He also thanked the Recording Academy, the Celemony team, the company’s many friends and, of course, all the users of the software Melodyne. In his acceptance speech, Peter Neubäcker alluded to his philosophical and mathematical background, explained his own, singular vision of music, and described the beginnings and the spirit of the company. After all, Celemony has blazed open a radically new avenue of access to musical editing that for ten years now has made it impossible to imagine music production without it. Host and Grammy manager James McKinney opened with the legendary question posed long ago by Melodyne inventor Peter Neubäcker: “What does a stone sound like?” A truly philosophical approach to the world of sound technology, far away from the purely technical thought-processes that typically prevail in the industry, and yet it is for precisely that reason Celemony was chosen to receive this year’s Technical Grammy. The first of the Special Merit Awards to be presented went to the Munich software house Celemony. And perhaps also the strangest,” commented Melodyne inventor Peter Neubäcker. I believe our company is the smallest ever to have received a Technical Grammy. “This is an honor none of us ever expected. The highest award in the music business is given in recognition of “contributions of outstanding technical significance to the recording field” and is equivalent to an Oscar in the film industry. She is a member of the New BBC Radiophonic Workshop, director-at-large of the International Computer Music Association, and is currently Assistant Professor of Sound Studies at Arizona State University where she leads the research group Practice and Research in Enactive Sonic Art ( ).On February 12, 2012, we have been honored by the Recording Academy as the first German software manufacturer with a Technical Grammy. Moogfest, Ableton’s LOOP, hcmf//, NIME, ICMC, MOCO, etc.) and published in major journals including Contemporary Music Review, Computer Music Journal, Organised Sound. Her work on embodied music education, pedagogy, and technology for children won her the Best Paper Award at the International Computer Music Conference in 2016, and was recently profiled by Cycling ’74. Her work has been presented internationally (e.g. Over the last decade she has developed and honed a deliberately challenging and unpredictable performance system that explores the relationships between bodies, sound, environments, and technology. She is a “positively ferocious improvisor” (Cycling ‘74), her music refusing to sit nicely between free improv, experimental pop, techno, and noise. Lauren Sarah Hayes is a Scottish musician and sound artist who builds and performs with hybrid analogue/digital instruments. We may be failing to engage an age group that is growing readily familiar with the skills and vocabulary surrounding new technologies. ![]() The findings and outcomes of the project suggest that we should not be restricting to the university level the discussion of how to continue to educate future generations in the practices surrounding computer music. A particular emphasis was placed on providing a form of music education that would engender creative practice that was available to all, regardless of musical ability and background. Topics included collective electroacoustic composition, hardware hacking, field recording, and improvisation. The project engaged several expert musicians and researchers to deliver the different areas of the course. Sixteen schools were involved, including two schools for additional support needs. ![]() ![]() This presentation describes Sound, Electronics, and Music, a large-scale project in which tutelage was provided on various topics related to sound and music technology to around 900 schoolchildren in Scotland in 20. Sound, Electronics, and Music: A Radical and Hopeful Experiment in Early Music Educationĭiscussions of pedagogical approaches to computer music are often rooted within the realm of higher education alone. Lauren Hayes Assistant Professor, Arizona State University
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