CCRMA Perception-Based Orchestration for Composers

Workshop Date:

Mon, 08/29/2022 – Fri, 09/02/2022

Workshop Description

This intensive online workshop aims to expose participants to contemporary research in music perception and cognition relevant to orchestration and composition (broadly defined) and to help the participants apply this knowledge to their composition and performance in practice. This is achieved through two main modes of teaching: theoretical lectures and practical application in creative projects.

Note: This workshop has been updated from its previous version to reflect the change from an in-person workshop to fully online.


Each day starts with a theoretical lecture curated for an intended audience of active musicians with diverse practices. The topics of these lectures range from music cognition and psychoacoustics to musical repertoire examples and considerations in notation. The lecture portion of each day is followed by a group session where course participants apply theoretical ideas through discussion, critique, and realization of each other’s works.

Who Can Apply

Anyone who is interested in the course topics should apply. There is no application fee. We have a limited number of spots for this workshop, and registration is on a first-come-first-served basis. We do not have any expectations of style or genre for participants of this course, and we believe the topics we discuss can be broadly applicable across different practices. However, the workshop is best suited to musicians that compose and perform music, have some experience with sound recording, can read and write notation, and that are comfortable working collaboratively in a group. We will strive to accommodate a large range of practices; electronic musicians, vocal artists, folk musicians, orchestral composers, and any other sonic practitioners are all encouraged to apply.

Course Dates: 8/29-9/2/22
Participation Fee: $150

No Application Fee

Registration Deadline: Sunday August 21, 2022 (11:59PM PST)

*We are able to offer a limited amount of scholarships in the form of participation fee waivers for those unable to pay the $150 participation fee.


Nick Virzi, H&S Dean’s Fellow at Stanford University, and Lecturer at the Department of Music. His research is based at the Center for Computer Research in Music and Acoustics (CCRMA) and Jasper Ridge Biological Preserve. He has a D.M.A. in Music Composition from Stanford University.

Yuval Adler, PhD Candidate at McGill University. His research is based at the Music Perception and Cognition Laboratory (MPCL), the Center for Interdisciplinary Research in Music Media and Technology (CIRMMT), and the Analysis Creation and Teaching of Orchestration (ACTOR) project. He has an MA in Music Science and Technology from Stanford University.