(b Kane, PA, Feb 25, 1938; d Rhinebeck, NY, Oct 22, 2009). American composer, performer and multimedia artist. She studied composition with Rochberg at the University of Pennsylvania (BFA 1964) and with Stockhausen. A concern for physical space pervades her music, best exemplified by three ongoing multimedia installation projects. In City Links #1-22 (1967–), she transmits sounds picked up by microphones placed throughout a city to mixing facilities at a central location. The resulting sound collages are broadcast at ‘live’ performances or over the radio. Locations for this project have included Boston, Chicago, New York and, in the Netherlands, Groningen. In Music for Sound-Joined Rooms (1980–), careful loudspeaker placement within a multi-room space creates ‘structure-borne’ sound that travels through walls and floors rather than through air. As the listener walks through a site, he or she experiences multiple sonic viewpoints arranged by Amacher to produce dramatic or narrative effects. The result is electronic music theatre designed according to the architectural features of a particular building. In ...
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....
(b Chambersburg, PA, March 31, 1897; d Homestead, PA, Jan 4, 1970). American acoustician, musicologist and composer. He taught himself the piano and the organ and studied at Dickinson College, Pennsylvania (1914–18); after graduating he worked as organist and mathematics teacher at the Haverford School in Pennsylvania (1919–21, 1922–6) while continuing his studies at Dickinson College (MA 1920) and Temple University (MusB 1924). He subsequently taught music theory as assistant professor at Wells College, New York (1926–9), leaving with a fellowship to the universities of Cologne and Berlin. After studies at Cornell University under Kinkeldey (1931–2) he gained the doctorate in 1932 with a dissertation on the history of equal temperament from Ramis de Pareia to Rameau. He taught at Ithaca College, New York (1932–9), while working for the MusD of the University of Toronto (...
(b Pursruck [Oberfalz], Sept 1, 1906; d Munich, Oct 2, 2001). German composer, conductor, and recording engineer. At the Munich Hochschule, Biebl studied composition with Joseph Haas and Siegmund von Hausegger, conducting with Heinrich Knappe, and Catholic church music with Ludwig Berberich. He taught at the Mozarteum before being drafted into military service in 1943 and spent two years as an American prisoner of war at Fort Custer (1944–6) where he developed an appreciation for American folk songs and spirituals. After the war, Biebl directed a church choir and worked as a recording engineer for Bavarian Broadcasting where he helped facilitate choral programming. He was an advocate of amateur choral singing and composed over 2000 arrangements and original songs, many of which remain popular among German singing societies.
Biebl is best known for his Ave Maria (Angelus Domini). Originally written for double male chorus, it received its première in Munich on ...
Ana R. Alonso-Minutti
(b San Antonio, TX, Dec 19, 1951). American composer and multimedia artist. He holds degrees from the University of Houston (BA 1977) and Ohio State University (MM 1987), and received a National Endowments for the Arts Fellowship in 1981. In his early years he was influenced by the music of Harry Partch and John Cage. In 1974 he co-founded the experimental performance ensemble Urban 15, which evolved into a non-profit organization and cultural center based in San Antonio. From 1978 to 1999 he organized the Third Coast New Music Project, a festival of new music. Cisneros has collaborated closely with his wife Catherine in the realization of projects involving sculpture, photography, music, dance, and media. Together they established the Carnaval de San Anto in 1988, a drum and dance company that has performed throughout the country and abroad. Cisneros’s commitment to his community is reflected in the creation of Nos Unimos, a virtual museum created for families who have lived or are living in San Antonio. Some of his large interactive works include ...
(b Morristown, NJ, Sept 10, 1975). American composer and computer musician. He has participated widely in the American electronic and experimental music scene as a performer, conceptual and new media artist, programmer, record producer, and teacher. He began his career as an electronic musician by restoring and performing on analog synthesizers, later switching to computers. As a student at Columbia University (BA 1997, MA 1999, DMA 2003), he studied with fred Lerdahl and jonathan d. Kramer . While serving on staff at Columbia’s Computer Music Center, he started experimenting with the use of algorithmic methodologies such as L-systems, contributed to Real-Time Cmix, and worked for Cycling ’74 on Max/MSP, especially the video component Jitter.
His composed works often reinterpret and comment on a select corpus of information, sometimes drawing on elements of American popular culture. For example, Academy, Billboard, and Play were inspired by the Academy Awards, the ...
(b Sofia, 1956). Bulgarian composer, pianist, conductor, and audio engineer. Goleminov was born in a family of professional musicians in Sofia, Bulgaria. He started learning the violin from early childhood, but later switched to piano, which has remained his primary instrument. During high school he began experimenting with electronics and became one of the pioneers of electroacoustic music in Bulgaria, by creating electronic music with no access to studios, doing everything with self-made analog devices, as well as telephones, old tape machines, and cassette recorders. Goleminov studied composition, orchestra conducting, and piano in Sofia, Vienna, and Amsterdam, and electroacoustic music in Vienna. In his capacity as composer, pianist, audio engineer, and conductor he collaborated in a series of musical and theatrical productions in various countries and took part in projects involving contemporary arts, mixed media, and intuitive and computer music. His works span a wide spectrum of styles and genres, from chamber and orchestral pieces to computer music, video-compositions, and music graphs, and have been commissioned by leading organizations and ensembles....
(b Milwaukee, WI, 1951). American composer, teacher, keyboardist and sound designer. Koykkar’s principal composition teachers have been john c. Eaton , Dennis Kam and John Downey. He spent two years as composer-in-residence with the Artists-in Schools Program in Virginia (1978–80) and studied at the University of Miami (DMA 1983). He has received grants and awards from, among others, ASCAP, Truman State University, Meet the Composer, the American Music Center, the National Endowment for the Arts, and the Pew Charitable Trust for Music. He has held visiting fellowships at various festivals, seminars, and institutes in the United States and Europe. He has also served as president of the Wisconsin Alliance for Composers (1990–3).
Koykkar’s works have been performed in Europe and the Americas by ensembles such as the New York New Music Ensemble, California EAR Unit, Relache, Compagnia Brasileira De Music, and Slovak Radio Symphony, among many others. His musical syntax seeks to produce musical gestures that can be perceived as outgrowths of preceding ones, gradually transforming over time. In works that range from music for dance and film-video to computer and electronic music, Koykkar tends to achieve perceptual clarity and economy of musical materials in such a way that popular and cultivated traditions both find their place as sources of inspiration. As a faculty member at the University of Wisconsin–Madison since ...
(b Paris, France, Oct 20, 1950). American composer, keyboardist, electronic musician, and improviser of French birth; naturalized American; daughter of jazz pianist and drummer Errol Parker. She began studying piano and harmony at age 7 and composing at 12. Lauten received a bachelor’s degree in economics from the Institut d’Études Politiques in 1971. The following year she relocated to New York City, where she participated in the burgeoning punk rock scene. Through guitarist Denise Feliu, Lauten met the poet Allen Ginsberg, who would have a significant impact upon her spiritual and musical life.
Lauten’s compositional and improvisational practice is exemplary of the musical aesthetics of downtown New York in the 1970s and 80s. A practitioner of both US popular music and European classical music, Lauten blended the two styles with minimalist experimentalism. Lauten’s studies in New York City brought her into contact with the varied denizens of downtown musical life. She studied Indian raga with ...
(b Canton, OH, Aug 18, 1905; d West Redding, CT, July 31, 1978). American composer, violinist, bandleader, recording engineer, and producer. After graduating from Johns Hopkins University, he performed as a light classical violinist in the United States and Europe. During the 1930s he studied conducting with Maurice Frigara in Paris. After a near-fatal car accident in 1940, he organized his own dance band, the Light Brigade, which recorded for RCA and Columbia. After he disbanded it at the turn of the decade, Light devoted himself to management, working for several record companies before becoming president of Waldorf Music Hall Records in 1954. He founded his own label, Grand Award, in 1956 and had success with Dixieland and honky-tonk piano albums. In 1959, he founded Command Records on which he released Persuasive Percussion, the first in a successful series of high-fidelity albums that used stereo technology to great advantage. Over the next two decades, he continued to produce hit albums drawing on the latest technological savvy and packaged with covers usually designed by Josef Albers. Musicians who appeared on Light’s albums include the Free Design, Doc Severinsen, Dick Hyman, Bobby Byrne, and Bobby Hackett. In ...