Thomas DeLio
Encyclopedia
Thomas DeLio is an American
experimental music
composer
, music theorist and author. He is currently Professor of Music in theory and composition at the University of Maryland in College Park.
where he studied with Robert Cogan
. He received a Ph.D. from Brown University
in a Special Interdisciplinary Studies program that allowed him to combine advanced studies in music, visual arts, and mathematics.
DeLio's works are published by Editore Semar (Europe), Silent Editions (United States) and Sonic Art Editions (United States) and are recorded on such labels as Wergo, 3D Classics, Neuma, Centaur, Capstone, and Spectrum. He has published over thirty scholarly papers in such journals and periodicals as Perspectives of New Music, Journal of Music Theory, Indiana Theory Review, In Theory Only, Interface, Contemporary Music Review, Artforum, Computer Music Journal, Revue d’Esthetique, and Percussive Notes.
DeLio has also written books, including one analyzing the work of Morton Feldman
(The Music of Morton Feldman) and another offering analysis of several “open form” works (Circumscribing the Open Universe). His book "The Amores of John Cage" was published by Pendragon Press (as part of the College Music Society series Sourcebooks in American Music) in 2010. A book about DeLio's work entitled Thomas DeLio: Composer and Scholar edited by Dr. Thomas Licata (Professor, Hartwick College
) appeared in summer of 2007 from the Mellen Press. This book contains essays by Wesley Fuller (Professor Emeritus, Clark University
), Agostino Di Scipio (Professor, University of Naples, Italy), Christopher Shultis (Regents Professor, University of New Mexico
), Hermann Sabbe (Professor of Musicology, Ghent University
, Belgium), Morris Palter
(University of California, San Diego
), Steven Johnson
(Professor, Brigham Young University
), Robert Morris
(Professor, Eastman School of Music
), Tracy Wiggins (University of North Carolina at Pembroke
), Linda Dusman, Thomas Goldstein (Professors, University of Maryland, Baltimore County) and Michael Boyd (Chatham University) .
, John Cage
, and Iannis Xenakis
. The influence of Xenakis, however, is often more philosophical than musical. Describing the influence of Xenakis and Feldman, DeLio explains:
The primary area where Xenakis and DeLio differ is in the use of mathematics, which is integral in Xenakis's compositions. DeLio states, “My music is not really mathematical at all!”
The influence of Cage is evident in DeLio's use of sounds outside of the standard dodecaphonic system. “Prior to the 20th century,” DeLio notes, “the sonic materials of Western music were restricted to a set of twelve pitch classes
. Over the course of the past hundred years, this restriction has virtually disappeared.” Elsewhere, DeLio describes his attraction to percussion instruments, explaining, “Percussion allows a composer to deal with sounds drawn from the entire pitch/noise continuum. Thus, pitch is one manifestation of all sound ranging from pure tones to noise bands.” Cage was a pioneer in this area, writing for a wide variety of percussion instrument, electronic devices, and even household objects to produce new sounds. Composers like DeLio are heavily indebted to his work.
Another area where the influences of Cage and Feldman are strongly felt is in DeLio’s extensive use of silence as a compositional device. On the surface, in fact, DeLio's music bears a strong resemblance to the music of Cage and Feldman, both of whom made extensive use of sparse textures and were not afraid to use silence as a key part of their compositions. Upon further examination, however, one finds that the function of silence in music varies significantly among the three composers. Feldman, for example used silence to separate sounds and give them space to fade into silence. DeLio notes, “Feldman once said that one of the most beautiful things a sound does is decay. He could have added that in order for this decay to be felt, it must be attached to silence.” Cage, on the other hand, used silence as a compositional tool for incorporating unintentional, atmospheric sounds into the context of a musical composition. DeLio explains, “Cage, of course, is the real source of all consideration of silence in music. But even his approach to silence is not like mine – though I deeply admire his work. For Cage silence is the space in which all unintended sounds come into play.” DeLio’s use of silence is different in that it is used to isolate sounds and events. He explains:
While this may sound similar to Feldman’s use of silence, DeLio’s approach is more radical, using large units of silence to not only isolate the events sonically, but also to isolate them mentally, leaving so much space that the memory will often forget one gesture before the next is presented, essentially forcing the listener to evaluate them as separate, unrelated musical entities. DeLio explains:
Another important aspect is his sense of time. In a majority of his pieces, he uses the same tempo, 60 beats per minute. Within this tempo, however, he uses a wide variety of subdivisions, including division of the beat into 5 or 7, and the pulse is rarely, if ever, clearly defined. 60 beats per minute is essentially the same as one beat per second, and DeLio thinks of time in his instrumental works as one would in tape composition: All events are measured against a temporal grid of minutes and seconds. DeLio's tempo
is static, merely a reference for the performer. Instead of altering tempo, DeLio uses rhythmic devices to create effect within a constant pulse.
Semar = Semar Editore (Rome)
1970
1971
1972
1973
1974
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
part of the Masterworks of the New Era series.
WER 2029-2, 1992); part of the ComputerMusic Currents series.
American classical music
American classical music is music written in the United States but in the European classical music tradition. In many cases, beginning in the 18th century, it has been influenced by American folk music styles; and from the 20th century to the present day it has often been influenced by folk, jazz,...
experimental music
Experimental music
Experimental music refers, in the English-language literature, to a compositional tradition which arose in the mid-20th century, applied particularly in North America to music composed in such a way that its outcome is unforeseeable. Its most famous and influential exponent was John Cage...
composer
Composer
A composer is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media...
, music theorist and author. He is currently Professor of Music in theory and composition at the University of Maryland in College Park.
Biography
DeLio received bachelor of music degree from the New England Conservatory of MusicNew England Conservatory of Music
The New England Conservatory of Music in Boston, Massachusetts, is the oldest independent school of music in the United States.The conservatory is home each year to 750 students pursuing undergraduate and graduate studies along with 1400 more in its Preparatory School as well as the School of...
where he studied with Robert Cogan
Robert Cogan
Robert Cogan is an American music theorist, composer and teacher, who seeks to challenge new domains of musical composition and theory....
. He received a Ph.D. from Brown University
Brown University
Brown University is a private, Ivy League university located in Providence, Rhode Island, United States. Founded in 1764 prior to American independence from the British Empire as the College in the English Colony of Rhode Island and Providence Plantations early in the reign of King George III ,...
in a Special Interdisciplinary Studies program that allowed him to combine advanced studies in music, visual arts, and mathematics.
DeLio's works are published by Editore Semar (Europe), Silent Editions (United States) and Sonic Art Editions (United States) and are recorded on such labels as Wergo, 3D Classics, Neuma, Centaur, Capstone, and Spectrum. He has published over thirty scholarly papers in such journals and periodicals as Perspectives of New Music, Journal of Music Theory, Indiana Theory Review, In Theory Only, Interface, Contemporary Music Review, Artforum, Computer Music Journal, Revue d’Esthetique, and Percussive Notes.
DeLio has also written books, including one analyzing the work of Morton Feldman
Morton Feldman
Morton Feldman was an American composer, born in New York City.A major figure in 20th century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown...
(The Music of Morton Feldman) and another offering analysis of several “open form” works (Circumscribing the Open Universe). His book "The Amores of John Cage" was published by Pendragon Press (as part of the College Music Society series Sourcebooks in American Music) in 2010. A book about DeLio's work entitled Thomas DeLio: Composer and Scholar edited by Dr. Thomas Licata (Professor, Hartwick College
Hartwick College
Hartwick College is a non-denominational, private, four-year liberal arts and sciences college located in Oneonta, New York, in the United States. The institution was founded as Hartwick Seminary in 1797 through the will of John Christopher Hartwick, and is now known as Hartwick College...
) appeared in summer of 2007 from the Mellen Press. This book contains essays by Wesley Fuller (Professor Emeritus, Clark University
Clark University
Clark University is a private research university and liberal arts college in Worcester, Massachusetts.Founded in 1887, it is the oldest educational institution founded as an all-graduate university. Clark now also educates undergraduates...
), Agostino Di Scipio (Professor, University of Naples, Italy), Christopher Shultis (Regents Professor, University of New Mexico
University of New Mexico
The University of New Mexico at Albuquerque is a public research university located in Albuquerque, New Mexico, in the United States. It is the state's flagship research institution...
), Hermann Sabbe (Professor of Musicology, Ghent University
Ghent University
Ghent University is a Dutch-speaking public university located in Ghent, Belgium. It is one of the larger Flemish universities, consisting of 32,000 students and 7,100 staff members. The current rector is Paul Van Cauwenberge.It was established in 1817 by King William I of the Netherlands...
, Belgium), Morris Palter
Morris Palter
Morris Palter is a drummer/percussionist from Canada who specializes in contemporary/classical chamber and solo percussion music. He also plays novelty ragtime xylophone and drum kit, and is also a composer, and university professor who was a founding member of the band Treble...
(University of California, San Diego
University of California, San Diego
The University of California, San Diego, commonly known as UCSD or UC San Diego, is a public research university located in the La Jolla neighborhood of San Diego, California, United States...
), Steven Johnson
Steven Johnson
Steven Johnson may refer to:* Steven Berlin Johnson , American popular science author* Steven Johnson , Australian V8 Supercar racing driver-See also:* Steve Johnson * Stephen Johnson...
(Professor, Brigham Young University
Brigham Young University
Brigham Young University is a private university located in Provo, Utah. It is owned and operated by The Church of Jesus Christ of Latter-day Saints , and is the United States' largest religious university and third-largest private university.Approximately 98% of the university's 34,000 students...
), Robert Morris
Robert Morris (composer)
Robert Morris is an American composer and music theorist.-Work in music theory:As a music theorist, Morris' work has bridged an important gap between the rigorously academic and the highly experimental. Born in Cheltenham, England in 1943, Morris received his musical education at the Eastman...
(Professor, Eastman School of Music
Eastman School of Music
The Eastman School of Music is a music conservatory located in Rochester, New York. The Eastman School is a professional school within the University of Rochester...
), Tracy Wiggins (University of North Carolina at Pembroke
University of North Carolina at Pembroke
The University of North Carolina at Pembroke , also known as UNC Pembroke, is a public, co-educational, historically American Indian liberal arts university in the town of Pembroke in Robeson County, North Carolina....
), Linda Dusman, Thomas Goldstein (Professors, University of Maryland, Baltimore County) and Michael Boyd (Chatham University) .
Influences
DeLio’s approach to composition is largely influenced by Morton FeldmanMorton Feldman
Morton Feldman was an American composer, born in New York City.A major figure in 20th century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown...
, John Cage
John Cage
John Milton Cage Jr. was an American composer, music theorist, writer, philosopher and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde...
, and Iannis Xenakis
Iannis Xenakis
Iannis Xenakis was a Romanian-born Greek ethnic, naturalized French composer, music theorist, and architect-engineer. He is commonly recognized as one of the most important post-war avant-garde composers...
. The influence of Xenakis, however, is often more philosophical than musical. Describing the influence of Xenakis and Feldman, DeLio explains:
Xenakis and Feldman are influences in the general sense that they each tap into very personal and unique sensibilities; in this sense they should be role models for all composers. Also, for these composers, sound is the source of the compositional process. Sound, in all its richness and complexity, is the essence of that process for both – not system of method or gesture, as is the case for so many composers. This is true for me as well. First and foremost I think about sound when I start a piece.
The primary area where Xenakis and DeLio differ is in the use of mathematics, which is integral in Xenakis's compositions. DeLio states, “My music is not really mathematical at all!”
The influence of Cage is evident in DeLio's use of sounds outside of the standard dodecaphonic system. “Prior to the 20th century,” DeLio notes, “the sonic materials of Western music were restricted to a set of twelve pitch classes
Circle of fifths
In music theory, the circle of fifths shows the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys...
. Over the course of the past hundred years, this restriction has virtually disappeared.” Elsewhere, DeLio describes his attraction to percussion instruments, explaining, “Percussion allows a composer to deal with sounds drawn from the entire pitch/noise continuum. Thus, pitch is one manifestation of all sound ranging from pure tones to noise bands.” Cage was a pioneer in this area, writing for a wide variety of percussion instrument, electronic devices, and even household objects to produce new sounds. Composers like DeLio are heavily indebted to his work.
Another area where the influences of Cage and Feldman are strongly felt is in DeLio’s extensive use of silence as a compositional device. On the surface, in fact, DeLio's music bears a strong resemblance to the music of Cage and Feldman, both of whom made extensive use of sparse textures and were not afraid to use silence as a key part of their compositions. Upon further examination, however, one finds that the function of silence in music varies significantly among the three composers. Feldman, for example used silence to separate sounds and give them space to fade into silence. DeLio notes, “Feldman once said that one of the most beautiful things a sound does is decay. He could have added that in order for this decay to be felt, it must be attached to silence.” Cage, on the other hand, used silence as a compositional tool for incorporating unintentional, atmospheric sounds into the context of a musical composition. DeLio explains, “Cage, of course, is the real source of all consideration of silence in music. But even his approach to silence is not like mine – though I deeply admire his work. For Cage silence is the space in which all unintended sounds come into play.” DeLio’s use of silence is different in that it is used to isolate sounds and events. He explains:
While this may sound similar to Feldman’s use of silence, DeLio’s approach is more radical, using large units of silence to not only isolate the events sonically, but also to isolate them mentally, leaving so much space that the memory will often forget one gesture before the next is presented, essentially forcing the listener to evaluate them as separate, unrelated musical entities. DeLio explains:
Compositional style
The most striking aspect of DeLio's music is his use of silence. His pieces include large sections of silence, sometimes a full minute. In fact, in many of his compositions the time devoted to silence is greater than the time devoted to sonic events. By isolating events and frustrating the memory, DeLio attempts to draw the listener into more intently listening to the brief sonic events. “I argue for wiping the slate clean,” DeLio explains, “Rediscovering sound beneath all of the rhetoric and dated mannerisms which have accumulated over so many years and, in the process, really coming to grips with the nature of our own experience.”Another important aspect is his sense of time. In a majority of his pieces, he uses the same tempo, 60 beats per minute. Within this tempo, however, he uses a wide variety of subdivisions, including division of the beat into 5 or 7, and the pulse is rarely, if ever, clearly defined. 60 beats per minute is essentially the same as one beat per second, and DeLio thinks of time in his instrumental works as one would in tape composition: All events are measured against a temporal grid of minutes and seconds. DeLio's tempo
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
is static, merely a reference for the performer. Instead of altering tempo, DeLio uses rhythmic devices to create effect within a constant pulse.
Compositions
Smith = Smith Publications/Sonic Art Editions (Baltimore)Semar = Semar Editore (Rome)
1970
- Media Luna (soprano, 3 B♭ cl., vln. vla. vcl.), texts- Federico Garcia LorcaFederico García LorcaFederico del Sagrado Corazón de Jesús García Lorca was a Spanish poet, dramatist and theatre director. García Lorca achieved international recognition as an emblematic member of the Generation of '27. He is believed to be one of thousands who were summarily shot by anti-communist death squads...
; ca. 6'.
1971
- Sonata for piano (on one note); ca. 5'.
- The River Merchant’s Wife (2 vln., vla., vcl.); ca. 5'.
1972
- A Draft of Shadows, texts - Octavio PazOctavio PazOctavio Paz Lozano was a Mexican writer, poet, and diplomat, and the winner of the 1990 Nobel Prize for Literature.-Early life and writings:...
(soprano, piano, 3 perc); ca. 9'. - Cassandra (chorus SATB, vcl., perc.) text-Robinson JeffersRobinson JeffersJohn Robinson Jeffers was an American poet, known for his work about the central California coast. Most of Jeffers' poetry was written in classic narrative and epic form, but today he is also known for his short verse, and considered an icon of the environmental movement.-Life:Jeffers was born in...
; ca. 13'.
1973
- Gestures (soprano sax., piano); ca. 8' Semar.
- Traces (fl., B♭ cl., alto sax., vln, vla vcl., piano); ca. 9'.
- Marginal Developments (piano solo); ca. 9' Semar.
1974
- Serenade (piano solo); ca. 9' Semar.
1977
- I-VI (ob., B♭ cl., alto sax., B♭ tpt., 2 Bass cl., 2 bsn.); two sets; ca. 3' per set.
- 4 Series/I, II, III, IV’’ (3 B♭ cl., 2 vln., 2 vcl.); ca. 3' per series.
1978
- (untitled) installation; Brown University, Providence, RI.
1979
- (untitled) installation; Brown University, Providence, RI.
- Four (8-79) (3 B♭ cl., soprano sax., alto sax., tenor sax., 4 vln., 2 vla.); three sets, ca. 3’, per set.
1980
- Five (6-80) (2 B♭ cl., B♭ Bass cl., soprano sax., alto sax., tenor sax., 6 vln); ca. 4'.
- Five (8-80) (10 vln., 4 vla., 4 vcl.); 5 sets, ca. 4' per set.
1981
- Six (1-81) (B♭ cl./B♭ bass cl., B♭ tpt., 6 vln.); two sets, ca. 4' per set.
- Six Variants I (2 fl., alto fl., 3 B♭ cl., 12 vln., 2 vla.); eight sets, ca. 3' per set.
1982
- Four Variants (4 vls., 4 vla., 4 vcl.); three sets, ca. 2' per set.
- Five Variants I (2 fl., alto fl., 3 B♭ cl., 6 vln.); three sets, ca. 3' per set.
- Six (4-82) (6 vln., 4 vla., 2 vcl.); three sets, ca. 4' per set.
- Four (9-82) (3 B♭ cl., 4 vln., 2 vla.); ca. 2'.
1983
- Sequence (piano solo); ca. 8' Smith.
- Text (piano solo); ca. 8' Smith.
- (untitled) installation; Corcoran Gallery, Washington, DC.
- (untitled) installation; Kornblatt Gallery, Washington, DC.
- (untitled) installation; UMBC Art Gallery, Baltimore, MD.
- Six (1-83) (3 B♭ cl., 4 vln., 2 vla.); ca. 4'.
1984
- 4 (6 vln.); ca. 2'.
- 3 (3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 1'.
- Six Variants II (2 fl., alto fl., 3 B♭ cl, 4 vln., 4 vla., 4 vcl.); six sets, ca. 3' per set.
- (untitled) installation; Baltimore Museum of Art Baltimore, MD.
- (untitled) installation, proposal; Boston University, Boston, MA.
- (untitled) installation, proposal; UMCP Art Gallery, College Park, MD.
1985
- (untitled) installation; Strathmore Hall, Rockville, MD.
- Three (5-85) (2 vln., 2 vla., 2 vcl.); ca. 1'.
- Five (7-85) (B♭ cl., 6 vln.); ca. 2'.
- Five Variants II (2 fl., alto fl., 3 B♭ cl., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.
- Five Variants III (6 vln., 6 vla. 6 vcl.); three sets, ca. 3' per set.
1986
- Against the silence... (perc. ensemble, piano, 4-channel tape); ca. 20' Smith.
- (untitled) installation, proposal; Washington Project for the Arts, Washington, DC.
- Four (5-86) (3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
- Four (6-86) (3 B♭ cl., soprano sax., alto sax., tenor sax., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.
- Six (7-86) (B♭ cl., B♭ tpt., 2 vln., 2 vla., 2 vcl.); three sets, ca. 4' per set.
- Four (9-86) (3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
- Five (11-86) (3 B♭ cl., 4 vln., 2 vla.);ca. 3'
- Five (12-86) (3 B♭ cl., 2 vla.); ca. 2'.
1987
- Five (1-87) (3 B♭ cl., oboe, 2 vla.); ca. 2'.
- Five (2-87) (3 B♭ cl., 2 vla.); ca. 5'.
- contrecoup... (soprano, fl., piano, perc.), text- Stéphane MallarméStéphane MallarméStéphane Mallarmé , whose real name was Étienne Mallarmé, was a French poet and critic. He was a major French symbolist poet, and his work anticipated and inspired several revolutionary artistic schools of the early 20th century, such as Dadaism, Surrealism, and Futurism.-Biography:Stéphane...
; ca. 9½' Smith. - Transparent Wave (snare drum solo); ca. 2’ Smith.
- Five (6-87) (fl., ob., 3 B♭ cl.); ca. 2'.
- Five (7-87) (fl., 3 B♭ cl., 2 vln.); ca. 2'.
- Four (8-87) (2 vln., 2 vla., 2 vcl.); ca. 2'.
- Five (8-87) (3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
- Five (11-87) (3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
- Five (12-87) (3 B♭ cl., B♭ tpt., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1988
- Five (1-88) (3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
- Five (2-88) (3 B♭ cl., 4 vln.); ca. 3'.
- Five (3-88) (B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
- Five (5-88) (3 B♭ cl., 2 B♭ tpt., tbn.); ca. 4'.
- Six (5-88) (3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 4'.
- Five (6-88) (ob., 3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
- At Briggflatts meetinghouse (soprano, piano), text- Basil BuntingBasil BuntingBasil Cheesman Bunting was a significant British modernist poet whose reputation was established with the publication of Briggflatts in 1966. He had a lifelong interest in music that led him to emphasise the sonic qualities of poetry, particularly the importance of reading poetry aloud...
; ca. 7' Smith.
1989
- (6-89) (ob., 3 B♭ cl., B♭ tpt., 2 vla., 2 vcl.); ca. 2'.
1990
- Bright seaweed reaping (soprano, 3 B♭ cl., piano, 2 perc.), text- Cid CormanCid CormanCid Corman was an American poet, translator and editor, most notably of Origin, who was a key figure in the history of American poetry in the second half of the 20th century.-Early life and writing:...
; ca. 4'. - Two Songs (soprano, 3 B♭ cl., 2 perc., piano, harp), texts- Cid Corman; ca. 10' Smith.
- anti-paysage (fl., piano, perc., tape; ca. 10' Smith.
- granite, and (soprano, ob. 3 B♭ cl., piano, 2 perc.), texts- William BronkWilliam BronkWilliam Bronk was an American poet. He won the National Book Award in 1982.-Life and work:William Bronk was born in a house on Lower Main Street in Fort Edward, New York. He had an older brother Sherman who died young and two older sisters, Jane and Betty...
, Basil Bunting, Cid Corman; ca. 14' Smith.
1991
- Of (tape); ca. 3' Smith.
- for (fl., ob., B♭ cl., vln., piano, perc.); ca. 2 ¾’.
- between (fl., 3 perc.); ca. 3' Smith.
- Than (orchestra: fl., ob., 2 B♭ cl., bsn., 2 C tpt., tenor tbn., bass tbn., 4 perc., harp, piano, 4 vln., 4 vla., 4 vcl., 4 cb.; ca. 4'.
1992
- Equinox (6 voices, 2 dancers, 4 perc.) text – William Bronk; ca. 4'.
- as again (tape); ca. 6' Smith.
- as so (tape); ca. 6'.
- so on (tape); ca. 2' Smith.
- not (piano, perc.); ca. 6' Smith.
1993
- Though (piano solo); ca. 5' Smith.
- Five (1-93) (fl., ob., 3 B♭ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
- Transparent Wave II (piano solo); ca. 1'.
1994
- so again (tape); ca. 2' Smith.
- on again (tape); ca. 3' Smith.
- of again (tape); ca. 4' Smith.
- Pine, Bamboo, Plum (tape); ca. 2'.
- as though (percussion solo); ca. 2' Smith.
1995
- “because the... (tape); ca. 2'.
- as though, again (fl., B♭ cl., vln., perc., (one player)); ca. 2' Smith.
- as though, so again (fl., B♭ cl., C tpt., vln., vcl., piano, perc.); ca. 2' Smith.
- as though / after (chamber orchestra: fl., ob., B♭ cl., bsn., perc., vln. I (6), vln. II (6), vla. (4), vcl. (4), cb. (2); ca. 5' Smith.
1996
- to make / -as / in- (tape) text – Leslie ScalapinoLeslie ScalapinoLeslie Scalapino was a United States poet, experimental prose writer, playwright, essayist, and editor, sometimes grouped in with the Language poets, though she felt closely tied to the Beat poets. A longtime resident of California's Bay Area, she earned an M.A. in English from the University of...
; ca. 5'. - que cela se puisse (speaker, fl., B♭ cl., vln., cb., piano) text- Stéphane Mallarmé; ca. 1'.
- or (ob., 2 B♭ cl., C tpt., vln., vcl., 1 perc.); ca. 2'.
1997
- think on parch (tape) text – P. InmanP. InmanPeter Inman is an American poet who was born in 1947 and raised on Long Island. He is a graduate of Georgetown University. Since 1980 he has worked at the Library of Congress, where he has been a union activist Peter Inman (writing as P. Inman) is an American poet who was born in 1947 and raised...
; ca. 19'. - though, on (tape); ca.2'.
- plin, h (tape); ca. 1¾'.
- plin, x (tape); ca . 1'.
- m, nce (tape); ca. 2'.
- as in (string orchestra); ca 2 ½’.
1998
- n, mcr (tape); ca. 1'.
- nna, c (tape); ca. 1'.
- “decker” (tape) text – P. Inman; ca. 9'.
- n, c (tape); ca. 1'.
1999
- x, e (tape); ca. 2'.
- inc, e (tape); ca. 1'.
- Transparent Wave III (soprano solo) text- A. R. Ammons; ca. 2'.
- Center (version I, soprano solo); ca. 8’; (version II, soprano and chamber ensemble), texts- A. R. Ammons; ca. 14'.
- as though / of (tape); ca. 5'.
2000
- qu, m (tape); ca. 2'.
- qu, r (tape); ca. 2'.
- z, rb (tape); ca. 2'.
- Center / s (tape); ca. 4'.
- Transparent Wave IV (marimba solo); ca. 2' Smith.
- Transparent Wave V (cello solo); ca. 4'.
2001
- et ainsi (soprano, fl., ob., B♭ cl., C tpt., tenor tbn., vln., vcl., piano, 2 perc.), texts – Stéphane Mallarmé; ca. 9'.
- ce, lf (tape); ca. 1'.
- cel, f, (tape); ca. 1'.
- ,c, el,f (tape); ca. 1'.
2002
- amounts. to. opera/installation for tape (six tracks), text – P. Inman; plays continuously over several days.
- so, between (fl., B♭ cl., vcl., piano, perc.); ca. 2'.
2003
- Belle-Isle I-IV (tape); ca. 7'.
- wave / s (percussion solo), based on Transparent Wave IV; ca. 4'.
- Transparent Wave VI (vibraphone solo); ca. 2'.
2004
- e/ede (3 B♭ cl., ob., bsn., C tpt., piano, vln., vla., vcl.); ca. 3'.
- e, nm (fl., cl., vln., vcl., perc.); ca. 2'.
- Iol (piccolo, B♭ cl. Eng. Hn., B♭ tpt., 2 vln., 2 vla.); ca. 2'.
- Ilil (4 vln., 4 vcl.,); ca. 2'.
- alomn (B♭ cl., 2 vln., 2 vla.); ca. 2'.
- Zilahn (tape); ca. 3'.
2005
- IV-VIII (B♭ clarinet and string quartet); 2 ½’.
- qu’un espace / sépare (percussion ensemble, soprano); ca. 5 ½’.
- mn, s (fl., cello); 1 ¾’.
- Song: Foxrock near Dublin (tape, 5.1 surround), text – P. Inman; ca. 8’.
2006
- onnh I (fl., B♭ cl. doubling bass cl., vln., cello, piano, perc.); ca. 2’.
- onnh II (fl., ob., B♭ cl. doubling bass cl., vln., vla., cello, piano, perc.); ca. 2’.
- transients / waves (percussion solo), based on Transparent Wave VI; ca. 4’.
- transients / images (percussion, piano), based on Transparent Wave VI; ca. 5 ½’.
- transients / resonances (flute, B♭ clarinet, violin, cello, percussion, piano), based on Transparent Wave VI; ca. 5 ½’.
Recordings
- Center/s, tape (Acton, MA: Neuma, 450-105, 2006).
- Belle-Isle I-IV, tape (Acton, MA: Neuma, 450-105, 2006).
- qu, m, tape (Acton, MA: Neuma, 450-105, 2006).
- wave / s, percussion solo (Baton Rouge, LA: Centaur, CRC-2742, 2006).
- Though, piano solo (New York: Capstone, CPS-8745, 2005).
- Transparent Wave V, piano solo (New York: Capstone, CPS-8745, 2005).
- Text, piano solo (New York: Capstone, CPS-8745, 2005).
- Than, orchestra (Mt. Prospect, Illinois: ERMMedia, ERM-6692, 2003);
part of the Masterworks of the New Era series.
- amounts. to. electronic opera (Baton Rouge, LA: Centaur, CRC-2633, 2003).
- Center, soprano and chamber ensemble (Acton, MA: Neuma, 450-102, 2002).
- think on parch, tape (New York: Capstone, CPS-8693, 2001).
- “decker”, tape (New York: Capstone, CPS-8669, 1999).
- plinh, h, tape (Acton, MA: Neuma, 450-99, 1999).
- m, nce, tape (Acton, MA: Neuma,450-99,1999).
- though, on, tape (New York: Capstone, CPS 8645, 1997).
- as though, percussion solo (New York: Capstone, CPS 8645, 1997).
- so again, tape (New York: Capstone, CPS 8645, 1997).
- not, piano and percussion (New York: Capstone, CPS 8645, 1997).
- ...a different liquid, tape (New York: Capstone, CPS 8645, 1997).
- to make / -as / in-, tape (New York: Capstone, CPS 8645, 1997).
- "because the..., tape (Acton, MA: Neuma, 450-92, 1996).
- Pine, Bamboo, Plum, tape (Acton, MA: Neuma, 450-92, 1996).
- so on, computer generated tape (Paris: 3D, 3D-8014, 1996).
- as again, computer generated tape (Paris: 3D, 3D-8014, 1996).
- between, flute, percussion ensemble (Paris: 3D, 3D-8014, 1996).
- anti-paysage, flute, piano, percussion, tape (Acton, MA: Neuma 450-90, 1995).
- Of, tape (Acton, MA: Neuma 450-90, 1995).
- Though, piano (Acton, MA: Neuma 450-90, 1995).
- so again, tape (Acton, MA: Neuma 450-90, 1995).
- on again, tape (Acton, MA: Neuma 450-90, 1995).
- of again, tape (Acton, MA: Neuma 450-90, 1995).
- contrecoup..., chamber ensemble (Acton, MA: Neuma 450-81, 1993).
- Against the silence..., percussion ensemble and four-channel tape, (Mainz: Wergo,
WER 2029-2, 1992); part of the ComputerMusic Currents series.
- ______________ (Paris: 3D Classics, 3D-8014, 1996).
- Partial Manifolds, wind ensemble (Harriman, NY: Spectrum, SR-302, 1985).
- Gestures, saxophone and piano (Harriman, NY: Spectrum, SR-163, 1982).
- Marginal Developments, piano solo (Harriman, NY: Spectrum, SR-144, 1982).
- Serenade, piano solo (Harriman, NY, Spectrum, SR-128, 1980).