gareth.
7 3 Composing with Computers - A Survey of Compositional Formalisms and Music Programming Languages, 1987.
7 4 Computer Audio Research Laboratory Software Writers Guide.
7 5 Music Workstation from Musical Imperatives.
7 6 How to Add New Programs to the CARL Software Distribution.
7 7 Introduction to CARL Programming.
7 8 Introduction to the Csound File System.
7 9 LPREV - Configurable Tap-Delay/Low-Pass Reverberator.
7 10 Musicians Make a Standard: The Phenomenon of MIDI, June 4, 1985.
7 11 Notes on Installing Software for the CMD Audio Switch.
7 12 On the Scheduling of Multiple Parallel Processors Executing Synchronously, 1987.
7 13 Sndpath - A Program to Interactively Create/Edit Sound Trajectories.
7 14 Mahin, Bruce P. Interview with Janos Negyesy from 'String Clinic'. Instrumentalist Magazine, June 1987.
Moore, F. Richard.
7 15 Applications for an Integrated Computer Music Workstation.
CARL Startup Kit.
7 16 June 15, 1982.
7 17 January 28, 1983.
7 18 The Computer Audio Research Research at UCSD.
7 19 The FRMBox - A Modular Digital Music Synthesizer, 1980.
7 20 A Useful Way to Write Tutorials About Computer Programs.
7 21 Mumma, Gordon. Computer Music and the Library, November 8, 1985.
Oliveros, Pauline.
7 22 On Sonic Meditation, 1973.
7 23 On the Need for New Music and Related Arts, May 24, 1979.
7 24 A Research Center of New Music for Performers and Composers.
7 25 Software for People, January 1979.
7 26 Oliveros, Pauline and Ron George. Project Title: Resources for Acoustic Instrument and Development - First draft, 1977.
7 27 Operating Manual: Precision Tone Generator.
7 28 Patrick, A. Digital Signal Processing Project.
Reynolds, Roger.
8 1 Explorations in Sound - Space Manipulation, September, 1975.
8 2 Manual for the Use of CME Facililties, 1975.
8 3 Musical Production and Related Issues at CARL.
8 4 "Some Remarks on a Stimulating Conference", February 24, 1981.
8 5 Rittenbach, Bruce. Aspects of Computer Music Design, October 25, 1976.
8 6 Roads, Curt. Preliminary Report on the CME Composing Language Project, May 3, 1977.
8 7 Roth, Moira. "Matters of Life and Death" - Interview of Linda Montaño, 1978.
8 8 Snell, John. Digital signal processor notes.
Sondheim, Alan.
8 9 A Model for the Mathematical Relationships in the Self/World Dyad, January-April, 1973.
8 10 Typed Glossolalia: Computer Analysis of Determinism in Man, 1972.
8 11 Thompson, Robert. Archive Notes, 1986.
8 12 Tobias, Jay. Hardware Selection for History.
8 13 "Two Movements in C".
8 14 Virtue, Constance. "Virtue Notagraph: The New Music Notation" - Scrapbook.
8 15 Voelkel, Andrew and Thomas Erbe. User's Manual for CARL TMS-VME Signal Processing Card.
8 16 Willey, Bob. "Laboratorio de Investigación y Producción Musical".
8 17 Wright, Rusty. "The CARL Audio Switch Daemon".
8 18 Yates, Peter. "Beyond Discord" - Lecture.


Finding aid generated: 2012-04-26