MacDowell Colony, Peterbrough, NH, resident composer fellowships, summers of 1961,'62, '81, '82, winter, '86, full subsistence;
Broadcast Music, Inc., New York, orchestral commission, 1961, $1,000;
Committee on Research, University of California, Davis, research/travelgrants 1962-72, awarded annually, averaging $1,300, total $13,000;
Institute for Creative Arts, University of California, fellowship, travel grants for composer's residency in Rome, 1964-65, $10,000;
University of North Texas, Distinguished Alumnus Award, 1968;
Institute for Creative Arts, University of California, Presentations Award, 1968, $3,000;
Broadcast Music, Inc., grants for editorial/publication projects for SOURCE, 1968-70, $9,000;
Center for the Creative and Performing Arts, SUNY, Buffalo, residency as Creative Associate composer, fall, 1968, $5,000;
Canisius College, Buffalo, NY, commission for major work to celebrate 100th anniversary, 1970, $3,000;
New York State Council on the Arts, presentation grant for New York University performance, 1970, $1,500;
Lincoln Center Chamber Music Society, New York, commission to compose work for violist Walter Trampler, 1970, $1,500; supplementary grant from Mr. Trampler to complete film for work, 1970, $800;
University of California, Berkeley, band commission; University of California, Los Angeles, choral commission; the Aeolian Chamber Players, the American Film Institute, music for a film by Stan Vanderbeek; Florida State Music Teachers Association, a work for solo percussion; 1972-74, $1,500;
Research Council, University of South Florida, fellowship to compose work for the American Brass Quintet, 1974, $4,500;
Long Island Chamber Ensemble and Continuo Music Press, commission for chamber work, 1974, $300;
Arts Council of Tampa, presentation grant to produce computer art technology exhibit at Celebration '74, 1974, $1,000;
Distinguished Composer Award, 1974, Music Teachers National Association, for composition, Quadrants: Event/Complex No. 9 ;
First Prize Composition, Florida Festival of New Music, Fine Arts Council of Florida, 1976, for composition Second Fantasy on Ives' Universe Symphony" , $450;
Commission for work for solo viola and tape for Arthur Lewis, 1977, $300;
Presentation award from Meet-the-Composer, New York, 1977, $500;
Commissions for performance, 1976-80, to compose works for soprano Sigune von Osten, pianist Stephen Montague, trombonist James Fulkerson, percussionist Michael Udow and dancer Nancy Udow, and bass-baritone John Large; National Endowment for the Arts, co-recipient of film workshop grant,1977, $4,000;
Annual composer associate guarantees, Broadcast Music, Inc., 1978-present, averaging $1,500;
National Endowment for the Arts, the Martha Baird Rockefeller Foundation, New York State Council on the Arts, and Sonavera Studio, co-funding two concerts of Austin's works, A 'Seventies Retrospective of Music and Intermedia, at The Kitchen, New York, Oct. 6-7, 1978, $2,000;
Faculty Research Grants, UNT, composition, research and acquisition,1978-present, research expenses and release-time salary, averaging $2,500 each year;
Elected to membership in Pi Kappa Lambda, National Honorary Music Fraternity, May, 1979;
Martha Baird Rockefeller Foundation, National Endowment for the Arts, Theater Development Fund, and Con-Edison Foundation, co-sponsoring travel grants for the New Music/New York Festival of Experimental Music, June 8-16, 1979;
Selected as one of eight Texas/Louisiana composers to participate in the Annual Louisiana-Texas Composers Retreat, 1980-82, full subsistence;
Co-recipient of Faculty Research Special Project Grant, UNT, 1980,'81, '82, for computer music system acquisition, respectively $6,000, $4,500 and $6,000;
Invited by the Charles Ives Society to serve as co-editor and commentor with Lou Harrison, David Porter, John Mauceri and John Kirkpatrick of the facsimile/transcription edition of Ives' sketches for his Universe Symphony, scheduled for scholarly publication by Peer International, New York;
National Endowment for the Arts, Centers for New Music Resources, joint recipient of grant for computer music facilities, 1981, $5,000;
Commission to compose work for the UNT Cello Choir as part of the Vandiver Inaugural Commission Series, 1980-81, UNT, $600
Commission to compose work for the Canadian Broadcasting Corporation for radio broadcast, simultaneously performed in Toronto, Winnipeg, and Halifax, May 10, 1981, $1,700;
Appointed Director, International Computer Music Conference, Nov. 5-8,1981, held at UNT, Denton, TX;
National Endowment for the Arts, Services to Composers grant for support of documentation for the 1981 ICMC, $10,000;
Commission to compose work for the Merce Cunningham Dance Company for performances, March 18, 19, 25, and 26, 1983, at New York City Center, $500;
Commission to compose work for piano and tape by Sound Source with grant from National Public Radio for performance in a special series on computer music for performance by pianist Yvar Mischakoff at New Music America, Washington, D.C., fall, 1983, $500;
National Endowment for the Arts, Centers for New Music Resources program, grant to UNT/ CEMI, 1983, $4000.
Awarded commission to compose a collaborative, intermedia composition through the Inter-Arts Program of the National Endowment for the Arts, $1,000, 1984.
Awarded commission to compose a tango for piano as part of the Tango Project organized by pianist Yvar Mikhashoff for Quadrivium Music Press, 1984.
National Endowment for the Arts, Centers for New Music Resources program, grant to UNT/ CEMI, 1985-86, $16,000.
Awarded commission by the Cleveland Chamber Symphony, Edwin London, Music Director, to compose a work for chamber orchestra and computer music on tape, 1986.
Awarded UNT Faculty Development Grant for fully compsensated sabbatic leave, January-July, 1986, to compose a work for chamber orchestra and computer music on tape, $18,325.
Guest composer-in-residence at the Center for Computer Music, Brooklyn College, CUNY, Feb. to May, 1986.
Awarded resident fellowship to Yaddo artists' colony, Saratoga Springs, NY, May 15 to June 27, 1986, full subsistence.
Composition, Tableaux Vivants, chosen for inclusion in Scribing Sound II, An Exhibition of Music Notations (1952-85), Diverse Works Gallery, New Music America 1986, Houston, Texas, April 5-13, 1986.
Awarded UNT Faculty Research Grant, Sinfonia Concertante, for Chamber Orchestra and Computer Music on Tape, 1985-86, $3,700.
Awarded grant from Margaret Fairbank Jory Copying Assistance Program, American Music Center, New York, NY, 1986, $600.
Awarded UNT Faculty Research Grant, Concertante Cybernetica, 1986-87, $3,500.
Commissioned by concert synthesist Neil Rolnick to compose a work for real-time digital music system, 1987.
Commissioned by the Electric Phoenix vocal quartet of London to compose a work for their repertory, including computer music on tape, for first performance during their USA tour in winter, 1988.
CEMI: Center for Experimental Music and Intermedia, nominated by UNT Chancellor Alfred Hurley for the G. Theodore Mitau Award for Innovation and Change in Higher Education, sponsored by the american Association of State Colleges and Universities, April 19, 1987.
Invited and commissioned to contribute a composition to the Festschrift for Violet Archer: Women in Music, being prepared by the University of Alberta to honor the achievements of composer Violet Archer in 1988 during her 75th year.
Commissioned to compose an extended 100-minute composition for concert radio broadcast in 1990 on Pacifica Foundation station KPFA-FM and UNT station KNTU-FM, performed by the University of California, Berkeley, Chamber Chorus and the UNT A Cappella Choir, and sponsored by the Stanford University Center for Computer Research in Music and Acoustics, and the UNT Center for Experimental Music and Intermedia.
Invited by Smith Publications to compose a work for solo snare drum to be part of the published collection, Noble Snare, including pieces by notable composers such as John Cage and Milton Babbitt, 1988-89.
Awarded Third Prize in the 1988 International New Music Composer's Competition for Sinfonia Concertante: A Mozartean Episode, for chamber orchestra and computer music narrative, $500.
Invited by clarinetist Phil Rehfeldt to compose an etude for clarinet to be part of a collection, Etudes for the 21st Century Clarinetist, and part of a Festschrift for Barney Childs, 1989-90.
Awarded grant, "Computer Music Facilities," for CEMI from the NEA Centers for New Music Resources program, 1987-88, $3,000.
Awarded UNT Faculty Research Grant, Euphonia 2344, 1987-88, $3,200.
Awarded UNT Faculty Research Grant, Transmission Two: The Great Excursion, 1988-89, $1,800.
Invited by the Center for Computer Research in Music and Acoustics, Stanford University to accept a composer-residency to conduct research and complete creative work on the computer music composition, Transmission Two: The Great Excursion, May-June, 1989, and December, 1989.
Awarded grant, "Computer Music and Video Synthesis Facilities," NEA Centers for New Music Resources program, 1988-89, $7,500.
Awarded UNT Faculty Research Grant, Transmission Two: The Great Excursion, 1989-90, $1,800.
Commissioned by vocalist Joan La Barbara to compose a work for voice and computer music on tape, 1989.
Elected President of the International Computer Music Association, 1990-92; re-elected for second term, 1992-94.
Invited to join the Editorial Board of the Leonardo Music Journal as an Editorial Advisor, 1990-93.
Invited to guest conduct the Orchestra of Santa Fe, Santa Fe, New Mexico, May 5-7, 1989.
Awarded UNT Faculty Research Grant, "Work for Solo Voice and Tape", 1990-91, $1,500;
Awarded NEA Music Recording grant to produce a compact disc, Vol. 10 of the CDCM Computer Music Series on Centaur Records, including Austin's Montage for violin and computer music, $11,700, 1990-91.
Austin's Sinfonia Concertante: A Mozartean Episode, chosen to represent the USA in a performance by the Camerata Zurich at the ISCM 1991 World Music Days in Zurich, Switzerland, on September 20, 1991.
Awarded NEA Music Recording grant to produce a compact disc, Vol. 11 of the CDCM Computer Music Series on Centaur Records, including Austin's Life Pulse Prelude for percussion orchestra, $19,000, 1991-1992.
Commissioned by the Montague/Mead Duo (Stephen Montague, electronics and Philip Mead, piano) to compose a concert piece, to premiere in London during their 1992-93 season.
Commissioned by The Percussion Group of Cincinnati to compose a work based on the "life pulse music" from Charles Ives's unfinished Universe Symphony, 1992-93.
As project director, awarded matching grant, "CDCM Compact Disc Recording Project, Vols. 13 and 14--The Virtuoso in the Computer Age--III and IV", Music Recording Program of the National Endowment for the Arts, 1992-93, $15,000.
As project director, awarded matching grant, "Vols. 13 and 14 of the CDCM Compact Disc Recording Project--The Virtuoso in the Computer Age--II", Recording Assistance Program, Texas Composers Forum, 1993, $1,500.
Commissioned by the chamber music ensemble, Thira, of Winnepeg, Manitoba, Canada, to compose a new work for soprano, flute, clarinet, cello, piano, and taped computer music.
Awarded UNT Faculty Research Grant, "Work for Piano and Electronics", 1991-92, $3,000.
Commissioned by the Composers Ensemble of London to compose a work for "Mary Wiegold's Songbook", 1993-94.
As project director, awarded matching grant, "CDCM Compact Disc Recording Project, Vols. 18 and 19--Composers in the Computer Age--III and IV", Music Recording Program of the National Endowment for the Arts, 1992-93, $10,000.
Commissioned for 1993 concert premiere performance and recording for compact disc by Maestro Gerhard Samuel, conductor and music director of the Cincinnati Philharmonia, and by The Percussion Group of Cincinnati to complete the composition, A Universe Symphony: The Earth, Life Pulse, and Heavens (1974-93) Prelude, episode, and fragments in a symphonic fantasy for multiple orchestras, based on Charles Ives's sketches for his unfinished Universe Symphony (1911-51).
Invited to perform John Cage's Radio Music as part of "Cagemusicircus", a memorial celebration of John Cage, 1912-1992, Symphony Space, New York, NY, Nov. 1, 1992.
Invited to participate in a Koch International Classics double compact disc recording project, "Chance Operations: The John Cage Tribute", in memory of John Cage, specifically to record Austin's art is self-alteration is Cage is..., performed by Robert Black, contrabass, 1993.
Commissioned to compose ¡Rompido! -- Music for Dance and Sculpture (1993), commissioned for performance with the Jesus Bautista Moroles gallery exhibit, Tearing Granite: Thunder in the Stone, Davis/McClain Gallery, Houston, Texas, as part of the special performance, December 1, 1993, sponsored and presented by the University of North Texas College of Music, Divsion of Dance and Drama, the School of Visual Arts, the Development Office, and the Alumni Association, 1993, $1,300.
Awarded grant for the recording for release on Centaur Records a compact disc by Maestro Gerhard Samuel, conductor and music director of the Cincinnati Philharmonia, and by The Percussion Group of Cincinnati for the Austin realization and completion of Charles Ives's Universe Symphony: The Earth, Life Pulse, and Heavens (1974-93) Prelude, episode, and fragments in a symphonic fantasy for multiple orchestras, based on Charles Ives's sketches for his unfinished Universe Symphony (1911-51), $5,000.
Awarded UNT Faculty Research Grant, "Two works for soprano and chamber ensemble and the development of a hypermedia composition system", 1993-94, $1,800.
Awarded UNT Faculty Development Grant for fully compsensated sabbatic leave, January-July, 1994, to compose a work for voice and chamber ensemble and to develope a hypermedia composition system, $26,500.
Invited for guest composer residency at the Banff Centre for the Arts, Banff, Alberta, Canada, January-March, 1994.
Invited for guest composer residency at the Sonology Department at Kunitachi College of Music in Tokyo, Japan, utilizing extensive computer music facilities there, including NeXT computers equipped with the IRCAM Musical Workstation, provided with an apartment and a nominal subsistence honorarium, April-July, 1994.
Commissioned by saxophonist Stephen Duke to compose an extended work for amplified/processed saxophone and computer music on digital audio tape, for performance at the World Saxophone Congress, 1995, and other national and international professional concert venues, $4,500.
Awarded UNT Faculty Research Grant, "Advanced Digital Synthesis Transformation Techniques for Sampled Sound Material for Two Computer Music Compositions", 1994-95, $3,800.
As project director, awarded matching grant, "CDCM Compact Disc Recording Project, Vols. 22, 23, and 24--The Composer in the Computer Age--V, VI, and VII", Music Recording Program of the National Endowment for the Arts, 1995-96, $6,860.
Invited and contracted by Cambridge University Press to author an extended study on Larry Austin's realization and first performances of Charles Ives's "Universe Symphony", as part of a collection of essays for the book, Ives Studies, edited by Philip Lambert, 1995-96.
Commissioned by Thomas Buckner to compose an extended work for baritone voice and computer music on digital audio tape, $5,000.
Commissioned by Esther Lamneck to compose an extended work for amplified/processed clarinet/Tárogató and computer music on digital audio tape, $4,000.
Commissioned by Borik Press to compose a solo tape composition in honor of mathematician Djuro Kurepa, $500.
The International Institute for Electroacoustic Music, Bourges, France, has announced that composer Larry Austin has been awarded the 1996 Magistère (Magisterium) in the 23rd International Electroacoustic Music Competition for his work BluesAx (1995), for saxophonist and computer music on tape. The honorific title brings a prize of 10,000 francs; a compact disc recording of the work for the "Cultures Electronique" series produced by GMEB/UNESCO/CIME; performance of this and other Austin electroacoustic works on "Synthese: 27th International Festival of Electroacoustic Music", spring, 1997; international radio broadcasts; and an invitation to the composer for a residency in a participating consortium studio for electroacoustic music. Through the years of the competition, eight Magistères have been awarded. Austin is the first US composer to receive the award. The Magistère title and prize is awarded to composers who have worked creatively in the electroacoustic artform for twenty years or more. In awarding of the Magistère, the competition jury takes into account the composer's participation in the development and history of electroacoustic music. Composers are asked to submit three examples of their work, one from an early period and two from a more recent period, to characterize the composer's path within the general context of the evolution of electroacoustic music.
Invited and accepted a Magistère de Bourges composer residency during June-July, 1997, at the Electroacoustic Music Studio, University of Birmingham, England.
Annual award guarantee for national and international concert performances and radio/TV broadcasts of Austin compositions through composer affiliation with performance licensing agency, Broadcast Music, Inc., New York, 1997-98.
Invited and contracted by Cambridge University Press to author an extended study on Larry Austin's realization and first performances of Charles Ives's Universe Symphony, as part of a collection of essays for the book, Ives Studies, edited by Philip Lambert.
Awarded grant for compact disc recording on Centaur Records of Austin's Quadrants: Event/Complex No. 1, for symphonic wind ensemble and tape, from the Aaron Copland Music Recording Fund, spring, 1997.
Awarded a month-long composer residency by the Rockefeller Foundation at the Bellagio Study and Conference Center, Bellagio, Italy, July/August, 1998, to complete a new commissioned work, Tárogató!, for tárogató, dancer(s), and octophonic computer music and to begin the composition of a new work, Ottuplo, for string quartet and octophonic computer music.
The Board of Directors of the Society of Electro-Acoustic Music in the United States recognizes Larry Austin for his longstanding dedication and meritorious contributions to the field of electro-acoustic music. With great appreciation we present you with the 2009 SEAMUS Award.