Publications

R E C O R D I N G S

IMPROVISATIONS FOR ORCHESTRA AND JAZZ SOLOISTS, "Leonard Bernstein Conducts Music of Our Time," New York Philharmonic, Columbia Masterworks, MS6733, 1965.

NEW MUSIC ENSEMBLE FREE GROUP IMPROVISATIONS, New Music Ensemble, NME Records, CPE, 1964.

ACCIDENTS, for piano and live electronics, performed by David Tudor, Source Records, SR13, CPE, 1968.

PIANO SET IN OPEN STYLE and PIANO VARIATIONS, "Robert Floyd Plays New Piano Music by Hans Werner Henze and Larry Austin," Advance Records, FGR10S, 1970.

CARITAS, taped computer music, Source Records, SR17, CPE, 1970.

CURRENT, clarinet and piano, Phil Rehfeldt, clarinet, Thomas Warburton, piano, "New Music for Woodwinds," Advance Records, FGR9S, 1974.

MAROON BELLS, CATALOGO VOCE, QUADRANTS: EVENT/COMPLEX NO. 1, SECOND FANTASY ON IVES' UNIVERSE SYMPHONY, "Larry Austin Hybrid Musics: FourCompositions," IRIDA, 0022, P.O.Box 240, Rt.1, Canton, TX 75103, 1980.

CANADIAN COASTLINES: Canonic Fractals for Musicians and Computer Band, "Computer Music", Folkways Records, FTS37475, 1983.

SINFONIA CONCERTANTE and SONATA CONCERTANTE, "Volume 1, CDCM Computer Music Series," compact disk recording, Centaur Records, Inc., CRC 2029, 1988.

STARS, PROTOFORMS: FRACTALS FOR COMPUTER BAND, PHOENIX, 1976, and QUADRANTS, "Computer Music on Tape: Five Pieces by Larry Austin," Deep Listening Publications, 156 Hunter St., Kingston, NY 12401, Item number LA-R-3, 1990.

LUDUS FRACTALIS, a video composition, Deep Listening Publications, 156 Hunter St., Kingston, NY 12401, Item number LA-V-VHS video cassette, stereo sound, 1990.

BEACHCOMBERS, for four musicians and tape, "musics, metaphors, machines", Volume 9, CDCM Computer Music Series, compact disc recording, Centaur Records, Inc., CRC 2078, 1991.

MONTAGE: THEMES AND VARIATIONS FOR VIOLIN AND COMPUTER MUSIC ON TAPE, Robert Davidovici, violin; "The Virtuoso in the Computer Age--I", Volume 10, CDCM Computer Music Series, compact disc recording, Centaur Records, Inc., CRC 2110, 1991.

TRANSMISSION TWO: THE GREAT EXCURSION, "Morton Subotnick Episode" , for chorus, computer music ensemble, and recorded dialogue, University of California Chamber Chorus, Phillip Brett, conductor; Chris Chafe, celletto; Chris Brown, keyboards; William Winant, Boie Radio Drum and percussion; recorded as part of the compact disc recording included in Leonardo Music Journal, Vol. 1, No. 1, 1992.

LIFE PULSE PRELUDE, based on sketches and plans for percussion orchestra music from a portion of Charles Ives's unfinished Universe Symphony (1974-84), for 20-member percussion ensemble, The Percussion Group and guest solosists, "The Virtuoso in the Computer Age--II", Volume 12, CDCM Computer Music Series, compact disc recording, Centaur Records, Inc., CRC 2133, 1992.

LA BARBARA: THE NAME/THE SOUNDS/THE MUSIC, for voice with computer music, performed by Joan La Barbara, soprano; "The Virtuoso in the Computer Age--III", Vol. 11, CDCM Computer Music Series, compact disc recording, Centaur Records, 1993.

art is self-alteration is Cage is... (1983/93), for four double bass quartets, performed by Robert Black, double bass; produced and mixed by Larry Austin, engineered by Bruce Elliott at Sound Situation in Glastonbury, CT, post-production at the composer's studio, gaLarry, in Denton, TX; produced as part of a double compact disc set, "A Chance Operation: The John Cage Tribute", released on the Koch International Classics compact disc series, 3-7238-2 Y6x2, 1993.

TRANSMISSION TWO: THE GREAT EXCURSION, "Max Mathews Episode" (1989), live recording, premiere concert broadcast on KPFA-FM, Berkeley, CA, February 26, 1990, Hertz Hall, University of California; UC Chamber Chorus, Philip Brett, conductor, Chris Brown, keyboards; Chris Chafe, celletto; William Winant, percussion and Radio Drum; Austin, Jay Kadis, Randall Packer, Todd Winkler, computer music systems; Austin, producer; Richard Friedman, KPFA-FM producer; Vol. 15, CDCM Computer Music Series, Centaur Records, 1994.

SoundPoemSet (1990-91), computer music on tape: 1 Pauline Oliveros 2 Jerry Hunt 3 Morton Subotnick 4 David Tudor; Vol. 16, CDCM Computer Music Series, Centaur Records, 1994.

AccidentsTwo: Sound Projections for Piano with Computer Music (1992); Canadian Coastlines: Canonic Fractals for Musicians and Computer Band (1981); Quadrants: Event/Complex No. 4 (1972, rev. 1994) for Yamaha Disclavier piano, and Quadrants: Event/Complex No. 9 (1974), for percussion, combined with delay system and electronic music on tape; and Accidents (1967), for electronically prepared piano and Buchla-100 Electronic Music System; Vol. 19, CDCM Computer Music Series, "The Composer in the Computer Age--IV, A Larry Austin Retrospective: 1967-94.

Charles Ives's Universe Symphony, as realized and completed by Larry Austin (1974-93) for multiple orchestras, in three continuous sections, based on Charles Ives's sketches for his unfinished Universe Symphony (1911-51); presented in its world premiere recording by the Philharmonia Orchestra, Gerhard Samuel, Music Director, with the Percussion Ensemble of the College-Conservatory of Music, made possible by the assistance of the American Academy and National Institute of Arts and Letters, the Charles Ives Society, Inc., and the Yale University Music Library; duration, 37:00; Centaur Records, CRC 2205, 1994.

¡Rompido! (1993), computer music on tape. Sound materials recorded on location at the Fred Jones Museum, Norman, Oklahoma; the Moroles studio, Rockport, Texas; and the Davis-Maclain Gallery, Houston, Texas; Austin, producer and recording engineer; post-production processing in the composer's studio, gaLarry, Denton, Texas; CDCM Computer Music Series, Vol. 24, "The Composer in the Computer Age--VII"; duration 24:00; Centaur Records, CRC 2310, 1997.

BluesAx(1995-96), for saxophonist and computer music on tape, recorded by Stephen Duke, saxophone; and Quadrants: Event/Complex No. 4 (1972, rev. 1994) for Yamaha Disclavier piano, and Event/Complex No. 9 (1974), for percussion, combined with delay system and electronic music on tape, recorded by J. B. Floyd, pianist and Disclavier programmer and Robert McCormick, percussion; Cultures Electroniques/9, Serie GMEB/UNESCO/CIME, Bourges 1996, Prix Magisterium.

Quadrants: Event/Complex No. 1 (1972, rev. 1994), for symphonic wind ensemble and tape; recorded by the North Texas Wind Symphony, Eurgene Coporon, conductor; Vol. 27, CDCM Computer Music Series, "Music from CEMI, University of North Texas," duration: 9:00; Centaur Records, CRC 2407, 1998.

Variations...beyond Pierrot (1993-95), a sound-play in three parts, for ensemble and computer music recitation on tape, performed by Thira: Therese Costes, soprano; Laurel Ridd, flutes; Lori Freedman, clarinets; Paule Prefontaine, violin; Arkadiusz Tesarczyk, cello; Mary Jo Carrabre, piano; Michael Matthews, electronics; Shin-Edo: CityscapeSet (1994-96), computer music on tape in five movements: Ikebukuro/Sunshine City --Rikugien Garden--Kunitachi morning--"Tamagawa-josui desu." -- Shinjuku/Ginza; BluesAx, for saxophonist and computer music in seven movements: I. BluesInCameroon; II. Sidney; III. Trane; IV. BluesLude; V. Hodges; VI. Cadenza; VII. BluesOutParker, performed by Stephen Duke, soprano and alto saxophones; Vol. 28, CDCM Computer Music Series, "The Composer in the Computer Age--VIII: Larry Austin--SoundPlays, Cityscapes, SoundPortraits: 1993-96."; Centaur Records, 1999.

1 Tárogató! (1997-98), commissioned by Esther Lamneck, recorded/processed tárogató; Stephen Duke, soprano saxophone soloist. Tárogató recording, New York University studio, Paul Geluso, engineer, April 29, 1997. Computer music completed in the composer's studio, gaLarry, Denton, TX, spring/summer, 1998. Saxophone recorded at DRM Productions, Dallas, TX, Sept.7, 2001; (C) 1998 Larry Austin Music (BMI); 2-4 Singing!...the music of my own time (1996-98), commissioned and recorded by Thomas Buckner, baritone. Interview and vocal material recorded in Buckner's private studio, New York City, Nov. 6, 1996, Austin, recording engineer. Computer music created in the Electroacoustic Music Studios, University of Birmingham, UK, June-July, 1997, and completed in the composer's studio, gaLarry, Denton, TX, fall, 1998; (C) 1998 Larry Austin Music (BMI); 5 Djuro's Tree (1997), commissioned by Borik Press in memory of DjuroKurepa, mathematician. Interview of Alexandra and Andr Waschka recorded in North Carolina, April 7 , 1997, Austin, recording engineer. Computer music created in the Electroacoustic Music Studios, University of Birmingham, UK, June-July, 1997, and completed in the composer's studio, gaLarry, Denton, TX, Aug.-Sept., 1997; (C) 1997 Borik Press (BMI); 6-13 Williams [re]Mix[ed] (1997-2001), based on John Cage's Williams Mix (1951-53) for eight magnetic tapes. Commissioned by the International Institute for Electroacoustic Music, Bourges, France, with sponsorship and support from the John Cage Trust and C.F. Peters Corporation. Octophonic computer music program, Williams [re]Mix[er], designed by Austin with Michael Thompson, programmer. Recorded sounds collected by Austin, 1997-2001. Williams Mix, (C) 1960 by Henmar Press. Used by permission; (C) 2001 Larry Austin Music (BMI); Octo-Mixes, Larry Austin, “Octophonic Computer Music, 1996-2001”; Producers: Larry Austin and Joel Chadabe. Annotators: James Dashow and Austin. Cover art, Jenette Dill: score, page 5, and I Ching chart for John Cage's Williams Mix, (C) 1960 by Henmar Press. Used by permission. CD design, Jenette Dill; (P) (C) 2001 Electronic Music Foundation Ltd., 116 No. Lake Ave., Albany, NY 12206.

5 Tárogató! (1997-98), commissioned by Esther Lamneck, recorded/processed tárogató; Esther Lamneck, Tárogató!, A Folk Instrument With a Contemporary Sound; (C) Romeo Records, 2002.

Threnos, for real and virtual bass clarinets (2001-2002), commissioned and recorded by bass clarinetist Michael Lowenstern for Music from SEAMUS XIII, (C) SEAMUS 2003.

Charles Ives's Universe Symphony (1911-1951), as realized and completed by Larry Austin (1974-93) for multiple orchestras, in three continuous sections, based on Charles Ives's sketches for his unfinished Universe Symphony (1911-51); presented in its premiere German recording by the Rundfunk-Sinfonieorchester Saarbrucken, Michael Stern, principal conductor, with assistant conductors Larry Austin, Johannes Kalitzke, Michael Schmidtsdorff, and Christian Voss, recorded broadcast, part of the Music in the Twentieth Century Festival, Saarbrucken, Germany, on May 24, 1998. Charles Ives, Universe Symphony/Second Symphony, produced and released by collegno, 2003, WWE 1CD 20074.

Charley's Cornet (1976), for cornet and piano, recorded on compact disc by John Holt, cornet, and Natalia Bolshakova, piano, UNconventional Trumpet, Crystal Records CD763, 2004.

Ottuplo! (1998-2000), performed, live, by the Flux Quartet with ambisonic recording by the Smith Quartet, in concert, January 30, 2003. Merkin Concert Hall, New York City, Interpretations Series, presented by World Music Institute and Thomas Buckner; Adagio: Convolutions on a Theme by Mozart (2004-5). for clarinet and computer, performed by F. Gerard Errante, clarinet; RomaDue (1965, rev. 1997), electronic music Larry Austin - Selected Works on tape; Tableaux: Convolutions on a Theme(2003-4), for alto saxophone and octophonic computer music, performed by Stephen Duke, alto saxophone; art is self-alteration is Cage is... (1982-83, rev., 1993), for solo contrabass and fifteen recorded contrabasses on tape, performed/recorded by Robert Black, contrabass; Threnos (2001-2), for bass clarinets, real and virtual, in memory of the victims of September 11, 2001, performed/recorded by Michael Lowenstern, bass clarinet; Les Flûtes de Pan: Hommage à Debussy(2005-6), for flute and octophonic computer music, performed/recorded by Jacquiline Martelle, flute (piccolo). Producer: Larry Austin; Executive Producer: Victor Sachse; cover design by Lou Harrison, North Carolina State University; cover photo of the Flux Quartet by Beowulf Sheehan. This recording was supported by grants from Larry Austin Music, CDCM, and in-kind contributions from the performing artists. All compositions published/copyrighted by Larry Austin Music, Denton, TX. Copyright 2006 Centaur Records, Inc. http://www.centaurrecords.com; CDCM COMPUTER MUSIC SERIES VOLUME 35; The Composer in the Computer Age X; Ottuplo! Larry Austin: The Eighth Decade ; CRC2830

Source Records 1-6, Music of the AvantGarde, 1968-1971: The Digital Reissue of the Source LP’s on a 3-Compact Disc Set, including Larry Austin’s Accidents and Caritas. Pogus Productions, 50 Ayr Rd, Chester, NY, 10918, copyright 2008, Pogus Productions, P210502.

ReduxThree (2010-11), for clarinet solo, duo, quartet, or octet and octophonic computer music; CDCM Computer Music Series Volume 39, Music from the University of North Texas Center for Experimental Music and Intermedia; CRC 3219, Centaur Records.

 

 


 

A R T I C L E S

"Conversation: Karlheinz Stockhausen, Robert Ashley, Larry Austin, "SOURCE, Vol. 1, No. 1, 1967, pp.104-8.

"Is the Composer Anonymous?", SOURCE, Vol. 1, No. 2, 1967, pp. 1-3.

"Is the Concerto Dead? Yes", NEW YORK TIMES, March 10, 1968, pp. M1,M3.

"Music Only for the Privileged?", NEW YORK TIMES, Sept.1, 1968, D11,D12.

"Groups," SOURCE, Vol. 2, No. 1, 1968, pp. 14-27.

"Music and Light," ARTSCANADA, Dec., 1968, p. 61.

"HPSCHD", SOURCE, Vol. 2, No. 2, 1968, co-authored with John Cage and Lejaren Hiller, pp. 10-19.

"Music is Dead, Long Live Music", NEW YORK TIMES, July 6, 1969, D13-D14.

"Editorial," reprints of articles from the NEW YORK TIMES, SOURCE, Vol.4, Issues 7-8, Jan.-July, 1970, pp. 55-58.

"Can Electronic Music Be Romantic?", NEW YORK TIMES, Sept. 17, 1971.

"New Romanticism: an Emerging Aesthetic for Electronic Music, Pt. 1,"MUNDUS ARTIUM, Journal of International Literature and the Arts, Vol. VI, No. 1, 1973, pp. 183-189.

"New Romanticism: An Emerging Aesthetic for Electronic Music, Pt. II,"MUNDUS ARTIUM, Journal of International Literature and the Arts, Vol. VI, No. 2, pp. 96-102, 1973.

"SYCOM--Systems Complex for the Studio and Performing Arts", NUMUS WEST, May, 1974, pp. 57-59.

"A Computer-synchronized, Multi-track Recording System", with Larry Bryant, PROCEEDINGS, Second Annual Music Computation Conference, 1975.

"Phantasmagoria: Chronicle of Computer-assisted Composition/Performance, "ICMC PROCEEDINGS, 1982 International Computer Music Conference, Venice.

"Forum: Improvisation," with Barney Childs, PERSPECTIVES OF NEW MUSIC, Vol. 21, Nos. 1-2, 1982-83, pp. 26-34.

"To Arms....Be Uncommon: Larry Austin interviews Larry Austin," EAR MAGAZINE, Vol. 8, No. 6, June, 1984.

"Charles Ives's Life Pulse Prelude: A Realization for Modern Performance from Sketches for the Universe Symphony," Percussive Notes: Research Edition, Vol. 23, No. 6, Sept., 1985, pp. 58-84.

"Report from Vancouver, the 1985 International Computer Music Conference," Perspectives of New Music, Vol. 23, No. 2, 1985.

"Electro-Acoustic Music in the USA," Festival Booklet for the Elektronmusic Festival 1987, Skinnskatteberg/Uttersberg, pp. 6-7, 18, 1987.

"Electro-Acoustic Music in the United States," Composer News: A Publication of the Texas Composers Forum, Vol. 2, No. 2, Spring, 1988, pp. 2,4.

"Live-Electronic Music on the Third Coast," Contemporary Music Review, Vol. 6, Part 1, Fall, 1990.

"Inaugural Address to the Computer Music Association," ARRAY, Vol. 10, No. 2, Spring, 1990, pp. 1-2.

"Live or Taped? Real or Unreal Time? Looking or Listening? Are These Issues Live or Dead?", ARRAY, Vol. 10, No. 3, Summer, 1990, pp. 11-13.

"Highlights", ARRAY, Vol. 10, No. 4, Fall, 1990, pp. 6-7.

"State of the Association", ARRAY, Vol. 11, No. 1, Winter, 1991, pp. 1-2.

"Women, Elitism, and the Computer Music Association", ARRAY, Vol. 11, No. 2, Spring, 1991, pp. 11-12.

"New Name, No More Debt, and the ICMA Commission Awards", ARRAY, Vol. 11, No. 3, Summer, 1991.

"Live-Electronic Music on the Third Coast," Contemporary Music Review, Vol. 6, Part 1, Fall, 1991, pp. 107-128.

"Report on the 1991 ICMC in Montreal, Oct. 16-20", ARRAY, Vol. 11, No. 4, Fall, 1991, pp. 1-2.

"1993 ICMA Commission Awards," ARRAY, Vol. 12, No. 1, 1992, pp. 3-4.

"Nominees Named for 1993 ICMA Commission Awards," ARRAY, Vol. 12, No.2, 1992, pp. 2-3.

"Goodbye to Kurt and Carla," ARRAY, Vol. 12, No. 3, 1992, p. 1.

"John Cage Remembered," ARRAY, Vol. 12, No. 4, 1992.

"1992 ICMC Report," ARRAY, Vol. 12, No. 4, 1992, pp. 6-7.

With Rodney Waschka II, "Composing Computer Music for Compact Disc: A Practicum," Proceedings of the 1992 International Computer Music Conference, San Jose, California, Fall, 1992, pp. 469-472.

"Transmission Two: The Great Excursion: The Aesthetic, Art and Science of a Composition for Radio", Leonardo Music Journal, Vol. 1, No. 1, 1992, pp. 81-88.

"Interview with John Cage and Lejaren Hiller: John Cage Remembered," Computer Music Journal, Vol. 16, No. 4, Winter, 1992, pp. 15-29.

"Modeling a Hypermedia Composition/Performance System," Proceedings of the 1993 International Computer Music Conference, Tokyo, Japan, Sept. 10-15, 1993, pp. 198-201.

"Modeling Music with Computers: Random Thoughts", Proceedings of the 1993 International Computer Music Conference, Tokyo, Japan, Sept. 10-15, 1993, pp. 21-23.

Larry Austin and Rodney Waschka II, "Computer Music for Compact Disc: Composition, Production, Audience," Computer Music Journal, Vol. 20, No. 2, summer, 1996, pp. 17-27.

Larry Austin, "Living Tomorrow's Life: In Memoriam, Salvatore Martirano, 1927-1995," Perspectives of New Music, Vol. 34, No. 1, winter, 1996, pp. 163-165.

"Synthese 1999", Computer Music Journal, Vol. 24, No. 1, spring, 2000, pp. 70-74.

"Sound Diffusion in Composition and Performance: An Interview with Denis Smalley", Computer Music Journal, Vol. 24, No. 2, summer, 2000, pp. 10-21.

"Sound Diffusion in Composition and Performance II: An Interview with Ambrose Field", Computer Music Journal, Vol. 25, No.4, winter, 2001, pp. 10-21.

"John Cage/Lejaren Hiller: HPSCHD", Computer Music Journal, Vol. 28, No. 3, Fall, 2004, pp. 83-85.

"Center for Experimental Music and Intermedia: Forty Years on the Edge", Computer Music Journal, Vol. 28, No. 4, Winter, 2004, pp. 85-87.

"14th Florida Electroacoustic Music Festival, 2005," Computer Music Journal, Vol. 29, No. 4, Winter, 2005, pp. 77-82.

James Phelps, "Ottuplo! Larry Austin: The Eighth Decade. SoundPortraits * Convolutions * Cityscape"; CENTAUR Records - CRC 2830; reviewed by Jim Phelps, Northern Illinois University, USA, for the Computer Music Journal, Vol. 31, No. 2, Summer, 2007

Dary John Mizelle, "Larry Austin at Experimental Intermedia"; Journal SEAMUS, Vol. 19, No. 2, 2007

Zachary Lyman, “Completing Ives’s Universe Symphony: An Interview with Larry Austin”; American Music, Vol. 26, No. 4, Winter, 2008.

Elainie Lillios, “An Interview with Larry Austin” Journal SEAMUS, Vol.20, No. 1, Spring, 2009

Anthony Cornicello, “An Interview with Larry Austin, Part 1”; SEAMUS Newsletter, Issue 2, June, 2009.

 


 

B O O K S

Learning to Compose: Modes Materials, and Models of Musical Invention, a composition textbook. Co-authored with Thomas Clark, ISBN 0-697-03495-X, William C. Brown Publishers, Dubuque, Iowa, 1989.

"The Realization and First Complete Performances of Ives's Universe Symphony," Ives Studies, edited by Philip Lambert, ISBN 0 521 582776, Cambridge University Press, Cambridge, UK, 1998, pp. 179-232.

"John Cage's Williams Mix (1951-53): The Restoration and New Realizations of and Variations on the First Octophonic, Surround-Sound Tape Composition", A Handbook to Twentieth-Century Musical Sketches, edited by Patricia Hall and Friedmann Sallis, ISBN 0 521 80860 X hardback, Cambridge University Press, Cambridge, UK, 2004, pp. 189-214.


 

F I L M M U S I C

Coast Zone, a dance film by the Merce Cunningham Dance Company; directed by Charles Atlas; filmed on location at Synod Hall, Cathedral Church of St. John the Devine, new York, 1983; music: "Beachcombers" by Larry Austin; musicians: John Cage, Martin Kalve, Takehisa Kosugi, and David Tudor; produced by the Cunningham Dance Foundation; funded by the American Telephone and Telegraph Company, the Andrew Mellon Foundation, the National Endowment for the Arts, and the Prospect Hill Foundation.