| Academic |
Postgraduate study, Electronic Composition and Computer Science
Ball State University, 1979/1980
Composition: Cleve L. Scott
|
|---|---|
|
Master of Music, Composition
Ball State University, 1979
Thesis/Project: Analyses and Realizations of Stockhausen's Nr. 18 STOP and Nr. 21 Adieu
Composition: Cleve L. Scott Alto Saxophone: Cecil Leeson, Brian Minor Bassoon: Homer Pence |
|
|
Bachelor of Science, Music Theory and Composition
Ball State University, 1977
Composition/Theory: Cleve L. Scott, Morris Knight
Alto Saxophone, Contrabass Sarrusophone: Cecil Leeson |
|
| Work History |
Houseperson, Composer, &c.
1984 – present
Current compositional interests include the generation of musical artifacts using self-contained processes
based on fractal and chaotic algorithms, and the integration of these artifacts and other found objects
into compositional structures.
|
|
Documentation Consultant
1984 – 1989
Doing business as Another Option, I completed several documentation projects for various local
companies, including Xerox Corporation and Eastman Kodak Company.
|
|
|
Instructor
1987 – 1988; Rochester Institute of Technology,
College of Continuing Education
I developed and taught a quarterly seminar, Writing Clear and Concise Instructions,
for business professionals.
|
|
|
Technical Writer
1981 – 1984; Sykes Datatronics, Inc.
I designed and developed user and service documentation for a variety of microcomputer hardware and
software systems for the telephone industry.
|
|
|
Doctoral Fellow
1980; Ball State University, School of Music
As Director of Central Recording Services, I managed and took part in the operation of the university’s
sound recording and reinforcement facilities. I also assisted in Music Technology classes and laboratories,
completed sundry electronics construction projects, took part in planning for facilities expansion, and
assisted in the design of the Music Technology degree program.
|
|
|
Graduate Assistant
1977 – 1979; Ball State University, School of Music
My duties as Associate Director of Electronic Systems for Music Synthesis included assisting in electronic
music classes and laboratories, support for live electronic performance, taking part in the administration of
ESMS, and design of facilities expansion. During 1977, I also taught undergraduate music theory classes.
|
|
| Ancillary Education |
Introductory Java Programming
2000; Finger Lakes Community College (online)
Basically, a waste of time, but the experience debugging the examples was instructive.
|
|
June In Buffalo (Computer Music Component)
1996; State University of New York at Buffalo
Max/ISPW: Cort Lippe, Barry Moon
|
|
|
Information Mapping
1983; Rochester, New York
Methodology for documentation structure and presentation.
|
|
|
Yourdon Structured Analysis and Design
1982; Rochester, New York
SAD for transaction-based systems.
|
|
|
Computer Music Workshop
1981; Colgate University
Music10: Dexter Morrill
|
|
| Other More or Less Pertinent Experience |
Computer Programming
Experienced in c, Pascal, Javascript, HTML, Java, Fortran, Basic, assembler on various platforms
|
|
Occasional Reviewer
1990s; International Computer Music Association Array
|
|
|
Associate Director
1976 – 1980; Facility for Acoustic Research, Muncie, Indiana
|
|
|
Electronic & Acoustic Performance
1973 – 1980; various ensembles, Ball State University
Saxophone, electronics, flute, clarinet, percussion, and contrabass sarrusophone with
|
|
| Representative Compositions (Extant) |
Paper Holes II
2008; two-channel sounds
|
|
Gods
2006; stereophonic sound
Text by Anne Sexton
|
|
|
melting(Freud)
1999; two-channel manufactured sound
|
|
|
Mantis
1995; soprano chanteuse & two-channel tape
Text by Suzanne Greathouse
Premier: 2 Jun 1996, State University of New York at Buffalo
Soprano: Martha Elliot |
|
|
4n×15
1991; two-channel tape
Premier: 23 Nov 1996; Wadsworth Atheneum, Hartford, Connecticut
Presented by Studio of Electronic Music, Inc. & Footnotes Dance Theatre |
|
|
Winter Music
1989; wind ensemble & two-channel tape
|
|
|
Small Onions ’80
1988; two-channel tape
|
|
|
Small Onions '87
1988; two-channel tape
|
|
|
Fragility of the System: Coalescence
1986; two-channel tape
Premier: 20 Mar 1986; University Hall, Ball State University
|
|
|
Irrational Relationships
1985; two-channel tape, 35mm slides
|
|
|
mu
1980 – 2??? (still not finished); quartet for a contrabass player
|
|
|
One Night Stand
1980; two-channel tape (musique concrète)
Premier: 2 May 1980; Oberlin College Conservatory of Music
|
|
|
Timothy's Basement, Act 999
in collaboration with Steve Scott & Michael Dunham
1980; intermedia extravaganza
Premier: 8 Aug 1980; Bracken Performing Arts Plaza, Ball State University
«I'm lost in time (not really; I just got my head stuck in a can).» — Timothy
|
|
|
It Doesn't Matter
in corroboration with Steve Scott
1980; four-channel tape
Premier: 6 Aug 1980; Bracken Performing Arts Plaza, Ball State University
|
|
|
’Cello
1978; 11 ’cellos
Premier: 26 Jan 1979; University Hall, Ball State University
|
|
|
Canons
1977; five voices & two percussionists
Premier: 23 Apr 1977; University Hall, Ball State University
Voice: Randy Gage, Linda Graff, Thom Johnston, Zola McEnterfer, Nancy Wood; Percussion: Susan Martin, Bill Vits |
|
|
On poems by Richard Brautigan
1977; soprano, mezzosoprano, baritone, clarinet, percussionist
Text by Richard Brautigan
Premier: 22 Feb 1977; University Hall, Ball State University
Soprano: Denise Corbett; Mezzosoprano: Deborah Bishop; Baritone: Peter Swenson; Clarinet: June Thomas; Percussion: Brad Roberts |
|