Chris Chafe is a composer, improvisor, and cellist, developing much of his music alongside computer-based research. He is Director of Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA). In 2019, he was International Visiting Research Scholar at the Peter Wall Institute for Advanced Studies The University of British Columbia, Visiting Professor at the Politecnico di Torino, and Edgard-Varèse Guest Professor at the Technical University of Berlin. At IRCAM (Paris) and The Banff Centre (Alberta), he has pursued methods for digital synthesis, music performance, and real-time internet collaboration. CCRMA’s jacktrip project involves live concertizing with musicians the world over.



Jonathan ​Impett ​is Director of Research at the Orpheus Institute, Ghent, where he leads the research group ​Music, Thought and Technology​, and Associate Professor at Middlesex University, London. He is active as a composer, trumpet-player, improviser, and theorist. His work is concerned with the evolving nature of musical artefacts and practices – the reconfiguration of composition and improvisation, score and code, material and virtual, music creation and musicology. His recent monograph on the musical thought of Luigi Nono is the first comprehensive study of the composer’s work; a forthcoming book on Critical Technical Practice considers the musical relevance of AI theorist Philip Agre. He continues to perform with The Orchestra of the Eighteenth Century and The Amsterdam Baroque Orchestra, as well as the experimental chamber ensemble Apartment House. A recent CD of his music was released by Attacca Amsterdam.


photo: Gilles Anquez



Juan Parra Cancino​ studied Composition at the Catholic University of Chile and Sonology at The Royal Conservatoire The Hague (The Netherlands), where he obtained his Master’s degree with focus on composition and performance of electronic music. In 2014, Parra obtained his Ph.D. from Leiden University with his thesis​ ​“Multiple Paths: Towards a Performance Practice in Computer Music.”


His work in the field of live electronic music has made him recipient of numerous grants such as NFPK, Prins Bernhard Cultuurfonds, and the International Music Council.


Founder of The Electronic Hammer, a Computer and Percussion trio and Wiregriot (voice & electronics), he collaborates regularly with Ensemble KLANG (The Netherlands) and Hermes (Belgium), among many others. Since 2009 Parra has been a fellow researcher at the Orpheus Institute (Ghent, Belgium), focused on performance practice in Computer Music.


photo: Catalina Parra


The ​Stanford Center for Computer Research in Music and Acoustics​ (CCRMA) is a multi-disciplinary facility where musicians and researchers work together using computer-based technology both as an artistic medium and as a research tool. Areas of interest span composition and improvisation, performance, hardware and software development, synthesis and analysis, physical modeling algorithms, sensors and actuators, digital signal processing, psychoacoustics and musical acoustics, music cognition and brain science, perceptual audio coding, music information retrieval, audio networking, and data sonification. The CCRMA community consists of administrative and technical staff, faculty, research associates, graduate research assistants, graduate and undergraduate students, visiting scholars, visiting researchers and composers, and industrial associates. University departments represented at CCRMA include Music, Electrical Engineering, Mechanical Engineering, Computer Science, Physics, Art, Theater, Communications, Psychology, and Medical School. The Center offers studies leading to bachelor, masters, and doctoral degrees with a full slate of academic courses, seminars, special interest group meetings, summer workshops, and colloquia. Concerts of computer music are presented throughout the year.



The ​Orpheus Institute in Ghent, Belgium​ has been providing postgraduate education for musicians since 1996 and introduced the first doctoral program for music practitioners in Flanders (2004). Acting as an umbrella institution for Flanders, it is co-governed by the music and dramatic arts departments of all four Flemish colleges, with which it maintains a close working relationship.


Throughout the Institute’s various activities (seminars, conferences, workshops, and associated events) there is a clear focus on the development of a new research discipline in the arts—one that addresses questions and topics that are at the heart of musical practice, building on the unique expertise and perspectives of musicians and in constant dialogue with more established research disciplines.


Within this context, the Orpheus Institute launched an international Research Centre in 2007 that acts as a stable constituent within an ever-growing field of enquiry. The Orpheus Research Centre is a place where musical artists can fruitfully conduct individual and collaborative research on issues that are of concern to all involved in artistic practice. It is important that at the centre of the international Orpheus Institute network is a place, a building, a community. As the concepts and methodologies of artistic research in music have evolved, work at the Orpheus Institute has found new structures. Since 2012, research has been consolidated into a number of groups focused on specific areas, each led by a principal investigator of substantial international reputation as a practising musician. The work of the Orpheus Institute is disseminated through events, publications, and musical performances, and through its active animation of discussion within the sector.



The research group ​Music, Thought and Technology​ (MTT) at the Orpheus Institute in Ghent is an international group of researcher-composer-improviser-theorist musicians engaged with artistic research. The fundamental relationships between music, thought, and technology are well established from various perspectives, but it seems timely to bring this nexus into clearer and more explicit focus.


The aim of MTT is to better articulate emerging practices and understandings of music; To re-ontologise musical artefacts and practices - future, present and past - through the prism of technology; To acknowledge that ideas from technology constitute the common repertoire of concepts for our time; And to investigate this potential through processes of creation, which, as Luciano Floridi has pointed out, is the natural mode of knowledge production in an informational age.



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