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C00004 00004	.COMMENT	John M. Chowning				
C00010 00005	.COMMENT 	John M. Grey					
C00017 00006	.COMMENT  	Elliot Mazer 
C00020 00007	.COMMENT  	F. Richard Moore				
C00029 00008	.COMMENT	James A. Moorer					
C00037 00009	.COMMENT	Loren Rush					
C00046 00010	.COMMENT	Leland C. Smith				
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.COMMENT    CCRMA Personnel					;
.begin center
%cCCRMA Personnel

.<<%1(updated November 1, 1977)>>
.end
.SELECT 1
.COMMENT	John M. Chowning				;
.PLACE TEXT
.SKIP 2
.FILL ADJUST INDENT 0,4 PREFACE 15 MILLS; SPACING 5 MILLS
%bJohn M. Chowning%1
.SKIP 1
BORN:	August 22, 1934 in Salem, New Jersey.
.SKIP 1
EDUCATION:
.BEGIN NARROW 7
Navy School of Music and  Military Service, 1952-55.

Bachelor of Music, Wittenberg University, Springfield, Ohio, 1959.

Studies in composition and theory with Nadia Boulanger, Paris, 1959-62.

M.A. (Music) Stanford University, 1964.

D.M.A. (Doctor of Musical Arts) Stanford University, 1966.
.END
.SKIP 1
AWARDS AND FELLOWSHIPS:
.BEGIN NARROW 7
IBM Graduate Fellowship, 1964.

Stanford Wilson Fellowship, 1965.

National Endowment for the Arts Fellowship Grant, 1973.

Guest Artist, City of Berlin, 1974.

IRCAM Commission, 1977.
.END
.SKIP 1
PROFESSIONAL EXPERIENCE:
.BEGIN NARROW 7
Co-Director, Society for the Performance of Contemporary Music, 1962-66.

Lecturer in Music, Stanford University, 1966.

Assistant Professor of Music, Stanford, 1967-74.

Director, Computer Music and Acoustics Group, Stanford, 1966-74.

Co-Director, Center for Computer Research in Music and Acoustics, Stanford,
1975-present.
.END
.SKIP 1
PUBLICATIONS:
.BEGIN NARROW 7
%2The Simulation of Moving Sound Sources.%1 J. Audio Eng. Soc. 19,2-6,
1971.

%2The Stanford Computer Music Project.%1 Numus-West 1, 1972.

%2The Synthesis of Complex Audio Spectra by Means of Frequency
Modulation.%1 J. Audio Eng. Soc. 21, 526-534, 1973. Reprinted in Computer
Music Journal, Vol. 1, 2, 1977.

%2Computer Simulation of Music Instrument Tones in Reverberant
Environments%1. with Grey, J.M., Moorer, J.A., Rush, L., Stanford
University Report STAN-M-1, 99pp, 1974.
.END
.SKIP 1
PUBLIC LECTURES:
.BEGIN NARROW 7
%2Computer Music,%1 Radio Broadcast, KCBS, San Francisco, 1965.

%2New Directions in Musical Composition: Computer Generated Music.%1
lecture-demonstration, Stanford, 1965.

%2Computer Generated Music.%1 lecture-demonstration, Interdisciplinary
Computer Symposium, Stanford, 1966.

%2Composer and Computers: The Significant Possibilities.%1
lecture-demonstration, American Musicological Society, Stanford, 1966.

IRCAM Conference, La Rochelle, France, July 1975.

Course for IRCAM group, with CCRMA, Stanford, Aug. 1975.

One week course for DAAD, with Grey and Moorer, Berlin, Sept. 1975.

Physics Colloquium, Calif. Institute of Technology, Feb. 1976.

Computer Music Presentation with Pierre Boulez, New York, Mar. 1976.

IRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.

Colloquium, Calif. Institute of Technology, Nov. 1976.

Computer Arts Society, Los Angeles, Feb. l977.

Lecture, Columbia University, Feb. l977.

IRCAM Psychoacoustic Conference, Paris, July l977.

International Computer Music Conference, U.C. San Diego, Oct. 1977.
.END
.SKIP 1
MAJOR PERFORMANCES:
.BEGIN NARROW 7
%2Sabelithe%1, a computer-generated quadraphonic tape.  Stanford, 1972;
Stockholm, Marseille, Vancouver, Utrecht, Berlin, 1973; Berlin, Darmstadt,
1974; Bourges, Michigan State, 1975; Stanford, CalTech, 1976.

%2Turenas%1, a computer-generated quadraphonic tape. Stanford, Metz,
Vancouver, 1972; Stockholm, Syracuse, Marseille, Binghampton, Utrecht,
Stanford, De Anza, Ca., Univ. of Las Vegas, 1973; GRM, Paris, Univ. of
Lousiville, Berlin, Richmond, Ind., Fest. d'Automne, Paris, Winchester,
Va., 1974; Elec. Mus. Week, Basel, Univ. of Virginia, Bourges, Harvard, La
Rochelle, 1975; Berlin, Colgate Univ., Darmstadt, Utica, N.Y., Michigan
State, Melbourne, CalTech, 1976; New York, Avignon, IRCAM, Paris, 1977.

%2Stria%1, a computer-generated quadraphonic tape. IRCAM, Paris, Oct. 13,
1977; San Diego, Berkeley, 1977.
.END
.next page
.COMMENT 	John M. Grey					;
.if true then begin
.PLACE TEXT
.SKIP 4
.FILL ADJUST INDENT 0,4 PREFACE 15 MILLS; SPACING 5 MILLS
%bJohn M. Grey%1
.SKIP 1
BORN:	February 2, 1947 in Glendale, California.
.SKIP 1
EDUCATION:
.BEGIN NARROW 7
Studied piano and music theory with Lowndes Maury, 1964-70.

B.A. (Psychology and Music) Magna cum Laude, with Highest Departmental
Honors, University of California, Los Angeles, 1970.

Studied harpsichord with Margaret Fabrizio, 1970-73.

Ph.D. (Psychology and Hearing and Speech) Stanford University, 1975.
.END
.SKIP 1
AWARDS AND FELLOWSHIPS:
.BEGIN NARROW 7
Various undergraduate fellowships, University of California, Los Angeles,
1966-70.

California State Scholar, 1966-71.

National Science Foundation Fellowship for Undergraduate Research, 1969.

Woodrow Wilson Fellow, 1970.

Phi Beta Kappa, 1970.

Various graduate fellowships, Stanford University, 1970-74.

Sigma Xi Fellow, 1971.

Sigma Xi Research Grant, 1971.

Social Science Research Postdoctoral Training Fellowship, 1975.
.END
.SKIP 1
PROFESSIONAL EXPERIENCE:
.BEGIN NARROW 7
Teaching Assistant in Department of Psychology, Stanford University,
1970-74.

Design and Implementation of Computer Assisted Music Education System,
Stanford University, 1972.

Consultant, Computer Music, Colgate University, l973.

Co-Director, Center for Computer Research in Music and Acoustics,
Stanford, 1975-present.
.END
.SKIP 1
PUBLICATIONS:
.BEGIN NARROW 7
%2Computer Simulation of Music Instrument Tones in Reverberant
Environments%1.  with Chowning, J.M., Moorer, J.A., Rush, L., Stanford
University Report STAN-M-1, 99pp, 1974.

%2An Exploration of Musical Timbre%1. Ph.D. Dissertation, Stanford
University Report STAN-M-2, 133pp, 1975.

%2Multidimensional Perceptual Scaling of Musical Timbres%1.  Journal of
the Acoustical Society of America, May, 1977.

%2Perceptual Evaluation of Synthesized Musical Instrument Tones%1.  with
Moorer, J.A., Journal of the Acoustical Society of America, August, 1977.

%2Perceptual Effects of Spectral Modifications on Musical Timbres%1.  with
Gordon, J., Journal of the Acoustical Society of America, April, 1978.

%2Timbre Discrimination in Musical Patterns.%1 submitted to
the Journal of the Acoustical Society of America, November, 1977.

%2Experiments in the Perception of Instrumental Timbre%1. invited by
the Bulletin of the Council for Research in Music Education, December, 1977.

%2Categorical versus Continuous Perception of Musical Timbre%1. in
preparation for the Journal of the Acoustical Society of America.

%2Relating Digital Techniques: Analysis, Synthesis, and Processing of
Recorded Sound%1. with Rush, L., in preparation.
.END
.SKIP 1
PUBLIC LECTURES:
.BEGIN NARROW 7
Lecture, Western Psychological Association, Los Angeles, 1970.

Symposium, Center for Music Experiment, U.C. San Diego, 1973.

Lecture, Syracuse University, 1973.

Lecture, Center for Music Experiment, U.C. San Diego, 1974.

Course for IRCAM group, with CCRMA, Stanford, Aug. 1975.

One week course for DAAD, with Chowning and Moorer, Berlin, Sept. 1975.

Computer Music Conference, Michigan State Univ., Oct. 1975.

IRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.

Invited Paper, IRCAM Psychoacoustic Conference, Paris, July l977.

International Computer Music Conference, U.C. San Diego, Oct. 1977.
.END
.SKIP 1
MAJOR PERFORMANCES:
.BEGIN NARROW 7
%2Time Boxes,%1 a computer-generated composition in 2 channels. Stanford,
1971.

%2New Loops,%1 a computer-generated realization of score by R. Erickson in
2 channels. Michigan State University, 1974; Univ. of Lousiville, Colgate
Univ., Richmond, Ind., Utica, N.Y., Winchester, Va., Syracuse, N.Y., Univ.
of Virginia, Binghampton, N.Y., 1976; Univ. of California at San Diego, 1977.
.END
.next page
.end
.COMMENT  	Elliot Mazer ;
.if false then begin
.PLACE TEXT
.SKIP 4
.FILL ADJUST INDENT 0,4 PREFACE 15 MILLS; SPACING 5 MILLS
%bElliot Mazer%1
.SKIP 1
BORN:	September 5, 1941 in New York City, New York.
.SKIP 1
EDUCATION:
.BEGIN NARROW 7
B.A. (English) Fairleight Dickinson University
.END
.SKIP 1
PROFESSIONAL EXPERIENCE:
.BEGIN NARROW 7
Actively engaged in
research on acoustics, studio design, equipment design, advanced recording
techniques and musical instrument design and productively as an independent
record producer for the past 17 years
.END
.SKIP 1
Partial List of MAJOR PRODUCTIONS
.BEGIN NARROW 7
Neil Young - %2Harvest, Time Fades Away, %1and parts of %2Tonites the Night,
American Stars and Bars, %1and %2Decade%1.

Janis Joplin - %2In Concert %1and %2Cheap Thrills %1in collaboration with John
Simon.

The Dingoes - %2Five Times the Sun%1.

Frankie Miller - %2The Rock%1.

Barclay James Harvest - %2Time Honoured Ghosts%1.

Andy Fairweather-Lowe - %2Spider Jiving%1.

Linda Ronstadt - %2Silk Purse%1.

Blue - %2Life in the Navy%1.

Valdy - %2Hot Rocks%1.

Gordon Lightfoot - %2Back Here on Earth, %1and %2Sunday Concert%1.

Jack Nitzshe - %2St. Giles Criplegate%1.

Area Code 615 - %2Area Code 615%1.

Leonard Bernstein - %2Concert for Peace%1 in collaberation with John McClure

%2The Last Waltz%1 - original live recording at Winterland for the film.
.END
.next page
.end
.COMMENT  	F. Richard Moore				;
.if false then begin
.PLACE TEXT
.SKIP 4
.FILL ADJUST INDENT 0,4 PREFACE 15 MILLS; SPACING 5 MILLS
%bF. Richard Moore%1
.SKIP 1
BORN:	September 4, 1944 in Uniontown, Pennsylvania.
.SKIP 1
EDUCATION:
.BEGIN NARROW 7
B.F.A. (Music Composition) Carnegie Mellon University, 1966.
(Studied composition with Nikolai Lopatnikoff.)

B.F.A. (Music performance - percussion major) Carnegie Mellon University, 1966.

University of Illinois - Graduate study in Music Theory and Composition 1967.
(Studied composition with Kenneth Gaburo.)

M.S. (Electrical Engineering) Stanford University, 1975

Ph.D.(Electrical Engineering) Stanford University, 1977.
.END
.SKIP 1
FELLOWSHIPS AND ASSOCIATIONS:
.BEGIN NARROW 7
Undergraduate scholarships, Carnegie-Mellon University, 1961-1966.

Woodrow Wilson Fellowship Honorable Mention, 1966.

Graduate fellowship in Electrical Engineering, Stanford University,
1973-74.

Member of Phi Mu Alpha since 1962.

Elected to Phi Kappa Phi, 1966.

Member of Association for Computing Machinery (ACM) since 1967.

Member of Acoustical Society of America (ASA) since 1969.

Member of American Association for the Advancement of Science (AAAS) since
1970.
.END
.SKIP 1
PROFESSIONAL EXPERIENCE:
.BEGIN NARROW 7
Musical performances with the Pittsburgh Symphony under Pierre Boulez,
1966, Wheeling Symphony, 1965-1966, the Pittsburgh Percussion Quartet
1966; ALEA II Ensemble for New Music, Stanford, 1973-1975, Guest artist
with the Francesco Trio, 1975 and 1977, Various ensembles for new music at
Illinois and Stanford.

Music Research and Teaching Assistant, Department of Music, University of
Illinois, 1966-1967: included maintenance of systems for computer
composition of music and analysis of sounds; taught harmony, ear training,
and musicianship.

Systems and scientific applications programming at Bell Telephone
Laboratories, Murray Hill, New Jersey, 1967-1973:  included the design,
implementation and maintenance of software systems and work on real time
interactive sound and music generating systems.

Taught professional computer programming and computer music courses at
Bell Telephone Laboratories, 1970-1973.

Graduate Research in Music and Electrical Engineering, Stanford University
1973-1977: design and construction of real-time digital signal processing
device.

Co-instruction of seminars and courses given by Center for Computer
Research in Acoustics and Music, Stanford University, 1973-1977; also
co-instruction of special interdisciplinary courses on Technology and
Musical Expression.
.END
.SKIP 1
PUBLICATIONS:
.BEGIN NARROW 7
%2Electronic Music - an Introduction%1. Carnegie Technical, Nov. 1963.

%2A Theory of Dissonance%1. Carnegie Technical, May, 1966.

%2The Technology of Computer Music%1. by M.V. Mathews with the
collaboration of J.E. Miller, F.R. Moore, J.R. Pierce, and J.C. Risset,
MIT Press, 1969.

%2GROOVE - A Program to Compose, Store, and Edit Functions of Time%1. with
M.V. Mathews, Communications of the ACM, v.13, Dec., 1970.

Computer-generated music scores for several computer-generated art films
with Lillian Schwartz and Ken Knowlton, 1970-1974, including the films:
%2Pixillation, Enigma, Apotheosis, Affinities, Mathoms, %1and%2
Galaxies%1.

%2Music and Computers%1. Enciclopedia della Scienza e della
Technica/Mondadori, 1971 Yearbook, pp. 490-498.

%2Music - Film - Computers%1. Filmmaker's Newsletter, Vol.4, Apr. 1971.

%2Noise and Music%1. with Paul B. Ostergaard, AAAS Speaking of Science
Audiotape Series, Volume One, Numer 12, 1972.

%2Computer Controlled Analog Synthesizers%1. Bell Laboratories Computing
Science Technical Report #10, May, 1973.

%2Computers and Future Music%1. with M.V. Mathews and J. C. Risset,
Science, Jan., 1974, pp. 263-268.

%2Real Time Interactive Computer Music Synthesis%1. Ph.D. Dissertation,
Stanford University Report STAN-M-7, 1977.

%2Table Lookup Noise for Sinusoidal Digital Oscillators%1. Computer Music
Journal, Vol. 1, 2, 1977.
.END
.SKIP 1
MAJOR PERFORMANCES:
.BEGIN NARROW 7
%2The Lemniscate of Bernoulli%1, a computer-generated stereophonic tape.
Munich, London, Brussels, 1970.

%2Requiem%1, a computer-generated stereophonic tape.  Munich, London,
Brussels, New York, Rutgers, 1971; Buenos Aires, 1972; Stanford 1976.
.END
.SKIP 1
PUBLIC LECTURES AND SEMINARS:
.BEGIN NARROW 7
Lecture on the GROOVE system for real-time computer music, Acoustical
Society of America San Diego Meeting, 1970.

Lecture on computer music, meeting of the American Association for the
Advancement of Science, Philadelphia, 1971.

Lecture on computer music, Music Educator's National Conference, Atlanta,
Ga., 1971.

Graduate seminar on real-time computer music, University of Connecticut,
Department of Electrical Engineering, 1972.
Technical seminars, Bell Laboratories at Murray Hill, Holmdel, and Indian
Hill, 1970-1972.
 
Graduate colloquium, Newark College of Engineering College, Industry
Seminar Series, April, 1972.

Graduate Seminars, Stanford Department of Electrical Engineering, 1973,
1974, 1975.

Course for IRCAM group, with CCRMA, Stanford, Aug. 1975.

IRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.

.END  
.next page
.end
.COMMENT	James A. Moorer					;
.if true then begin
.PLACE TEXT
.SKIP 4
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%bJames A. Moorer%1
.SKIP 1
BORN:	November 25, 1945 in Hollywood, Florida.
.SKIP 1
EDUCATION:
.BEGIN NARROW 7
Musical studies: Florida State University, 1962-63; Boston University,
1966; M.I.T.,1967.

S.B. (Electrical Engineering) M.I.T., 1967.

S.B. (Applied Mathematics) M.I.T., 1968.

Ph.D. (Computer Science) Stanford University, 1975.
.END
.SKIP 1
PROFESSIONAL EXPERIENCE:
.BEGIN NARROW 7
Systems Programmer, Education Research Center, M.I.T.,1966-68.

Head of Systems Programming, Stanford Artificial Intelligence Laboratory,
1968-72.

Research Assistant, Stanford Artificial Intelligence Laboratory, 1972-75.

Co-Director, Center for Computer Research in Music and Acoustics, 1975-77.

Scientific Advisor, IRCAM, Paris, France, 1977-1979.

Co-Director, Center for Computer Research in Music and Acoustics, 1979-present.
.END
.SKIP 1
PUBLICATIONS:
.BEGIN NARROW 7
%2Music and Computer Composition.%1 Communications of the ACM, Vol.15, 2,
1972.

%2The Optimum Comb Method of Pitch Period Analysis of Continuous Digitized
Speech.%1 Stanford Artificial Intelligence Laboatory Memo 207, July 1973.
Also in IEEE Transactions on Acoustics, Speech, and Signal Processing,
Vol. ASSP-22, 5, Oct. 1974

%2The Heterodyne Filter as a Tool for Analysis of Transient Waveforms.%1
Stanford Artificial Intelligence Laboatory Memo 208, July 1973.

%2On the Segmentation and Analysis of Continuous Musical Sound.%1 PhD
Dissertation, Stanford University Report STAN-M-3, July, 1975.

%2Computer Simulation of Music Instrument Tones in Reverberant
Environments%1. with Chowning, J.M., Grey, J.M., Rush, L., STAN-M-1, 99pp,
1974.

%2On the Transcription of Musical Sound by Digital Computer%1. Presented
at the Second USA-JAPAN Computer Conference, August, 1975, reprinted
in the Computer Music Journal, Volume 1, #4, November 1977, pp32-38

%2On the Loudness of Complex, Time-Variant Tones%1. Stanford University
Report STAN-M-4, 18pp, 1975.

%2The Use of the Phase Vocoder in Computer Music Applications%1.
Journal of the Audio Engineering Society, ***???which one***

%2The Synthesis of Complex Audio Spectra by Means of Discrete Summation
Formulae%1. Journal of the Audio Engineering Society, Volume 24, #9,
November 1976, pp717-727. Preprinted as Stanford University Report
STAN-M-5

%2Signal Processing Aspects of Computer Music - A Survey%1.  Invited
Paper, Proceedings of the IEEE, Volume 65, #8, August, 1977, pp1108-1137.
Reprinted in Computer Music Journal Vol. 1, 1, 1977.

%2Perceptual Evaluation of Synthesized Musical Instrument Tones%1.  with
Grey, J.M., Journal of the Acoustical Society of America, August, 1977.

%2How Does a Computer Make Music?%1. Computer Music Journal, Volume 2,
Number 1, July 1978, pp32-37

%2On the Coding of High-Quality Digitized Sound%1.
Presented at the *** Convention of the Audio Engineering Society, available
as preprint number ***

%2The Use of Linear Prediction of Speech in Computer Music Applications%1.
Journal of the Audio Engineering Society, Volume 27, #3, March, 1979,
pp134-140. Preprinted in French in %2Journ%4'%2ees Des Etudes%1, Festival du Son,
June, 1979.

%2About this Reverberation Business%1,
Computer Music Journal, Volume 3, #2, June 1979, pp13-28

%2The 4C Machine%1,
with A. Chauveau, C. Abbott, P. Eastty, and J. Lawson,
Computer Music Journal, Volume 3, #3, September 1979, pp16-24

%2HELP!%1,
Letter to the Editor,
Computer Music Journal, Volume 3, #3, September 1979, p4
.END
.SKIP 1
PUBLIC LECTURES:
.BEGIN NARROW 7
Lecture, Carnegie-Mellon University, 1973.

Colloquium, Carnegie-Mellon University, Nov. 1974.

University of California at Santa Barbara, May, 1975.

Course for IRCAM, with CCRMA group, Stanford, Aug. 1975.

One week course for DAAD, with Chowning and Grey, Berlin, Sept. 1975.

Lecture, Computer Music Conference, Michigan State Univ., Oct. 1975.

Colloquium, University of Georgia, Feb. 1976.

Colloquium, Center for Music Experiment, U.C. San Diego, June 1976.

IRCAM Conference, with CCRMA group, Baden-Baden, Sept. 1976.

Audio Engineering Society Convention, New York, Oct. 1976.

International Computer Music Conference, MIT, Oct. 1976.

Colloquium, Boston University, Oct. 1976.

Audio Engineering Society Convention, Los Angeles, May. 1977.

IRCAM Psychoacoustic Conference, Paris, July l977.

International Computer Music Conference, U.C. San Diego, Oct. 1977.

Audio Engineering Society Convention, Hamburg, West Germany, February 1978.

Symposium on Computer Music, Teatro Communo, Florence, Italy, June 1978

NASA-ISI conference, Paris, France, July 1978

Journ%4e%1es des Etudes, Festival du Son, April 1979

Audio Engineering Society Convention, Brussels, Belgium, February 1979.
.END
.next page
.end
.COMMENT	Loren Rush					;
.if true then begin
.PLACE TEXT
.SKIP 4
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%bLoren Rush%1
.SKIP 1
BORN:	August 23, 1935 in Los Angeles, California.
.SKIP 1
EDUCATION:
.BEGIN NARROW 7
Studied composition with Robert Erickson, 1954-60.

B.A. (Music) San Francisco State University, 1957.

M.A. (Music) University of California, Berkeley, 1960.

D.M.A. (Doctor of Musical Arts) Stanford University, 1969.
.END
.SKIP 1
AWARDS AND FELLOWSHIPS:
.BEGIN NARROW 7
George Ladd Prix de Paris Scholar in Music, 1960-62.

Fromm Music Foundation commission, Tanglewood, l964.

Highest award, Royaumont International Composition Competition, France,
l965.

Various graduate fellowships, Stanford University, 1966-69.

Rome Prize Fellowship, American Academy in Rome, 1969-71.

Prince Pierre of Monaco Musical Composition Award, 1971.

John Simon Guggenheim Memorial Fellowship, 1971.

National Institute of Arts and Letters Award, 1971.

San Francisco Symphony Commission, 1973.

National Endowment for the Arts Fellowship Grant, 1974.

San Francisco Symphony Bicentennial Commission, 1974.

National Endowment for the Arts Fellowship Grant, 1975.

Martha Baird Rockefeller Fund for Music Grant, 1977.
.END
.SKIP 1
PROFESSIONAL EXPERIENCE:
.BEGIN NARROW 7
Associate Music Director, KPFA-FM, Pacifica Foundation radio, Berkeley,
Calif., 1957-60.

Instructor of Music Composition and Theory, San Francisco Conservatory of
Music, 1962-67.

Organized and directed Performer's Choice, performance group, 1963-65.

Organized and directed the San Francisco Conservatory Artists Ensemble,
1966-69.

Member, Computer Music and Acoustics Group, Stanford, 1966-69.

Acting Lecturer in Music, Stanford University, 1967-68.

Chairman, Composition Department, San Francisco Conservatory of Music,
1967-69.

Visiting Scholar, Stanford Artificial Intelligence Laboratory, 1971-75.

Composer in Residence, San Francisco Symphony Summer Music Workshop, 1973.

Co-Director, Center for Computer Research in Music and Acoustics,
Stanford, 1975-present.

Member, Music Advisory Panel, National Endowment for the Arts,
1976-present.
.END
.SKIP 1
PUBLICATIONS:
.BEGIN NARROW 7
%2Nexus 16, %1for chamber orchestra. Editions Jobert, Paris, 1966.
Recorded for Wergo (Germany) by the San Francisco New Music Ensemble,
1971.

%2Oh, Susanna, %1for piano. Editions Jobert, Paris, 1971.  Recorded for
Serenus by Dwight Peltzer, 1977.

%2String Quartet in C# Minor%1. Editions Jobert, Paris, in press.
Recorded for Composers Recordings, Inc., by the San Francisco Contemporary
Music Players, 1977.

%2Hexahedron, %1for piano. General Music Publishing Co.,
Hastings-on-Hudson, New York, in press. Recorded for Serenus by Dwight
Peltzer, 1977.

%2soft music, HARD MUSIC, %1for three amplified pianos. General Music
Publishing Co., in press. Recorded for Serenus by Dwight Peltzer, 1977.

%2A Little Traveling Music, %1for amplified piano with computer-generated
quadraphonic tape. General Music Pub. Co., in press.  Recorded for Serenus
by Dwight Peltzer, 1977.

%2Computer Simulation of Music Instrument Tones in Reverberant
Environments%1. with Chowning, J.M., Grey, J.M., and Moorer, J.A.,
Stanford University Report STAN-M-1, 99pp, 1974.
.END
.SKIP 1
MAJOR PERFORMANCES:
.BEGIN NARROW 7
%2Nexus 16.%1
New York Philharmonic ensemble, Pierre Boulez cond., Perspective Encounters,
	New York, 1976.

%2Dans le Sable.%1
Rome Symphony Orchestra, Ferruccio Scaglia cond., Rome, 1970.
Saint Paul Chamber Orchestra, Sydney Hodkinson cond., Minneapolis, 1972.

%2The Cloud Messenger.%1
Rome Symphony Orchestra, Giampiero Taverna cond., Rome, 1971.
San Francisco Symphony Orchestra, Seiji Ozawa cond., San Francisco,
	Niklaus Wyss cond., Leningrad, Vilnius & Moscow, 1973.
Boston Symphony Orchestra, Seiji Ozawa cond., Boston, New York, Detroit,
	Ann Arbor, 1974-75.

%2I'll See You in My Dreams.%1
San Francisco Symphony Orchestra, Niklaus Wyss cond., San Francisco, 1973.

%2Song and Dance.%1
San Francisco Symphony Orchestra, Seiji Ozawa cond., San Francisco, 1975.
St. Louis Symphony Orchestra, Leonard Slatkin cond., St. Louis, 1977.
Minnesota Orchestra, Leonard Slatkin cond., Minneapolis, 1978.
.END
.SKIP 1
PUBLIC LECTURES:
.BEGIN NARROW 7
Colloquium, Center for Music Experiment, U.C. San Diego, Mar. 1975.

Course for IRCAM group, with CCRMA, Stanford, Aug. 1975.

IRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.

Audio Engineering Society Convention, with Moorer, New York, Oct. 1976.

International Computer Music Conference, MIT, Oct. 1976.

Audio Engineering Society Convention, with Moorer, Los Angeles, May. 1977.

International Computer Music Conference, U.C. San Diego, Oct. 1977.
.END
.next page
.end
.COMMENT	Leland C. Smith				;
.if true then begin
.PLACE TEXT
.SKIP 2
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%bLeland C. Smith%1
.SKIP 1
BORN:	August 6, 1925 in Oakland, California.
.SKIP 1
EDUCATION:
.BEGIN NARROW 7
Musical studies with Darius Milhaud, Mills College, 1941-43, 1946-47.

A.B. & M.A. (Music) with Highest Honors, University of California,
Berkeley, 1946-48.

Musical studies with Olivier Messiaen, Paris Conservatory, 1948-49.
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AWARDS AND FELLOWSHIPS:
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Various undergraduate and graduate fellowships, 1946-48.

Phi Beta Kappa, 1948.

Mills College commission for centennial celebration.

Fromm Music Foundation commission for Boston Symphony Players.

Copley Foundation Award.

Fulbright Senior Research Grant, to compose in France, 1964-65.
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PROFESSIONAL EXPERIENCE:
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Assistant to Roger Sessions, University of California, Berkeey, 1950.

Bassoonist:  Chicago Symphony, San Francisco Symphony Orchestra, the
orchestras of the Chicago and San Francisco Opera Companies and the New
York City Ballet, 1950-59.

Instructor, Mills College, 1951-52, summer sessions of 1953, 1956 & 1957.

Assistant Professor of Music, University of Chicago, 1952-58.

Associate Professor of Music, Stanford University, 1958-1968.

Professor of Music, Stanford University: in charge of Doctoral program in
musical composition; Taught a variety of music history and theory courses,
including computer applications, 1968 to present.
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RECENT PUBLICATIONS:
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%2Score, A Musician's Approach to Computer Music, %1J. Audio Eng. Soc.,
Jan-Feb, 1972.

%2Editing and Printing Music by Computer, %1Journal of Music Theory, Fall, 1973.

%2Henry Cowell's `Rhythmicana,' %1Yearbook for Inter-American Research, 1973.
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RECENT PUBLIC LECTURES:
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Lectured on computer music at Colgate University, Columbia University,
Michigan Stat, Univ. of Nevada, Univ. of Calif. at Davis, Univ. of Calif.
at San Diego, Calif.  Institute of the Arts, Paris U.S.I.S, Yugoslav
Composers' Union at Belgrad and Zagreb. 1969-74.
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MAJOR PERFORMANCES:
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%2Symphony I, %1San Francisco Little Symphony.

%2Santa Claus %1(opera, libretto of e.e. cummings), Univ. of Chicago.

%2Concerto for Orchestra, %1Orchestra of America, Richard Korn cond.,
Carnegie Hall, N.Y.

%2Machines of Loving Grace %1(for computer, bassoon and narrator), Town
Hall, New York City.

%2Rhapsody for Flute and Computer, %1many performances in Europe and U.S.A.
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