All posts by Peabody Computer Music

“…fused into music…”

Peabody Computer Music Consort presents: “…fused into music…”

See Peabody’s Leith Symington Griswold Hall transformed like never before, with performances of electro-acoustic works featuring Peabody faculty artists, alumni, and special guests from the Conservatory and beyond.

Spectacles include Virtual Reality, Oculus Rift and Leap Motion Controller and other new custom instruments, improvisation, 8.1 surround sound, video, ecological acoustics, and much more.

Bloom (2009) – Alexandra Gardner
Peter Kibbe, violoncello

Aldebaran (1972) – Jean Eichelberger Ivey (1923-2010)
Maria Lambros, viola and electronics

Midway Inlet (2006) – McGregor Boyle
Gary Louie, saxophone and interactive electronics

Submersive(s) – Michael Formanek/Edwin Huet
Michael Formanek, double bass
Edwin Kenzo Huet, live electronics, 8.1 channel surround 

Carillon (2015) – Rob Hamilton/Chris Platz
Rob Hamilton, Oculus Rift, Leap Motion Controller.

Philomel (1964) – Milton Babbitt (1916-2011)
Text by John Hollander
Ah Young Hong, soprano

frostbYte: Chalk Outline – Daniel Blinkhorn (ecological sonics and video)
Chryssie Nanou, piano
This event is free, tickets required. Please contact the Peabody Box Office for tickets.


Studio Report 2015


There are many significant firsts in the history of Peabody Computer Music (PCM). It is the first electronic and computer music studio in a conservatory in the United States. Peabody itself is the first conservatory of music in the U.S.  And our parent institution, the Johns Hopkins University, is America’s first research university.

For 48 years PCM has been training highly-skilled musicians to use computers and technology for composition, performance and music-related research. We work within the context of a conservatory that prizes the great accomplishments of the past even as we develop new musical vocabularies and techniques for the expressive musician of the future.

New dean Fred Bronstein is a vital force in leading the oldest music conservatory in the U.S. into the 21st century. One of his first actions was to host a university-wide symposium “What’s Next for Classical Music?”.

PCM reaches out to new international and inter-institutional collaborations. Of particular promise is the new collaboration between Peabody, Johns Hopkins and the Maryland Institute College of Art under the artistic direction of digital pioneer Thomas Dolby, recently named the first Homewood Professor of the Arts. This new enterprise, dubbed “Station North Arts”, will bring together film, composition, recording arts, and computer music.

Authors: Dr. Geoffrey Wright, Dr. McGregor Boyle, Ms. Sunhuimei Xia, Mr. Josh Armenta, Mr. Ryan Woodward

Research Objective: ICMC 2015



Evolution Contemporary Music Series:
An Die Musik Live!
7:00pmViolinist Courtney Orlando of Alarm Will Sound and pianist Ken Osowski perform works by Mario Davidovsky, David Lang, James MacMillan, and a world premiere by McGregor Boyle.




Gradus ad Parnassum (Species Counterpoint Software)

Developed in collaboration with Johns Hopkins Center for Educational Researchand the Peabody Music Theory department, Gradus ad Parnassum is a java webstart application that allows first year music theory students to practice Voice Leading Excercises from the comfort of their own computer.

The project is currently under development by Patrick Donnelly and will be released at the CER’s annual symposium in April 2007.


The Hall-O-Deck (Virtual Concert Hall) Project

Utilizing hardware provided by the Intel grant, The Computer Music Department is developing a system with which a performer can rehearse in a practice room, and his instrument’s acoustic signal will be processed by NT workstations in such a way that the acoustics of a specific concert hall will be replicated. This is accomplished by the performer playing into a microphone, applying digital signal processing to the signal, and playing back signals into the practice room (through small multimedia speakers) which replicate the acoustics of a desired hall. Initial experiments with “off-the-shelf” processing equipment have been promising. We will, however, need to create models for specific concert halls and develop our own signal processing algorithms.