Currawong Project is dedicated principally to the creation, ongoing development, and dissemination of open source music software that enables (1) composers to create and (2) performers and music institutions (non-profit entities) to present music meant to engage both new and existing audiences seeking contemporary "classical" music experiences more directly in sync with our prevailing digital culture.

The software suite is designed to integrate two discrete applications of digital technology into a single cohesive platform:

(1) Digital signal processing algorithms, (2) contemporary digital resources that people use on a daily basis, such as the methodology that informs search engine optimization, user experience analysis, and similar data collection protocols that are an essential part of how people in modern societies receive and use information.

We have a keen interest in virtuosity as an intrinsic value. There's nothing new about that. Music written hundreds of years ago assigned just as much value to virtuosity as we do.

Virtuosity in performance, as with any other artistic discipline (true of sports, too) is about command and control. But its true significance in the world of music is in its impact on the listener. Virtuosity compels the listener to pay unusual attention. At the moment a performer displays virtuosity, a responsive listener reacts with a degree of aural delineation not otherwise attained - what may be thought of as the virtuosity of careful listening. (Not a bad outcome!)

Currawong Music Inc. dba Currawong Project is a New York State 501(c)3 non-profit organization.

Currawong Project seeks the financial support of grant-making entities and individuals. Contact us.


Board of Directors

Kevin Larke, President and Secretary, is an audio technology engineer and musical instrument builder based in New York City, specializing in real-time music systems, acoustic instrument tracking, and robotic musical instruments. His experience includes development of analysis-re-synthesis algorithms and audio effects systems at Ensoniq/EMU, acoustic compiler design at Soundball Inc., development of acoustic feature extraction and musical affect measurement software for Sourcetone Inc., and the research on new acoustic ranging and gesture recognition techniques.

Matthias Kriesberg, Vice President and Treasurer, is a composer who during the last 20 years has also practiced music journalism for The New York Times and ongoing computer music research. In 2002 he began a long-term residency at UC San Diego's Center for Research in Computing and the Arts, now part of the Qualcomm Institute. Since 2009 he has collaborated with audio engineer Kevin Larke on the development of new digital tools to expand the space where classical composition, virtuosic performance and digital signal processing intersect.

Aaron Jay Kernis, a composer whose music is featured in concert performances throughout the world, was awarded the Pulitzer Prize in 1998. He has taught composition at the Yale School of Music since 2003, and runs the Composer Lab at the Nashville Symphony and string workshop at the Next Festival. He is a member of the American Academy of Arts and Letters and the Classical Music Hall of Fame. A book about his life in music was recently published by the University of Illinois Press.

Catherine Herbst, an architect licensed in California since 1995, is co-principal of San Diego architecture firm Rinehart Herbst, and Associate Professor and Undergraduate Chair of the School of Architecture at Woodbury University, San Diego. Since its formation in 2000, her firm's practice has established a template for optimal ways of integrating built space with environmental imperatives, conditions and challenges. The firm has developed acoustic innovations and solutions for public spaces, singled out for its World Trade Center Memorial design in the book 9/11 Memorial Visions.

Miller Puckette is known as the creator of the Max and Pure Data real-time computer music software environments. As an MIT undergraduate he won the Putnam mathematics competition in 1979, and finished his PhD at Harvard in 1986. He was a researcher at the MIT Media lab from its inception until 1986, then at the Institute for Research and Coordination in Acoustics/Music (IRCAM) in Paris, and is now professor of music at the University of California, San Diego. He has been a visiting professor at Columbia University and the Technical University of Berlin, and has received two honorary degrees and the SEAMUS award.


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