Barry Schrader
Encyclopedia
Barry Schrader is an American composer specializing in electro-acoustic
(primarily electronic) music. His compositions for electronics, dance, film, video, mixed media
, live/electro-acoustic music combinations, and real-time computer performance have been presented throughout the world. Schrader has been acclaimed by the Los Angeles Times as "a composer born to the electronic medium", named "a seminal composer of electro-acoustic music" by Journal SEAMUS, and described by Gramophone as a composer of "approachable electronic music
with a distinctive individual voice to reward the adventurous". "There's a great sweep to Schrader's work that puts it more in line with ambitious large-scale electronic works by the likes of Stockhausen (Hymnen), Eloy (Shanti) and Henry (take your pick), a line that can be traced backwards to Mahler, Bruckner and Beethoven." writes Dan Warburton of the Paris Transatlantic Magazine. Computer Music Journal states that Schrader’s “music withstands the test of time and stands uniquely in the American electronic music genre.”
Schrader began composing electronic music in 1969 while a graduate student at the University of Pittsburgh, where he was also organist for Sunday high mass
at Heinz Chapel. He graduated with an MA degree in musicology and then went to the newly-formed California Institute of the Arts
in Valencia, California
, where he received an MFA in composition in 1971. He was appointed to the School of Music faculty of CalArts in 1971, and has been on the composition faculty ever since. He has also taught at the University of California at Santa Barbara and the California State University at Los Angeles
.
Active in the promotion of electro-acoustic music, Schrader is the founder and the first president of SEAMUS (Society for Electro-Acoustic Music in the United States). He has been involved with the inauguration and operation of several performance series such as SCREAM (Southern California Resource for Electro-Acoustic Music), the Currents concert series at Theatre Vanguard (the first ongoing series of electro-acoustic music concerts in the U.S.), and the CalArts Electro-Acoustic Music Marathon. He has written for several publications including The New Grove Dictionary of Music and Musicians, Grolier’s Encyclopedia, Contemporary Music Review, and Journal SEAMUS, and is the author of the book Introduction to Electro-Acoustic Music.
Part 1: The Land of Ao-lai - The Birth of Monkey
Part 2: Monkey’s Underwater Journey - The Staff of the Milky Way
Part 3: Monkey’s Magic Dance - Jumping Buddha’s Palm
Part 4: Procession of the Immortals - Monkey Becomes a Buddha
Wu Xing: Cycle of Destruction (2005)
Metal
Wood
Earth
Water
Fire
First Spring (2004)
Death (2004)
Before Death
Into Death
After Death
Duke’s Tune (2002)
Still Lives (2000)
Ground (1998)
Extreme Variations on a Theme and Variations by Mel Powell (rev. 1998)
816 (1997)
Beyond (1992)
Dance from the Outside (1989)
Triptych (1987)
California Dream (1986–1987)
Bachahama (1986)
Electronic Suite from Moon-Whales and other Moon Songs (1982–1983)
The Moon-Oak
The Moon-Bull
Moon-Wings
Lost Atlantis (1977)
Introduction: The Pillars of Hercules - The Great Harbor
The Gardens of Cleito
The Temple of Poseidon - The Dance of the Gods
The Gathering of the Kings - The Hunting of the Bulls
The Mystery Rites of Purification
The Destruction of Atlantis - Epilogue: “...and Atlantis Shall Rise.”
Classical Studies (1977)
Canon
Chorale
Perpetuum Mobile
Trinity (1976)
Bestiary (1972–1974)
Introduction & Assemblage
Sea Serpents
The Unicorn
Basilisks
Return & Exit
Celebration (1971)
Apparitions (1970)
Incantation (1970)
Serenade (1969)
Fallen Sparrow for violin and electronic music (2005)
Final Rest I
First Spring
Final Rest II
Mystic Night
Final Rest III
Soaring Flight
Final Rest IV
Ravel for piano and electronic music (2003)
Five Arabesques for clarinet and electronic music (1999)
Arabesque I
Arabesque II
Arabesque III
Arabesque IV
Arabesque V
Excavations for harpsichord and electronic music (1992)
I Prélude non mesuré
II Barroco
Night (with Frank Royon Le Mée) (1990) voice and live interactive computer and electronics
I Night Creeps In
II Night Gate
III Night Dreams
IV Night Prayer
V Night Ghosts
VI Night Chimes
VII Lonely Night
VIIINight Walk
IX La Grande Nuit du Silence
Two : Square Flowers Red : Songs (1990) SATB Choir and electronics, poems by Peter Levitt
Remonstrance (1989) voice and tape
Love, In Memoriam (1989) voice and electronics, poems by Michael Glück
I - L’Oreille coupée
II - Marmelade d’oranges
III -Une histoire de portrait
Twilight (1988) real-time interactive computer and electronics
Extreme Variations on a Theme and Variations by Mel Powell for six computer-controlled Yamaha Clavinovas (1987)
Dance Suite for harp and computer (1987)
I Tango
II Jig
IIISarabande
IV Waltz
Electronic Music Box IV (1985) real-time automated, programmed patch system for Buchla 200
Electronic Music Box III (1984) real-time automated, programmed patch system for Buchla 200
Electronic Music Box II (1983) real-time automated, programmed patch system for Buchla 200
Electronic Music Box I (1982) real-time automated, programmed patch system for Buchla 200
Moon-Whales and Other Moon Songs (1982–1983) soprano, dancers, and 4-channel tape, poems by Ted Hughes
I The Moon-Mare
II The Moon-Oak
III A Moon-Lily
IV Moon-Wings
V Moon-Clock
VI The Moon-Bull
VII Moon-Whales
Elysium (1971) harp, dancers, Buchla 200, projections
Signature for Tempo (1968) soprano and piano
Galaxy of Terror (1982) (Bruce Clark)
Along the Way (1980) (Steve Eagle)
Mobiles (1978) (Jules Engel)
The Glory Road West (1976) (Terry Sanders)
Exploratorium (1975) (Jon Boorstin)
Heavy-Light (1973) (Adam Beckett)
Death of the Red Planet (1973) (Dale Pelton)
How to Make a Woman (1972) (Al Fiering)
California Dream (1987–89) (Michael Scroggins)
music for Otto Piene's Sky Ballet (1970)
Barroco (from Excavations), SEAMUS EAM 9401
Beyond CD, Innova 640
First Spring
Beyond
Duke’s Tune
Death
Beyond, Centaur CRC 2490
EAM CD, Innova 575
Bachahama
Ground
Dance from the Outside
Still Lives
Triptych
Fallen Sparrow CD, Innova 654
Love, In Memoriam
Fallen Sparrow
Five Arabesques,
Ravel
Lost Atlantis CD, Innova 629
Triptych
Lost Atlantis
Introduction: The Pillars of Hercules - The Great Harbor
The Gardens of Cleito
The Temple of Poseidon - The Dance of the Gods
The Gathering of the Kings - The Hunting of the Bulls
The Mystery Rites of Purification
The Destruction of Atlantis - Epilogue: “...and Atlantis Shall Rise.”
Lost Atlantis, Laurel Record LR139
Marmelade d’Oranges (to Lewis Carroll) (from Love, In Memoriam), CIRM CD9311
Monkey King, Innova 703
Wu Xing: Cycle of Destruction
Metal
Wood
Earth
Water
Fire
Monkey King
Part 1: The Land of Ao-lai - The Birth of Monkey
Part 2: Monkey’s Underwater Journey - The Staff of the Milky Way
Part 3: Monkey’s Magic Dance - Jumping Buddha’s Palm
Part 4: Procession of the Immortals - Monkey Becomes a Buddha
Trinity, Opus One Records #93
Electroacoustic music
Electroacoustic music originated in Western art music during its modern era following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition during the mid-20th century are associated with the activities of composers...
(primarily electronic) music. His compositions for electronics, dance, film, video, mixed media
Mixed media
Mixed media, in visual art, refers to an artwork in the making of which more than one medium has been employed.There is an important distinction between "mixed-media" artworks and "multimedia art". Mixed media tends to refer to a work of visual art that combines various traditionally distinct...
, live/electro-acoustic music combinations, and real-time computer performance have been presented throughout the world. Schrader has been acclaimed by the Los Angeles Times as "a composer born to the electronic medium", named "a seminal composer of electro-acoustic music" by Journal SEAMUS, and described by Gramophone as a composer of "approachable electronic music
Electronic music
Electronic music is music that employs electronic musical instruments and electronic music technology in its production. In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound...
with a distinctive individual voice to reward the adventurous". "There's a great sweep to Schrader's work that puts it more in line with ambitious large-scale electronic works by the likes of Stockhausen (Hymnen), Eloy (Shanti) and Henry (take your pick), a line that can be traced backwards to Mahler, Bruckner and Beethoven." writes Dan Warburton of the Paris Transatlantic Magazine. Computer Music Journal states that Schrader’s “music withstands the test of time and stands uniquely in the American electronic music genre.”
Schrader began composing electronic music in 1969 while a graduate student at the University of Pittsburgh, where he was also organist for Sunday high mass
High Mass
High Mass may mean:*Solemn Mass, a Tridentine Mass celebrated with deacon and subdeacon *Missa Cantata, a sung Tridentine Mass without deacon and subdeacon...
at Heinz Chapel. He graduated with an MA degree in musicology and then went to the newly-formed California Institute of the Arts
California Institute of the Arts
The California Institute of the Arts, commonly referred to as CalArts, is located in Valencia, in Los Angeles County, California. It was incorporated in 1961 as the first degree-granting institution of higher learning in the United States created specifically for students of both the visual and the...
in Valencia, California
Valencia, California
Valencia is an affluent planned community located in the City of Santa Clarita, California and Los Angeles County, California, U.S. in the northwestern corner of the Santa Clarita Valley, adjacent to Interstate 5. In 1987, it was one of the four unincorporated communities that merged to create the...
, where he received an MFA in composition in 1971. He was appointed to the School of Music faculty of CalArts in 1971, and has been on the composition faculty ever since. He has also taught at the University of California at Santa Barbara and the California State University at Los Angeles
California State University, Los Angeles
California State University, Los Angeles is a public comprehensive university, part of the California State University system...
.
Active in the promotion of electro-acoustic music, Schrader is the founder and the first president of SEAMUS (Society for Electro-Acoustic Music in the United States). He has been involved with the inauguration and operation of several performance series such as SCREAM (Southern California Resource for Electro-Acoustic Music), the Currents concert series at Theatre Vanguard (the first ongoing series of electro-acoustic music concerts in the U.S.), and the CalArts Electro-Acoustic Music Marathon. He has written for several publications including The New Grove Dictionary of Music and Musicians, Grolier’s Encyclopedia, Contemporary Music Review, and Journal SEAMUS, and is the author of the book Introduction to Electro-Acoustic Music.
Timbre
Schrader’s compositional style reveals a number of major concerns. One of the most important is his concern for timbre. As most of his music uses only electronically generated material (as opposed to the use of recorded concrete (acoustic) material), Schrader creates unique timbres for all of his works, and these are often designed specifically for use in a particular composition. His early music was created on Buchla modular analog control voltage systems (both the 100 and 200 (Electric Music Box) series), and the best known of these works are Trinity (1976) and Lost Atlantis (1977). In 1985, Schrader made the transition from analog to digital and his work since then has been computer-based. The timbres that he creates are all time-variant structures, as Schrader believes that periodic electronic timbres are essentially boring in human perception. This is based on the analysis of acoustic timbres where the spectrum (particular combinations of frequencies (partials)) and what he calls the "event-envelope" (combinations of envelopes of partials (description of amplitude interpolations in time) are both constantly in flux. In addition, Schrader often creates what he termed in the 1970s as “linear timbral transformations”, what might more contemporaneously be referred to as “timbral morphs”. In this process, timbres change in a linear fashion creating a progression from one point to another. In doing this, Schrader is attempting to focus the listener’s attention on timbre as a primary musical dimension, something that he believes is possible only in electro-acoustic music. Examples of linear timbral transformations can be found in Trinity (1976), Triptych (1987, rev. 2000), Death (2004), Wu-Xing - Cycle of Destruction (2005, and Monkey (2005–2007). Writing in Gramophone about Schrader’s EAM CD, Ken Smith says “...he has managed to implement timbre fully as a structural tool - a point that many composers have discussed without true success.”Linearity
Both Schrader’s analytical and compositional theory are predicated on the nature of human perception, which includes both its possibilities and limitations. He regards things perceived in time as “linear-kinetic events”, and creates his music to be heard in an intentionally linear fashion. This sets his work apart from much of the music of late 20th and early 21st centuries. His ideas are often based on compositional forms and procedures of the past, but he takes these into new, expanded, and often abstracted territory. He is particularly fond of developmental music, and much of his work uses a very small amount of material to generate the entire piece. This approach is evident in such works as Ground (1998), Duke’s Tune (2002), and Ravel (2003).Teleology
Schrader considers music to be based on one of two types of compositional procedures: relational or translational. In relational composition procedure, the meaning of the music (teleology) is created by the relationships formed among the various pieces of musical dimensional information combined together in a way that expresses musical ideas that have evolved through the millennia. While he does not believe in music as a universal language, and he thinks that all experience exists within a defined context, the extrapolation of what is meaningful in experience is the only way to create effective communication in music. The teleology of a work is the combination of intentionally imparted ideas and meanings placed there by the composer, and this, in a final sense, is what a particular work of relational music is about. In translational works, on the other hand, data created in a way that has no relation to evolved musical processes is simply translated into sound. Translational music cannot relate any teleology since the compositional procedure is foreign to human perception. (One can, of course, imitate or recreate a particular work through translational means.) Examples of translational compositional procedures are chance, serial, and algorithmic procedures. While Schrader sees uses for these and other translational procedures in secondary roles in composition, he thinks that works that are essentially or entirely translational are perceived as uninteresting by the listener. This comes from a misunderstanding of the nature of the function of information in a linear-kinetic structure. There is a seesaw relationship between the quality of information and its predictability; when one is high, the other is low. Successful works are those that keep this relationship changing throughout the progression of the piece. Composers who use translational procedures understand that change creates information, but they seem to believe that the unpredictability of the information should remain high throughout the work. The problem here, Schrader postulates, is that the constantly high level of predictability of the musical data becomes, itself, predicable, and the result is boredom on the part of the listener. So the concepts of relational procedures and teleology are paramount in Schrader’s music.Electro-Acoustic Studio Music
Monkey King (2005–2007)Part 1: The Land of Ao-lai - The Birth of Monkey
Part 2: Monkey’s Underwater Journey - The Staff of the Milky Way
Part 3: Monkey’s Magic Dance - Jumping Buddha’s Palm
Part 4: Procession of the Immortals - Monkey Becomes a Buddha
Wu Xing: Cycle of Destruction (2005)
Metal
Wood
Earth
Water
Fire
First Spring (2004)
Death (2004)
Before Death
Into Death
After Death
Duke’s Tune (2002)
Still Lives (2000)
Ground (1998)
Extreme Variations on a Theme and Variations by Mel Powell (rev. 1998)
816 (1997)
Beyond (1992)
Dance from the Outside (1989)
Triptych (1987)
California Dream (1986–1987)
Bachahama (1986)
Electronic Suite from Moon-Whales and other Moon Songs (1982–1983)
The Moon-Oak
The Moon-Bull
Moon-Wings
Lost Atlantis (1977)
Introduction: The Pillars of Hercules - The Great Harbor
The Gardens of Cleito
The Temple of Poseidon - The Dance of the Gods
The Gathering of the Kings - The Hunting of the Bulls
The Mystery Rites of Purification
The Destruction of Atlantis - Epilogue: “...and Atlantis Shall Rise.”
Classical Studies (1977)
Canon
Chorale
Perpetuum Mobile
Trinity (1976)
Bestiary (1972–1974)
Introduction & Assemblage
Sea Serpents
The Unicorn
Basilisks
Return & Exit
Celebration (1971)
Apparitions (1970)
Incantation (1970)
Serenade (1969)
Live/Electro-Acoustic Music
Wu-Xing: Cycle of Destruction, electronic music and graphic score (2005)Fallen Sparrow for violin and electronic music (2005)
Final Rest I
First Spring
Final Rest II
Mystic Night
Final Rest III
Soaring Flight
Final Rest IV
Ravel for piano and electronic music (2003)
Five Arabesques for clarinet and electronic music (1999)
Arabesque I
Arabesque II
Arabesque III
Arabesque IV
Arabesque V
Excavations for harpsichord and electronic music (1992)
I Prélude non mesuré
II Barroco
Night (with Frank Royon Le Mée) (1990) voice and live interactive computer and electronics
I Night Creeps In
II Night Gate
III Night Dreams
IV Night Prayer
V Night Ghosts
VI Night Chimes
VII Lonely Night
VIIINight Walk
IX La Grande Nuit du Silence
Two : Square Flowers Red : Songs (1990) SATB Choir and electronics, poems by Peter Levitt
Remonstrance (1989) voice and tape
Love, In Memoriam (1989) voice and electronics, poems by Michael Glück
I - L’Oreille coupée
II - Marmelade d’oranges
III -Une histoire de portrait
Twilight (1988) real-time interactive computer and electronics
Extreme Variations on a Theme and Variations by Mel Powell for six computer-controlled Yamaha Clavinovas (1987)
Dance Suite for harp and computer (1987)
I Tango
II Jig
IIISarabande
IV Waltz
Electronic Music Box IV (1985) real-time automated, programmed patch system for Buchla 200
Electronic Music Box III (1984) real-time automated, programmed patch system for Buchla 200
Electronic Music Box II (1983) real-time automated, programmed patch system for Buchla 200
Electronic Music Box I (1982) real-time automated, programmed patch system for Buchla 200
Moon-Whales and Other Moon Songs (1982–1983) soprano, dancers, and 4-channel tape, poems by Ted Hughes
I The Moon-Mare
II The Moon-Oak
III A Moon-Lily
IV Moon-Wings
V Moon-Clock
VI The Moon-Bull
VII Moon-Whales
Elysium (1971) harp, dancers, Buchla 200, projections
Instrumental Music
Remonstrance (1989) voice and pianoSignature for Tempo (1968) soprano and piano
Film Scores
Gallery 3 (1988) (Jules Engel)Galaxy of Terror (1982) (Bruce Clark)
Along the Way (1980) (Steve Eagle)
Mobiles (1978) (Jules Engel)
The Glory Road West (1976) (Terry Sanders)
Exploratorium (1975) (Jon Boorstin)
Heavy-Light (1973) (Adam Beckett)
Death of the Red Planet (1973) (Dale Pelton)
How to Make a Woman (1972) (Al Fiering)
Video Scores
1921 > 1989 (1989) (Michael Scroggins)California Dream (1987–89) (Michael Scroggins)
Environmental Works
Soundvironments I & II (1971)music for Otto Piene's Sky Ballet (1970)
Recordings
816, Innova 119Barroco (from Excavations), SEAMUS EAM 9401
Beyond CD, Innova 640
First Spring
Beyond
Duke’s Tune
Death
Beyond, Centaur CRC 2490
EAM CD, Innova 575
Bachahama
Ground
Dance from the Outside
Still Lives
Triptych
Fallen Sparrow CD, Innova 654
Love, In Memoriam
Fallen Sparrow
Five Arabesques,
Ravel
Lost Atlantis CD, Innova 629
Triptych
Lost Atlantis
Introduction: The Pillars of Hercules - The Great Harbor
The Gardens of Cleito
The Temple of Poseidon - The Dance of the Gods
The Gathering of the Kings - The Hunting of the Bulls
The Mystery Rites of Purification
The Destruction of Atlantis - Epilogue: “...and Atlantis Shall Rise.”
Lost Atlantis, Laurel Record LR139
Marmelade d’Oranges (to Lewis Carroll) (from Love, In Memoriam), CIRM CD9311
Monkey King, Innova 703
Wu Xing: Cycle of Destruction
Metal
Wood
Earth
Water
Fire
Monkey King
Part 1: The Land of Ao-lai - The Birth of Monkey
Part 2: Monkey’s Underwater Journey - The Staff of the Milky Way
Part 3: Monkey’s Magic Dance - Jumping Buddha’s Palm
Part 4: Procession of the Immortals - Monkey Becomes a Buddha
Trinity, Opus One Records #93