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Michael Russ

( b Belfast, Jan 22, 1962). Northern Irish composer . He attended the University of Ulster (BMus 1985) where he studied matrix composition, a technique used in many of his works, with David Morriss, and the University of Durham (PhD 1992) where he studied with John Casken and Peter Manning. In 1989 he became the composer-in-residence at Queen's University, Belfast, and in 1990 was appointed to a lectureship there, also serving as the director of the electronic music studio. The composition of Making a Song and Dance … (1989) marked the beginning of a fascination with Irish folk music, the modal qualities of which Alcorn finds particularly interesting. He has also acknowledged the influence of a number of postwar British and Scandinavian composers.

A small but significant part of Alcorn's output is electro-acoustic music. Flexible modes of interaction between electronically generated sounds, conventional instrumental timbres and, occasionally, visual images, hold a particular appeal for him. ...


John M. Schechter

revised by Luis Merino

(b Santiago de Chile, June 22, 1922; d Santiago, Feb 3, 1999). Chilean composer and writer. Introduced to music by his father, a cellist, he studied theory and the piano at the Catholic Conservatory from 1935 to 1939. After graduating in civil engineering from the University of Chile (1945), he pursued work in composition with Jorge Urrutia Blondel at the National Conservatory (1948–52). He made his first experiments in electronic music when he was planning music programmes for Chilean Radio (1953–6), and in 1956 created the Experimental Sound Workshop at the Catholic University of Santiago. He taught both at the Catholic University and on the arts faculty of the University of Chile.

Amenábar wrote for the voice, chamber groups, solo instruments, and ensembles, and he composed incidental music for the cinema and theatre. His electro-acoustic music carries special importance: such works as ...


Stephen Montague

(Michael Gordon)

(b Stratford, NZ, Feb 22, 1935; d Paris, May 27, 1987). British composer of New Zealand birth. He went to England at the age of 17 to study the piano at the RAM (1952–6). He remained in the UK and in 1969 began teaching at Morley College, London, where he became interested in live electronics and the work of Stockhausen. In 1973 he formed the West Square Electronic Music Ensemble (1973–87) from students at Morley, and in 1975 it gave its first professional performance at St John’s, Smith Square. In 1979 he co-founded the Electro-Acoustic Music Association of Great Britain (now Sonic Arts Network) and became its first chairman. His music was influenced by the post-Webern aesthetic, particularly in the three Piano Pieces with live electronics, Colla voce and Arc. As a composer Anderson was largely self-taught; this, along with his early lack of confidence as a New Zealander abroad, made him sometimes appear more at ease helping other composers realize their works than composing his own. He made six elaborate realizations of Stockhausen’s ...


Svetlana Savenko

( b Novosibirsk, November 30, 1937). Russian composer . He attended the Moscow Conservatory (1955–60) where he studied composition under Shaporin and Sidel′nikov, polyphony under S.S. Bogatïryov and orchestration under Rakov. Later (1960–62), he studied general and musical acoustics and the theory and practice of electronic music under the guidance of Ye.A. Murzin (the engineer and mathematician who produced the first Soviet electronic ANS synthesiser). He worked as an engineer at the Institute for Electronic Research (1960–64), and then taught at the Institute of Culture (1964–86). In 1989 he became president of the Russian Association for electro-acoustic music, and in 1993 a member of the executive committee of ICEM (International Confederation for Electro-Acoustic Music). He is a laureate of the State Prize of the Russian Federation (1988, 1993, 1996), and a laureate of the ‘Nika’ Prize awarded by the Russian Academy for the art of cinematography....


Carmen Helena Téllez

revised by Juan Orrego-Salas

(b Santiago, July 20, 1933). Chilean composer and electro-acoustic engineer. He studied at the National Conservatory in Santiago with Urrutia-Blondel (1947–56), at the Berlin Hochschule für Musik with Blacher (1959–60) and at the Badische Hochschule für Musik with Wildberger. Simultaneously he studied engineering at the Catholic University in Santiago (1953–9). As part of his dissertation, in 1959 he assembled the first electro-acoustic music laboratory in Latin America, and composed the region’s first electronic composition, Variaciones espectrales.

Asuar was the Chilean delegate to the 1960 ISCM Festival in Cologne. In 1962 he directed a seminar of electro-acoustic music in Salvador, Brazil. He was Professor of Acoustics and Contemporary Music at the National Conservatory in Santiago (1963–5). In 1964 he taught a seminar in electronic music at the di Tella Institute in Buenos Aires. From 1965 to 1968, at the invitation of the Instituto Nacional de Cultura y Bellas Artes of Venezuela, he established and directed the Instituto de Fonología, the country’s first electro-acoustic music centre....


Pierluigi Petrobelli

(b Naples, March 4, 1932). Italian composer. He graduated from the Conservatorio di S Cecilia as a pupil of Porena. In 1965 he joined the Rome-based Nuova Consonanza group, serving as one of its directors in 1971–2. He studied with Stockhausen in Cologne in 1966, an experience that decisively influenced him as a composer. The following year he attended Evangelisti’s seminars on electronic music in Rome. In 1972, together with Mario Bertoncini, Walter Branchi and Giorgio Nottoli, he formed the Gruppo Team Roma, an ensemble making use of live electronics. Again with Branchi, in 1977, he founded Musica Verticale, an association devoted mainly to electro-acoustic music. He taught composition at the conservatoires of Pesaro (1972–9) and Perugia (1979–95). In 1995 he returned to Rome to teach at the Conservatory.

In the first phase of his output (Mimesis and Metafora) the elements of the music are rigorously predetermined; later he used forms offering a choice to the performers. After exploring new forms of expression using electroacoustic and instrumental techniques, he has progressively abandoned timbral research in pursuit of more abstract formal possibilities, especially in orchestral works such as ...


Warren Burt

(Rosalie Edith )

(b Geelong, Victoria, Aug 18, 1951). Australian composer, performer, installation and sound artist, instrument inventor, writer, educator, and researcher. Her early education consisted of high school in both Australia and Canada, followed by a BA (1971, Monash University), Dip Ed (1973, Monash), MA (1974, Monash), and PhD (1983, Monash). An interest in experimental music is apparent from her earliest compositions, many of which involve performance in specific places, improvisation, electronics, graphic notation, and the use of self-built and specially built instruments. These include Improvisations in Acoustic Chambers, 1981, and Soft and Fragile: Music in Glass and Clay, 1982. By 1977 an interest in sound installation and sound sculpture had become well established in her work (Winds and Circuits, Surfaces and Cavities), and is an area in which she has continued to the present day, having presented nearly 50 sound installations worldwide.

Bandt has also been involved in creating electro-acoustic works, often in collaboration with broadcasting organizations; work for or with radio forms a significant portion of her output. Many of these works, while using real-world elements, take a more narrative or illustrative approach to their material compared to the abstractionism of much electro-acoustic work. An electro-acoustic work such as ...


Barry Schrader

[née Charlotte Wind]

(b Minneapolis, June 16, 1927; d Los Angeles, April 20, 2008). American composer. She and her husband Louis Barron were pioneers in the field of electro-acoustic music. She received the MA in political science from the University of Minnesota, where she studied composition with Cordero, and she also spent a year studying composition at the University of Mexico. In 1947 she moved to New York and, while working as a researcher for Time-Life, studied composition with Riegger and Cowell. Married that year, the Barrons began their experiments with taped electronic sounds; in 1948 in New York they established one of the earliest electro-acoustic music studios. It contained both disc and tape equipment with sine- and square-wave oscillators, mixers and filters, and four synchronous projectors used for the manipulation of sound on optical tracks. Their experiments led the Barrons to use and develop characteristics of individual circuits to create different types of sound events, each of which was considered a Gestalt, and they eventually constructed a large collection of cybernetic circuits for compositional use. When they collaborated on a composition, Louis designed and built the electronic circuits for sound generation while Bebe searched the taped material for its musical potential and proposed the application of particular processing and compositional techniques....


Barry Schrader

(b Minneapolis, April 23, 1920; d Los Angeles, Nov 1, 1989). American composer. He and his wife Bebe wrote pioneering works in the field of electro-acoustic music. He studied the piano and wrote jazz criticism while a student at the University of Minnesota. He then worked for the Gallup organization as a social psychologist. Married in ...


Marie Fitzpatrick

(Eveline )

(b Streetly, Staffs, Dec 17, 1937). British composer and teacher. She studied at Birmingham University between 1956 and 1964 (BMus 1960, MA 1968) and with Alexander Goehr. During the 1960s she worked as a freelance horn player and as a music lecturer at colleges of education; in 1972 she was appointed lecturer at the Royal Scottish Academy of Music and Drama. She was a founder member of the Scottish Society of Composers and the Scottish Electro-Acoustic Music Society and in 1988 formed the contemporary music ensemble Soundstrata. During 1992 she was visiting composer at the Meistersinger-Konservatorium in Nuremberg; in 1996 she was appointed lecturer in music technology at the University of Glasgow. As a composer, she has acknowledged the influence of Bartók, Stockhausen and oriental music, and she was a pioneer of British electronic music. She combines natural and artificially generated or mediated sound, often using tape, as in ...