Paul Lansky

Paul Lansky

Curriculum Vitae

11/26/06

www.paullansky.org

Music Department

Princeton University

Princeton New Jersey 08544-1007

(609) 258 5880

FAX (609) 258 6793

Born 6/18/44, N.Y.C.

Education

High School Music and Art, 1958-61

Queens College. 1961-65, B.A.

Princeton University (1966-69). MFA 1968, Ph.D. 1973

(Dissertation title - Affine Music/String Quartet)

Employment

Dorian Wind Quintet (French Horn) (1965-67)

Mannes College of Music, preparatory department (1963-68)

Swarthmore College (1968-69) Instructor

Princeton University Instructor, 1969-71; Assistant Professor, 1971-77; Associate Professor, 1977-84; Professor of Music, 1984-; Department Chairman 1991-2000; William Shubael Conant Professor of Music, 2001-

Compositions (go here for availability)

Pieces of Advice (2006) five movements for Horn and Piano, written for Bill Purvis and Mihae Lee, Carl Fischer pub.
Songs of Parting (2006), Baritone, Percussion, Guitar, written for Crazy Jane, Carl Fischer pub.
Chatter of Pins (2006), electronic, text, GrimTim Music
Two Sharp Songs (2006), SATB, written for Hobart and Smith Colleges, Carl Fischer pub.
Composition Project for Seniors (2006), electronic, GrimTim Music
A Guy Walks Into A Modal Bar (2006), electronic-interactive, for 5 laptops, Carl Fischer pub., 1st performance, 4/4/06, Princeton University
It All Adds Up, Six Preludes for solo piano, Carl Fischer pub., 1st performance, Lisa Moore, Yale University, Dec. 2, 200
It All Adds up, version for two pianos, Carl Fischer pub. – for Quattro Mani ensemble
Threads, for four percussionists – for So Percussion Ensemble Carl Fischer pub.

Ancient Echoes, flute, clar, ‘cello, piano, percussion and electronic processing – For 8th Blackbird ensemble, 1st perf, 8th Blackbird, Univ of Richmond, Nov. 3, 2005,Carl Fischer pub.
Minor Alterations, violin, guitar, percussion, bassoon, for Clogs Ensemble, Carl Fischer pub.

Etudes and Parodies, for French Horn, Violin and Piano, 2004, Editions New Rochelle

Ricercare Plus, for string quartet, (2 additional mvts for Ricerare, 2000), Carl Fischer pub. 2004

The Dust Bunny, animated cartoon, with Grady Klein and Ted Coffey 2004

A is For..., arrangement for clar, el guit,vibs,vcl, piano, speaker, Carl Fischer pub., 2004

Solitary Songs, 5 songs for voice and computer, GrimTim Music, 2003

Post-Pastoral, GrimTim Music, Computer-generated, 2003, to be released on Canteloupe Records, 2004.

Music for the Same Sea, GrimTim Music, (interactive electronics: theater music for production by Paul Binnerts). (2003-2004)

Folk Tropes, Carl Fischer pub., SATB (two choral pieces) 2003.

Afterbabble (with Grady Klein, animator) 2002

Wedding Song (String Quartet), GrimTim Music, 2002

In the Moment, 8-channels, choreography (and performance by Mark Haim), GrimTim Music 2002.

Follow Me, for electric guitar quartet (2002), Carl Fischer pub..

Alphabet Book: ABC, Countdown, Alphanumeric Song, Interesting Numbers, Pattern's Patterns, A is for..., Say That Again, As Things Were, Um, Folk Song. 2-channel tape, GrimTim Music, 2001, recording: Bridge Records 2002Labyrinth, 8-Channel tape, GrimTim Music, 2000Ricercare, String Quartet, GrimTim Music, 2000.

Ride, 8-channel tape, GrimTim Music, 2000. Recording, Bridge Records, Ride.

Odd Moments, flute, clar, vln, vcl, piano, Carl Fischer pub., 1999

Idle Chatter Junior, computer-processed speech, GrimTim Music, 1999, recording: Bridge Records, Ride

Three Moves for Marimba, G. Schirmer, 1998, recording, Nancy Zeltsman, See Ya Thursday, Equilibrium Records

Heavy Set, Computer-processed piano, strings, GrimTim Music, 1998, recording: Bridge Records, Ride

Semi-Suite, for classical guitar, GrimTim Music, 1998

Now That You Mention It, Computer-processed piano, strings; GrimTim Music, 1997; recording: Conversation Pieces, Bridge Records 9083, 1998

Shadows, Computer-processed piano, voices, strings; GrimTim Music, 199; recording: Conversation Pieces, Bridge Records 9083, 1998

For the Moment, Computer-processed piano, GrimTim Music, 1997; recording: Conversation Pieces, Bridge Records 9083, 1998

Honorable Mention, Computer-processed piano, GrimTim Music, 1997

Andalusia, Computer-processed piano and voice, GrimTim Music, 1997; recording: Conversation Pieces, Bridge Records 9083, 1998

Crooked Courante, Solo guitar, GrimTim Music, 1997; recording: David Starobin, Newdance, Bridge Records 9084, 1998

Chords, Computer-generated tape, GrimTim Music, 1997, recording: Conversation Pieces, Bridge Records 9083, 1998

Dancetracks: Dark Remix, Steve Mackey, guitar, tape; GrimTim Music, 1997; recording: Bridge Records, Ride

Same Scene, Nine Years Later, computer-processed speech, GrimTim Music, 1997; recording: Conversation Pieces, Bridge Records 9083, 1998

Looking Back, for tape, for the 60th Anniversary of the High School of Music and Art, 1996, GrimTim Music, recording: Bridge Records, Ride

Things She Carried, a computer 'opera'. Text by Paul Lansky and Hannah MacKay, reader, Hannah MacKay, 1995-96, GrimTim Music, recording: Bridge Records CD 9076, 1997.

Six Years Ago Monday, for marimba, violin, computer-synthesized tape. First performance, Princeton University, Nov 26, 1996. GrimTim Music (1996)

Dancetracks, for an Improvising Guitarist (computer-synthesized tape, electric guitar) 1994, GrimTim Music. First performance: Tim Brady, London, Feb 18, 1995. Recording: Steve Mackey, Lost and Found, Bridge Records 9065 (1996).

Still Time, (computer-synthesized tape) (1994). GrimTim Music, CRI 683.

Hop, marimba and violin (1993) G Schirmer, BMG/Catalyst 62667-2. First performance: Marimolin Ensemble, Huddersfield Festival, Huddersfield, England, Nov. 25.

Memory Pages, (computer-synthesized tape), Readers: Paul Lansky, Hannah Mackay. GrimTim Music. 1993, Bridge Records, 9050CD.

AshGrove, (computer folk-song setting) (1993), GrimTim Music.

Word Color, (computer-synthesized tape, Hannah Mackay: reader), (1992) GrimTim Music, Bridge Records, 9050CD

Three Campion Choruses, (SATB), (1992), GrimTim Music. First performance: Nemo Festival, Kantilena Koret, John Frandsen, dir., Nemo Festival, Aarhus, Denmark, Aug 1, 1992.

Listening-In, (computer-synthesized-tape) (1991) 7 folk-song settings, (1992) GrimTim Music

Now and Then (computer-synthesized tape) Hannah MacKay: reader (1991) GrimTim Music, Bridge CD 9035 (1992)

Table's Clear (computer-synthesized tape) (1990) GrimTim Music, Bridge CD 9035 (1992)

The Sound of Two Hands (computer-synthesized tape) (1990) GrimTim Music, excerpt published in Computer Music Journal, Vol. 16, No. 1, Spring 1992, Bridge CD 9035 (1992)

NightTraffic (computer-synthesized tape) (1990) Publisher: GrimTim Music, Bridge CD 9035 (1992)

QuakerBridge (computer-synthesized tape) (1990). Publisher: GrimTim Music, Bridge CD 9035 (1992)

Late August (computer-synthesized tape) (1989). Recording: New Albion Records. Publisher: GrimTim Music.

Not So Heavy Metal (with Steve Mackey) (computer-processed performance) (1989). Recording: New Albion Records. Publisher: GrimTim Music.

Talkshow (real-time performance system) (1989). First performance: Paul Lansky, Neil Rolnick, RPI, March 23, 1989. Publisher: GrimTim Music.

The Lesson (computer-synthesized tape) (1989). Publisher: GrimTim Music., Bridge Records, 9050CD

Smalltalk (computer-synthesized tape) (1988). Recording: New Albion Records. Publisher: GrimTim Music

Notjustmoreidlechatter (computer-synthesized tape), recorded on Tellus, the Audio Cassette Magazine, #22, False Phonemes (1988) Neuma CD. Publisher: GrimTim Music, Bridge Records, 9050CD.

Stroll (tape, piano, flute, cello, marimba) (1988) Publisher: Semar Editore, Rome. First Performance, Flederman Ensemble, Sydney Australia, June 24, 1988.

just_more_idle_chatter (computer-synthesized tape) (1987). Recording: Centaur CD CRC 2076. Publisher: GrimTim Music, Bridge Records, 9050CD

Values of Time (tape, string quartet and wind quartet) 1987. First performance: Aspen Music Festival, 1987. Publisher: Semar Editore, Rome.

Wasting (with Brad Garton and Andrew Milburn) (computer-synthesized tape) (1985). Recording: Centaur CD CRC 2076. Publisher: GrimTim Music.

Idle Chatter (computer-synthesized tape) (1985). Recording: Wergo Compact Disc 2010-50. Publisher: GrimTim Music, Bridge Records, 9050CD.

Guy's Harp (computer-synthesized tape) (1984). Recording forthcoming on New Albion Records. Publisher: GrimTim Music.

As it grew dark (computer-synthesized tape) (1983). Recording: Wergo 2031-2. Publisher: GrimTim Music.

As If (string trio and computer-synthesized tape) (1981-82). First Performance: Speculum Musicae, Macmillan Theater, 1983.

Folk-Images (computer-synthesized tape) (1980-81). Publisher: GrimTim Music.

Six Fantasies on a Poem by Thomas Campion (computer-synthesized tape) (1978-79). Recording: CRI SD-456 (1982); also excerpted on sound sheet, Computer Music Journal, Vol. 4/4. Publisher: GrimTim Music. CRI CD 683 (1994).

Serenade (violin, viola, piano) (1978). First performance: Henry Martin, ICSM concert

Dance Suite (piano) (1977) Publisher: Boelke-Bomart, Inc., Hillsdale, NY (1978) 16 pp. First performance: Robert Miller, Columbia University.

Crossworks (piano, flute, clarinet, violin, cello) Publisher: Boelke-Bomart, Inc., Hillsdale, NY (1978) 27pp. Recording: Boston Music Viva, Nonesuch H-71351 (1978) First performance: Da Capo Players, Carnegie Recital Hall.

Fanfare (two French Horns) Publisher: Perspectives of New Music, vol. 14/2, (1976) p. 235.

Artifice (on Ferdinand's Reflection) (computer-synthesized tape) (1975-76). Publisher: GrimTim Music.

mild und leise (computer-synthesized tape) (1973) Recording: Columbia-Odyssey Y34149 (1976). Publisher: GrimTim Music.

Affine Study (piano) (1972)

String Quartet #2 (1971, rev. 1977) Publisher: Boelke-Bomart, Inc. Hillsdale, NY (1978) 21 pp. Recording: Pro-Arte String Quartet, CRI, SD-402 (1979) First performance: Pro Arte String Quartet, University of Wisconsin at Madison.

Modal Fantasy (piano) (1970) Publisher: Columbia University Press, NY, (1975) 20 pp. Recording: Robert Miller, CRI SD-342 (1975) First performance by Robert Miller, Columbia University.

Piano Piece in Three Parts (1968) Publisher: Boelke-Bomart, Inc., Hillsdale, NY (1978) 12 pp. First performance: Robert Miller, Princeton University.

String Quartet #1 (1967) First performance: Composer's Quartet, Princeton 1967.

Verse and Refrain for Solo Flute (1966). First performance: Princeton, 1966, John Heiss.

Discography (to order go here)

Solo CDs

Smalltalk, New Albion 030, (1990):

Smalltalk, Guy's Harp, Late August, Not So Heavy Metal

Homebrew, Bridge 9035, (1992):

Table's Clear, Night Traffic, Now and Then, Quakerbridge, The Sound of Two Hands

More Than Idle Chatter, Bridge 9050 (1994):

Idle Chatter, Word Color, just_more_idle_chatter, The Lesson, Notjustmoreidlechatter, Memory Pages

Fantasies and Tableaux, CRI 683 (1994):

Six Fantasies on a Poem by Thomas Campion, Still Time

Folk Images, Bridge 9060 (1995)

Strut, Tender Ladies, Delia, AshGrove, Hammer, Barbara Allen, Howl, Pine Ridge, Wayfaring Stranger, Pretty Polly, Blue Wine, Motherless Child

Things She Carried, Bridge Records 9076 (1997)

Things She Carried, Things She Noticed, Wish in the Dark, Things She Remembered, Interlude, Things She Read, Everybody Heard, Things She Knew

Conversation Pieces, Bridge Records 9083 (1998)

For the Moment, Chords, Now That You Mention It, Same Scene Nine Years Later, Andalusia, Shadows

Ride, Bridge Records (2000)

Idle Chatter Junior, Ride, Looking Back, Heavy-Set, Dancetracks:Remix

Alphabet Book, Bridge Records 9126

ABC, Countdown, Alphanumeric Song, Interesting Numbers, Pattern's Patterns, A is for..., Say That Again, As Things Were, Um, Folk Song

Music Box, Bridge Records 9210, Wordless, Chatter of Pins, Pavane Noire, On F, Two by Two, Composition Project for Seniors, B-O-B-O, The Joy of F# Minor, PassaKaglia, MusicBox

Etudes and Parodies, Bridge Records 9222, Etudes and Parodies, for Horn Violin and Piano, Semi-Suite, for solo guitar, Ricercare Plus, for String quartet

Single pieces included in various collection/anthology CDs:

Idle chatter: Wergo 2010-50 (New Computer Music)

As it grew dark: Wergo 2031-2 (Computer Music Currents, 11)

just_more_idle_chatter, Centaur CRC 2076 (Inner voices)

Wasting, Centaur CRC 2076 (Inner voices)

Notjustmoreidlechatter: Neuma 450-73 (Electro-acoustic I)

As If (string trio and computer): Centaur CRC 2110 (Virtuoso in computer age I)

Stroll (chamber ensemble and computer) Centaur CRC 2213 (The Composer in the Computer Age III)

Hop: (marimba and violin) Combo Platter, Marimolin BMG/Catalyst 62667-2.

Dancetracks (guitar and tape) Steve Mackey, guitar; Lost and Found Bridge Records 9065, (1996)

Crooked Courante (guitar), David Starobin, Newdance, Bridge Records 9084, 1998

Three Moves for Marimba, Nancy Zeltsman, See Ya Thursday, Equilibrium Records, DQ29, 1999.

Her Song, Ohm, the Early Gurus of Electronic Music, Ellipsis Arts, 2000.

Putative Prelude, Shameless Sarabande, Trollstilt, Dan Trueman, Monica Mugan, Azealea Recordings, 2000.

Post Pastoral Messiah Remix, Canteloupe Records CA21020

Shameless Sarabande, from Semi-Suite David Starobin, New Music With Guitar,

Volume Six Bridge Records 9144

Single pieces included in various collection/anthology LPs:

Modal Fantasy (piano) (1970): CRI SD-342 (1975)

String Quartet #2 (1971, rev. 1977): Pro-Arte String Quartet: CRI SD-402

mild und leise (1973) Recording: Columbia-Odyssey Y34149

Crossworks: Nonesuch H-71351

Six Fantasies on a Poem by Thomas Campion: CRI SD-456

DVD

My Cinema for the Ears, Bridge Records, 2001, a film by Uli Aumueller, made for the ARTE network, featuring Francis Dhomont and Paul Lansky.

Transformations (uses Chords from Conversation Pieces), Media center for Art History, Columbia University, 2000.

Publications

The Importance of Being Digital, tART foundation, Enschede Holland 2004 (monograph 24pp)

My Radiohead Adventure, in The Music and Art of Radiohead, ed. Joseph Tate, Ashgate Press, pp. 168-176

Happily Listening: Open Space, No. 3, 2001, pp 128-132

Interview with Alistair Riddell A Tuner of His World, Context, no. 15/16 (1998), pp. 33-46.

The Inner Voices of Simple Things: A Conversation with Paul Lansky by Jeff Perry. From Perspectives of New Music, Vol. 34/2, pp. 40-61

Ein: A Digital Signal Processing Scratchpad (with Ken Steiglitz) Computer Music Journal, 1995, Vol. 19/3, pp. 18-25.

Being and Going International Journal of Musicology, 1996, Vol. 4/1995, pp. 241-252

Don't tell anyone but... Composer USA, Series III, Vol. 3, No. 1, Winter 1991-92, pp. 3, 14

Review of Elements of Computer Music, F.R. Moore, IEEE Communications Journal, 1992.

A View from the Bus: When Machines Make Music Perspectives of New Music, Vol. 28/2, (Summer 1990)

It's About Time: Some NeXT Perspectives (Part Two), Vol. 28/1, (Winter 1990) pp 170-179 Perspectives of New Music, 1989

It's About Time: Some NeXT Perspectives (Part One), Vol. 27/2, (Summer 1980) pp. 270-81 Perspectives of New Music, 1989

Review of Wayne Slawson, Sound Color, Journal of Music Theory, 1989

Compositional Applications of Linear Predictive Coding, Current Directions in Computer Music Research, ed. Max V. Mathews and John R. Pierce, MIT Press, 1989, pp.5-9

Review of George Perle, Piano Works, and George Perle, Chamber Music Recordings, American Music. Vol. 6/4 (1988) pp. 485-486

The Sound of Software: Computer-Made Music, Perspectives in Computing, Vol. 5, No. 3/4, 1985, pp. 34-42

Computers and Music, Technology and Society, N.J. Institute of Technology, Vol. 4, No. 1, 1985, p. 7

Roads, Curtis; Interview with Paul Lansky, Computer Music Journal, Vol. 7, No. 3, pp. 16-24, Fall 1983, also in The Music Machine, MIT Press, 1989, ed. Curtis Roads, pp. 35-44.

Mix: A program for Digital Signal-Processing, Editing and Synthesis; Princeton University, 1983, 178 pp.

Imagination and Linear Prediction, Proceedings of the 1981 International Computer Music Conference, pp. 379-381, 1981

Synthesis of Timbral Families by Warped Linear Prediction, with K. Steiglitz, Proceedings of IEEE International Conference on Acoustics, Speech and Signal Processing, pp. 576-578, 4/81, and Computer Music Journal, Vol. 5/3, pp. 45-49.

Set, with George Perle, The New Grove Dictionary of Music and Musicians, Vol. 17, 1980, pp. 197-199

George Perle, The New Grove Dictionary of Music and Musicians, Vol. 14, 1980, pp. 536-537

Atonality, with George Perle, The New Grove Dictionary of Music and Musicians, Vol.1, 1980, pp. 669-672

Twelve-Note Composition, with George Perle, The New Grove Dictionary of Music and Musicians, Vol. 19, 1980, pp. 286-296

Acoustics of Music, American Academic Encyclopedia, Vol. 13, 1980, pp. 661-662

Review of Richard Swift String Quartet #4, Notes, June 1978

(with R. Cann, K. Steiglitz, M. Zuckerman) Practical Considerations in the Application of Linear Prediction to Music Synthesis: Proceedings of the First International Conference on Computer Music (1976)

Musikmaschinen: Osterreichische Musickzeitschrift, 31. Jahrgang, Heft 10 (Oct. 1976) pp. 497-500 (also Music-making Machines: Osterriechische Musikzeitschrift, special American issue (October, 1976) pp. 33-36

Fanfares for the Common tone, with Carlton Gamer, Perspectives of New Music, 1976, 14/2-15/1, pp. 229-235.

Pitch-Class Consciousness, Perspectives of New Music, Vol. 13/2 (1975) pp. 30-57.

Texture, in Dictionary of Contemporary Music, edited by John Vinton, New York: E.P. Dutton (1974) pp. 741-747

The Music of Claudio Spies, an Introduction, Tempo, No. 103 (1972) pp. 38-44

(with George Perle) Addition to third edition, Serial Composition and Atonality, by George Perle. Berkeley and Los Angeles, University of California Press (1972) pp.146-181

(review) Experimental Music in Schools by Brian Dennis; Sound and Silence by John Paynter and Peter Aston: Perspectives of New Music, Vol. 10/1 (1971) pp. 340-344

(editor) Proceedings of the American Society of University Composers, Vols. 3-5 (1968-70)

Elliott Carter: 60th Birthday Concert Contemporary Music, Newsletter Vol. III/1-2 (pp. 4-5)

Report from Tanglewood: American Society of University Composer's Institute, Current Musicology, No. 6 (1968) pp. 66-71

Bibliography

Birchall, Steve: Computers and Musical Expression: A Conversation with Paul Lansky and Steve Birchall, Softside, Feb. 1984, No. 47, pp. 26-29

Roads, Curtis; Interview with Paul Lansky, Computer Music Journal, Vol. 7, No. 3, pp. 16-24, Fall 1983, also in The Music Machine, MIT Press, 1989, ed. Curtis Roads, pp. 35-44.

Code, David Loberg, Observations in the Art of Speech: Paul Lansky's Six Fantasies, Perspectives of New Music, Vol. 28/1, pp. 144-169.

Ondishko, Denise: Six Fantasies on a Poem by Thomas Campion: Synthesis and Evolution of Paul Lansky's Music Compositions. Ph.D. dissertation, Eastman School of Music, Rochester, New York, 1990 (Ann Arbor Microfilms).

Cody, Joshua; A Conversation with Paul Lansky, Composer USA, (Bulletin of the National Association of Composers, USA), Series IV, Vol. 1, No. 1, Summer 1994. Published in revised form in Computer Music Journal, 20th Anniversary Issue, Vol. 20/1, pp. 19-24.

Cody, Joshua, An Interview with Paul Lansky. Computer Music Journal, Vol. 20/1, pp 19-24, 20th Anniversary Issue.

Byrne, Madelyn (1999) Speech-based Computer Music Compositions: Selected Works by Charles Dodge and Paul Lansky, Ph.D. dissertation, City University of New York

Perry, Jeff; Inner Voices: An Interview with Paul Lansky: Perspectives of New Music

Blasius, Lee; The Epistemological Murmur of Idle Chatter, Paper read at the conference of the Society for Music Theory, 2000

Software

MIX, a system for creating, processing, computer music on IBM main frame computers 1984.

Cmix: a C-based toolkit for creating, processing, computer music on Unix systems. 1986-

CmixEZ: (with Peter Velikonja), a NeXTStep front-end for Cmix (1993)

ein (with Kenneth Steiglitz) a NeXT-based interface/scratchpad for filter-design, signal processing and general experimentation with DSP algorithms 1991. Version for SGI 1996.

RT (with K. Dickey) a NeXT-based program for real-time mixing, processing of digital sound 1991. Version for SGI, 1996.

marksnd: software system for marking sound files (SGI 1996).

metronome: tuning fork utility for SGI platform.

Also: i/o drivers for PDP11/34 (RSX11), MicroVaxII (Ultrix) custom digital-analog-digital conversion hardware.

Awards, Commissions, Grants

Bearns Prize (1965)

Woodrow Wilson Fellowship (1966)

League of Composers, ISCM Electronic Music Award (1975)

Annual ASCAP awards (1978- )

American Academy/Institute of Arts and Letters, Achievement Award (1977)

Oliver Ellsworth Bicentennial Preceptorship, Princeton University (1974-77)

American Society of Composers, Authors, and Publishers (ASCAP) Awards (1976- )

Jerome Foundation Award (1981)

Commission from Koussevitsky Foundation at the Library of Congress (1981)

Composer's Fellowship from the National Endowment for the Arts (1981)

Commission from Columbia-Princeton Electronic Music Center (1982)

Commission from Fromm Foundation for Contemporary Music (1985)

Commission from the Australian-American Bicentennial Foundation (1988)

Composer's Fellowship, National Endowment for the Arts (1988)

Guggenheim Fellowship, 1990

John Castellini Silver Jubilee Award, Queens College, N.Y. 5/29/90

Recording Award, National Endowment for the Arts, 1991.

Composer's Fellowship: National Endowment for the Arts (1992).

Diem Nemo Festival Commission (1992).

Sonic Arts Network Commission for Tim Brady (1994).

Commission for Marimolin from Meet the Composer/Lila Wallach-Reader's Digest. (1996)

Lifetime Achievement Award from SEAMUS, Society for Electro acoustic Music in the US. Denton, Texas; March 9-11, 2000.

Visiting Appointments, Residencies

Visiting Composer in Residence, N.S.W. Conservatorium of Music, Sydney Australia, spring 1982

Visiting Composer in Residence, California Institute of the Arts, 1987

Visiting Professor, State University of New York at Buffalo, February 1988

Composer in Residence, Aspen Music Festival, 1986-7

Composer in Residence, New South Wales Conservatorium of Music, Sydney Australia, spring 1988

Branscombe Distinguished Visiting Artist in Residence, Rennsaelaer Polytechnic Institute, March 1989

Composer Faculty, June in Buffalo Festival, June 1989

Composer Faculty, Music in Our Time, Indiana University, July 1990

Franz Lehar Composer in Residence, University of Pittsburgh, May 1992

Guest Composer, Composers' Conference, Wellesley, Massachusetts; August 1992

Visiting Distinguished Professor, Ball State University, Ohio; October 1994

Iowa State University: C. Buell Lipa Composer in Residence, September 27-30, 1995

University of California at Santa Barbara, Composer in Residence, November 27-December 1, 1995

Composer in Residence, Duke University, March 1-5, 1997

Guest Composer, Music98, Cincinnati College-Conservatory of Music, June 1998

Featured Composer, ART Festival 2000, Rejkavik, Iceland

Residency, Emory University, March 2001

Residency, Cincinnati College-Conservatory of Music, April 2002

Guest Composer, Florida Electro acoustic Music Festival, March 2002

Featured Composer, Mid-America Music Festival, Bowling Green, October 2002

Maurice Abravanel Distinguished Visiting Composer, University of Utah, Sept. 2003

Professional Activities

Executive Committee, American Society of University Composers, 1970-72

Co-editor, Proceedings of the American Society of University Composers, 1970-72

Associate Editor, Perspectives of New Music, 1972-80

Member ASCAP

Lifetime Member SEAMUS (Society for Electro acoustic Music in the United States)

Panelist, National Endowment for the Arts (1987- 90) Services to Composers, Composer's Fellowships, Overview and Special Projects Panels, Chairman Composer's Fellowship Panel, 1989, 1990.

Principal Investigator for Grants from the National Endowment for the Arts Centers for New Music Resources (1979, 1982, 1984, 1986, 1989, 1990)

Principal Investigator, New Jersey Department of Higher Education, Computers in Curriculum (1986)

Board of Directors, and Officer, International Computer Music Association (1989-1997)

Editorial Board, Perspectives of New Music (chair, editorial board, 2001- )

Board of Directors, Fromm Foundation at Harvard University (1991-2001)

Executive Committee, IEEE Technical Committee on Computer-generated Music

Board of Directors, Electronic Music Foundation

Panelist, ASCAP Young Composer’s Awards

Board Member, International Society for Mathematical Aesthetics

Chair, Editorial Board, Perspectives of New Music (2001- )

University Service

Music Department Chair, (1990-2000)

University Research Board (1993-1997)

Faculty Committee on Computing (1987-1995)

Dean of Faculty Search Committee (1994)

Theater and Dance Committee (1990- )

American Studies Committee (1984- )

Humanities Council Executive Committee (1996-2000)

Ad Hoc Committee on Intellectual Property (1997)

Classroom and Schedule Committee (1997-2000)

President's Architecture Committee (1997- )

Atelier Advisory Committee (1993- )

Advisory Committee on Appointments and Advancements (2002-2003)

Associate Faculty, Department of Computer Science

Faculty Fellow, Princeton Society of Fellows (2002-2004)

Selected Performances

mild und leise, Musica Nova Festival, Glasgow Scotland (6/81)

Folk Images, Six Fantasies, Serenade, Boardwalk Theater, Sydney Opera House, Australia (6/82)

As If, International Computer Music Conference, Eastman School of Music (10/9/83)

As If, N.Y. Philharmonic Horizons Festival, Avery Fisher Hall, Lincoln Center, (6/13/84)

As If, Tanglewood Festival, Tanglewood Mass. (7/28/84)

As If, Lontano Ensemble, London, (10/15/85)

Idle Chatter, International Computer Music Conference, Den Hague, (10/21/86)

As If, Aspen Music Festival, (8/86)

Idle Chatter, Tanglewood Contemporary Music Festival (8/86)

As If, New and Unusual Music Festival, San Francisco, (4/27/87)

Values of Time, Aspen Music Festival (8/1/87)

Guy's Harp, Tanglewood Contemporary Music Festival (8/87)

Values of Time, Green Umbrella Series, 20th Century Players, Los Angeles (11/22/87)

Stroll, The Flederman Ensemble, Boardwalk Hall, Sydney Opera House, Sydney Australia, (6/14/89)

Stroll, San Francisco Contemporary Players, Sacramento, Festival of New American Music, (11/12/89)

Values of Time, Parnassus Ensemble, Merkin Hall, N.Y. (5/5/88)

Idle Chatter, just_more_idle_chatter, Notjustmoreidlechatter, choreographed by Bill T. Jones, Bill T. Jones, Arnie Zane Dance Company. Various performances, including at Joyce Theater (3/89)

Idle Chatter, Zurich International Jazz Festival, 11/90

Values of Time, members of the Seratof Philharmonic, Moscow State University, 1/27/90, Moscow, USSR.

Various recent electronic performances in concert and on radio in Canada, Australia, Sweden, Germany, Spain, Uruguay, USSR, Finland, Iceland, England, Denmark, France, China, Holland, Argentina, Ireland.

Pieces choreographed and performed by Susan Warden, Richard Allen, Guelah Abrahams, Bill T. Jones, Susan Van Pelt, Rene Caso, Berkshire Ballet, Baltimore Path Company.

Ride, at A Great Day in New York Festival, Alice Tully Hall, Lincoln Center, January 2001.