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While the scores included on this CDrom represent a large sampling of my compositional output, they are not comprehensive. Some works were not included because their size (either physically or in terms of data) was prohibitive. A few others were ignored because they seemed redundant to those listed below. The earliest works included herein are quite literally adolescent. These three pieces date back to 1970 and are certainly conventional in the sense of being scored for traditional instruments in familiar idioms. They reflect the kinds of music that engaged me as a teenager: Webern, Wolpe and other atonal composers. I've included them merely because they show my creative origins and how radically much of my work has diverged from that beginning.
Three Minatures (1970)
The next category of works can roughly be described as site specific, compositions conceived for outdoor performance in particular places. These roughly span the years 1973 to 1985. Many of these works can be heard in their entirety on the Innova 2-CD set also entitled Music, Language, and Environment. While these compositions can be heard as stylistically diverse, they all share a common concern for environmental interaction using structured improvisation.
Nexus 1 (1973): three trumpets in the interior of the Grand Canyon, Arizona.
Oracles (1974): ten environmental stimulus compositions for various acoustical media.
Place (1975): a site specific performance for various acoustical media.
Mimus Polyglottos (1976): interspecies communication research with Mockingbirds.
Skydrift (1976-1978): a large outdoor performance work for a large dry lake bed in the Anza-Borrego Desert, CA.
(espial) (1979): an outdoor composition for solo violin and eight cassette recorders in the Anza-Borrego Desert, CA.
Entrainments 1 (1984): speaking voice and electroacoustic transforms of the sounds of a specific location in the Cuyamaca Mountains, CA.
Entrainments 2 (1985): a site specific performance for speaking voices, electronic sounds and computer in the Cuyamaca Mountains, CA
Much of my creative work has been concerned with issues of language: it's relationship to music and cognitive issues surrounding human and non-human communication behavior. These compositions range from somewhat unconventional text settings for voice(s) (a capella or accompanied by instruments and/or electronics) to electroacoustic compositions that explore deep structural aspects of unusual texts (sacred or occult). The first work listed is literally a transcription of environmental sounds into spoken language.
Madrigal: (the language of the environment is encoded in the patterns of its living systems) (1980): for seven voices and 2-channel tape.
Ring of Bone (1981): ten male voices.
Position As Argument (1982): speaking voice, violin and 2-channel tape.
Tabula Angelorum Bonorum 49 (1991): for 2-channels of electronic sounds.
"The Great Liberation Through Hearing..." (1995): amplified string quartet in just-tuning with computer transforms of voice (2-channels).
Inscape 2 (Pied Beauty) (1995): female voice and 2-channels of electronic sounds.
Chreiai 1 (1996): for 2-channels of electronic sounds.
Several works are purely explorations of technological and or acoustical resources even though they touch upon the previously discussed issues of environment and/or language. These explorations, however, have always been acted out in the context of unique compositional and expressive demands.
String Quartet #2 (1976): string quartet in unique tuning system and 2-channels of electronic sounds.
Interjacence (1977): tuba, clarinet, 2 tam-tams, 4-channel tape and binaural tape delay system.
Rainfall at Launching Place (1981): instruments, voice and live electronics.
Simulation 1 (Sonic Mirror) (1986-87): 2-channels of electronic sounds.
Inscape 1: Bosque del Apache (1989): electronic keyboard and 2-channels of electronic sounds.
Pariah (1991): midi violin and computer-controlled laser disk player.
"...with zitterings of flight released" (1993): 2-channels of electronic sounds.
Wildflowers (1994): 2-channels of electronic sounds and projections.
Ennoia 1 (1998): pipe organ and 2-channels of electronic sounds.
Sigils and Mirrors (1998): an electroacoustic composition for ambisonic projection.
Pleroma 1 (1999): live computer music composition for 4 or 8 channels of sound.
Three Dynamical Systems (1999): assorted live electronic devices and video projection.
Ennoia 2 (1999): 2-channels of computer generated sounds.
Gradients 1,2 and 3 (1999): 2-channels of computer generated sounds.
Charaxio (2000): two mixed ensembles and two computers.
Pleroma 3 (2000): live computer music composition for 12 channels of sound.
Errant Light (2001): 2-channels of digital audio.
The remaining three works are in many ways hybrids of the previous categories or simply defy categorization. Two of these are outgrowths of my work as an environmental sound recordist and are based upon hybrid soundscape collages. The last work is an exercise in composed listening.
Chaos and the Emergent Mind of the Pond (1991): audio collage of underwater insect recordings for 2-channel playback.
The Lion in Which the Spirits of the Royal Ancestors Make Their Home (1990-95): an audio/video installation for single channel video tape with 2-channel binaural audio playback and 2-channel audio playback from CD. This installation incorporates two previous works: the video tape Mhondoro Dzemidzimu (1990) and the audio CD of the same title as the installation (1991).
Purposeful Listening In Complex States of Time (1997-98): 20 compositions for solo listener.
A Day at Playa de Oro: Vernacular Sounds of Ecuador (2001): 2-channels of digital audio.