Music Composition, Performance, & Audio Production
Research areas include real-time computer music programming, real-time performances interactions for humans and computer, contemporary music aesthetics, and analysis. Publications are listed in reverse chronological order.
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Stephen Ruppenthal and I served as Technical Editors for this book publication project. This is an updated reprint of the 1983 second edition of this historic book. Published by the Responsive Ecologies Lab, Toronto Metropolitan University, Canada, 2022. Jason Nolan, Editor.
“Musique Concrète Choir: An Interactive Performance Environment for Any Number of People” (co-authored with William Walker, PhD, Mozilla Corporation). In Proceedings of the 2016 Web Audio Conference (Atlanta, GA, April 4-6, 2016). Georgia Tech University, Atlanta, GA.
“Birds of a Feather (Les Oiseaux de Même Plumage): Dynamic Soundscapes using Real-time Manipulation of Locally Relevant Birdsongs” (co-authored with William Walker, PhD, Mozilla Corporation). In Proceedings of the 2015 Web Audio Conference (Paris, France, January 26-28, 2015). IRCAM, Paris.
“System of Shadows, an interactive performance environment for trumpet/flugelhorn and Kyma” (co-authored with Stephen Ruppenthal, composer, Senior Director, SONY Corporation). In Proceedings of the 2010 International Computer Music Conference (New York, NY), International Computer Music Association, 2010, pp. 34-40.
“Theoretical and formal continuity in James Tenney’s music.”
Contemporary Music Review, Vol. 27, No. 1, Routledge (London), February 2008, pp. 23-45.
“Live performance interaction for humans and machines in the early twenty-first century: one composer's aesthetics for composition and performance practice.”
Organised Sound, Vol. 8, No. 3, Cambridge University Press, December 2003, pp. 305-312.
“Compositional and programming issues Within Lyra, a fully interactive performance environment for violin and Kyma.” In Proceedings of the 2003 International Computer Music Conference (Singapore), International Computer Music Association, September 2003,
“Applying Improvisation Builder to Interactive Composition with MIDI Piano” (co-authored with William Walker, Ph.D., Apple Computer/Xerox PARC). In Proceedings of the 1996 International Computer Music Conference (Hong Kong), International Computer Music Association, 1996, pp. 386-89.
“Things You Need to Think About Before You Write Your Next Tape Piece: Discussion in the Style of a Medieval Dialog Between Two Contemporary Composers” (co-authored with Jim McManus, DMA, Ohlone College).
Journal SEAMUS, Society for Electro-Acoustic Music in the United States, Vol. 11, No. 2, November 1996, pp. 4-7.
“Toward a unification of algorithmic composition, real-time software synthesis, and live performance interaction.” In Proceedings of the 1992 International Computer Music Conference (San Jose, CA), International Computer Music Association, 1992, pp. 158-161.
“Proportional recursive stochastic composition using COMP2, a Smalltalk-80 composition program within the Kyma digital synthesis system.” In Proceedings of the 1991 International Computer Music Conference (Montreal, Canada), International Computer Music Association, 1991, pp. 513-516.
An examination of the theories and compositions of James Tenney, 1982-1985. DMA Dissertation, University of Illinois at Urbana-Champaign, 1990.
“An Interview with James Tenney.” Perspectives of New Music, Vol. 25, No. 1/2, Winter-Summer 1987, pp. 459-466.