After UCSD, Boulanger continued his computer music research at The MIT Media Lab, Bell Labs, Stanford’s CCRMA, IBM, Interval Research, and for The One Laptop Per Child Project (OLPC). Throughout his career, Dr.B. was a close collaborator with “The Father of Csound” – Professor Barry Vercoe at MIT, and “The Father of Computer Music” – Dr. Max V. Mathews at Bell Labs, Stanford, and Interval Research. For many years, Boulanger and Vercoe worked on Vercoe’s Csound at MIT and on the OLPC Project; Boulanger and Mathews worked on Mathews’ Radio Baton, Scanned Synthesis, and Phaser Filters.  Further, for more than 25 years, Boulanger and Mathews co-wrote papers, gave lectures and workshops, and performed Boulanger’s compositions together at many Colleges and Universities in the US and abroad including at the Moscow Conservatory, and on The Bourges Festival in France and The Audio Art Festival in Poland, Also, they were featured at many AES, SEAMUS, ICMC and NIME conferences. Boulanger’s ‘open source’ masterpiece, ‘Trapped in Convert”, composed at MIT in the summer of 1979 (in Vercoe’s ‘music11’ language written in RT11 assembly and running on a DEC PDP11) and later revised at MIT in 1986 (in Vercoe’s new ‘C’ version of music11, running on a DEC-VAX11780 rebranded as ‘csound’), is considered to be the ‘first’ Csound piece. As an internationally recognized performing composer, Boulanger has premiered his original interactive works at the Kennedy Center, in Washington, DC, at Alice Tully Hall in NYC, and he has appeared on stage performing his Radio Baton and PowerGlove Concerto with the Newton, Brockton, New Haven, Hamilton, Stanford, Krakow and Moscow Symphonies. Born in 1956, Boulanger’s first symphony (for Two Arp 2600’s and the 100+ member Newton Symphony Orchestra) was commissioned in 1977  by Alan R. Pearlman, (“The Father of the ARP 2600” and the President and founder of ARP Synthesizers and another life-long supporter, friend and collaborator). Dr. Boulanger has published articles on sound design, production and composition in the major electronic music and music technology magazines in the US such as Perspectives of New Music, Electronic Musician, and Keyboard. He has appeared on PBS, NOVA, CBS, The Today Show, and Red Bull TV (With GZA from The Wu-Tang Clan controlling Csound with his brainwaves!).  Boulanger has worked with and performed with BT, Nona Hendrix, and Hank Shocklee (from Public Enemy), and done Csound-based sound design in several Hollywood Films and TV shows (including some Csound-based vocal processing of David Bowie for the SONY Film – Stealth). For MIT Press, Boulanger has authored and edited two canonical computer music textbooks: The Csound Book and The Audio Programming Book.  His company, Boulanger Labs, developed Csound-based iOS apps include csJam, csGrain and csSpectral, and for the Leap Motion Controller they developed an app called MUSE all of which he used to compose and performed a major symphonic work called: ‘Symphonic Muse’ that featured soloists from the Boston Symphony Orchestra.  Boulanger has received many grants, awards, and honors… most notably, he was a Fulbright Professor at the Krakow Academy of Music, and at Berklee, where he has been teaching for over 39 years, ‘Dr. B.’ has been honored with both the “Faculty of the Year Award” and the “President’s Award.” Boulanger’s philosophy is as follows: “For me, music is a medium through which the spiritual essence of all things is revealed and shared. Compositionally, I am interested in extending the ‘voice’ of both student and professional performers through technological means to help them produce a music that connects with the past, lives in the present and speaks to the future. Educationally, I am interested in helping my students to recognize, as I have, that Csound is one of the richest, most expressive, most versatile, and most powerful ‘instruments’ for their creative explorations, realizations, and innovations. Csound itself embraces and preserves the past and points to the future.  It is both foundational and inspirational.  With Csound, one literally stands on the shoulders of giants. It has been my lifelong belief that studying and mastering this incredibly versatile and malleable ‘instrument’ will enable today’s most gifted, talented, brilliant, and curious audio artists, visionaries, and dreamers to create their own unique and truly personal set of musical devices, smart generative systems, new tools, new sounds, new instruments, and find new ways to play, and with them, to create and communicate with a truly unique musical voice.”

Anna Huang is the creator of the Machine Learning (ML) model Coconet that powered Google’s first AI Doodle, the Bach Doodle. In two days, Coconet harmonized 55 million melodies from users around the world. In 2018, she created Music Transformer, a breakthrough in generating music with long-term structure, and the first successful adaptation of the transformer architecture to music. Huang’s International Conference on Learning Representations (ICLR) paper is currently the most cited paper in music generation.

Anna Huang was a Canadian Institute for Advanced Research (CIFAR) AI Chair at Mila (Montreal Institute for Learning Algorithms, now Mila Quebec AI Institute), and continues to hold an adjunct professorship at the University of Montreal. Huang was a judge then organizer for the AI Song Contest 2020-22. She did her PhD at Harvard University, master’s at the MIT Media Lab, and a dual bachelor’s at the University of Southern California in music composition and CS.

He later deepened his expertise in computer music at the Center for New Music and Audio Technologies (CNMAT), completing a Ph.D. in 1994 at the University of California, Berkeley.

Hajdu’s compositional output is diverse, encompassing instrumental, vocal, and electronic works. A significant highlight of his career is the opera Der Sprung – Beschreibung einer Oper, created in collaboration with librettist and filmmaker Thomas Brasch. The opera explores themes of human experience and tragedy through innovative musical and narrative structures.

In 2002, Hajdu premiered his groundbreaking networked performance environment Quintet.net during a multimedia opera production at the Munich Biennale for Contemporary Opera. This tool, which enables real-time networked music performance, exemplifies Hajdu’s pioneering work in interactive and collaborative music-making. That same year, he was appointed Professor of Multimedia Composition at the Hamburg University of Music and Drama (HfMT), where he founded Germany’s first Master’s program in multimedia composition in 2004, solidifying his role as a leading educator in the field.

Throughout his career, Hajdu has been involved in numerous national and international projects, including the European Union’s Culture 2007 initiative CO-ME-DI-A, which focused on collaborative music performance technologies. He also served as Artist-in-Residence at the Goethe-Institut in Boston in 2010 and as a visiting professor at Northeastern University, where he continued to foster international collaborations and explore the frontiers of music and technology.

In addition to his academic and compositional achievements, Hajdu has developed influential software tools that have shaped contemporary music practice. These include Studie II, Quintet.net, MaxScore (co-developed with Nick Didkovsky for music notation in Max/MSP), and DJster, based on Clarence Barlow’s algorithmic composition program Autobusk. These tools reflect Hajdu’s commitment to expanding the possibilities of music creation and performance through technology.

As a composer, Hajdu’s works have been performed extensively across Europe, the Americas, Asia, and Australia, earning him a reputation for innovation and artistry. His music often explores the boundaries between traditional and experimental approaches, integrating acoustic and electronic elements with precision and imagination. He has published numerous articles that delve into the interplay of music, science, and technology, further establishing his influence as a thought leader in the field.

Hajdu is also the founding director of the ligeti center in Hamburg, dedicated to exploring contemporary music and fostering interdisciplinary research. His contributions to the world of music and multimedia composition continue to inspire new generations of composers and technologists.

Anna Huang was a Canadian Institute for Advanced Research (CIFAR) AI Chair at Mila (Montreal Institute for Learning Algorithms, now Mila Quebec AI Institute), and continues to hold an adjunct professorship at the University of Montreal. Huang was a judge then organizer for the AI Song Contest 2020-22. She did her PhD at Harvard University, master’s at the MIT Media Lab, and a dual bachelor’s at the University of Southern California in music composition and CS.