Vol12 No.23 INICIO
Vol12 No.23
ISSN 2317-9694

Materiales EXTRA Materials



Roberto Morales Manzanares

PhD. in Composition from the University of California Berkeley, his interests are focused on real-time composition, composition generated from mathematical models, applied learning systems in audio and video generated by computers, gesture capturing, real-time image and sound processing, dissemination and teaching in composition and electronic art.

As a composer, he has written music for theatre, dance, movies, TV and radio, been commissioned and participated in festivals like "Foro Internacional de Musica Nueva, Festival Internacional Cervantino, ICMC (International Computer Music Conference) and CIM (Contemporary Improvised Music Festival) among others.

As an interpreter, Morales-Manzanares has participated on his own and with other composers in forums of Jazz, Popular, Folkloric and New Music in Mexico, Latin-America, USA and Europe.

As a researcher, he has been invited to different national and international conferences such as ICMC, International Join Conference on Artificial Intelligence IJCAI and Symposium on Arts and Technology and has several publications.

In 1988, he was co-founder of the first computer music studio in Mexico at the Escuela Superior de Musica.

He has been invited as a composer in residence at: the Center for New Music Art and Technology CNMAT in UC Berkeley, San Jose State University, Center for Research in Computing and the Arts CRCA in UC San Diego, Yale University in US, McGill University in Canada and Zentrum fur Kunst und Medientechnologie ZKM in Germany. Places where he performed his work as composer and showed his computer program Escamol, an alternative for algorithmic composition.

He has organized, founded and directed the international festivals "La Computadora y la Música" (The Computer and Music) through INBA, "Callejón del Ruido Composition, ideas and technology", through the University of Guanajuato and Transito_ MX04 through CENART.

He recently has been a Tinker professor at Stanford University and is currently part of the Sistema Nacional de Creadores.

Takayuki Rai

Takayuki RAI, born in Tokyo in 1954, studied composition at the Toho College of Music and computer music at the Institute of Sonology, the University of Utrecht. After working as a composer based in The Netherlands, he came back to Tokyo in 1991 and started teaching computer music at the Sonology Department, Kunitachi College of Music. In 2006, he moved to the UK and taught at the Lancaster University for eight years. Currently, he is teaching at the Sichuan Conservatory of Music as well as the Toho College of Music.

His works have been selected at numerous international competitions, including the Gaudeamus Competition of Composition, the ISCM World Music Days, and the International Computer Music Conference (ICMC). He also won the premier award at the 13th International Electroacoustic Music Competition Bourges in France, the Irino Composition Prize in Japan. In 1991 he was awarded the ICMA Commission Award.

His scores are published by DONEMUS in The Netherlands, and the recordings of his works are included in various CDs released by such as Wergo, le Chant de Monde, CENTAUR, and FONTEC.

Mary Simoni

Mary Simoni is a composer, pianist, author, educator, consultant, and administrator. She is currently the Dean of Humanities, Arts & Sciences at Rensselaer Polytechnic Institute and Professor Emerita, Performing Arts Technology at the University of Michigan. Her music and multimedia works have been performed in Asia, Europe, and throughout the United States and have been recorded by Centaur Records, the Leonardo Music Journal published by the MIT Press, and the International Computer Music Association. She is the recipient of the Prize in Composition by the ArtNET Virtual Museum and named a semi-finalist for the American Prize in Composition-Chamber Music. Her music is frequently recognized by Vox Novus. She has authored several books, "Algorithmic Composition: A Guide to Composing Music with Nyquist" co-authored with Roger Dannenberg and published by the University of Michigan; and "Analytical Methods of Electroacoustic Music" published by Routledge. She is a Medal Laureate of the Computer World Honors Award for her research in digital Music Information Retrieval. Her work as a pianist and Steinway Artist specializes in the use of interactive electronics. Her compositions include the design of performance systems that extend the sonic capabilities of traditional acoustic instruments. She has consulted for the Canadian Innovation Foundation, the National Science Foundation, the National Endowment for the Humanities, the National Peace Foundation, and numerous universities and arts agencies throughout the world. The Knight Foundation, the Kellogg Foundation, the National Science Foundation, and the Michigan Council for the Arts and Cultural Affairs have funded her research.

Robert Rowe

Robert Rowe received degrees in music history & theory (B.M. Wisconsin 1976), composition (M.A. Iowa 1978), and music & cognition (Ph.D. MIT 1991). From 1978 to 1987 he lived and worked in Europe, associated with the Institute of Sonology in Utrecht, the Royal Conservatory in the Hague, the ASKO Ensemble of Amsterdam, and with IRCAM in Paris, where he developed control level software for the 4X machine. In 1990 his composition Flood Gate won first prize in the "live electroacoustic" category of the Bourges International Electroacoustic Music Competition. In 1991 he became the first composer to complete the Ph.D. in Music and Cognition at the MIT Media Laboratory.

He served as Associate Dean of Research & Doctoral Affairs of New York University's Steinhardt School of Culture, Education and Human Development and is currently Professor of Music Technology in the Department of Music & Performing Arts Professions at NYU, a core member of the Music & Audio Research Laboratory (MARL), and an Affiliated Faculty member of NYU Abu Dhabi.

His music is performed throughout North America, Europe, the Middle East and Asia and is available on compact discs from Urlicht, Innova, Bridge, New World, Roméo, Quindecim, Harmonia Mundi, and the International Computer Music Association, and his book/CD-ROM projects Interactive Music Systems (1993) and Machine Musicianship (2001) are available from the MIT Press.

Nick Collins

Nick Collins is a Professor in the Durham University Music Department with strong interests in artificial intelligence techniques applied within music, the computer and programming languages as musical instrument, and the history and practice of electronic music. He has performed internationally as composer-programmer-pianist and codiscian, from algoraves to electronic chamber music. Recent grants include a Sky Arts funded television documentary project to computer generate a new musical theatre work, a Leverhulme Trust Artist in Residence grant for the Durham music department involving the development of emotion-aware concert systems, a sub-project for the AHRC Transforming Musicology grant on electronic music audio corpus analysis, and the current Musically Intelligent Machines Interacting Creatively (MIMIC) three year AHRC-funded project, run by teams at Goldsmiths College, Durham University and the University of Sussex ( He has published over 90 research papers since 1999, including co-editing the Cambridge Companion to Electronic Music (Cambridge University Press 2nd edition
2017) and The SuperCollider Book (MIT Press, 2011), writing an Introduction to Computer Music (Wiley 2009) and co-writing Electronic Music (Cambridge University Press Introductions series, 2013). Many research papers and much code and music are available from

Fredrik Olofsson

Fredrik Olofsson studied composition at the Royal College of Music in Stockholm and at the School of Music in Piteå, Sweden. For 20 years he has been making a living building custom software and electronics for and in collaboration with choreographers, visual artists, musicians, composers, ensembles and researchers. His main interests are interactive installations, generative music, realtime visuals and electronics.

Since 2000 he is working together with the artist group Musical Fields Forever.

2004-2006 research fellow at the University of Westminster, London.

2007 software developer in the iFields research project, Certec, Lund, Sweden.

2008 Artist-in-Residence at IAMAS, Ogaki, Japan.

2009-2018 he taught audiovisual programming at the Universität der Künste, Berlin.

2011-2016 Rhyme research project at The Oslo School of Architecture and Design.

Performances and workshops held all over Europe and in Japan, China, Australia, the USA and Mexico.

Festival appearances include Berlin Atonal, CTM, Liquid architecture, Vivo, ISCM, ICLC, ISEA, ICMC, Sound of Stockholm and several Algoraves.

Olofsson works conceptually and after a ten-year 'red period', changed to the colour green in 2014. Currently, he dresses green, turned vegan and is in the process of leaving Berlin for a hut in the remote Swedish countryside. The switch to blue is scheduled for 2024.

Miller Puckette

Miller Puckette obtained a B.S. in Mathematics from MIT (1980) and Ph. D. in Mathematics from Harvard (1986), winning an NSF graduate fellowship and the Putnam Prize Scholarship. He was a member of MIT's Media Lab from its inception until 1987, and then a researcher at IRCAM (l'Institut de Recherche et de Coordination Musique/Acoustique), founded by composer and conductor Pierre Boulez. At IRCAM he wrote Max, a widely used computer music software environment, released commercially in 1990 and now available from

Puckette joined the music department of the University of California, San Diego in 1994, where he is now professor. From 2000 to 2011 he was Associate Director of UCSD's Center for Research in Computing and the Arts (CRCA; now defunct).

He is currently developing Pure Data ("Pd"), an open-source real-time multimedia arts programming environment. Puckette has collaborated with many artists and musicians, including Philippe Manoury (whose Sonus ex Machina cycle was the first major work to use Max), Rand Steiger, Vibeke Sorensen, Juliana Snapper, and Kerry Hagan. Since 2004 he has performed with the Convolution Brothers. He has received honorary degrees from Université de Mons and Bath Spa University and the 2008 SEAMUS Lifetime Achievement Award.

Atau Tanaka

Atau Tanaka conducts research in embodied musical and human-computer interaction. He studied under Ivan Tcherepnin at Harvard and with John Chowning at Stanford University's CCRMA. His first inspirations came upon meeting John Cage during his Norton Lectures and would go to on re-create Cage's Variations VII. Atau has carried out research at IRCAM Centre Pompidou, as Artistic Ambassador for Apple France, and as researcher at Sony Computer Science Laboratory (CSL) Paris. His performances of muscle interaction in music and networked audiovisual installations have been presented at Ars Electronica, San Francisco Museum of Modern Art (SFMOMA), Eyebeam NYC, Southbank Meltdown London, NTT-ICC Tokyo, and ZKM Karlsruhe. His research has been supported by the European Research Council (ERC), and UK research and arts councils He has been mentor at the UK's National Endowment for Science, Technology & Art (NESTA) and was Artistic Co-Director of STEIM in Amsterdam and Edgar Varèse guest professor at TU Berlin. He is Professor of Media Computing at Goldsmithsm, University of London.

Trevor Wishart

Trevor Wishart (b 1946) Composer/performer from the North of England specialising in sound metamorphosis, and constructing the software to make it possible (Sound Loom / CDP). He has lived and worked as composer-in-residence in Australia, Canada, Germany, Holland, Sweden, and the USA, and worked in Mexico on several occasions.

He creates music with his own voice, for professional groups, or in imaginary worlds conjured up in the studio. He is also the principle developer of music processing software for the Composer's Desktop Project. His aesthetic and technical ideas are described in the books On Sonic Art, Audible Design and Sound Composition.

In 2008 he was awarded the international Giga-Herz Grand prize for his life's work, and in 2018 the British Association of Songwriters, Composers and Authors Award for Innovation. For further information consult