/LMAR=0/XLINE=3/FONT#0=NGB25/FONT#1=BDI25/FONT#2=BASL30/FONT#3=ZERO30/FONT#9=BASB30/FONT#10=CLAR30/FONT#11=BDR40



␈↓ α∧␈↓␈↓ ¬Q␈↓CCRMA Personnel



␈↓ α∧␈↓␈↓
John M. Chowning␈↓

␈↓ α∧␈↓BORN:   August 22, 1934 in Salem, New Jersey.

␈↓ α∧␈↓EDUCATION:
␈↓ α∧␈↓␈↓ αtNavy School of Music and  Military Service, 1952-55.
␈↓ α∧␈↓␈↓ αtBachelor of Music, Wittenberg University, Springfield, Ohio, 1959.
␈↓ α∧␈↓␈↓ αtStudies in composition and theory with Nadia Boulanger, Paris, 1959-62.
␈↓ α∧␈↓␈↓ αtM.A. (Music) Stanford University, 1964.
␈↓ α∧␈↓␈↓ αtD.M.A. (Doctor of Musical Arts) Stanford University, 1966.

␈↓ α∧␈↓AWARDS AND FELLOWSHIPS:
␈↓ α∧␈↓␈↓ αtIBM Graduate Fellowship, 1964.
␈↓ α∧␈↓␈↓ αtStanford Wilson Fellowship, 1965.
␈↓ α∧␈↓␈↓ αtNational Endowment for the Arts Fellowship Grant, 1973.
␈↓ α∧␈↓␈↓ αtGuest Artist, City of Berlin, 1974.
␈↓ α∧␈↓␈↓ αtIRCAM Commission, 1977.

␈↓ α∧␈↓PROFESSIONAL EXPERIENCE:
␈↓ α∧␈↓␈↓ αtCo-Director, Society for the Performance of Contemporary Music, 1962-66.
␈↓ α∧␈↓␈↓ αtLecturer in Music, Stanford University, 1966.
␈↓ α∧␈↓␈↓ αtAssistant Professor of Music, Stanford, 1967-74.
␈↓ α∧␈↓␈↓ αtDirector, Computer Music and Acoustics Group, Stanford, 1966-74.
␈↓ α∧␈↓␈↓ αtCo-Director, Center for Computer Research in Music and Acoustics, Stanford, 1975-present.
␈↓ α∧␈↓␈↓ αtProfessor of Music, Stanford, 1978-present.

␈↓ α∧␈↓PUBLICATIONS:
␈↓ α∧␈↓␈↓ αt␈↓↓The Simulation of Moving Sound Sources.␈↓ J. Audio Eng. Soc. 19,2-6, 1971.
␈↓ α∧␈↓␈↓ αt␈↓↓The Stanford Computer Music Project.␈↓ Numus-West 1, 1972.
␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∞Synthesis␈α∞of␈α∞Complex␈α
Audio␈α∞Spectra␈α∞by␈α∞Means␈α
of␈α∞Frequency␈α∞Modulation.␈↓␈α∞J.␈α
Audio
␈↓"↓␈↓ α∧␈↓␈↓ β4Eng. Soc. 21, 526-534, 1973. Reprinted in Computer Music Journal, Vol. 1, 2, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Computer␈α
Simulation␈α
of␈α
Music␈α
Instrument␈α
Tones␈α
in␈α
Reverberant␈α
Environments␈↓.␈αwith␈α
Grey,
␈↓"↓␈↓ α∧␈↓␈↓ β4J.M., Moorer, J.A., Rush, L., Stanford University Report STAN-M-1, 99pp, 1974.

␈↓ α∧␈↓PUBLIC LECTURES:
␈↓ α∧␈↓␈↓ αt␈↓↓Computer Music,␈↓ Radio Broadcast, KCBS, San Francisco, 1965.
␈↓ α∧␈↓␈↓ αt␈↓↓New␈α∨Directions␈α∨in␈α∨Musical␈α∨Composition:␈α∨Computer␈α∨Generated␈α Music.␈↓␈α∨lecture-
␈↓"↓␈↓ α∧␈↓␈↓ β4demonstration, Stanford, 1965.
␈↓ α∧␈↓␈↓ αt␈↓↓Computer␈α∂Generated␈α∂Music.␈↓␈α∂lecture-demonstration,␈α∂Interdisciplinary␈α∂Computer␈α∂Symposium,
␈↓"↓␈↓ α∧␈↓␈↓ β4Stanford, 1966.
␈↓ α∧␈↓␈↓ αt␈↓↓Composer␈α∂and␈α∂Computers:␈α∂The␈α∂Significant␈α∂Possibilities.␈↓␈α∂lecture-demonstration,␈α∂American
␈↓"↓␈↓ α∧␈↓␈↓ β4Musicological Society, Stanford, 1966.
␈↓ α∧␈↓␈↓ αtIRCAM Conference, La Rochelle, France, July 1975.
␈↓ α∧␈↓␈↓ αtCourse for IRCAM group, with CCRMA, Stanford, Aug. 1975.
␈↓ α∧␈↓␈↓ αtOne week course for DAAD, with Grey and Moorer, Berlin, Sept. 1975.
␈↓ α∧␈↓␈↓ αtPhysics Colloquium, Calif. Institute of Technology, Feb. 1976.
␈↓ α∧␈↓␈↓ αtComputer Music Presentation with Pierre Boulez, New York, Mar. 1976.
␈↓ α∧␈↓␈↓ αtIRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.
␈↓ α∧␈↓␈↓ αtColloquium, Calif. Institute of Technology, Nov. 1976.
␈↓ α∧␈↓␈↓ αtComputer Arts Society, Los Angeles, Feb. l977.
␈↓ α∧␈↓␈↓ αtLecture, Columbia University, Feb. l977.
␈↓ α∧␈↓␈↓ αtIRCAM Psychoacoustic Conference, Paris, July l977.



␈↓ α∧␈↓␈↓ αtInternational Computer Music Conference, U.C. San Diego, Oct. 1977.

␈↓ α∧␈↓MAJOR PERFORMANCES:
␈↓ α∧␈↓␈↓ αt␈↓↓Sabelithe␈↓,␈α∞a␈α
computer-generated␈α∞quadraphonic␈α
tape.␈α∞ Stanford,␈α
1972;␈α∞Stockholm,␈α
Marseille,
␈↓"↓␈↓ α∧␈↓␈↓ β4Vancouver,␈α∂Utrecht,␈α∂Berlin,␈α∂1973;␈α∂Berlin,␈α∂Darmstadt,␈α∂1974;␈α∂Bourges,␈α∂Michigan␈α∞State,
␈↓"↓␈↓ α∧␈↓␈↓ β41975; Stanford, CalTech, 1976.
␈↓ α∧␈↓␈↓ αt␈↓↓Turenas␈↓,␈α⊗a␈α↔computer-generated␈α⊗quadraphonic␈α⊗tape.␈α↔Stanford,␈α⊗Metz,␈α↔Vancouver,␈α⊗1972;
␈↓"↓␈↓ α∧␈↓␈↓ β4Stockholm,␈α
Syracuse,␈α
Marseille,␈α
Binghampton,␈α
Utrecht,␈α
Stanford,␈α
De␈α
Anza,␈α
Ca.,␈α
Univ.␈αof
␈↓"↓␈↓ α∧␈↓␈↓ β4Las␈α↔Vegas,␈α↔1973;␈α⊗GRM,␈α↔Paris,␈α↔Univ.␈α↔of␈α⊗Lousiville,␈α↔Berlin,␈α↔Richmond,␈α↔Ind.,␈α⊗Fest.
␈↓"↓␈↓ α∧␈↓␈↓ β4d'Automne,␈α⊃Paris,␈α⊂Winchester,␈α⊃Va.,␈α⊃1974;␈α⊂Elec.␈α⊃Mus.␈α⊃Week,␈α⊂Basel,␈α⊃Univ.␈α⊃of␈α⊂Virginia,
␈↓"↓␈↓ α∧␈↓␈↓ β4Bourges,␈α∩Harvard,␈α∩La␈α∩Rochelle,␈α∩1975;␈α⊃Berlin,␈α∩Colgate␈α∩Univ.,␈α∩Darmstadt,␈α∩Utica,␈α⊃N.Y.,
␈↓"↓␈↓ α∧␈↓␈↓ β4Michigan State, Melbourne, CalTech, 1976; New York, Avignon, IRCAM, Paris, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Stria␈↓,␈α∂a␈α∂computer-generated␈α∂quadraphonic␈α∂tape.␈α⊂IRCAM,␈α∂Paris,␈α∂Oct.␈α∂13,␈α∂1977;␈α⊂San␈α∂Diego,
␈↓"↓␈↓ α∧␈↓␈↓ β4Berkeley, 1977.



␈↓ α∧␈↓␈↓
John M. Grey␈↓

␈↓ α∧␈↓BORN:   February 2, 1947 in Glendale, California.

␈↓ α∧␈↓EDUCATION:
␈↓ α∧␈↓␈↓ αtStudied piano and music theory with Lowndes Maury, 1964-70.
␈↓ α∧␈↓␈↓ αtB.A.␈α(Psychology␈αand␈αMusic)␈αMagna␈α
cum␈αLaude,␈αwith␈αHighest␈αDepartmental␈αHonors,␈α
University
␈↓"↓␈↓ α∧␈↓␈↓ β4of California, Los Angeles, 1970.
␈↓ α∧␈↓␈↓ αtStudied harpsichord with Margaret Fabrizio, 1970-73.
␈↓ α∧␈↓␈↓ αtPh.D. (Psychology and Hearing and Speech) Stanford University, 1975.

␈↓ α∧␈↓AWARDS AND FELLOWSHIPS:
␈↓ α∧␈↓␈↓ αtVarious undergraduate fellowships, University of California, Los Angeles, 1966-70.
␈↓ α∧␈↓␈↓ αtCalifornia State Scholar, 1966-71.
␈↓ α∧␈↓␈↓ αtNational Science Foundation Fellowship for Undergraduate Research, 1969.
␈↓ α∧␈↓␈↓ αtWoodrow Wilson Fellow, 1970.
␈↓ α∧␈↓␈↓ αtPhi Beta Kappa, 1970.
␈↓ α∧␈↓␈↓ αtVarious graduate fellowships, Stanford University, 1970-74.
␈↓ α∧␈↓␈↓ αtSigma Xi Fellow, 1971.
␈↓ α∧␈↓␈↓ αtSigma Xi Research Grant, 1971.
␈↓ α∧␈↓␈↓ αtSocial Science Research Postdoctoral Training Fellowship, 1975.

␈↓ α∧␈↓PROFESSIONAL EXPERIENCE:
␈↓ α∧␈↓␈↓ αtTeaching Assistant in Department of Psychology, Stanford University, 1970-74.
␈↓ α∧␈↓␈↓ αtDesign␈α→and␈α→Implementation␈α→of␈α→Computer␈α→Assisted␈α→Music␈α→Education␈α→System,␈α_Stanford
␈↓"↓␈↓ α∧␈↓␈↓ β4University, 1972.
␈↓ α∧␈↓␈↓ αtConsultant, Computer Music, Colgate University, l973.
␈↓ α∧␈↓␈↓ αtCo-Director, Center for Computer Research in Music and Acoustics, Stanford, 1975-present.

␈↓ α∧␈↓PUBLICATIONS:
␈↓ α∧␈↓␈↓ αt␈↓↓Computer␈α∩Simulation␈α⊃of␈α∩Music␈α⊃Instrument␈α∩Tones␈α⊃in␈α∩Reverberant␈α∩Environments␈↓.␈α⊃ with
␈↓"↓␈↓ α∧␈↓␈↓ β4Chowning,␈α∂J.M.,␈α∂Moorer,␈α⊂J.A.,␈α∂Rush,␈α∂L.,␈α⊂Stanford␈α∂University␈α∂Report␈α⊂STAN-M-1,␈α∂99pp,
␈↓"↓␈↓ α∧␈↓␈↓ β41974.
␈↓ α∧␈↓␈↓ αt␈↓↓An␈αExploration␈α
of␈αMusical␈α
Timbre␈↓.␈αPh.D.␈α
Dissertation,␈αStanford␈α
University␈αReport␈α
STAN-M-
␈↓"↓␈↓ α∧␈↓␈↓ β42, 133pp, 1975.
␈↓ α∧␈↓␈↓ αt␈↓↓Multidimensional␈α∪Perceptual␈α∪Scaling␈α∪of␈α∀Musical␈α∪Timbres␈↓.␈α∪ Journal␈α∪of␈α∀the␈α∪Acoustical
␈↓"↓␈↓ α∧␈↓␈↓ β4Society of America, May, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Perceptual␈α∪Evaluation␈α∪of␈α∩Synthesized␈α∪Musical␈α∪Instrument␈α∩Tones␈↓.␈α∪ with␈α∪Moorer,␈α∩J.A.,
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal of the Acoustical Society of America, August, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Perceptual␈α∪Effects␈α∪of␈α∪Spectral␈α∪Modifications␈α∪on␈α∪Musical␈α∪Timbres␈↓.␈α∪ with␈α∪Gordon,␈α∩J.,
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal of the Acoustical Society of America, April, 1978.
␈↓ α∧␈↓␈↓ αt␈↓↓Timbre␈α⊃Discrimination␈α⊃in␈α⊃Musical␈α⊃Patterns.␈↓␈α⊃submitted␈α⊃to␈α⊃the␈α⊃Journal␈α⊃of␈α⊃the␈α⊂Acoustical
␈↓"↓␈↓ α∧␈↓␈↓ β4Society of America, November, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Experiments␈α⊃in␈α⊂the␈α⊃Perception␈α⊂of␈α⊃Instrumental␈α⊂Timbre␈↓.␈α⊃invited␈α⊂by␈α⊃the␈α⊂Bulletin␈α⊃of␈α⊂the
␈↓"↓␈↓ α∧␈↓␈↓ β4Council for Research in Music Education, December, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Categorical␈α∪versus␈α∪Continuous␈α∪Perception␈α∪of␈α∪Musical␈α∪Timbre␈↓.␈α∪in␈α∪preparation␈α∪for␈α∪the
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal of the Acoustical Society of America.
␈↓ α∧␈↓␈↓ αt␈↓↓Relating␈α
Digital␈α
Techniques:␈αAnalysis,␈α
Synthesis,␈α
and␈αProcessing␈α
of␈α
Recorded␈αSound␈↓.␈α
with
␈↓"↓␈↓ α∧␈↓␈↓ β4Rush, L., in preparation.

␈↓ α∧␈↓PUBLIC LECTURES:
␈↓ α∧␈↓␈↓ αtLecture, Western Psychological Association, Los Angeles, 1970.
␈↓ α∧␈↓␈↓ αtSymposium, Center for Music Experiment, U.C. San Diego, 1973.
␈↓ α∧␈↓␈↓ αtLecture, Syracuse University, 1973.
␈↓ α∧␈↓␈↓ αtLecture, Center for Music Experiment, U.C. San Diego, 1974.
␈↓ α∧␈↓␈↓ αtCourse for IRCAM group, with CCRMA, Stanford, Aug. 1975.
␈↓ α∧␈↓␈↓ αtOne week course for DAAD, with Chowning and Moorer, Berlin, Sept. 1975.



␈↓ α∧␈↓␈↓ αtComputer Music Conference, Michigan State Univ., Oct. 1975.
␈↓ α∧␈↓␈↓ αtIRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.
␈↓ α∧␈↓␈↓ αtInvited Paper, IRCAM Psychoacoustic Conference, Paris, July l977.
␈↓ α∧␈↓␈↓ αtInternational Computer Music Conference, U.C. San Diego, Oct. 1977.

␈↓ α∧␈↓MAJOR PERFORMANCES:
␈↓ α∧␈↓␈↓ αt␈↓↓Time Boxes,␈↓ a computer-generated composition in 2 channels. Stanford, 1971.
␈↓ α∧␈↓␈↓ αt␈↓↓New␈α
Loops,␈↓␈α
a␈αcomputer-generated␈α
realization␈α
of␈αscore␈α
by␈α
R.␈αErickson␈α
in␈α
2␈αchannels.␈α
Michigan
␈↓"↓␈↓ α∧␈↓␈↓ β4State␈α∂University,␈α⊂1974;␈α∂Univ.␈α⊂of␈α∂Lousiville,␈α⊂Colgate␈α∂Univ.,␈α⊂Richmond,␈α∂Ind.,␈α⊂Utica,␈α∂N.Y.,
␈↓"↓␈↓ α∧␈↓␈↓ β4Winchester,␈α∂Va.,␈α∂Syracuse,␈α∂N.Y.,␈α∂Univ.␈α∞ of␈α∂Virginia,␈α∂Binghampton,␈α∂N.Y.,␈α∂1976;␈α∂Univ.␈α∞of
␈↓"↓␈↓ α∧␈↓␈↓ β4California at San Diego, 1977.



␈↓ α∧␈↓␈↓
James A. Moorer␈↓

␈↓ α∧␈↓BORN:   November 25, 1945 in Hollywood, Florida.

␈↓ α∧␈↓EDUCATION:
␈↓ α∧␈↓␈↓ αtMusical studies: Florida State University, 1962-63; Boston University, 1966; M.I.T.,1967.
␈↓ α∧␈↓␈↓ αtS.B. (Electrical Engineering) M.I.T., 1967.
␈↓ α∧␈↓␈↓ αtS.B. (Applied Mathematics) M.I.T., 1968.
␈↓ α∧␈↓␈↓ αtPh.D. (Computer Science) Stanford University, 1975.

␈↓ α∧␈↓PROFESSIONAL EXPERIENCE:
␈↓ α∧␈↓␈↓ αtSystems Programmer, Education Research Center, M.I.T.,1966-68.
␈↓ α∧␈↓␈↓ αtHead of Systems Programming, Stanford Artificial Intelligence Laboratory, 1968-72.
␈↓ α∧␈↓␈↓ αtResearch Assistant, Stanford Artificial Intelligence Laboratory, 1972-75.
␈↓ α∧␈↓␈↓ αtCo-Director, Center for Computer Research in Music and Acoustics, 1975-77.
␈↓ α∧␈↓␈↓ αtScientific Advisor, IRCAM, Paris, France, 1977-1979.
␈↓ α∧␈↓␈↓ αtCo-Director, Center for Computer Research in Music and Acoustics, 1979-present.

␈↓ α∧␈↓PUBLICATIONS:
␈↓ α∧␈↓␈↓ αt␈↓↓Music and Computer Composition.␈↓ Communications of the ACM, Vol.15, 2, 1972.
␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∞Optimum␈α∞Comb␈α∞Method␈α∞of␈α∞Pitch␈α∞Period␈α∞Analysis␈α∞of␈α∞Continuous␈α∞Digitized␈α∞Speech.␈↓
␈↓"↓␈↓ α∧␈↓␈↓ β4Stanford␈α_Artificial␈α↔Intelligence␈α_Laboatory␈α↔Memo␈α_207,␈α↔July␈α_1973.␈α↔ Also␈α_in␈α↔IEEE
␈↓"↓␈↓ α∧␈↓␈↓ β4Transactions on Acoustics, Speech, and Signal Processing, Vol. ASSP-22, 5, Oct. 1974
␈↓ α∧␈↓␈↓ αt␈↓↓The␈αHeterodyne␈αFilter␈αas␈αa␈αTool␈αfor␈αAnalysis␈αof␈αTransient␈αWaveforms.␈↓␈αStanford␈αArtificial
␈↓"↓␈↓ α∧␈↓␈↓ β4Intelligence Laboatory Memo 208, July 1973.
␈↓ α∧␈↓␈↓ αt␈↓↓On␈α∀the␈α∀Segmentation␈α∀and␈α∀Analysis␈α∀of␈α∀Continuous␈α∀Musical␈α∀Sound.␈↓␈α∀PhD␈α∀Dissertation,
␈↓"↓␈↓ α∧␈↓␈↓ β4Stanford University Report STAN-M-3, July, 1975.
␈↓ α∧␈↓␈↓ αt␈↓↓Computer␈α∪Simulation␈α∪of␈α∩Music␈α∪Instrument␈α∪Tones␈α∩in␈α∪Reverberant␈α∪Environments␈↓.␈α∩with
␈↓"↓␈↓ α∧␈↓␈↓ β4Chowning, J.M., Grey, J.M., Rush, L., STAN-M-1, 99pp, 1974.
␈↓ α∧␈↓␈↓ αt␈↓↓On␈α∂the␈α∂Transcription␈α∂of␈α∂Musical␈α∂Sound␈α∂by␈α∂Digital␈α∂Computer␈↓.␈α∂Presented␈α∂at␈α⊂the␈α∂Second
␈↓"↓␈↓ α∧␈↓␈↓ β4USA-JAPAN␈α⊃Computer␈α⊂Conference,␈α⊃August,␈α⊂1975,␈α⊃reprinted␈α⊂in␈α⊃the␈α⊃Computer␈α⊂Music
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal, Volume 1, #4, November 1977, pp32-38
␈↓ α∧␈↓␈↓ αt␈↓↓On␈αthe␈αLoudness␈αof␈αComplex,␈αTime-Variant␈αTones␈↓.␈αStanford␈αUniversity␈α
Report␈αSTAN-M-4,
␈↓"↓␈↓ α∧␈↓␈↓ β418pp, 1975.
␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∂Synthesis␈α∞of␈α∂Complex␈α∂Audio␈α∞Spectra␈α∂by␈α∂Means␈α∞of␈α∂Discrete␈α∂Summation␈α∞Formulae␈↓.
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal␈αof␈αthe␈α
Audio␈αEngineering␈αSociety,␈αVolume␈α
24,␈α#9,␈αNovember␈α1976,␈α
pp717-727.
␈↓"↓␈↓ α∧␈↓␈↓ β4Preprinted as Stanford University Report STAN-M-5
␈↓ α∧␈↓␈↓ αt␈↓↓Signal␈αProcessing␈αAspects␈αof␈αComputer␈αMusic␈α-␈αA␈αSurvey␈↓.␈α Invited␈αPaper,␈αProceedings␈αof
␈↓"↓␈↓ α∧␈↓␈↓ β4the␈α
IEEE,␈α
Volume␈α
65,␈α
#8,␈α
August,␈α
1977,␈α
pp1108-1137.␈α
 Reprinted␈α
in␈α∞Computer␈α
Music
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal Vol. 1, 1, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Perceptual␈αEvaluation␈αof␈αSynthesized␈αMusical␈α
Instrument␈αTones␈↓.␈α with␈αGrey,␈αJ.M.,␈α
Journal
␈↓"↓␈↓ α∧␈↓␈↓ β4of the Acoustical Society of America, August, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Lexicon␈α⊂of␈α⊃Analyzed␈α⊂Tones␈α⊃(Part␈α⊂I:␈α⊃A␈α⊂Violin␈α⊃Tone)␈↓,␈α⊂with␈α⊃Grey,␈α⊂J.M.,␈α⊃Computer␈α⊂Music
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal, Vol. 1, #2, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Lexicon␈α
of␈αAnalyzed␈α
Tones␈α(Part␈α
II:␈α Clarinet␈α
and␈αOboe␈α
Tones)␈↓,␈αwith␈α
Grey,␈αJ.M.,␈α
Computer
␈↓"↓␈↓ α∧␈↓␈↓ β4Music Journal, Vol. 1, #3, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∂Use␈α∂of␈α⊂the␈α∂Phase␈α∂Vocoder␈α⊂in␈α∂Computer␈α∂Music␈α⊂Applications␈↓.␈α∂ Journal␈α∂of␈α⊂the␈α∂Audio
␈↓"↓␈↓ α∧␈↓␈↓ β4Engineering Society, Vol. 26, #1/2, January/February 1978, pp42-45
␈↓ α∧␈↓␈↓ αt␈↓↓How␈α
Does␈α
a␈α
Computer␈α∞Make␈α
Music?␈↓.␈α
Computer␈α
Music␈α∞Journal,␈α
Volume␈α
2,␈α
Number␈α∞1,␈α
July
␈↓"↓␈↓ α∧␈↓␈↓ β41978, pp32-37
␈↓ α∧␈↓␈↓ αt␈↓↓On␈α∪the␈α∪Coding␈α∀of␈α∪High-Quality␈α∪Digitized␈α∪Sound␈↓.␈α∀ Presented␈α∪at␈α∪the␈α∀1979␈α∪European
␈↓"↓␈↓ α∧␈↓␈↓ β4Conference␈α∪of␈α∀the␈α∪Audio␈α∪Engineering␈α∀Society,␈α∪Brussels,␈α∪Belgium,␈α∀February␈α∪1979,
␈↓"↓␈↓ α∧␈↓␈↓ β4Accepted for publication in the Audio Engineering Society
␈↓ α∧␈↓␈↓ αt␈↓↓The␈αUse␈αof␈αLinear␈αPrediction␈αof␈αSpeech␈αin␈αComputer␈αMusic␈αApplications␈↓.␈α Journal␈αof␈αthe
␈↓"↓␈↓ α∧␈↓␈↓ β4Audio␈α⊂Engineering␈α⊂Society,␈α⊂Volume␈α⊂27,␈α∂#3,␈α⊂March,␈α⊂1979,␈α⊂pp134-140.␈α⊂Preprinted␈α∂in
␈↓"↓␈↓ α∧␈↓␈↓ β4French in ␈↓↓Journ␈↓β'␈↓↓ees Des Etudes␈↓, Festival du Son, June, 1979.
␈↓ α∧␈↓␈↓ αt␈↓↓About␈α⊃this␈α⊃Reverberation␈α⊃Business␈↓,␈α⊃Computer␈α⊃Music␈α⊃Journal,␈α⊃Volume␈α⊃3,␈α⊃#2,␈α⊃June␈α⊂1979,
␈↓"↓␈↓ α∧␈↓␈↓ β4pp13-28



␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∞4C␈α∂Machine␈↓,␈α∞with␈α∂A.␈α∞Chauveau,␈α∂C.␈α∞Abbott,␈α∞P.␈α∂Eastty,␈α∞and␈α∂J.␈α∞Lawson,␈α∂Computer␈α∞Music
␈↓"↓␈↓ α∧␈↓␈↓ β4Journal, Volume 3, #3, September 1979, pp16-24
␈↓ α∧␈↓␈↓ αt␈↓↓HELP!␈↓, Letter to the Editor, Computer Music Journal, Volume 3, #3, September 1979, p4

␈↓ α∧␈↓PUBLIC LECTURES:
␈↓ α∧␈↓␈↓ αtLecture, Carnegie-Mellon University, 1973.
␈↓ α∧␈↓␈↓ αtColloquium, Carnegie-Mellon University, Nov. 1974.
␈↓ α∧␈↓␈↓ αtUniversity of California at Santa Barbara, May, 1975.
␈↓ α∧␈↓␈↓ αtCourse for IRCAM, with CCRMA group, Stanford, Aug. 1975.
␈↓ α∧␈↓␈↓ αtOne week course for DAAD, with Chowning and Grey, Berlin, Sept. 1975.
␈↓ α∧␈↓␈↓ αtLecture, Computer Music Conference, Michigan State Univ., Oct. 1975.
␈↓ α∧␈↓␈↓ αtColloquium, University of Georgia, Feb. 1976.
␈↓ α∧␈↓␈↓ αtColloquium, Center for Music Experiment, U.C. San Diego, June 1976.
␈↓ α∧␈↓␈↓ αtIRCAM Conference, with CCRMA group, Baden-Baden, Sept. 1976.
␈↓ α∧␈↓␈↓ αtAudio Engineering Society Convention, New York, Oct. 1976.
␈↓ α∧␈↓␈↓ αtInternational Computer Music Conference, MIT, Oct. 1976.
␈↓ α∧␈↓␈↓ αtColloquium, Boston University, Oct. 1976.
␈↓ α∧␈↓␈↓ αtAudio Engineering Society Convention, Los Angeles, May. 1977.
␈↓ α∧␈↓␈↓ αtIRCAM Psychoacoustic Conference, Paris, July l977.
␈↓ α∧␈↓␈↓ αtInternational Computer Music Conference, U.C. San Diego, Oct. 1977.
␈↓ α∧␈↓␈↓ αtAudio Engineering Society Convention, Hamburg, West Germany, February 1978.
␈↓ α∧␈↓␈↓ αtSymposium on Computer Music, Teatro Communo, Florence, Italy, June 1978
␈↓ α∧␈↓␈↓ αtNASA-ISI conference, Paris, France, July 1978
␈↓ α∧␈↓␈↓ αtIRCAM Project with K. Stockhausen, Cologne, West Germany, throughout 1978
␈↓ α∧␈↓␈↓ αtPresentations at IRCAM for Mme. Pompidou, throughout 1978
␈↓ α∧␈↓␈↓ αtSessions de Formation (lecture), IRCAM, November 1978
␈↓ α∧␈↓␈↓ αtPresentation at IRCAM for King and Queen Tindamens of Belgium, June 1978
␈↓ α∧␈↓␈↓ αtAudio Engineering Society Convention, Brussels, Belgium, February 1979.
␈↓ α∧␈↓␈↓ αtSessions de Formation (lecture), IRCAM, March 1979
␈↓ α∧␈↓␈↓ αtJourn␈↓β'␈↓ees des Etudes, Festival du Son, April 1979
␈↓ α∧␈↓␈↓ αtSeminar, University of Rochester, July 1979.
␈↓ α∧␈↓␈↓ αtCommision work for B␈↓β'␈↓ejart ballet at IRCAM, November 1979

␈↓ α∧␈↓MAJOR PERFORMANCES:
␈↓ α∧␈↓␈↓ αt␈↓↓Lions␈α∂are␈α∞Growing␈↓,␈α∂a␈α∞computer-generated␈α∂stereo␈α∞tape.␈α∂ Arhus,␈α∞Florence,␈α∂Stanford,␈α∞1977;
␈↓"↓␈↓ α∧␈↓␈↓ β4Journ␈↓β'␈↓ees␈αdes␈αEtudes␈α-␈αParis,␈αRAI␈α(Italian␈αradio)␈α1978;␈αColgate␈αUniv.␈α1979;␈α(More␈αthan
␈↓"↓␈↓ α∧␈↓␈↓ β450 minor performances)
␈↓ α∧␈↓␈↓ αt␈↓↓Perfect␈α
Days␈↓,␈α
a␈α
computer-generated␈α
stereo.␈α
AES␈α
Los␈α
Angeles,␈α
Stanford,␈α
1977;␈α
RAI␈α
1978;
␈↓"↓␈↓ α∧␈↓␈↓ β4Colgate Univ. 1979; (More than 50 minor performances)



␈↓ α∧␈↓␈↓
Loren Rush␈↓

␈↓ α∧␈↓BORN:   August 23, 1935 in Los Angeles, California.

␈↓ α∧␈↓EDUCATION:
␈↓ α∧␈↓␈↓ αtStudied composition with Robert Erickson, 1954-60.
␈↓ α∧␈↓␈↓ αtB.A. (Music) San Francisco State University, 1957.
␈↓ α∧␈↓␈↓ αtM.A. (Music) University of California, Berkeley, 1960.
␈↓ α∧␈↓␈↓ αtD.M.A. (Doctor of Musical Arts) Stanford University, 1969.

␈↓ α∧␈↓AWARDS AND FELLOWSHIPS:
␈↓ α∧␈↓␈↓ αtGeorge Ladd Prix de Paris Scholar in Music, 1960-62.
␈↓ α∧␈↓␈↓ αtFromm Music Foundation commission, Tanglewood, l964.
␈↓ α∧␈↓␈↓ αtHighest award, Royaumont International Composition Competition, France, l965.
␈↓ α∧␈↓␈↓ αtVarious graduate fellowships, Stanford University, 1966-69.
␈↓ α∧␈↓␈↓ αtRome Prize Fellowship, American Academy in Rome, 1969-71.
␈↓ α∧␈↓␈↓ αtPrince Pierre of Monaco Musical Composition Award, 1971.
␈↓ α∧␈↓␈↓ αtJohn Simon Guggenheim Memorial Fellowship, 1971.
␈↓ α∧␈↓␈↓ αtNational Institute of Arts and Letters Award, 1971.
␈↓ α∧␈↓␈↓ αtSan Francisco Symphony Commission, 1973.
␈↓ α∧␈↓␈↓ αtNational Endowment for the Arts Fellowship Grant, 1974.
␈↓ α∧␈↓␈↓ αtSan Francisco Symphony Bicentennial Commission, 1974.
␈↓ α∧␈↓␈↓ αtNational Endowment for the Arts Fellowship Grant, 1975.
␈↓ α∧␈↓␈↓ αtMartha Baird Rockefeller Fund for Music Grant, 1977.

␈↓ α∧␈↓PROFESSIONAL EXPERIENCE:
␈↓ α∧␈↓␈↓ αtAssociate Music Director, KPFA-FM, Pacifica Foundation radio, Berkeley, Calif., 1957-60.
␈↓ α∧␈↓␈↓ αtInstructor of Music Composition and Theory, San Francisco Conservatory of Music, 1962-67.
␈↓ α∧␈↓␈↓ αtOrganized and directed Performer's Choice, performance group, 1963-65.
␈↓ α∧␈↓␈↓ αtOrganized and directed the San Francisco Conservatory Artists Ensemble, 1966-69.
␈↓ α∧␈↓␈↓ αtMember, Computer Music and Acoustics Group, Stanford, 1966-69.
␈↓ α∧␈↓␈↓ αtActing Lecturer in Music, Stanford University, 1967-68.
␈↓ α∧␈↓␈↓ αtChairman, Composition Department, San Francisco Conservatory of Music, 1967-69.
␈↓ α∧␈↓␈↓ αtVisiting Scholar, Stanford Artificial Intelligence Laboratory, 1971-75.
␈↓ α∧␈↓␈↓ αtComposer in Residence, San Francisco Symphony Summer Music Workshop, 1973.
␈↓ α∧␈↓␈↓ αtCo-Director, Center for Computer Research in Music and Acoustics, Stanford, 1975-present.
␈↓ α∧␈↓␈↓ αtMember, Music Advisory Panel, National Endowment for the Arts, 1976-present.

␈↓ α∧␈↓PUBLICATIONS:
␈↓ α∧␈↓␈↓ αt␈↓↓Nexus␈α∀16,␈α∀␈↓for␈α∀chamber␈α∀orchestra.␈α∀Editions␈α∀Jobert,␈α∀Paris,␈α∀1966.␈α∀ Recorded␈α∀for␈α∀Wergo
␈↓"↓␈↓ α∧␈↓␈↓ β4(Germany) by the San Francisco New Music Ensemble, 1971.
␈↓ α∧␈↓␈↓ αt␈↓↓Oh,␈α⊃Susanna,␈α⊃␈↓for␈α⊃piano.␈α⊃Editions␈α⊃Jobert,␈α⊂Paris,␈α⊃1971.␈α⊃ Recorded␈α⊃for␈α⊃Serenus␈α⊃by␈α⊂Dwight
␈↓"↓␈↓ α∧␈↓␈↓ β4Peltzer, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓String␈α⊃Quartet␈α⊃in␈α⊃C#␈α⊃Minor␈↓.␈α⊃Editions␈α⊃Jobert,␈α⊃Paris,␈α⊃in␈α⊃press.␈α⊃ Recorded␈α∩for␈α⊃Composers
␈↓"↓␈↓ α∧␈↓␈↓ β4Recordings, Inc., by the San Francisco Contemporary Music Players, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Hexahedron,␈α⊃␈↓for␈α⊃piano.␈α⊃General␈α⊃Music␈α⊃Publishing␈α⊃Co.,␈α⊃Hastings-on-Hudson,␈α⊃New␈α⊃York,␈α⊂in
␈↓"↓␈↓ α∧␈↓␈↓ β4press. Recorded for Serenus by Dwight Peltzer, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓soft␈α⊂music,␈α⊂HARD␈α⊂MUSIC,␈α⊂␈↓for␈α⊂three␈α⊂amplified␈α⊂pianos.␈α⊂General␈α⊂Music␈α⊂Publishing␈α⊂Co.,␈α⊂in
␈↓"↓␈↓ α∧␈↓␈↓ β4press. Recorded for Serenus by Dwight Peltzer, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓A␈α
Little␈α
Traveling␈α
Music,␈α
␈↓for␈αamplified␈α
piano␈α
with␈α
computer-generated␈α
quadraphonic␈αtape.
␈↓"↓␈↓ α∧␈↓␈↓ β4General Music Pub. Co., in press.  Recorded for Serenus by Dwight Peltzer, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Computer␈α∪Simulation␈α∪of␈α∩Music␈α∪Instrument␈α∪Tones␈α∩in␈α∪Reverberant␈α∪Environments␈↓.␈α∩with
␈↓"↓␈↓ α∧␈↓␈↓ β4Chowning,␈α∂J.M.,␈α∂Grey,␈α∂J.M.,␈α⊂and␈α∂Moorer,␈α∂J.A.,␈α∂Stanford␈α∂University␈α⊂Report␈α∂STAN-M-1,
␈↓"↓␈↓ α∧␈↓␈↓ β499pp, 1974.

␈↓ α∧␈↓MAJOR PERFORMANCES:



␈↓ α∧␈↓␈↓ αt␈↓↓Nexus␈α∞16.␈↓␈α∞New␈α∞York␈α∂Philharmonic␈α∞ensemble,␈α∞Pierre␈α∞Boulez␈α∞cond.,␈α∂Perspective␈α∞Encounters,
␈↓"↓␈↓ α∧␈↓␈↓ β4New York, 1976.
␈↓ α∧␈↓␈↓ αt␈↓↓Dans␈αle␈αSable.␈↓␈αRome␈αSymphony␈αOrchestra,␈αFerruccio␈αScaglia␈αcond.,␈αRome,␈α1970.␈α Saint␈αPaul
␈↓"↓␈↓ α∧␈↓␈↓ β4Chamber Orchestra, Sydney Hodkinson cond., Minneapolis, 1972.
␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∞Cloud␈α∂Messenger.␈↓␈α∞Rome␈α∂Symphony␈α∞Orchestra,␈α∞Giampiero␈α∂Taverna␈α∞cond.,␈α∂Rome,␈α∞1971.
␈↓"↓␈↓ α∧␈↓␈↓ β4San␈α⊃Francisco␈α⊃Symphony␈α⊃Orchestra,␈α⊂Seiji␈α⊃Ozawa␈α⊃cond.,␈α⊃San␈α⊃Francisco,␈α⊂        Niklaus
␈↓"↓␈↓ α∧␈↓␈↓ β4Wyss␈α⊂cond.,␈α⊂Leningrad,␈α⊂Vilnius␈α⊂&␈α⊂Moscow,␈α⊂1973.␈α⊂ Boston␈α⊂Symphony␈α⊂Orchestra,␈α⊂Seiji
␈↓"↓␈↓ α∧␈↓␈↓ β4Ozawa cond., Boston, New York, Detroit,         Ann Arbor, 1974-75.
␈↓ α∧␈↓␈↓ αt␈↓↓I'll␈α∞See␈α∞You␈α∞in␈α∞My␈α∞Dreams.␈↓␈α∂San␈α∞Francisco␈α∞Symphony␈α∞Orchestra,␈α∞Niklaus␈α∞Wyss␈α∂cond.,␈α∞San
␈↓"↓␈↓ α∧␈↓␈↓ β4Francisco, 1973.
␈↓ α∧␈↓␈↓ αt␈↓↓Song␈α⊃and␈α⊃Dance.␈↓␈α⊃San␈α⊃Francisco␈α⊃Symphony␈α⊃Orchestra,␈α⊃Seiji␈α⊃Ozawa␈α⊃cond.,␈α∩San␈α⊃Francisco,
␈↓"↓␈↓ α∧␈↓␈↓ β41975.␈α
 St.␈αLouis␈α
Symphony␈α
Orchestra,␈αLeonard␈α
Slatkin␈α
cond.,␈αSt.␈α
Louis,␈α1977.␈α
 Minnesota
␈↓"↓␈↓ α∧␈↓␈↓ β4Orchestra, Leonard Slatkin cond., Minneapolis, 1978.

␈↓ α∧␈↓PUBLIC LECTURES:
␈↓ α∧␈↓␈↓ αtColloquium, Center for Music Experiment, U.C. San Diego, Mar. 1975.
␈↓ α∧␈↓␈↓ αtCourse for IRCAM group, with CCRMA, Stanford, Aug. 1975.
␈↓ α∧␈↓␈↓ αtIRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.
␈↓ α∧␈↓␈↓ αtAudio Engineering Society Convention, with Moorer, New York, Oct. 1976.
␈↓ α∧␈↓␈↓ αtInternational Computer Music Conference, MIT, Oct. 1976.
␈↓ α∧␈↓␈↓ αtAudio Engineering Society Convention, with Moorer, Los Angeles, May. 1977.
␈↓ α∧␈↓␈↓ αtInternational Computer Music Conference, U.C. San Diego, Oct. 1977.



␈↓ α∧␈↓␈↓
Leland C. Smith␈↓

␈↓ α∧␈↓BORN:   August 6, 1925 in Oakland, California.

␈↓ α∧␈↓EDUCATION:
␈↓ α∧␈↓␈↓ αtMusical studies with Darius Milhaud, Mills College, 1941-43, 1946-47.
␈↓ α∧␈↓␈↓ αtA.B. & M.A. (Music) with Highest Honors, University of California, Berkeley, 1946-48.
␈↓ α∧␈↓␈↓ αtMusical studies with Olivier Messiaen, Paris Conservatory, 1948-49.

␈↓ α∧␈↓AWARDS AND FELLOWSHIPS:
␈↓ α∧␈↓␈↓ αtVarious undergraduate and graduate fellowships, 1946-48.
␈↓ α∧␈↓␈↓ αtPhi Beta Kappa, 1948.
␈↓ α∧␈↓␈↓ αtMills College commission for centennial celebration.
␈↓ α∧␈↓␈↓ αtFromm Music Foundation commission for Boston Symphony Players.
␈↓ α∧␈↓␈↓ αtCopley Foundation Award.
␈↓ α∧␈↓␈↓ αtFulbright Senior Research Grant, to compose in France, 1964-65.

␈↓ α∧␈↓PROFESSIONAL EXPERIENCE:
␈↓ α∧␈↓␈↓ αtAssistant to Roger Sessions, University of California, Berkeey, 1950.
␈↓ α∧␈↓␈↓ αtBassoonist:␈α∂ Chicago␈α∞Symphony,␈α∂San␈α∂Francisco␈α∞Symphony␈α∂Orchestra,␈α∞the␈α∂orchestras␈α∂of␈α∞the
␈↓"↓␈↓ α∧␈↓␈↓ β4Chicago and San Francisco Opera Companies and the New York City Ballet, 1950-59.
␈↓ α∧␈↓␈↓ αtInstructor, Mills College, 1951-52, summer sessions of 1953, 1956 & 1957.
␈↓ α∧␈↓␈↓ αtAssistant Professor of Music, University of Chicago, 1952-58.
␈↓ α∧␈↓␈↓ αtAssociate Professor of Music, Stanford University, 1958-1968.
␈↓ α∧␈↓␈↓ αtProfessor␈α_of␈α_Music,␈α_Stanford␈α_University:␈α↔in␈α_charge␈α_of␈α_Doctoral␈α_program␈α_in␈α↔musical
␈↓"↓␈↓ α∧␈↓␈↓ β4composition;␈α
Taught␈α
a␈α
variety␈α
of␈α
music␈α
history␈α
and␈α
theory␈α
courses,␈α
including␈α
computer
␈↓"↓␈↓ α∧␈↓␈↓ β4applications, 1968 to present.

␈↓ α∧␈↓RECENT PUBLICATIONS:
␈↓ α∧␈↓␈↓ αt␈↓↓Score, A Musician's Approach to Computer Music, ␈↓J. Audio Eng. Soc., Jan-Feb, 1972.
␈↓ α∧␈↓␈↓ αt␈↓↓Editing and Printing Music by Computer, ␈↓Journal of Music Theory, Fall, 1973.
␈↓ α∧␈↓␈↓ αt␈↓↓Henry Cowell's `Rhythmicana,' ␈↓Yearbook for Inter-American Research, 1973.

␈↓ α∧␈↓RECENT PUBLIC LECTURES:
␈↓ α∧␈↓␈↓ αtLectured␈αon␈αcomputer␈α
music␈αat␈αColgate␈αUniversity,␈α
Columbia␈αUniversity,␈αMichigan␈α
Stat,␈αUniv.
␈↓"↓␈↓ α∧␈↓␈↓ β4of␈α
Nevada,␈α
Univ.␈α
of␈α
Calif.␈α
at␈α
Davis,␈α
Univ.␈α
of␈α
Calif.␈α
 at␈α
San␈α
Diego,␈α
Calif.␈α
 Institute␈α
of␈α
the
␈↓"↓␈↓ α∧␈↓␈↓ β4Arts, Paris U.S.I.S, Yugoslav Composers' Union at Belgrad and Zagreb. 1969-74.

␈↓ α∧␈↓MAJOR PERFORMANCES:
␈↓ α∧␈↓␈↓ αt␈↓↓Symphony I, ␈↓San Francisco Little Symphony.
␈↓ α∧␈↓␈↓ αt␈↓↓Santa Claus ␈↓(opera, libretto of e.e. cummings), Univ. of Chicago.
␈↓ α∧␈↓␈↓ αt␈↓↓Concerto for Orchestra, ␈↓Orchestra of America, Richard Korn cond., Carnegie Hall, N.Y.
␈↓ α∧␈↓␈↓ αt␈↓↓Machines of Loving Grace ␈↓(for computer, bassoon and narrator), Town Hall, New York City.
␈↓ α∧␈↓␈↓ αt␈↓↓Rhapsody for Flute and Computer, ␈↓many performances in Europe and U.S.A.