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Notes on contributors

To cite this article: (2000) Notes on contributors, , 19:2, 145-146, DOI:

10.1080/07494460000640301
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Contemporary Music Review
2000, Vol. 19, Part 2, p. 145-146
Photocopying permitted by license only
9 2000 OPA (Overseas Publishers Association) N.V.
Published by license under
the Harwood Academic Publishers imprint,
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Notes on Contributors

Julian Anderson is a composer and musicologist w h o teaches at the

Royal College of Music.

G~rard Assayag was born in 1960. In 1980 he won two national competi-
tions for the application of computer technology in the arts with an
artificial intelligence program that generated poems using Chomsky and
Halle's generative phonology theory. In 1985, with composer Claudy
Malherbe, he founded the Computer Assisted Composition research
group at IRCAM. Since 1992 he has been the head of the Music
Representation Group at IRCAM, where he and his team designed the
Open Music Environment.

Eric Daubresse pursued in parallel his musical and scientific studies. He

then collaborated with the French new music ensembles l'Itin~raire and
2E2M - - performing research and realizing pieces in their studios. In
1991 he assumed his current position at IRCAM as a musical assistant.

Joshua Fineberg is a composer, teacher and researcher. He studied at the

Peabody Conservatory and received his Doctorate in composition from
Columbia University. He lived in France from 1990 to 1997 where h e
attended the IRCAM Cursus in Composition et Informatique Musicale,
then went on to realize two pieces for IRCAM and to become a research
composer, teacher and Artistic Director of their Studio on Line project.
His works have been performed and commissioned by leading music
institutions and ensembles from around the world and are published by
Editions Max Eschig. He is currently an Assistant Professor of music at
Harvard University.

Stephen McAdams is a Research Director in the French National

Scientific Research Center. He directs the Auditory Perception team at
the Experimental Psychology Laboratory of the University Ren~
Descartes and the Music Perception and Cognition team at the Institut de
Recherche et de Coordination Acoustique/Musique in Paris. He has pub-

145
146 Notes on Contributors

lished extensively in the domain of music psychology and has edited

two issues of Contemporary Music Review.

Daniel Pressnitzer was born on August 25, 1971. He has a scientific edu-
cation and graduated from a French 'Ecole d'Ingenieur' in 1993. He then
completed a Ph.D at IRCAM on the subject of roughness and musical
dissonance. His interests range from the basic study of the auditory
system to the cognitive processes involved in musical listening.

Horia Surianu is a composer w h o was born in 1952 in Timisoara,

Romania. He has lived in France since 1983 and is a naturalized French
citizen. He w o n the First Prize from the National Superior Conservatory
in Bucharest and received a doctorate in the aesthetics and technology
of art from the University of Paris 1, Panth6on-Sorbonne. His composi-
tions for orchestra, ballet, theater, film, television, chorus and pedagogy
have been performed in most countries of Europe and many others as
well. He is currently an associate professor in musical aesthetics at the
University of Paris 1, Panth4on-Sorbonne.