Gary Lee Nelson Vita 2012 - Timara · Motets on Poems of Daniel Brodsky” won several national competitions and were recorded by the Madrigal Singers of Washington University. My

Gary Lee Nelson Professor Emeritus

Computer Music and New Media Conservatory of Music

Oberlin College Oberlin, OH 44074 USA [email protected]

www.timara.oberlin.edu/GaryLeeNelson Home address

One Woodflower Place Santa Fe, NM 87508

440-522-4278

Gary Lee Nelson Application Materials - 1

Personal Information

born: Albion, Michigan children: Sarah Benedict, 19 November 1971 Alyce Hardesty, 3 August 1975 Johanna Quigley, 20 June 1977 home: One Woodflower Place Santa Fe, NM 87508 440.522.4278 email: [email protected] www: www.timara.oberlin.edu/garyleenelson

Education

1963 Bachelor of Music, music composition and performance (tuba), Youngstown University, Youngstown, Ohio.

1963-1964 Graduate study in music theory, University of Michigan, Ann Arbor.

1965-1966 Graduate study in electronic and computer music, Institute of Sonology, Utrecht University, Netherlands.

1968 Master of Arts in music composition, Washington University, Saint Louis, Missouri.

Summer 1969 Graduate study in electronic and computer music, Southern Illinois University, Carbondale.

1974 Doctor of Philosophy in music composition, Washington University in Saint Louis,


Employment Summers 1959-1963

Instructor of Tuba and Music Theory, Allegheny Music Festival, Westminster College, Pennsylvania.

1959-1963 Tuba, Youngstown Philharmonic Orchestra and Akron Symphony, Ohio.

Summers 1964, 1967-1968 Instructor of Tuba and Music Theory, New England Music Camp, Oakland, Maine.

1964-1966 Tuba, Toledo Orchestra, Ohio.

1964-1966 Tuba, Het Kunstmaandorkest, Amsterdam, Netherlands. Frequent substitute with Het Concertgebouw Orkest.

1969-1973 Instructor of Music Theory, Music Division, Creative Arts Department, Purdue University.

Summer 1970 Visiting Lecturer in Computer Music, Department of Music, Washington University, Saint Louis.

1973-1974 Assistant Professor of Music Theory and Composition, School of Music, Bowling Green State University.

1974-Present Professor of Electronic and Computer Music, Conservatory of Music, Oberlin College. Director of the Technology in Music and Related Arts (TIMARA) Program, Conservatory of Music, Oberlin College.

1978 Researcher in Computer Music, Bell Laboratories, Murray Hill, NJ.

1979 Researcher in Computer Music, Ircam, Paris.

Summers 1985-90 Instructor of Music Theory and Composition and Department Chair, National Music Camp, Interlochen, Michigan.

August 1979, January 1981, and Academic year 1985-1986 Visiting Professor at the University of Melbourne, Australia and guest researcher in the Computer Music Project that is jointly administered by the faculties of music and computer science.

Summer 1991 Visiting Professor of Computer Music, National Chiao Tung University, Taiwan.

January 1993 Visiting Professor of Computer Music, Soo Chow University, Taiwan.

1992-present Fellow of the Center for Art and Technology, Connecticut College


Professional References John M. Chowning Professor of Music, Emeritus Center for Computer Research in Music and Acoustics (CCRMA) Stanford University 4235 MCKellar Lane Palo Alto CA 94306 650-493-9289 [email protected] Paul Lansky William Shubael Conant Professor of Music Princeton University 3 Ziff Lane Princeton Junction NJ 08550 609-799-4248 [email protected] Curtis Roads, Professor Vice chair and Graduate Advisor Media Arts and Technology, joint appointment in Music University of California Santa Barbara, CA 93106-606 805-893-2704 [email protected] You may also want to contact the following with regard to my work at Oberlin. David Stull, Dean Conservatory of Music Oberlin College 77 West College Street Oberlin, OH 44074 440-775-8200 [email protected] Tom Lopez, Chair Technology in Music and Related Arts (TIMARA) Conservatory of Music Oberlin College 77 West College Street Oberlin, OH 44074 440-775-8748 [email protected]


Career Narrative I began my musical studies somewhat late at the age of 14 with an interest in both

composition and performance. At 17, I accepted a position as tuba player in the Youngstown Philharmonic Orchestra and began undergraduate study at Youngstown State University. During that time I also played regularly as a substitute in the Akron Symphony. During my undergraduate years I taught music theory and tuba at the Allegheny Music Festival and performed in the faculty orchestra with members from the Cleveland, Minnesota, and Philadelphia Orchestras.

After graduation from Youngstown in 1963 with degrees in composition and performance, I attended the University of Michigan where I played tuba in the orchestra and served as first chair in the symphonic band under William Revelli. At the same time, I was a member of the Toledo and Winsor, Ontario orchestras and the instrumental ensembles of the Composers Forum and the ONCE Festival where I worked with Roger Reynolds, Alvin Lucier, Eric Dolphy, and Morton Feldman. My composition energies became fully charged in Ann Arbor as a result of exposure to a wide range of new music, particularly the electronic works of Stockhausen, Berio, and Davidovsky.

Beginning in the summer of 1964, I taught composition and tuba at the New England Music Camp. I also conducted the “junior” choir and played in the faculty brass quintet.

My first full-time professional position in 1964 was as tubaist with Het Kunstmaandorkest of Amsterdam (since renamed the Netherlands Philharmonic Orchestra). During that time I played as substitute in many Dutch orchestras including the Concertgebouw under Bruno Maderna, Ado De Waart, Pierre Boulez and Willem Haitink. The new music scene in Holland was rich and I immersed myself in performances of experimental music. In 1965, I enrolled part-time at the Institute of Sonology at the University of Utrecht and began my study of electronic and computer music.

In 1966, I resigned my position with Het Kunstmaandorkest and returned to the United States to begin graduate studies in composition with Paul Pisk and Robert Wykes at Washington University in St. Louis. During my tenure in St. Louis I developed interests in research and a love for teaching that led me to my present career as a composer in academia. Two works from that period should be mentioned. My “Three Motets on Poems of Daniel Brodsky” won several national competitions and were recorded by the Madrigal Singers of Washington University. My solo flute piece, “Moreso,” was premiered by Michel Debost and later recorded on Opus One. Near the end of my time in St. Louis, I served as tuba player in the St. Louis Symphony brass quintet for Young Audiences concerts.

My first university position was at Purdue in 1969 where I was the only teacher of music theory and composition in a very small department. I organized and conducted a chamber orchestra and the "Experimental Music Ensemble." I also established a curriculum in electronic and computer music and began the work in this medium that has occupied me to the present day. At Purdue, I also established a town/gown chamber music program. The highlight of that program was a series of concerts I conducted featuring performances of all of the Bach harpsichord concertos on instruments built and played by local musicians.

Near the end of my time at Purdue, I worked again with Pierre Boulez and Max


Matthews as a consultant in the plans to establish a major research center in Paris, later to become known as the Institute for Research and Coordination of Acoustics and Music (IRCAM).

In the summer of 1973, I was invited to compose in the Electronic Music Studio of the Swedish Radio in Stockholm and to lecture at the Institute of Sonology in the Netherlands. Upon my return to the USA in September 1973, I took up a position at Bowling Green State University where I established a computer music research program with a development grant from that university. The following year I accepted Oberlin College's offer to become director of the Technology in Music and Related Arts (TIMARA) Program. Oberlin had already established a firm base in electronic and computer music and this move enabled me to take a giant step forward in my research, teaching and creative activities.

Since coming to Oberlin in 1974, I have become active in professional organizations concerned with computer music. I deliver papers regularly at meetings of the Society of Composers, the Society for Electro-Acoustic Music in the United States (SEAMUS) and at the International Computer Music Conferences (ICMC). At ICMC 78 at Northwestern University, I delivered one of six invited papers and was identified, along with Lejaren Hiller and Iannis Xenakis, as a "pioneer" in computer music composition. In 1986, I was elected to the board of the Computer Music Association.

I have been a guest researcher in computer music at Bell Laboratories, the Center for Music Research at Florida State University and IRCAM in Paris. At IRCAM, I designed software for a device variously known as the IRCAM jukebox and the Everyman Project. That software was used to generate compositions algorithmically from minimal information given casual visitors to the Centre Pompidou. With more detailed and specific information, professional composers could make pieces that were highly individual in style.

In the summer of 1985 I joined the music theory and composition faculty at the National Music Camp in Interlochen, Michigan. During that first summer I drafted a course of study in computer music for high school students. Those classes were added to the NMC curriculum in 1986. I served as chair of composition and theory and expanded the offerings to include a synthesizer ensemble. I also revised the NMC music theory curriculum to focus on practical performance skills like sight singing and improvisation.

During the 85-86 academic year, I was on sabbatical leave from Oberlin to undertake research in the Computer Music Project at Melbourne University in Australia. I was a visiting professor in the Faculty of Music and a guest researcher in the Computer Science Department. During that time I worked with graduate students on research in both music and computer science. Since that time, I have been called upon regularly to serve as an external evaluator of dissertations at Australian universities.

Since returning from Australia, I have concentrated on techniques for using computers in live performance. Along with Oberlin music engineer John Talbert, I designed a "MIDI Horn." This device allows me to control an array of computers and synthesizers using breath and articulation similar to woodwind or brass instruments. With programs of my own design and the MIDI Horn, I am able to merge the roles of composer, conductor, and performer in music that has been well received internationally in more than 400 concerts since 1986. One of my pieces, "Fractal Mountains," won first prize in an international competition for microtonal music at the Third Coast New Music


Festival in San Antonio. The same work was chosen by Wergo Records of West Germany for inclusion in a compact disk anthology of computer music. In 1988, my “Amber Waves” was awarded first prize in music at “Contours of the Mind,” an international competition for computer-based art held at the Australian National University. “Moreso” for solo flute and “Refractions” for MIDI Horn and synthesizers are recorded on Opus One.

In September 1990, I taught in the Oberlin-in-London Program. During my stay in Great Britain I lectured and performed concerts at many universities and delivered papers at the International Computer Music Conference in Glasgow and the Second International Symposium on Electronic Art in Holland.

In the spring and summer of 1991, I undertook a four-month residency at the National Chiao Tung University in Taiwan. During that period I consulted on computer music curricula, taught intensive courses for Taiwanese composers, performed concerts, composed several new works and continued my research in mathematical models for musical composition. In January 1994, I returned to Taiwan for a series of lectures at Soo Chow University in Taipei and consulted with their music faculty on the development of a new undergraduate curriculum in electronic and computer music.

In May 1995, I performed at the Alternativa Festival in Moscow and during May and June of 1996, I undertook an Asian tour with concerts in Hong Kong, Singapore and the Peoples Republic of China. I ended this around-the-world itinerary with lectures and in England and Ireland

In 1999, I was featured in the online version of Discovery Magazine in a piece about fractal music. During the same year, I was awarded a grant from the National Science Foundation to develop a new course called "Algorithmic Approaches to Interactive Composition." In 2001, my work on fractal music was featured on NPR's "Pulse of the Planet."

I have served as a reviewer for the Fulbright Scholars program, Electronic Music Plus Festivals, International Computer Music Conferences and the Florida Artificial Intelligence Conferences. I have performed pre-publication reviews for Taylor and Francis and served as a tenure evaluation referee for many universities throughout the USA. I have received grants from the Ohio Arts Council, the National Science Foundation, the Sloane Foundation and the Shansi Foundation. As an expert witness on “original art,” I have testified in lawsuits involving Adobe vs. MacroMedia and Lucent vs. Apple Computer.

Currently, my research is focused on "algorithmic composition", the design of computer programs that model the human composition process. Most of my music during the past thirty years has been aimed at defining and refining this exciting means of making music. Recently, I have been applying these techniques to the generation and control of video images. At the root of this work is my application of mathematical models to musical form and structure.

In 2000, I began collaborating with photographer and painter Christine Gorbach on short digital films. Three of our films were in the New York Film Festival in 2002. These films, now numbering six, have been screened throughout the USA, Canada, Asia and Europe. Our first film, Hierarchy, represented the United States in Toronto at the Subtle Technologies film festival and was featured in the on-line video magazine, wigged.net, in the April-May 2001 issue. Independent Exposure, a Seattle and San


Francisco arts organization, distributes Hierarchy to film festivals in Europe and South America.

In 2004, I was commissioned by the Boston Museum of Science to create interactive software that demonstrates principles of genetics and evolution through musical sound and graphic animations. “Sonomorphs,” a kind of educational computer game, invtes museum visitors to “breed” populations of “musical animals” by subjectively choosing parents based on how they look or how they sound.

Supported by a grant from the Powers Foundation in 2006, I undertook a lecture/research tour of new media studios in Italy, France, Belgium, Holland, Germany, Austria and the Czech Republic. The highlights of this tour were visits to Tempo Reale in Florence, CCMIX in Paris and the Essl Collection in Vienna,

On the occasion of my retirement, Oberlin presented a three-day festival of my works in May, 2007 along with the works of many graduates and former faculty. Coincident with this festival, Oberlin will release a recording on Centaur’s CDCM series featuring two of my pieces along with works by current and former faculty members of the TIMARA Department. The Oberlin Conservatory has awarded me a “career” leave for 2007-2008 and has funded the production of an audio DVD collection of my older works along with new surround sound compositions made specifically for this release.

In my “other” musical life I perform as Sonny Glare in a duo called “Twechar, ballades and aires in the Celtic tradition.”

My alter ego, Geldryk, the world’s tallest elf, has become a fixture in parades, holiday celebrations and Irish Festivals throughout the midwest. In addition to many corporate parties and concerts, Geldryk volunteers for the Diabetes Association, the American Cancer Society, Summit County Metro Parks, Cuyahoga Valley National Parks and Scenic Railroad (the Polar Express), Akron Art Museum and Akron Children’s Hospital. Geldryk’s specialty is “songs, stories and silliness” and his current repertoire includes more than 200 titles.


Publications "Computer Music: A Novice View", COMPUTER MUSIC NEWSLETTER, no. 1, January, 1971. "NOTATE1: A Program for Automated Music Printing", COMPUTER MUSIC NEWSLETTER,

no. 3, November, 1972. "MPL: A Program Library for Musical Data Processing", CREATIVE COMPUTING, vol. 3, no.

2, March-April, 1977. "Frozen Moments" for harp ensemble in "Harp Album: Repertoire Primer" by Marzuki and

Kaplan, Studio PR Publications. "The Oberlin Musical Program Library (MPL)", Proceedings of the ACM/SIGLASH Conference

on Computing in the Arts and Humanities, New York University, October, 1977. "Electronic Sights and Sounds: Computers adding new dimension to musical and artistic

expression", ASEA INTERNATIONAL, 1979/1, Vasteras, Sweden. "Reflections on my use of Computers in Composition", Proceedings of the International Computer

Music Conference (Northwestern University, November 1978), Northwestern University Press, 1979.

"COM4B Users Manual", Technical Reports of the Institute for Research and Coordination of Acoustics and Music (IRCAM), Paris, France, March, 1979.

"Verdigris" for solo tuba. Prize winning composition in TUBA Journal, May 1985. "APL and Algorithmic Composition", COMPUTER MUSIC JOURNAL, MIT Press, Cambridge,

Massachusetts. Forthcoming. "Moreso" for solo flute, Ludwig Music, Cleveland, 1993. "Real Time Transformation of Musical Material with Fractal Algorithms,"Computers and

Mathematics with Applications, 32:1, pp. 109-116, 1996. "Max, MIDI, Chaos," Music and Computers, 5:2, 1996. “Sonomorphs: An Application of Genetic Algorithms to the Growth and Development of Musical

Organisms,” Proceedings of the Fourth Biennial Art & Technology Symposium, Connecticut College, New London (1993) 155-169

“Further Adventures of the Sonomorphs.,” Proceedings of the Fifth Biennial Art & Technology Symposium, Connecticut College, New London (1995) 51-64

"Who Can be a Composer: New Paradigms for Teaching Creative Process in Music." Proceedings of the Fifth International Conference on Technological Directions in Music Learning, San Antonio, TX, 1998, pp. 61-66.

“Sonomorphs: Breeding Musical Compositions,” Mathematical and Computational Musicology Edited by Klouche, T. & Wirth, H. R. In the Book Series: VERÖFFENTLICHUNGEN DES STAATLICHEN INSTITUTS FÜR MUSIKFORSCHUNG PREUSSISCHER KULTURBESITZ Edited by Ertelt, T. Berlin, Germany. Forthcoming.

Recordings "Fractal Mountains," in Computer Music Currents, vol 10. Wergo Recordings #282 030-2. "Moreso" for solo flute and "Refractions" for MIDI Horn, Opus One Recordings. "To the edge" for solo marimba and "Jabber", CDCM series, Centaur Records. “Progeny,” a digital film to be included in the DVD accompanying The Art of Artificial Evolution:

A Handbook on Evolutionary Art and Music, Natural Computing Series, Editors: Juan Romero, Penousal Machado Springer; (forthcoming October 1, 2007) ISBN-10: 3540728767, ISBN-13: 978-3540728764


Conference Papers April 15, 1971. "Computer Generation of Musical Structures", Midwest Acoustics Conference,

Chicago, Illinois. April 7, 1973. "Symposium on Computer Composition" (panelist), First International Computer

Arts Festival, Mercer Art Center, New York City. May 23, 1973. "Time-varying Functions in Computer Composition", Institute of Sonology,

Utrecht, Netherlands. June 8, 1973. "MUSIC15: A Software/Hardware Approach to Sound Synthesis", Electronic

Music Studios, Stockholm, Sweden. July 21, 1973. "COMPOSE: A Program for Musical Composition", International Conference on

Computers in the Humanities Minneapolis, Minnesota. November 17, 1973. "Data Structures for Computer-Aided Composition", American Society of

University Composers Regional Conference, University of Iowa, Iowa City. February, 1974. "Recent Research in Computer-aided Analysis and Composition", American

Society of University Composers National Conference, Columbia University, New York City.

April, 1974. "Computer Music at Bowling Green State University", Ohio Theory-Composition Teachers Association Spring Meeting, Wright State University, Dayton, Ohio.

October 26, 1974. "Computer Music on Three Mid-Western Campuses" (panelist), American Society of University Composers Regional Meeting, University of Illinois, Champaign-Urbana, Illinois.

December 2, 1974. "Recent Work in Computer-aided Composition and Digital Sound Synthesis", Music Computation Conference, Michigan State University, East Lansing, Michigan.

April 3-6, 1975. "Formalization of Musical Syntax", International Conference on Computers in the Humanities, University of Southern California, Los Angeles.

January 19-21, 1976. "The Computer as a Compositional Tool", (consultant - lecturer), Seminar in Computers and Music, University of Georgia, Athens (under joint sponsorship of Florida State University, University of Georgia, and the National Association of Schools of Music).

April 20, 1976. "Computers in Music", Seminar on Technology and Man, Youngstown State University, Youngstown, Ohio.

August 12, 1976. "MPL: A Program Library for Musical Data Processing", National Consortium for Computer Based Musical Instruction, Minneapolis, Minnesota.

November 7, 1976. "The Oberlin Computer Music System", American Society of University Composers Regional Meeting, Oberlin College, Oberlin, Ohio.

November 23, 1976. "Creativity and Computer Music", Seminar on the Creative Process in Art and Science, University of Delaware, Newark.

May 26, 1977. "Computer-assisted Sound Synthesis and Musical Composition", Computer and Information Science Lectures, Ohio State University, Columbus.

October 20, 1977. "Issues in the Computer-assisted Arts", Keynote address, Fall Users Conference, Mid-Illinois Computer Cooperative (state-wide network), Western Illinois University, Macomb, Illinois.

October 22, 1977. "Composition and Analysis: Computer Tools in Common?", ACM/SIGLASH Conference on Computing in the Arts and Humanities, New York University.

March 24, 1978. "Position Paper on the Establishment of a National Consortium for Electronic Music Standards," American Society of University Composers, University of Miami, Florida.

April 12-16, 1978. "Computer Software for Music Education" (panelist), Music Educators National Conference, Chicago, Illinois.

November 3, 1978. "Reflections on my use of Computers in Composition" (invited paper), International Computer Music Conference, Northwestern University, Chicago, Illinois.

April 18, 1980. Lecture on the composition and programming techniques for "Cycles", Festival of New Music, Ball State University, Muncie, Indiana.


October 18, 1980. "The Oberlin Hybrid Synthesizer," Electronic Music Plus Festival, West Virginia University, Morgantown.

November 15, 1980. "Computer Music at the Oberlin Conservatory of Music", International Computer Music Conference, Queens College, New York.

November 6, 1982. "Algorithmic Composition," American Society of University Composers, Kent State University.

April 5, 1984. "Algorithmic Composition in APL and MPL," American Society of University Composers, Ohio State University.

April 12, 1987. "Quintessence: Music from a Mathematical Model," Conference on Computers in Music,School of Music, University of Michigan, Ann Arbor, MI

June 14, 1987. "MOXC: An Interactive Environment for Computer Music Programming," Third Coast New Music Festival, San Antonio, TX

September 19, 1987. "Algorithmic Approaches to Interactive Composition," Boston Computer Society, Boston, MA

October 17, 1987. "Performance Problems of Live Electronic Music," Audio Engineering Society, New York, NY

February 5, 1988. "The Computer as an Intelligent Partner in Improvisation, Composition, and Performance," Seagate Conference, Ohio Music Educators Association, Toledo, OH

April 23, 1988. "Some Real Time Algorithms for Improvisation of Computer Music," Electronic Music Plus Festival, Composer's Resources, Atlanta, GA

June 3, 1988. "Composing with Intelligent Tools," Seminar on Music and Technology, York University, Toronto

June 10, 1988. "The Composition of Fractal Mountains," Third Coast New Music Festival, San Antonio, TX

June 16, 1988. "Teaching Computing to Students in the Arts," Teaching Computers and the Humanities Courses, Conference of the Association for Computers in the Humanities, Oberlin College

June 23, 1988. "The Computer as an Intelligent Partner in Improvisation, Composition, and Performance," Practicum on Computing in the Fine Arts, Gettysburg College, Gettysburg, PA

November 5, 1988. "The MIDI Horn: An Alternate Controller for Computer Music Performance," New Music and Art Festival, Bowling Green, OH

November 11, 1988. "Interactive Real Time Composition," Symposium Small Computers in the Arts, Philadelphia, PA

September 22, 1989. "The Computer Music Curriculum at Oberlin," Electronic Music Plus Festival, Oberlin, OH

November 3, 1989. "Algorithmic Approaches to Interactive Composition," International Computer Music Conference, Columbus, OH

November 4, 1989. "A Tutorial on MOXC," International Computer Music Conference, Columbus, OH

November 11, 1989. "Recent Works for MIDI Horn, Computer, and Digital Synthesizers," National Conference, Society for Electro-Acoustic Music in the United States (SEAMUS), New York University, NY

March 17, 1990. "Art and Science: Some New Connections," Science Teachers Association, Cleveland Public Schools, OH

April 11, 1990. "Mathematical Models for Musical Composition," Ohio Association for Computing Machinery, Akron, OH

April 18, 1990. "Tutorial on the Use of MIDI Instruments and the Macintosh in Real Time Composition and Performance," Conference on Music and Technology, Youngstown State University.

May 11, 1990. "Interactive Composition and Performance with Computers," Intermedia Arts Foundation, Minneapolis, MN

September 12, 1990. "MPL for the Macintosh: A Tutorial," International Computer Music Conference, Glasgow, Scotland

November 14, 1990. "Using Fractals for Interactive Composition," Second International Symposium on Electronic Art, Groningen, Holland


June 22, 1991. "Composition with Computers: An Introduction," Taiwan National Conference, Asian Composers League, Taipei, Republic of China

August 1, 1991. "Hyperinstruments: A New Resource for Broadcast Media," Symposium on New Musical Media, China Television System, Taipei, Republic of China

March 5, 1993. "Sonomorphs: An Application of Gentic Algorithms to the Growth and Development of Musical Organisms." Symposium on Art and Technology, Connecticut College, New London, CT..

April 4, 1993. "Real Time Transformation of Musical Material with Fractal Algorithms," Society for Electro-Acoustic Music in the United States (SEAMUS), University of Texas, Austin, TX.

January 10, 1994. "Hyperinstruments: Alternate Controllers for Computer Music Composition and Performance" and "Mathematical Models for Musical Composition," Center for Performing Arts and Technology, School of Music, University of Michigan, Ann Arbor.

January 19, 1994. "Mathematical Models for Musical Composition," Music Department, Soochow University, Taipei, Taiwan.

January 26, 1994. "Real Time Transformation of Musical Material with Fractal Algorithms," Music Department, Soochow University, Taipei, Taiwan.

February 2, 1994. "Sonomorphs: An Application of Genetic Algorithms to the Growth and Development of Musical Organisms" Music Department, Soochow University, Taipei, Taiwan.

April 9, 1994. "The Voyage of the Golah Iota: a Composer's Chronicle," Society for Electro-Acoustic Music in the United States (SEAMUS), Middlebury College, Middlebury, Vermont.

March 3, 1995. "Further Adventures of the Sonomorphs." Symposium on Art and Technology, Connecticut College, New London, CT..

March 24, 1995. "An Application of Granular Synthesis, Chaos and Genetic Programming to Musical Composition," Society for Electro-Acoustic Music in the United States (SEAMUS), Ithaca College, Ithaca, New York.

January 30, 1998. "Who Can be a Composer: New Paradigms for Teaching Creative Process in Music." Proceedings of the Fifth International Conference on Technological Directions in Music Learning, San Antonio, TX, 1998, pp. 61-66.

Compositions and Films

1964 "The Space Child's Mother Goose" (children's choir and piano) "Set of Five" (solo flute) "Simon Legree" (male chorus and piano)

1965 "Circuit" (quadraphonic tape) "Seamen Three, What Men Be Ye?" (stereophonic tape)

1967 "Three Motets on Poems of Louis Daniel Brodsky" (SATB) "Trio" (flute, harp, and percussion) "The Long Street" (a theatre piece for dancers, singers, actors, instruments, and quadraphonic tape)

1968 "Textures and Cadenzas" (brass choir, piano, and percussion)

1969 "Tower Music" (stereophonic tape) "Strategies and Tactics" (flute, piano, and stereophonic tape)


1970 "Study in Programmed Composition I" (flute and bassoon) "Study in Programmed Composition II" (flute, clarinet, oboe, and bassoon)

1971 "Among" (SATB and three percussion) "Three Circular Systems" (flute, clarinet, guitar, piano, and synthesizer) "Haiku Transform" (flute, clarinet, guitar, koto, synthesizer, and four dancers) "Island Music" (flute, clarinet, and synthesizer)

1972 "Esoteric Word" (quadraphonic tape) "Encounters" (flute, clarinet, and synthesizer)

1973 "Double Quartet" (quadraphonic tape, clarinet, trombone, bass, and vibraphone) "Function Complex No. 1" (quadraphonic tape) "Function Complex No. 2" (quadraphonic tape) "Function Complex No. 3" (quadraphonic tape) "Function Complex No. 4" (quadraphonic tape) "Function Complex No. 5" (quadraphonic tape) "Function Complex No. 6" (quadraphonic tape and six harps)

1974 "Percusssion Music 113074" (quadraphonic tape) "Particulation" (quadraphonic tape)

1975 "Three Studies in Frequency Modulation" (quadraphonic tape) "Nonet" (quadraphonic tape, flute, oboe, clarinet, bassoon, and vibraphone) "Six Serial Studies" (solo flute) "Frozen Moments" (harp ensemble)

1978 "Two Complex Functions of Time" (quadraphonic tape)

1979 "Invocation" (six analog synthesizers)

1980 "Cycles/Tandem" (hybrid sythesizer and two dancers)

1981 "Phrase Structure One" (quadraphonic tape) "Phrase Structure Two" (quadraphonic tape) "Phrase Structure Three" (quadraphonic tape) "Phrase Structure Four" (quadraphonic tape) "Phrase Structure Five" (quadraphonic tape) "Phrase Structure Six" (quadraphonic tape) "Phrase Structure Seven" (quadraphonic tape)

1982 "Q" (flute and synthesizer)


1983 "Verdigris" (solo tuba) "Webs" (quadraphonic tape)

1984 "Divisible by One" (microcomputer and digital synthesizers) "NOV11" (stereophonic tape) "Impulse" (percussion quartet and quadraphonic tape)

1985 "Phrase Structure Eight" (quadraphonic tape) "Five Summer Scenes" (computer and synthesizers)

1986 "Quintessence" (computer, synthesizers, and MIDI Horn) "Prime Directive" (computer and synthesizers)

1987 "Ice Maidens" (computer, synthesizers, and MIDI Horn) "Warps in Time" (computer, synthesizers, and MIDI Horn) "Sums and Differences" (computer, synthesizers, and MIDI Horn) "Variations on a Theme and Process of Frederic Rzewski" (computer, synthesizers, and MIDI Horn)

1988 "Fractal Mountains" (computer, synthesizers, and MIDI Horn) "Strange Attractors" (computer, synthesizers, and MIDI Horn)

1989 "Moreso" (solo flute) "Refractions I" (computer, synthesizers, and WX7 quartet) "Refractions II" (computer, synthesizers, and MIDI Horn)

1990 "Bendictus" (violin and tape)

1993 "Goss" (computer, synthesizers, and Zeta violin) "Voyage of the Golah Iota!" (quadraphonic sound)

1994 "Colony" (computer, synthesizers, and MIDI Horn)

1995 "Bifurcate me, baby!" (Yamaha Disk Klavier)

1996 "shovel.it!" (quadraphonic sound) “To the Edge” (solo marimba)

1998 "LightSong" (interactive video, computer, synthesizers and MIDI Horn)


2000 "Hierarchy" (film with Christine Gorbach)

2001 "Charitoo" (film with Christine Gorbach) "Death and Transfiguration " (film with Christine Gorbach)

2004 "My Regards" (film with Christine Gorbach) "The Red Line" (film with Christine Gorbach)

2006 "Progeny" (film with Christine Gorbach)

2007 "Jabber" (interactive video with sound) "SnakeEyes" (interactive computer music game for 2 or more players) “Some Banjo Songs” (ballads for folk ensemble on poems of Banjo Paterson)

2008 "Jabber" (film version) “Ogen” (film version of “Snake Eyes”)

in progress "The Tuba Chronicles" (video, quad sound, narrator and solo tuba) "The Ballad of the White Horse" (video, quad sound, narrator and Irish whistle)


Recent Courses Algorithmic approaches to interactive composition You ought to be in pictures Parametric composition The Virtual composer Advanced ound synthesis Sound Image Mathematical models for musical composition HyperInstrument ensemble Laptop ensemble

Grants 1985, Sloane Foundation to develop a course called “Computer music for those who

know nothing about computers or music.” 1995, Ohio Arts Council Individual Artist award for past work in musical

composition. 1996, Shansi Foundation to support a lecture tour of Asia including appearances in

Hong Kong, Sinapore and the People’s Republic of China. 1999, National Science Foundation to develop a new course called "Algorithmic

Approaches to Interactive Composition." 2006, Powers Foundation travel grant for a lecture/research tour of European

computer music and media centers.


Former Students Academia

• Michael Angell. Associate Professor of Music Technology at the University of Alabama Birmingham. http://www.music.uab.edu/Angell.html.

• Mario Diaz de Leon. Winner of the Meet The Composer/Van Lier Fellowship for young composers in 2005. Doctoral student Columbia University

• Bret Battey Senior Lecturer at the Music, Technology and Innovation Research Centre at De Montfort University, Leicester, UK. http://www.mti.dmu.ac.uk.

• Clay Chaplin, Assistant professor of composition, California Institute of the Arts. • Anne Deane Assistant Professor, Iowa State University,

http://www.voxnovus.com/composer/Anne_Deane.htm. • Shawn Decker. Professor in the Art and Technology Department at the Art

Institute of Chicago. http://www.shawndecker.com/. • Howard Fredrics, Senior lecturer in creative music technology at Kingston

University, London. • Kamran Ince, director of the Center for Advanced Research in Music at the

Istanbul Technical University, Turkey. http://www.kamranince.com/ • Michael Klingbeil, assistant professor, Department of Music, Yale.

www.klingbeil.com • Thomas Lopez, associate professor of computer music and digital arts, Oberlin

College. http://www.oberlin.edu/con/faculty/lopez_tom.htm. • Samuel Magrill Professor of Composition University of Central Oklahoma,

Edmond • Arlene Sierra, 2007 winner of a Charles Ives Fellowship from the American

Academy of Arts and Letters, lecturer in composition, Cardiff University, Wales. http://web.mac.com/asie/iWeb/www.arlenesierra.com/biography.html

• Lee Spector. Professor of Cognitive Science, Hampshire University, Amherst, MA. http://hampshire.edu/%7ElasCCS.

• Peter Swendsen. 2006-2007 Fulbright scholar to NoTAM Computer Music Studios in Oslo, Norway. http://www.people.virginia.edu/~pvs8g/. Assistant professor of computer music and digital arts, Oberlin College.

• Peter Todd. Max Planck Institute for Human Development, Berlin. http://www-abc.mpib-berlin.mpg.de/users/ptodd and Professor of cognitive science, Indiana University. http://www.cogs.indiana.edu/pmtodd.html.

Arts and Industry

• Christine Agamanolis, co-founder of Sirens, a Los Angeles-based film scoring and media company. http://www.dahmerfilm.com/sirens.html.

• Cesar Alvarez, winner of the Meet The Composer/Van Lier Fellowship for young composers in 2004.

• David Amlen, founder-owner of Legacy recording studios, NYC. http://www.legacyrecordingstudios.com.

• Cory Arcangel, New York based media artist, co-founder Biege Records. http://www.beigerecords.com/cory/

• David Baron, founder-owner Edison Music Corporation and partner in the Edison


Studios, New York City. http://www.edisonmusiccorp.com/Site/Home.html • David Battino, Founding editor, Music & Computers and O'Reilly Digital Audio

(http://digitalmedia.oreilly.com); co-author, The Art of Digital Music (http://www.artofdigitalmusic.com); principal, Batmosphere (http://www.batmosphere.com).

• Richard Gustafson, CEO of BitCyber.com in Tokyo, Japan, specializing in “e-everything.”

• Charles Harbutt, recording engineer, Sony Classical Records, NYC. Nominated for Grammy for best classical recording (Juilliard String Quartet), Grammy nomination in 1997, Grammy winner in 2001.

• Reed Hayes, founder of http://www.osimusic.com/, in NYC. Prolific creator of TV themes and such.

• Greg Hendershott, founder-owner of Twelve Tone Systems, (http://www.cakewalk.com), manufacturers of the leading music software in the PC market.

• Mic Holwin , founder http://www.lostinbrooklyn.com/ • Eric Huffman. Founder of Synk Audio and author of MusicbedDV, intuitive

software that allows film makers and video artists to access a stock music library to make professional quality soundtracks. http://www.synkaudiostudios.com/

• Geoff Koch, free-lance TV and film composer, Nashville. Scores for A&E, National Geographic, The History Channel and PBS. founder http://kochproductions.com/

• Elbert McLaughlin, Vice President and Cofounder WEBCARGO.net, Montreal, Quebec

• Michael Manion, composer and percussionist, Cologne, Germany. Assistant to Karl-Heinz Stockhausen. http://genterstr.hypermart.net/mm.html

• Patrick Murphy. President and founder Pangolin Laser Systems, http://www.pangolin.com 2004 ILDA Career Achievement Award, http://www.ilda.wa.org/awards2004_career-achievement-award.htm

• Robert Poor, founder of the Wireless Industrial Network Alliance (http://www.wina.org), a coalition of 40 companies promoting industrial wireless applications. Previously worked for film maker George Lucas, NeXT computers with Steve Jobs and MIT Media Lab.

• John Puterbaugh, Co-founder of Nellymoser Inc. (http://www.nellymoser.com), providers of speech and audio technology for Xbox, PS2, FlashMX, and ICs for toys and mobile phones.

• Andy Russ, freelance composer and choreographer, and sound designer for Merce Cunningham Dance Company, New York.

• Mark Warhol, director of Ensemble Warhol, Montreal. Prolific composer of opera and multimedia theatre with major productions in Houston, Montreal and Boston. www.markwarhol.net

• Paul Zinman, founder http://www.soundbyte.com, New York

Documents

Gary Lee Nelson Vita 2012 - Timara · Motets on Poems of Daniel Brodsky” won several national competitions and were recorded by the Madrigal Singers of Washington University. My