CVS.XGP[PUB,MUS]6 - www.SailDart.org

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␈↓ 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∧␈↓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.␈αof
␈↓"↓␈↓ 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∧␈↓␈↓
Elliot Mazer␈↓

␈↓ α∧␈↓BORN:   September 5, 1941 in New York City, New York.

␈↓ α∧␈↓EDUCATION:
␈↓ α∧␈↓␈↓ αtB.A. (English) Fairleight Dickinson University

␈↓ α∧␈↓PROFESSIONAL EXPERIENCE:
␈↓ α∧␈↓␈↓ αtActively␈α∀engaged␈α∀in␈α∀research␈α∀on␈α∀acoustics,␈α∀studio␈α∀design,␈α∀equipment␈α∃design,␈α∀advanced
␈↓"↓␈↓ α∧␈↓␈↓ β4recording␈αtechniques␈αand␈αmusical␈αinstrument␈αdesign␈αand␈αproductively␈αas␈αan␈αindependent
␈↓"↓␈↓ α∧␈↓␈↓ β4record producer for the past 17 years

␈↓ α∧␈↓Partial List of MAJOR PRODUCTIONS
␈↓ α∧␈↓␈↓ αtNeil␈αYoung␈α-␈α␈↓↓Harvest,␈αTime␈αFades␈αAway,␈α␈↓and␈αparts␈αof␈α␈↓↓Tonites␈αthe␈αNight,␈αAmerican␈αStars
␈↓"↓␈↓ α∧␈↓↓␈↓ β4and Bars, ␈↓and ␈↓↓Decade␈↓.
␈↓ α∧␈↓␈↓ αtJanis Joplin - ␈↓↓In Concert ␈↓and ␈↓↓Cheap Thrills ␈↓in collaboration with John Simon.
␈↓ α∧␈↓␈↓ αtThe Dingoes - ␈↓↓Five Times the Sun␈↓.
␈↓ α∧␈↓␈↓ αtFrankie Miller - ␈↓↓The Rock␈↓.
␈↓ α∧␈↓␈↓ αtBarclay James Harvest - ␈↓↓Time Honoured Ghosts␈↓.
␈↓ α∧␈↓␈↓ αtAndy Fairweather-Lowe - ␈↓↓Spider Jiving␈↓.
␈↓ α∧␈↓␈↓ αtLinda Ronstadt - ␈↓↓Silk Purse␈↓.
␈↓ α∧␈↓␈↓ αtBlue - ␈↓↓Life in the Navy␈↓.
␈↓ α∧␈↓␈↓ αtValdy - ␈↓↓Hot Rocks␈↓.
␈↓ α∧␈↓␈↓ αtGordon Lightfoot - ␈↓↓Back Here on Earth, ␈↓and ␈↓↓Sunday Concert␈↓.
␈↓ α∧␈↓␈↓ αtJack Nitzshe - ␈↓↓St. Giles Criplegate␈↓.
␈↓ α∧␈↓␈↓ αtArea Code 615 - ␈↓↓Area Code 615␈↓.
␈↓ α∧␈↓␈↓ αtLeonard Bernstein - ␈↓↓Concert for Peace␈↓ in collaberation with John McClure
␈↓ α∧␈↓␈↓ αt␈↓↓The Last Waltz␈↓ - original live recording at Winterland for the film.



␈↓ α∧␈↓␈↓
F. Richard Moore␈↓

␈↓ α∧␈↓BORN:   September 4, 1944 in Uniontown, Pennsylvania.

␈↓ α∧␈↓EDUCATION:
␈↓ α∧␈↓␈↓ αtB.F.A.␈α⊃(Music␈α⊃Composition)␈α⊃Carnegie␈α∩Mellon␈α⊃University,␈α⊃1966.␈α⊃ (Studied␈α∩composition␈α⊃with
␈↓"↓␈↓ α∧␈↓␈↓ β4Nikolai Lopatnikoff.)
␈↓ α∧␈↓␈↓ αtB.F.A. (Music performance - percussion major) Carnegie Mellon University, 1966.
␈↓ α∧␈↓␈↓ αtUniversity␈α⊂of␈α⊃Illinois␈α⊂-␈α⊂Graduate␈α⊃study␈α⊂in␈α⊂Music␈α⊃Theory␈α⊂and␈α⊂Composition␈α⊃1967.␈α⊂ (Studied
␈↓"↓␈↓ α∧␈↓␈↓ β4composition with Kenneth Gaburo.)
␈↓ α∧␈↓␈↓ αtM.S. (Electrical Engineering) Stanford University, 1975
␈↓ α∧␈↓␈↓ αtPh.D.(Electrical Engineering) Stanford University, 1977.

␈↓ α∧␈↓FELLOWSHIPS AND ASSOCIATIONS:
␈↓ α∧␈↓␈↓ αtUndergraduate scholarships, Carnegie-Mellon University, 1961-1966.
␈↓ α∧␈↓␈↓ αtWoodrow Wilson Fellowship Honorable Mention, 1966.
␈↓ α∧␈↓␈↓ αtGraduate fellowship in Electrical Engineering, Stanford University, 1973-74.
␈↓ α∧␈↓␈↓ αtMember of Phi Mu Alpha since 1962.
␈↓ α∧␈↓␈↓ αtElected to Phi Kappa Phi, 1966.
␈↓ α∧␈↓␈↓ αtMember of Association for Computing Machinery (ACM) since 1967.
␈↓ α∧␈↓␈↓ αtMember of Acoustical Society of America (ASA) since 1969.
␈↓ α∧␈↓␈↓ αtMember of American Association for the Advancement of Science (AAAS) since 1970.

␈↓ α∧␈↓PROFESSIONAL EXPERIENCE:
␈↓ α∧␈↓␈↓ αtMusical␈α∞performances␈α∞with␈α∞the␈α∞Pittsburgh␈α
Symphony␈α∞under␈α∞Pierre␈α∞Boulez,␈α∞1966,␈α
Wheeling
␈↓"↓␈↓ α∧␈↓␈↓ β4Symphony,␈α1965-1966,␈αthe␈αPittsburgh␈αPercussion␈αQuartet␈α1966;␈αALEA␈αII␈αEnsemble␈αfor
␈↓"↓␈↓ α∧␈↓␈↓ β4New␈α
Music,␈α
Stanford,␈α1973-1975,␈α
Guest␈α
artist␈α
with␈αthe␈α
Francesco␈α
Trio,␈α
1975␈αand␈α
1977,
␈↓"↓␈↓ α∧␈↓␈↓ β4Various ensembles for new music at Illinois and Stanford.
␈↓ α∧␈↓␈↓ αtMusic␈α∂Research␈α∂and␈α∞Teaching␈α∂Assistant,␈α∂Department␈α∂of␈α∞Music,␈α∂University␈α∂of␈α∂Illinois,␈α∞1966-
␈↓"↓␈↓ α∧␈↓␈↓ β41967:␈αincluded␈αmaintenance␈αof␈αsystems␈αfor␈αcomputer␈αcomposition␈αof␈αmusic␈αand␈αanalysis
␈↓"↓␈↓ α∧␈↓␈↓ β4of sounds; taught harmony, ear training, and musicianship.
␈↓ α∧␈↓␈↓ αtSystems␈αand␈αscientific␈αapplications␈αprogramming␈αat␈αBell␈αTelephone␈αLaboratories,␈αMurray␈αHill,
␈↓"↓␈↓ α∧␈↓␈↓ β4New␈α∩Jersey,␈α∩1967-1973:␈α∩ included␈α∪the␈α∩design,␈α∩implementation␈α∩and␈α∪maintenance␈α∩of
␈↓"↓␈↓ α∧␈↓␈↓ β4software␈α∀systems␈α∀and␈α∪work␈α∀on␈α∀real␈α∀time␈α∪interactive␈α∀sound␈α∀and␈α∀music␈α∪generating
␈↓"↓␈↓ α∧␈↓␈↓ β4systems.
␈↓ α∧␈↓␈↓ αtTaught␈α∞professional␈α∞computer␈α∂programming␈α∞and␈α∞computer␈α∂music␈α∞courses␈α∞at␈α∂Bell␈α∞Telephone
␈↓"↓␈↓ α∧␈↓␈↓ β4Laboratories, 1970-1973.
␈↓ α∧␈↓␈↓ αtGraduate␈α∩Research␈α∩in␈α⊃Music␈α∩and␈α∩Electrical␈α⊃Engineering,␈α∩Stanford␈α∩University␈α⊃1973-1977:
␈↓"↓␈↓ α∧␈↓␈↓ β4design and construction of real-time digital signal processing device.
␈↓ α∧␈↓␈↓ αtCo-instruction␈αof␈αseminars␈αand␈αcourses␈αgiven␈αby␈αCenter␈αfor␈αComputer␈αResearch␈αin␈αAcoustics
␈↓"↓␈↓ α∧␈↓␈↓ β4and␈α!Music,␈α!Stanford␈α!University,␈α!1973-1977;␈α!also␈α!co-instruction␈α"of␈α!special
␈↓"↓␈↓ α∧␈↓␈↓ β4interdisciplinary courses on Technology and Musical Expression.

␈↓ α∧␈↓PUBLICATIONS:
␈↓ α∧␈↓␈↓ αt␈↓↓Electronic Music - an Introduction␈↓. Carnegie Technical, Nov. 1963.
␈↓ α∧␈↓␈↓ αt␈↓↓A Theory of Dissonance␈↓. Carnegie Technical, May, 1966.
␈↓ α∧␈↓␈↓ αt␈↓↓The␈αTechnology␈αof␈αComputer␈αMusic␈↓.␈αby␈αM.V.␈αMathews␈αwith␈αthe␈αcollaboration␈αof␈αJ.E.␈αMiller,
␈↓"↓␈↓ α∧␈↓␈↓ β4F.R. Moore, J.R. Pierce, and J.C. Risset, MIT Press, 1969.
␈↓ α∧␈↓␈↓ αt␈↓↓GROOVE␈α∪-␈α∪A␈α∪Program␈α∀to␈α∪Compose,␈α∪Store,␈α∪and␈α∀Edit␈α∪Functions␈α∪of␈α∪Time␈↓.␈α∀with␈α∪M.V.
␈↓"↓␈↓ α∧␈↓␈↓ β4Mathews, Communications of the ACM, v.13, Dec., 1970.
␈↓ α∧␈↓␈↓ αtComputer-generated␈α∩music␈α∪scores␈α∩for␈α∪several␈α∩computer-generated␈α∪art␈α∩films␈α∪with␈α∩Lillian
␈↓"↓␈↓ α∧␈↓␈↓ β4Schwartz␈α∩and␈α⊃Ken␈α∩Knowlton,␈α⊃1970-1974,␈α∩including␈α⊃the␈α∩films:␈α∩␈↓↓Pixillation,␈α⊃Enigma,
␈↓"↓␈↓ α∧␈↓↓␈↓ β4Apotheosis, Affinities, Mathoms, ␈↓and␈↓↓ Galaxies␈↓.
␈↓ α∧␈↓␈↓ αt␈↓↓Music␈α↔and␈α↔Computers␈↓.␈α↔Enciclopedia␈α⊗della␈α↔Scienza␈α↔e␈α↔della␈α↔Technica/Mondadori,␈α⊗1971
␈↓"↓␈↓ α∧␈↓␈↓ β4Yearbook, pp. 490-498.
␈↓ α∧␈↓␈↓ αt␈↓↓Music - Film - Computers␈↓. Filmmaker's Newsletter, Vol.4, Apr. 1971.
␈↓ α∧␈↓␈↓ αt␈↓↓Noise␈α∂and␈α∂Music␈↓.␈α∂with␈α∂Paul␈α∂B.␈α∂Ostergaard,␈α∂AAAS␈α∂Speaking␈α∂of␈α∂Science␈α∂Audiotape␈α∞Series,
␈↓"↓␈↓ α∧␈↓␈↓ β4Volume One, Numer 12, 1972.



␈↓ α∧␈↓␈↓ αt␈↓↓Computer␈α∞Controlled␈α∞Analog␈α∞Synthesizers␈↓.␈α∞Bell␈α∞Laboratories␈α∞Computing␈α∂Science␈α∞Technical
␈↓"↓␈↓ α∧␈↓␈↓ β4Report #10, May, 1973.
␈↓ α∧␈↓␈↓ αt␈↓↓Computers␈αand␈αFuture␈αMusic␈↓.␈αwith␈αM.V.␈α
Mathews␈αand␈αJ.␈αC.␈αRisset,␈αScience,␈αJan.,␈α
1974,␈αpp.
␈↓"↓␈↓ α∧␈↓␈↓ β4263-268.
␈↓ α∧␈↓␈↓ αt␈↓↓Real␈α∂Time␈α∂Interactive␈α∞Computer␈α∂Music␈α∂Synthesis␈↓.␈α∞Ph.D.␈α∂Dissertation,␈α∂Stanford␈α∞University
␈↓"↓␈↓ α∧␈↓␈↓ β4Report STAN-M-7, 1977.
␈↓ α∧␈↓␈↓ αt␈↓↓Table␈αLookup␈αNoise␈αfor␈αSinusoidal␈αDigital␈αOscillators␈↓.␈αComputer␈αMusic␈αJournal,␈αVol.␈α1,␈α2,
␈↓"↓␈↓ α∧␈↓␈↓ β41977.

␈↓ α∧␈↓MAJOR PERFORMANCES:
␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∂Lemniscate␈α⊂of␈α∂Bernoulli␈↓,␈α⊂a␈α∂computer-generated␈α⊂stereophonic␈α∂tape.␈α⊂ Munich,␈α∂London,
␈↓"↓␈↓ α∧␈↓␈↓ β4Brussels, 1970.
␈↓ α∧␈↓␈↓ αt␈↓↓Requiem␈↓,␈α∂a␈α∂computer-generated␈α∂stereophonic␈α∂tape.␈α∂ Munich,␈α∂London,␈α∂Brussels,␈α⊂New␈α∂York,
␈↓"↓␈↓ α∧␈↓␈↓ β4Rutgers, 1971; Buenos Aires, 1972; Stanford 1976.

␈↓ α∧␈↓PUBLIC LECTURES AND SEMINARS:
␈↓ α∧␈↓␈↓ αtLecture␈αon␈αthe␈αGROOVE␈αsystem␈αfor␈αreal-time␈αcomputer␈αmusic,␈αAcoustical␈αSociety␈αof␈αAmerica
␈↓"↓␈↓ α∧␈↓␈↓ β4San Diego Meeting, 1970.
␈↓ α∧␈↓␈↓ αtLecture␈α∂on␈α∂computer␈α∂music,␈α∂meeting␈α∂of␈α∞the␈α∂American␈α∂Association␈α∂for␈α∂the␈α∂Advancement␈α∞of
␈↓"↓␈↓ α∧␈↓␈↓ β4Science, Philadelphia, 1971.
␈↓ α∧␈↓␈↓ αtLecture on computer music, Music Educator's National Conference, Atlanta, Ga., 1971.
␈↓ α∧␈↓␈↓ αtGraduate␈α⊂seminar␈α⊂on␈α⊂real-time␈α⊃computer␈α⊂music,␈α⊂University␈α⊂of␈α⊂Connecticut,␈α⊃Department␈α⊂of
␈↓"↓␈↓ α∧␈↓␈↓ β4Electrical␈α∩Engineering,␈α∩1972.␈α∩ Technical␈α∩seminars,␈α∩Bell␈α∩Laboratories␈α∩at␈α∩Murray␈α∩Hill,
␈↓"↓␈↓ α∧␈↓␈↓ β4Holmdel,␈α↔and␈α_Indian␈α↔Hill,␈α↔1970-1972.␈α_  Graduate␈α↔colloquium,␈α↔Newark␈α_College␈α↔of
␈↓"↓␈↓ α∧␈↓␈↓ β4Engineering College, Industry Seminar Series, April, 1972.
␈↓ α∧␈↓␈↓ αtGraduate Seminars, Stanford Department of Electrical Engineering, 1973, 1974, 1975.
␈↓ α∧␈↓␈↓ αtCourse for IRCAM group, with CCRMA, Stanford, Aug. 1975.
␈↓ α∧␈↓␈↓ αtIRCAM Conference, with CCRMA, Baden-Baden, Sept. 1976.



␈↓ 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, begin 1977 for two year period.

␈↓ 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␈αFilter␈αas␈αa␈αTool␈αfor␈αAnalysis␈αof␈αTransient␈αWaveforms.␈↓␈αStanford␈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 Computer Conference, August, 1975.
␈↓ α∧␈↓␈↓ αt␈↓↓On␈αthe␈αLoudness␈αof␈αComplex,␈αTime-Variant␈αTones␈↓.␈αStanford␈αUniversity␈α
Report␈αSTAN-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∧␈↓␈↓ β4Stanford University Report STAN-M-5, 23pp, 1975.
␈↓ α∧␈↓␈↓ αt␈↓↓The␈α∞Use␈α∞of␈α
the␈α∞Phase␈α∞Vocoder␈α
in␈α∞Computer␈α∞Music␈α
Applications␈↓.␈α∞ presented␈α∞at␈α∞the␈α
55th
␈↓"↓␈↓ α∧␈↓␈↓ β4Convention␈αof␈αthe␈αAudio␈αEngineering␈αSociety,␈αOctober␈α29-November␈α1,␈α1976,␈αavailable
␈↓"↓␈↓ α∧␈↓␈↓ β4as Preprint number 1146 (E-1).
␈↓ 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 of the Audio Engineering Society, Volume 24, #9, November 1976, pp717-727.
␈↓ α∧␈↓␈↓ αt␈↓↓Signal␈αProcessing␈αAspects␈αof␈αComputer␈αMusic␈α-␈αA␈αSurvey␈↓.␈α Invited␈αPaper,␈αProceedings␈αof
␈↓"↓␈↓ α∧␈↓␈↓ β4the IEEE, August, 1977.  Reprinted in Computer Music Journal 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␈↓↓The␈α⊂Use␈α⊂of␈α⊂the␈α⊂Linear␈α⊂Predictor␈α⊂in␈α⊂Computer␈α⊂Music␈α⊂Applications71.␈α⊂presented␈α⊂at␈α∂the
␈↓"↓␈↓ α∧␈↓↓␈↓ β4European␈α∂Convention␈α⊂of␈α∂the␈α∂Audio␈α⊂Engineering␈α∂Society,␈α∂February,␈α⊂1978.␈α∂Preprint
␈↓"↓␈↓ α∧␈↓↓␈↓ β4available.
␈↓ α∧␈↓↓␈↓ αtAll-digital␈α
Sound␈α∞Recording␈↓.␈α
with␈α
Rush,␈α∞L.,␈α
Loy,␈α
G.,␈α∞in␈α
preparation␈α
for␈α∞the␈α
Journal␈α∞of␈α
the
␈↓"↓␈↓ α∧␈↓␈↓ β4Audio Engineering Society.
␈↓ α∧␈↓␈↓ αt␈↓↓Editing,␈αMixing␈αand␈αProcessing␈αDigitized␈α
Audio␈αWaveforms␈↓.␈αwith␈αRush,␈αL.␈α in␈α
preparation
␈↓"↓␈↓ α∧␈↓␈↓ β4for the Journal of the Audio Engineering Society.
␈↓ α∧␈↓␈↓ αt␈↓↓Computer␈α∀Simulation␈α∪of␈α∀Reverberation␈↓.␈α∪ in␈α∀preparation␈α∪for␈α∀the␈α∪Journal␈α∀of␈α∀the␈α∪Audio
␈↓"↓␈↓ α∧␈↓␈↓ β4Engineering Society.

␈↓ 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∧␈↓␈↓
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␈αamplified␈α
piano␈α
with␈α
computer-generated␈α
quadraphonic␈αtape.
␈↓"↓␈↓ 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␈αle␈αSable.␈↓␈αRome␈αSymphony␈αOrchestra,␈αFerruccio␈αScaglia␈αcond.,␈αRome,␈α1970.␈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␈αon␈αcomputer␈α
music␈αat␈αColgate␈αUniversity,␈α
Columbia␈αUniversity,␈αMichigan␈α
Stat,␈αUniv.
␈↓"↓␈↓ 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.