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The Consortium to Distribute Computer Music (CDCM) was a nonprofit organization of Dartmouth College. The discography, also referred to as "technography," represents a collection of experimental music composers, mostly, but not exclusively, interdisciplinarity music educators in academia.

The period, beginning 1988, represented the vanguard of rapid technological advances and ensuing market of respective technologies – a leap from analog to microprocessing in 1983,[1] which, during its infancy in the early 1970s, through its period of rapid growth and development in the 1980s. Some of these composers helped bridge technical development with applications.

History

[edit]

Founding studios

[edit]

CDCM is an acronym for Consortium to Distribute Computer Music, which was founded in 1986 – four years after the introduction of the CD – as the outgrowth of a consortium of experimental music studios of colleges and universities:

  1. Bregman Electronic Music Studio at Dartmouth College, established in 1967 by Jon Appleton with a gift from Dartmouth alumnus Jerry Bregman (né Gerald Myron Bregman; 1931–2020), class of 1954. The studio, in 1974, collaborated with the Thayer School of Engineering to support a joint project in digital synthesis between Professor Appleton and Thayer research associate Sydney Allan Alonso (born 1936) – and later, then an undergraduate, Cameron Warner Jones (born 1952; Dartmouth '75; Thayer '77). An outgrowth of the collaboration resulted in the invention of the Synclavier, the first commercially available portable digital synthesizer. In 1980 the studio moved to its current home in Hallgarten Hall as part of the Hopkins Center for the Arts, shortly after the graduate program was inaugurated.
  2. CEMI: Center for Experimental Music and Intermedia at the University of North Texas College of Music, an outgrowth of the work of Merrill Ellis who, in 1963, established a tape and electronic music laboratory for experimental music and ensuing developments, including the Merrill Ellis Intermedia Theater.[2][3]
  3. iEAR; Integrated Electric Arts at the Rensselaer Polytechnic Institute, founded around 1981 by Neil Rolnick
  4. CCM: Center for Contempory Music at Mills College, an outgrowth of the San Francisco Tape Music Center established 1961 by former Mills music students Morton Subotnick and Ramon Sender with help from Pauline Oliveros. In 1966 the center moved to Mills College, where it was later renamed the Center for Contemporary Music.
  5. Winham Laboratory at Princeton University, named for Godfrey Winham, who, in 1970, with Kenneth Steiglitz, established a digital-to-analogue conversion laboratory at Princeton, later renamed the Godfrey Winham Laboratory.
  6. Experimental Music Studios and Computer Music Project at the University of Illinois

CDCM production affiliates

[edit]
  1. CCRMA: Center for Computer Research in Music and Acoustics, Stanford University
  2. CEAIT: Center for Experiments in Art, Information, and Technology, California Institute for the Arts
  3. Center for Studies in Music Technology, Yale University
  4. Computer Music Studio, Colgate University
  5. Center for Computer Music, Brooklyn College, CUNY
  6. Computer Music Center, Eastman School of Music, University of Rochester
  7. School of Music Computing Center, University of Washington
  8. Center for Research in Electro-Acoustical Music, San Jose State University
  9. Banff Centre for Arts and Creativity, Alberta
  10. IRCAM: Institut de Recherche et Coordination Acoustique/Musique, Paris
  11. Computer Music Studio, University of Manitoba
  12. Computer Music Studio, North Carolina State University
  13. Academy of Music Computer Music Studios, Krakow, Poland
  14. University of Miami Recording Studios (Frost School of Music)
  15. Kunitachi College of Music Sonology Department, Tokyo
  16. Recording Studio, The City University (Guildhall School of Music and Drama), London
  17. University of Paris 8 Vincennes-Saint-Denis Computer-aided Composition Studio
  18. Electroacoustic Music Studios of the University of Birmingham, England (see Birmingham ElectroAcoustic Sound Theatre)
  19. The Virginia Center for Computer Music, University of Virginia, Charlottesville
  20. The MidAmerican Center for Contemporary Music of Bowling Green State University

The consortium was founded in 1984 as recipients of a grant from the Consortium Commissioning program of the National Endowment for the Arts to administer three computer music commissions and to present them in significant public performances.

In October 1986, the three original studios expanded to six, establishing CDCM as a non-profit association to organize their collective compositional, technical, and institutional resources to advance the creation, appreciation, and dissemination of computer music. In September 1994, CDCM and the International Computer Music Association, Inc., became non-profit, affiliated organizations.[4]

Personnel

[edit]

Audio context, live experience

[edit]

This discography includes non-computer works, including analog and digital synthesizers, traditional instruments – basically anything that can generate a sound. Some tracks are part of larger works that combine other senses, namely visual. That is, many of the works incorporate film, lighting effects, two-dimensional and three-dimensional. Also, some tracks lack other live experiences – acoustical quality and surround-sound aspects. In some cases, sensory effects created by analog harmonics are lost in the CD versions.[5][a] As reviewer Brian E. Belet (de) put in his review of Vol. 10, "Excerpts from most pieces present a serious aesthetic problem for a listener: preserving the context of the whole is usually impossible."[6]

Technography: CDCM Computer Music Series

[edit]

CDCM Computer Music Series on Centaur Records. The CDCM CDs are arranged in three series with distinctive themes: The Computer Music Studio (Vols. 1–9, a series of studio portraits), The Virtuoso in the Computer Age-I-V (Vols. 10, 11, 13, 14, 15, CDs with an instrumental focus); and The Composer in the Computer Age, I–VII (Vols. 12, 16-20, forthcoming).[7][8]

Some recordings have been redistributed on Naxos Digital Services, Ltd. of Hong Kong.

  The Computer Music Studio (series)
  1. Vol. 1 (1988)[9]
    1. Larry Austin, "Sinfonia Concertante: A Mozartean Episode," for chamber orchestra and computer music narrative; Thomas Clark, conductor (audio via YouTube)
    2. Thomas Clark, PhD (né Thomas Sidney Clark; born 1946), "Peninsula," for piano and computer music on tape; Adam Wodnicki (de), piano
    3. Jerry Hunt, "Fluud," for dual Synclaviers; performed by the composer
    4. Larry Austin, "Sonata Concertante," for piano and computer music on tape; Adam Wodnicki (de), piano
    5. Philip G. Winsor (1938–2012),[b][10] "Dulcimer Dream," for amplified piano
    Produced at Center for Experimental Music and Intermedia (CEMI), University of North Texas College of Music.
    "Sinfonia Concertante" computer music narrative produced at the Center for Computer Music, Brooklyn College.

    Centaur CRC 2029.
    Discogs release ID 1763959.
    Allmusic album ID mw0001842533.

    OCLC 29446121, 181858820, 869592844, 941809007, 1078011392, 890907064.
  2. Vol. 2 (1988)[9][11]
    1. Richard Teitelbaum, "Golem I," for computer music performance system
    2. Martin Bresnick, "Lady Neil's Dumpe," for Yamaha TX816 MIDI rack and Macintosh Plus computer
    3. Neil B. Rolnick, PhD, "What is the Use? for computer performance system
    4. Rick Baitz, "Kaleidocycles," for Synclavier
    5. Scott Lindroth, "Syntax," for Synclavier
    Produced at iEAR Studios, Rensselaer Polytechnic Institute.

    Centaur CRC 2039.
    Discogs release ID 624590.
    Allmusic album ID mw0000684984.
    OCLC 869593088 (all editions), OCLC 1051627615 (all editions).

  3. Vol. 3 (1989)
    1. Salvatore Martirano, "Sampler: Everything Goes When the Whistle Blows"
    2. John Melby, "Chor der Waisen" (1985)
    3. Sever Tipei, "Cuniculi"
    4. Scott A. Wyatt, "Still Hidden Laughs"
    5. Herbert Brun, "I toLD You so!"
    6. Carla Scaletti, "SunSurgeAutomata" (1987)
    Produced at the Experimental Music Studios and Computer Music Project, University of Illinois at Urbana-Champaign.

    Centaur CRC 2045.
    Discogs release ID 1763967.
    Allmusic album ID mw0001538826.
    Allmusic album release ID mr0002727923.
    Allmusic album ID mw0000281524.

  4. Vol. 4: Systems of Judgement, compositions by David Rosenboom (1989)
    1. "Prologue"
    2. "Initial State"
    3. "Central Section"
    4. "Interrupt 1"
    5. "Meaning"
    6. "Interrupt 2"
    7. "Meaning in Context"
    Recorded January–February 1987 and February–May 1988, at CCM: Center for Contemporary Music at Mills College, Oakland, California.

    Centaur CRC 2077.
    Discogs release ID 1763949.
    Allmusic album ID mw0001410387.

  5. Vol. 5 (1990)
    1. Paul Lansky, "Just-More-Idle-Chatter"
    2. Brad Garton, "Approximate Rhythms"
    3. Andrew Milburn, "Elmore"
    4. Martin Butler, "Night Machines"
    5. Frances Lee White (born 1960), "Still Life With Piano"
    6. Alicyn Warren, "Contraption"
    7. Garton, Lansky, Milburn, "Wasting"
    Produced at Winham Laboratory, Princeton University.

    Centaur CRC 2076.
    Discogs release ID 1763981.
    Allmusic album ID mw0001539813.
    Allmusic album release ID mr0002093718
    OCLC 869593089 (all editions).

  6. Vol. 6 (1990)
    1. Jon Appleton, "Brush Canyon"
    2. Paul Moravec, "Devices and Desires"
    3. Christian Wolff, "Mayday Materials" (audio via YouTube)
    4. Jon Appleton, "Degitaru Ongaku"
    5. David Evan Jones, "Still Life Dancing and Still Life in Wood and Metal"
    Produced at The Bregman Electronic Music Studio, Dartmouth College.

    Centaur CRC 2052.
    Discogs release ID 376127.
    Allmusic album ID mw0001367376.

  7. Vol. 7 (1990)[12]
    1. Neil Rolnick, "Vocal Chords," for voice and digital processors
    2. Neil Rolnick, "A Robert Johnson Sampler"
    3. Pauline Oliveros, "Lion's Tale"
    4. Julie Kabat, "Child and the Moon-Tree"
    5. Barton McLean, "Visions Summer Night"
    6. Joel Chadabe, "Modalities"
    Produced at iEAR Studios, Rensselaer Polytechnic Institute.

    Centaur CRC 2047.
    Discogs release ID 624584.
    Allmusic album ID mw0000280715 (review by Rob Theakston).

    1. Chris Chafe, "Quadro," for piano trio and tape (1987)
    2. Allan Schindler, "Tremor of Night and Day," for cello and tape (1984)
    3. David A. Jaffe, "Telegram to the President, for string quartet and tape (1985)
    4. Jonathan Berger, "Diptych", for string quartet, soprano and tape (1986)
    5. Dexter Morrill, "Quartet," for violin, cello & two loudspeakers (1985)
    Performed by The Jefferson String Quartet.

    Centaur CRC 2091.
    Discogs release ID 1768803.
    Allmusic album ID mw0001361013.
    OCLC 873301953 (all editions).

  9. Vol 9: ... Musics, Metaphors, Machines ... (1991)
    1. Phil Winsor, "Anamorphoses," for trumpet ensemble, North Texas Trumpet Ensemble; Leonard Candelaria, conductor
      1. "Changing Rings"
      2. "Stinger"
      3. "Melismata"
      4. "Tukatudaka"
    2. Cindy McTee, "M Music," for saxophone & computer generated tape
      1. "Bins and Bells"
      2. "Kettles and Cans"
      3. "Tins and Tanks"
      4. "Buckets and Bolts"
      5. "Pots and Pans"
    3. James Piekarski, "Dreamfile"
    4. Rodney Waschka II, "A Noite, Porm, Rangeu e Quebrou," ("At Night, However, It Creeks and Breaks"), contrabass and computer music performance systems; George Dimitri, contrabass
    5. Robert Keefe, "Emphimerides," for Harp and Percussion: Moon, 1650–1657," Kathryn Holm, harp; Robert McCormick, percussion
    6. Rowell Rogers, "Cenotaph," computer music on tape
    7. Larry Austin, "Beachcombers," for four musicians and computer music; David Tudor, electronics; Martin Kalve, sheng; Takehisa Kosugi, violin; John Cage, chanting
      (audio via YouTube)
    Produced at Center for Experimental Music and Intermedia (CEMI), University of North Texas.

    Centaur CRC 2078.
    Discogs release ID 1769575.
    Allmusic album ID mw0001824775.

  The Virtuoso in the Computer Age (series)
  1. Vol. 10: The Virtuoso in the Computer Age – I (1991)[13]
    1. Paul Lansky, As If ... , string trio and computer music; Trio Fervoré: Elizabeth Kaderabek (Frank Kaderabek's daughter), violin; Ruth Wright (née Ruth E. Sassaman; born 1959), viola;[c] Douglas McNames, cello; recorded in Richardson Auditorium, Princeton University
      1. "In Preparation"
      2. "At a Distance"
      3. "In Practice"
      4. "In Distinction"
    2. Larry Austin, "Montage," for violin and computer music; Robert Davidovici, violin; recorded at the University of North Texas College of Music
    3. John Melby, "Concerto for Flute and Tape;" Rachel Rudich, flute; recorded at the Experimental Music Studios, University of Illinois
    4. David Rosenboom, "A Precipice In Time," ensemble with computer performance systems; featuring members of the Challenge trio: Braxton (alto saxophone); William Winant (percussion); Rosenboom (conductor); plus four: Chris Brown (piano, celeste); Ami Radunskaya (Sili-Con Cello); Scott Evans (percussion); and Thomas Erbe (four–channel sound rotator with speakers around the audience); recorded at Mills College Concert Hall October 11, 1986; composed in 1966
    5. Anthony Braxton, "Composition No. 107" (excerpt, of "Sections A–E"), ensemble with computer performance systems; recorded live at Crowell Concert Hall, Wesleyan University; featuring the trio Challenge – Braxton (reeds), Rosenboom (piano, electronics, violin), William Winant (percussion); further processing by Rosenboom at the California Institute of the Arts; composed in 1982 (audio via YouTube)

    Centaur CRC 2110.
    Discogs release ID 624615.

  2. Vol. 11: The Virtuoso in the Computer Age – II (1991)[14][15]
    1. Larry Austin, "Life Pulse Prelude," for percussion orchestra
    2. Gareth Loy, "Blood from a Stone," for Mathews electronic violin and interactive computer
    3. Chris Chafe and Dexter Morrill, "Duo Improvisation," celleto & trumpet MIDI systems
    4. Neil Rolnick, "The Persistence of the Clave"
    5. Rodney Waschka II, "Last Night," for alto saxophone and piano
    6. Jon Appleton, "Homenaje a Milanes"
    7. Larry Polansky, "V'leem'shol" ("And to Rule ... ") ("Cantillation Study #2"), for five flutes
    Phil Barham, saxophone; Yumi Mayama-Livesay, piano; Ann La Berge, flutes; Jnos Ngyesy, violin; The Percussion Group: Otte/Culley/Toth; Chris Chafe, celleto; Dexter Morrill, trumpet; Jon Appleton and Neil Rolnick, computer music systems.
    Recorded and produced with support from (i) the Recording Assistance Program of the Texas Composers' Forum and (ii) the Music Recording Program of the National Endowment for the Arts at the Dallas Sound Lab, University of California, San Diego, Hamilton College, iEAR studios at Rensselaer Polytechnic Institute, Bosch Recording Studios, Amsterdam, The Bregman Electronic Music Studio at Dartmouth, California State University, Dominguez Hills.

    Centaur CRC 2133.
    Discogs release ID 623521.
    Allmusic album ID mw0001826434.
    OCLC 890729969.

  3. Vol. 12: The Composer in the Computer Age – I (1992)[16]
    Cincinnati Philharmonia Orchestra and Mary Henderson, soprano, on "The Ruins of the Heart". Michael Brockman, saxophone on "Saxonomy".
    1. Diane Thome, "The Ruins of the Heart" (1990)
    2. John Rahn, "Miranda" (1990)
    3. Richard Karpen, "Saxonomy" (1990–91)
    4. John Rahn, "Kali" (1986)
    5. Richard Karpen, "Denouement" (1991)

    Centaur CRC 2144.
    Discogs release ID 625968.
    Allmusic album ID mw0000685753.
    OCLC 889979246.

  4. Vol. 13: The Virtuoso in the Computer Age – III (1993)
    1. Larry Austin, "La Barbara," Joan La Barbara, soprano
      1. "The Name"
      2. "The Sounds"
      3. "The Music"
    2. Laurie Spiegel, "Cavis Muris," in five movements
    3. Joan La Barbara, "I'Albero Dalle Foglie Azurre," Barbara Herr Orland, oboe
    4. Stephen Travis Pope, "Kombination XI: A Ritual Place," for processed voices, based on the poem by Helmut Heißenbüttel[17]
      1. "Prelude"
      2. "Stanza 1"
      3. "Stanza 2"
      4. "Stanza 3"
      5. "Stanza 4"
      6. "Postlude"

    Centaur CRC 2166.
    Discogs release ID 625960.
    Allmusic album ID mw0001417925.

  5. Vol. 14: The Virtuoso in the Computer Age – IV (1993)
    1. Morton Subotnick, "Trembling"
    2. Rodney Waschka II, "Help Me Remember"
      1. "Looking"
      2. "Listening"
      3. "Dancing"
    4. Salvatore Martirano, "Jest fa' Laffs"
    5. Allan Schindler, "At the Edge"

    Centaur CRC 2177.
    Discogs release ID 625972.
    Allmusic album ID mw0000940623.

  6. Vol. 15: The Virtuoso in the Computer Age – V: Music For the Matthews/Boie Radio Drum and Radio Baton (1994)
    1. David A. Jaffe and Andrew Schloss, "Wildlife," for Zeta violin & radio drum (music for the [Max] Matthews and [Bob] Boie radio drum and radio baton);[18] David Jaffe (Zeta violin) and Andrew Schloss (radio drum) (1994)
      1. Part 1: "Sonata "Sacre"
      2. Part 2: "The Most Religious"
      3. Part 3: "Reversed Orbits"
      4. Part 4: "Oracular and Prophetic"
      5. Part 5: "Edible Trance"
    2. Jon Appleton, "Pacific Rimbombo," Max Mathews (radio drum) (1992)
    3. Ami Radunskaya, "A Wild and Reckless Place," Ami Radunskaya (electronic cello) and Max Mathews (radio baton) (1990)
    4. David A. Jaffe, "Terra Non Firma," Ami Radunskaya, Melissa Burton, Gwyneth Davis, and Nina Flyer (cellos) (1993)
    5. Larry Austin, "Max Mathews Episode," the sixth of seven episodes from Transmission Two: The Great Excursion (1989–90); University of California Chamber Chorus, Chris Brown (keyboards), Chris Chafe (celletto), William Winant (percussion and radio baton); Philip Brett, conductor; live recording of the premiere of the entire work ("Prelude" and seven episodes), broadcast on KPFA-FM, Berkeley, February 26, 1990, Hertz Hall, University of California; computer music systems produced and recorded with the support of a System Development Corporation grant at CCRMA, Stanford University.[19]

    Centaur CRC 2190
    Discogs release ID 1773079.
    Allmusic album ID mw0001371262.

  7. Vol. 16: The Composer in the Computer Age – II (1994)[20]
    1. Larry Austin, "SoundPoemSet"
      1. "Pauline Oliveros"
      2. "Jerry Hunt"
      3. "Morton Subotnick"
      4. "David Tudor"
    2. Michael B. Matthews, PhD, "The First Sea"
    3. Cort Lippe, "Music for Guitar and Tape"
    4. Eugene De Lisa. "S'I Fosse Foco"
    5. Rodney Waschka II, "Xuan Men"
    6. Rick Chatham, "Constellations"

    Centaur CRC 2193.
    Discogs release ID 1773110.
    Allmusic album ID mw0001374288.

  8. Vol. 17: Music from the Center for Contemporary Music (CCM) at Mills College (1994)[21]
    ROOM: Chris Brown (piano and MIDI-piano), William Winant (Airdrums MIDI-controller), Larry Ochs (tenor sax), Scot Gresham-Lancaster (computer and electronics).
    1. John Bischoff, "The Glass Hand"
    2. Chris Brown, "Chain Reaction"
    3. Tom R. Erbe (born 1960), "After a Day"
    4. Maggi Payne, "Resonant Place"
    5. Alvin Curran, "Animal Behavior"
    6. Bischoff, Brown, Erbe, and Payne, "CCM Flotsam," 1–16

    Centaur CRC 2195
    Discogs release ID 1773145.
    Allmusic album ID mw0000145623 (review by "Blue" Gene Tyranny).

  9. Vol. 18: The Composer in the Computer Age–III. (1994)
    1. Paul Lansky, "Stroll," for chamber group and computer music on tape. Recorded at the University of North Texas College of Music 1993. Instrumental recordings made at the University of Illinois.
    2. Cindy McTee, 'M' Music," for alto saxophone and computer music on tape recorded at Center for Experimental Music and Intermedia, University of North Texas College of Music. Debra Richtmeyer, alto saxophone.
      1. "Filigree"
      2. "Orange Blossom"
      3. "Baroque Bypass"
      4. "Dry Ice"
      5. "Filigree"
      6. "Night Song"
    3. Charles Dodge, "In Celebration," for computer music on tape. Recorded and produced at the Nevis Laboratories, Columbia University.
    4. J.B. Floyd, "Tribute," for piano and computer music system. Recorded at Gusman Hall, University of Miami, March 1994. Floyd, piano.
    5. Allen Strange, "Sleeping Beauty," for amplified violin and computer-generated sounds. Recorded at Center for Research in Electo-Acoustic Music, San Jose State University School of Music, November 1993. Patricia Strange, violin.
      1. "Dream of Fools," waltz
      2. "Whispers"
      3. "Noble Procession"
      4. "Peryton"
      5. "Joyous Procession"

    Centaur CRC 2213.
    Discogs release ID 625382.
    Allmusic album ID mw0001836981.
    OCLC 31869526 (all editions).

  10. Vol. 19: The Composer in the Computer Age-IV: A Larry Austin Retrospective, 1967–94 (1995)
    Performers: Mead/Montague Piano Plus (Philip Mead and Stephen Montague) (1st work). Larry Austin, interviewee, CBC Radio Ensemble (2nd work). J.B. Floyd, Yamaha Disklavier and programmer, Robert McCormick and Mel Mobley, percussion (3rd-4th works). David Tudor, piano, the composer, electronics (5th work).
    The 1st work was recorded at Performance Space Recording Studio, City, University of London, March 1994. The 2nd work was a live CBC Radio broadcast performance on Two New Hours, May 10, 1981, from Halifax, Toronto, and Winnipeg. The 3rd and 4th works were recorded at the University of Miami, Coral Gables, January 1994. The 5th work was recorded at the University of California, Davis, spring 1968.
    1. "Accidents Two: Sound Projections for Piano With Computer Music"
    2. Canadian Broadcasting Corporation Radio – Introduction to "Canadian Coastlines"[22]
    3. "Canadian Coastlines: Canonic Fractals for Musicians and Computer Band" – tracings of outlines of Canadian bodies of water to choose musical parameters such as pitch, rhythm, timbre, and duration.
    4. "Quadrants". Event/Complex No. 4 [and] No. 9
    5. "Accidents"

    Centaur CRC 2219.[23]
    Discogs release ID 335825.
    Allmusic album ID mw0001365830.
    OCLC 778855783 (all editions).

  11. Vol. 20: Music from the University of Texas at Austin Electronic Music Studios (1995)
    1. Russell Pinkston, "Don't Look Now"
    2. Mark Wingate, "Ode to the South-Facing Form"
    3. Mark Schultz, "Eaerendil"
    4. Howard Jonathan Fredrics, "Tragedy of The Leaves"
    5. Jody Nagel, "Gandalf the Grey"
    6. Karl Korte, "Colloquy"

    Centaur CRC 2245.
    Discogs release ID 1851017.
    Allmusic album ID mw0001825353.
    Allmusic album release ID mr0002464312.

    .


  International Computer Music Association Commission Awards: 1992–93
  1. Vol. 21 (1995)
    2. Takayuki Rai, "Three Inventions"
    3. Ira Mowitz, קול אהרן ("Kol Aharon"), for violin and computer-generated tape; Cyrus Stevens, violin
    4. Cort Lippe, "Music for Sextet and ISPW"

    (1992) Centaur CRC 2255
    Discogs release ID 1851031.
    Allmusic album ID mw0001368728.


  The Composer in the Computer Age (series) (continued)
  1. Vol. 22: The Composer in the Computer Age – V: A Salvatore Martirano Retrospective: 1962–92 (1995)

    Compositions by Salvatore Martirano.

    1. "Underworld," for 4 actors, 4 percussionists, 2 double basses, tenor saxophone, and tape
    2. "SATBehind Demo"
    3. "Look at the Back of My Head for Awhile," for computer
    4. "Four Not Two," for electronic violin and computer
    5. "Electronic Dance No. 1"
    6. "L's. G.A.," for gassed-masked politico, helium bomb, and two-channel tape recorder (Lincoln's Gettysburg Address)

    Centaur CRC 2266.
    Discogs release ID 627530
    OCLC 890730831, 778855782, 923512896, 34503145.

  2. Vol. 23: The Composer in the Computer Age – VI (1996)
    1. Zack Settel, "Hok Pwah," for soprano, percussion, and live electronics; Margaret Ball, soprano (1993)
    2. Insook Choi, "Lit," for computer-generated sounds on tape (1992–93)
    3. James Phelps, "Sax Houses," for soprano saxophone, NeXT Computer, and computer music on tape (1994); Steve Duke, saxophone
    4. Frances White, "Trees," in three movements, for two violins, viola, and computer music on tape; members of the Cassatt Quartet: Muneko Otani and Jennifer Leshnower, violins; Michiko Oshima, viola (1992)

    Centaur CRC 2302.
    Discogs release ID 627543.
    Allmusic album ID mw0001847276.
    OCLC 35923120, 1127717377, 778855786.

  3. Vol. 24: The Composer in the Computer Age – VII (1997)
    1. James Dashow, "Le Tracce Di Kronos" / "I Passi," for clarinet and computer music on tape. Recorded at the New York University Music Technology Studios, April–May 1996 (1995)
    2. Larry Austin, "Rompido!" for computer music on tape (1993)
      1. "Granite Harp"
      2. "Thunderstone"
      3. "SteleMusic"
    3. Joel Chadabe, "Follow Me Softly," for percussion and Synclavier digital music system. Recorded at SUNY, Buffalo, November 1984 (1984)
    4. Rodney Waschka II, "Visions Of Habakkuk," for computer music on tape (1987; rev. 1996)
    5. Cort Lippe, "Music For Clarinet and ISPW. Recorded at the New York University Music Technology Studios, April–May 1996 (1992)

    Centaur CRC 2310.
    Discogs release ID 627539.
    Allmusic album ID xxx.


  International Computer Music Association Commission Awards: 1994–96
  1. Vol. 25 (1997)
    1. Stephen Montague, "Silence: John, Yvar and Tim" (1994)
    2. Jonty Harrison, "Unsound Objects" (1995; rev. 1996)
    3. Michael B. Matthews, PhD "In Emptiness, Over Emptiness" (1994)
    4. Ricardo Dal Farra (de), "Tierra y Sol" (1996)
    5. Frances White, "Birdwing," for shakuhachi and tape (1996)

    Centaur CRC 2347.
    Discogs release ID 1866502.
    Allmusic album ID mw0001407216 (review by "Blue" Gene Tyranny).


   Mixed series (continued)
  1. Vol. 26: Music from C.R.E.A.M. – Music for Players and Digital Media (1998) (Center for Research in Electro-Acoustic Music, San Jose State University)
    1. Allen Strange
      1. "Evocation"
      2. "Crystal Woman"
      3. "Serpent Woman" (Cihuacoatl)
      4. "Sun Woman" (Sutalidihi)
      5. "Sky Woman" (Selu)
      6. "Jaguar Woman"
    2. Mickey Helms, "Whispering Modulations" (1996)
    3. Brian E. Belet (de), "[Mute]ation" (1994, rev. 1997), electronics (Kyma System, PC-1600 Controller]
    4. Michael Frengel, "Three Short Stories" (1995–96)
      1. "No Pestering"
      2. "Desperation"
      3. "Fun & Games"
    5. Dan Wyman, "Through the Reed," Jennie Hansen, Viola d'Amore (1997)
    6. Doug Michael, "Extensions #1," Doug Michael, electric guitar (1995-96)
    7. Pablo Furman, "Synergy," Danilo Lozano, flute (1989)

    Centaur CRC 2404.
    Discogs release ID 1866529.
    Allmusic album ID xxx.

    .
  2. Vol. 27: CEMIsonics: The Threshold of Sound (1998)
    1. Phil Winsor, "Il Passaggio Spaziale" (1991)
    2. Jon Christopher Nelson, "The Rain Has a Slap and a Curve" (1997)
    3. Yu-Chung Tseng, "A Little Ying-Yang" (1995-96)
    4. Michael Thompson, "Klank: I, II, III, IV" (1997)
    5. Joseph Paul Klein, "Dog" (after W.S. Merwin), for female voice, bassoon, and intermedia (1997)
    6. Thomas Clark, "Lightforms 2: Star Spectra" (1993)
    7. Larry Austin, "Quadrants: Event/Complex No. 1" (1972, tape rev. 1994); North Texas Wind Symphony, Eugene Corporon, conductor

    Centaur CRC 2407.
    Discogs release ID 1870286.
    Allmusic album ID mw0001079142.

  3. Vol. 28: The Composer in the Computer Age – VIII; SoundPlays, Cityscapes, SoundPortraits: 1993–96 (1999); compositions by Larry Austin[24]
    1. "Variations ... Beyond Pierrot," a sound-play in three parts for soprano, five instruments, and computer music (1993–95)
      1. "Part I"
      2. "Part II"
      3. "Part III"
    2. "Shin-Edo: CityscapeSet," computer music in five movements (1994–96)
      1. "Ikebukuro" / "Sunshine City"
      2. "Rikugien Garden"
      3. "Kunitachi Morning"
      4. "Tamagawa-Josui Desu"
      5. "Shinjuku/Ginza"
    3. "BluesAx," for saxophonist and computer music/processing (1995)
      1. "BluesInCameroon"
      2. "Sidney"
      3. "Trane"
      4. "BluesLude"
      5. "Hodges"
      6. "Cadenza"
      7. "BluesOutParker"
    First work: Lori Freedman, bass and soprano clarinets; Arkadiusz Tesarczyk, cello; Michael Matthews, electronics; Mary Jo Carrabré (married to Pat Carrabré), piano; Laurel Ridd, piccolo; Therese Costes, soprano vocalist; Paule Préfontaine, violin. Third work: Steve Duke, soprano/alto saxophones.
    Text for the 1st work from poems written by Albert Giraud, translated by Otto Erich Hartleben and used by Arnold Schoenberg in Pierre Lunaire.

    Centaur CRC 2428.
    Discogs release ID 1870293.
    Allmusic album ID mw0001404923.

  4. Vol. 29: Music From the Virginia Center for Computer Music (1999)
    1. Judith Shatin, "Sea Of Reeds" (1997)
    2. John Gibson, "Thrum" (1998)
    3. Michael B. Long, "There Is a Gray Thing"
    4. Judith Shatin, "Three Summers Heat" (1989)
      1. "Just Now the Sea-Green Banners Fly"
      2. "Just Now the Early Peach Is Red"
      3. "It's Midsummer and Too Hot to Walk"
      4. "Summer Earth Is Windless. Heat Still Presses"
      5. "Light Clothes! Few Clothes!"
      6. "I Remember Desire Like White Light"
      7. "I Raise My Head to Look at T'ung Trees"
    5. Neal Troum, "Organ Nose" (1997)
    6. Brad Derrick, "Odd Waves" (1995)
    7. Alicyn Warren, PhD, "Something Else Again" (1996)
      1. "Opening"
      2. "Quasi Cadenza"
      3. "Aloft"
      4. "Swinglow"
      5. "Emerge" / "Merge Closing"

    Centaur CRC 2454.
    Discogs release ID 1851055.
    Allmusic album ID mw0000610050.
    Allmusic album release ID mr0002071781.

    1. Mark Trayle, "Primitive Still Life" (with pairs), real-time computer music, performed by Trayle (1993)
    2. Barry Schrader, "Beyond," computer music (1992)
    3. David Behrman, "Runthrough: Trayle Realization," real-time computer music, performed by Kolbeinn Einarsson, Jason Kaneshiro, Fawntice McCain, Jeff McIlwain, Sean Rooney, and Mark Trayle (1967, 1999)
    4. David Rosenboom, "Hypatia Speaks to Jefferson in a Dream," from Rosenboom's opera, On being Invisible, Part II; Sam Ashley, narrator; Teri DeSario, Roxanne Merryfield, dream voices; Rosenboom, brainwaves and computer performance (1994–95) (audio via Vimeo)
    5. Morton Subotnick, "It Begins," a media poem, performed by Joan La Barbara, Thomas Buckner, I Nyoman Wenten, voices (1997)[25]

    Centaur CRC 2490.
    Discogs release ID 1851091.
    Allmusic album ID mw0001834297.

    1. Bret Battey, "Pater Nosters Tricyclic Companion," for flute and computer-realized sounds; Sarah Bassingthwaighte, flute
    2. Ron Averill, "Painting Legs on the Snake," for computer-realized sounds – sampled piano sounds manipulated on a NeXT Computer[26] (1993)
      1. (curtain opens to reveal) "The Dark Continent"
      2. "Monk Wandering Westerly"
      3. "Prelude" (fade to black)
    3. Richard Karpen, "Sotto/Sopra," for amplified violin and real-time computer processing; Eric Rynes, violin (1999)
    4. Linda Antas, "A River From the Walls," for flute and computer-realized sounds; Linda Antas, flute (1999)
    5. Elizabeth Hoffman, DMA,[d] "Vim," for computer-realized sounds, implimented with Csound (1995)
    6. William O. Smith (1926–2020), "Transformations," for trombone and computer-realized sounds; Chad Kirby, trombone (1999)

    Centaur CRC 2512.
    Discogs release ID 1858882.
    Allmusic album ID mw0000970188 (review by Bradley Torreano).


  International Computer Music Association Commission Awards: 1997–99
  1. Vol 32 (2001)
    1. Ambrose Field, "Expanse Hotel," for electroacoustic sounds (1999)
    2. Natasha Barrett, "Microclimate I: Snow and Instability," for percussion, double bass, alto flute and electroacoustic sounds (1998)
    3. Ludger Bruemmer, "Lizard Point," for two-channel tape (1997)
    4. Pablo Furman, "Concerto for Ensemble and Electronic Sounds," for flute, clarinet, horn, trombone, percussion, piano, viola, violoncello, and electroacoustic sounds (1997)
    5. Paul Koonce, "Breath and the Machine," for two-channel tape (1999)

    Centaur CRC 2552.
    Discogs release ID 1797484.


  Mixed series (continued)
  1. Vol. 33: Toys in the Attic – Electroacoustic Music from iMPACT: Intermedia/Music Production, Computer Technology Center, Conservatory of Music, University of Missouri at Kansas City
    1. James Mobberley, "TNT" (1994)
    2. Paul Rudy, "Degrees of Separation: Grandchild of Tree" (1999)
    3. Robert Cooper, "Cymbolic" (1995)
    4. Michael McFerron, "Stratum" (1997)
    5. Daniel Nass, "Gitchee Gumme" (1998)
    6. Mikito Oki, "Tribute to Daddy's Bald Head" (1998)
    7. Timothy Place, "Dandelions" (2000)
    8. James Mobberley, "Caution to the Winds" (1987)

    Centaur CRC 2605.
    Discogs release ID 1797455.
    OCLC 778855847, 929919288.

  2. Vol. 34: Four Electroacoustic Dance Suites, by Russell Pinkston.
    1. "Music for Margo's World"
    2. "Dervish Dance Suite"
    3. "Memory of Absence"
    4. "All Round Me"

    Centaur CRC 2764.
    Discogs release ID 1797532.
    OCLC 70117453, 638292168, 778855849.

  3. Vol. 35: The Composer in the Computer Age – X. Ottuplo! Larry Austin: The Eighth Decade (2006)
    1. "Ottuplo!" FLUX Quartet, (ambisonic recording), Smith Quartet (1998-2000)
    2. "Adagio: Convolutions on a Theme by Mozart," F. Gerard Errante, clarinet (2004–5)
    3. "RomaDue" (1965, 1997)
    4. "Tableaux: Convolutions on a Theme," Steve Duke, alto saxophone (2003-4)
    5. "Art Is Self-Alteration Is Cage Is ... ," Robert Black, contrabass (1982–83; 1993)
    6. "Threnos," Michael Lowenstern, bass clarinet (2001–2)
    7. "Les Fl_tes De Pan: Hommage _ Debussy," Jacqueline Martelle, piccolo (2005–6)

    Centaur CRC 2830.
    Discogs release ID 1797578.
    Allmusic album ID mw0001398188 (review by Uncle Dave Lewis).

  4. Vol. 36: The Composer in the Computer Age – XI: Sound Collaborations. Mara Helmuth, composer (2007)[27]
    1. "No. 7" (2004); Mara Helmuth, computer; Allen Otte, performer (gyil, logs)
    2. "Abandoned Lake in Maine" (1997)
    3. "The Man and the Moon" (2004-2006), Alan Bern, accordion; Mara Helmuth, computer
    4. "Smoke (2004-2006), Mara Helmuth, computer; Anna Socha VanMatre, performer (installation of nine graphite paintings, collectively titled, In Time In Between); Rick VanMatre, tenor and soprano saxophones
    5. "The Edge of Noise" (2004), Mara Helmuth, computer; NeXT Ens
    6. "Mountain Wind (2003); Carlos Velez, alto flute; James Massol, bassoon; Kaylie Duncan, cello; Mara Helmuth, computer; I-Yin Tu, flute; Ming Ke, pipa; Timothy O'Neill, violin

    Centaur CRC 2903.
    Discogs release ID 1861218.
    OCLC 825041273, 1051631121.

    1. Olly Wilson, "Piano Piece;" Thomas Fosnocht, piano (1969)
    2. Gary Lee Nelson, "Jabber" (2006)
    3. Conrad Cummings, "Zephyr's Lesson;" Steuart Pincombe, cello; Elise Roy, flute; Jennifer Torrence, percussion (1984)
    4. Tom Lopez, "The Death of the Moth;" The Oberlin Contemporary Music Ensemble; Tim Weiss, conductor (2003)
    5. Edward J. Miller, "Seven Sides of a Crystal;" Peter Takács, piano (1984)
    6. Gary Lee Nelson, "To the Edge;" Deborah Sunya Moore, marimba (1992)
    7. Dary John Mizelle, "Samadhi" (1978)

    Centaur CRC 2938.
    Discogs release ID 1861247.
    Allmusic album ID mw0001874924.
    OCLC 1157890807, 257082532

  6. Vol. 38: Music From Bowling Green State University (MidAmerican Center for Contemporary Music) (2010)[28]
    1. Elainie Lillios, Veiled Resonance, for saxophone and live, interactive electroacoustics; Steve Duke, soprano saxophone
      1. "The Beauty of Inflections"
      2. "The Blackbird Whistling" ("Or Just After ... ")
      3. "The Beauty of Innuendos"
    2. Gluons, electroacoustic music
      1. Dan Tramte, "Boson"
      2. Mikel Kuehn, "Chiaroscuro," for cello and live, interactive electroacoustics; Craig Hultgren, cello
      3. Marilyn Shrude, "Trope," for acoustic and pre-recorded alto saxophones; James Fusik, James Sampen, Jeffrey Heisler, also saxophones
      4. Dan Tramte, "Graviton" (from gluons)
    3. Burton Beerman, Dayscapes, for clarinet and live, interactive electroacoustics
      1. "Sighs and Deep Breaths;" Beerman, clarinet
      2. "Farmer's Dance"
      3. "Left Over Moonlight"
    4. Shane Hoose, "Balance," for percussion and electroacoustic music; Roger B. Schupp, percussion
    5. Gluons, electroacoustic music
      1. Dan Tramte, "Electron" (from gluons)
      2. Gregory Cornelius, "Earth and Green"
      3. Michael Thompson, "Derailed"

    Centaur CRC 3081.
    Discogs release ID 14194670.
    Allmusic album ID mw0002218569.
    OCLC 707638127, 941808912

  7. Vol. 39: Music from the University of North Texas Center for Experimental Music and Intermedia (CEMI) (2013)
    1. Larry Austin, "Redux," for violin and computer music (2007)
    2. David Bithell, "Hithering," an interactive environment for trumpet and computer generated sound (2009)
    3. Joseph Klein, "Zwei Parabel nach Franz Kafka," for narrator, mixed choir, and computer music (2006)
    4. Thomas Clark, "The Fourth Angel," computer music (2007)
    5. Jon Christopher Nelson, "Gerry Rigged," for clarinet and electronics (2004)
    6. David Stout, "Reentry", for live electronics, synthesis engines and steel guitar (2011)
    7. Andrew May, "Still Angry", for flute and clarinet with computer (2007)

    Centaur CRC 3219.
    Discogs release ID xxx.
    Allmusic album ID mw0002474934

    OCLC 826293589, 830040972
[edit]

Composers

Performers

See also

[edit]

Experimental music studios mentioned in this article

[edit]

Other experimental music studios and institutes

[edit]

Bibliography

[edit]

Annotations

[edit]
  1. ^ As put by composer John Bischoff, "one big difference [between analog and digital] is that in an analog environment there was an initially given behavior that had richness, whereas in digital you had to shovel in more and more code to get a similar richness". (Kahn, 2004, p. 78)
  2. ^ Philip Gordon Winsor (1938–2012). (Marshall & Buehner)
  3. ^ Ruth Wright (aka Ruth Frazier; née Ruth E. Sassaman; born 1959), violist, was, at the time of the recording, married to Philadelphia composer Maurice Willis Wright, DMA (born 1949), Professor of Music at Temple University.
  4. ^ Elizabeth Hoffman (born 1961) DMA, composition, University of Washington (1996); M.A., composition, SUNY Stony Brook (1986); B.A., music, Swarthmore College (1985). She studied composition with Diane Thome and Richard Karpen at Washington; Bülent Arel at Stony Brook; Gerald Levinson at Swarthmore. She is married to poet James Leon Labe.

Notes

[edit]
  1. ^ Clark & Austin, Spring 1989, p. 26.
  2. ^ Austin, Winter 2004.
  3. ^ Perez, 1992.
  4. ^ CDCM homepage.
  5. ^ Kahn, 2004, p. 78.
  6. ^ Belet, Winter 1993, p. 84.
  7. ^ Discogs.
  8. ^ Pope, Winter 1993.
  9. ^ a b Rothstein, Summer 1992.
  10. ^ Marshall & Buehner.
  11. ^ Rowe, Winter 1989.
  12. ^ Casey, Summer 1992.
  13. ^ Belet, Winter 1993.
  14. ^ Perkis, Winter 1993.
  15. ^ Sydney Morning Herald, August 2, 1993.
  16. ^ Vantomme, Winter 1993.
  17. ^ Pope, 1992.
  18. ^ Matthews, Boie, Schloss, 1989.
  19. ^ Austin, Boone, Serra, 1991.
  20. ^ Beck, Winter 1995.
  21. ^ Corvet, Summer 1996.
  22. ^ Clark & Austin, Spring 1989.
  23. ^ Manning, p. 438.
  24. ^ Baczewski, Summer 2000.
  25. ^ New York Times, July 18, 1997.
  26. ^ Averill, 1995.
  27. ^ Cincinnati Enquirer, April 4, 2004.
  28. ^ Phelps, Fall 2011.

References

[edit]


Reviews and treatises

[edit]

References relating to the studios

[edit]

Primary sources

[edit]

Journals cited

[edit]


Working





[edit]


Category:Electronic music discographies
Category:Classical music discographies
Category:Experimental music record labels
Category:Distribution companies of the United States
Category:Arts organizations established in 1986
Category:College and university associations and consortia in the United States
Category:Musical advocacy groups
Category:Music organizations based in the United States
Category:Electronic music organizations
Category:Contemporary music organizations
Category:New music organizations
Category:Information technology organizations based in North America
Category:Computer science research organizations
Category:Avant-garde music
Category:Visual music
Category:Audiovisual art
Category:Musique concrète
Category:Classical music in the United States
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