1974 Ph.D. (Composition), Princeton University, Princeton, N.J.
1972 M.F.A. (Composition), Princeton University, Princeton, N.J.
1967 Diploma (Bassoon), Juilliard School of Music, New York, N.Y.
1966 B.A. (Classics), Pomona College, Claremont, California.
1984-present Professor, Composition/Theory, School of Music, University of Washington, Seattle.
2003-4 Visiting Professor of Composition, Escola Superior de Musica de Catalunya, Barcelona, Spain
1991-present Professor, Theory and Criticism Ph.D. Program (Literary Theory Interdisciplinary Program) University of Washington
1994-2002 Associate Director for Academic Affairs and Advising and Graduate Program Coordinator, School of Music, University of Washington, Seattle.
1980-1984 Associate Professor, Composition/Theory, School of Music, University of Washington, Seattle.
1975-80 Assistant Professor, Composition/Theory, School of Music, University of Washington, Seattle.
1973-75 Lecturer, Department of Theory, School of Music, University of Michigan, Ann Arbor.
1971-72 Teaching Assistant, Princeton University.
2001-present: Editor, jointly with Benjamin Boretz and Robert Morris, Perspectives of New Music; President, Perspectives of New Music, Inc.
Board of Directors, Society for Mathematics and Computation in Music.
Advisory Board, Journal of Mathematics and Music.
Advisory Board, Iannis Xenakis Society.
Scientific Committee, The Creative and Scientific Legacies of Iannis Xenakis, Toronto/Guelph/Waterloo Canada, June 8-10.
referee for papers, 1999 International Computer Music Conference (Beijing)
referee for papers, 1996 International Computer Music Conference (Hong Kong)
referee for PNM
referee for SMT Music Theory Spectrum, 1995
referee for IEEE Computer and IEEE Parallel and Distributed Technology
11/83-7/94 Editor, Perspectives of New Music. Re-designed the journal to its present format and created Framemaker templates for the complete publication. Functioned as CEO of the 501 c(3) corporation. Created the PNM Consortium (Princeton University, Eastman School of Music, the University of Washington, and the University of California, San Diego).
5/83-11/83 Editor, jointly with Elaine Barkin (UCLA), Perspectives of New Music
1972-1982 Editorial staff (Associate Editor), Perspectives of New Music
Co-editor (with Moreno Andreatta and Jean-Michel Bardez), Autour de la Set-Theory : Rencontre musicologique franco-américaine IRCAM 2003. Editions Delatour, Paris, France.
2001 Music Inside Out: Going Too Far in Musical Essays. With an introduction and afterword by Benjamin Boretz. Critical Voices in Art, Theory, and Culture, Gordon and Breach.
1994-5 Perspectives on Musical Aesthetics (editor). W. W. Norton, N.Y. 1994. Paperback edition, 1995.
1980c Basic Atonal Theory. Longman, Inc., N.Y., 1980.
1974b Lines (Of and About Music). Ph.D. dissertation, Princeton University, 1974. University Microfilms, Ann Arbor.
2008. “Mille Plateaux, You Tarzan: A Musicology of (An Anthropology of (An Anthropology of A Thousand Plateaus)).” Perspectives of New Music volume 46, number 2 (2008): 81-92.
2007. “Approaching Musical Action.” Perspectives of New Music volume 45, number 2 (2007): 57-75.
2007. “Cool Tools: polysemic and noncommutative nets, homotopy classes like pitch classes, subchain decompositions and cross-projecting partial orders, object-graphs, forgetful functors, free categories, and ghosts.” Journal of Mathematics and Music, volume 1, number 1 (2007), 7-22.
2005. “UN(-) Ravelled, or, The Hidden Dragon.” Perspectives of New Music 43/2 and 44/1 (double issue, Summer 2005 and Winter 2006): 39-70.
2004. “The Swerve and the Flow: Music’s Relationship to Mathematics.” Perspectives of New Music 42/1 (Winter 2004): 130-50.
2004. (actual publication date). “Iannis Xenakis: consideratión, desconsideratión, liberatión” Heterofonía 127: 89-92. (Spanish version, Mexican journal)
2003. “Chloe's Friends (A Symposium About Music and Mathematics).” Perspectives of New Music 41/2 (Summer 2003): 8-30.
2002. "Worth Noting: Roger Reynolds's Form and Method." Perspectives of New Music 40/1 (Winter 2002): 241-43.
2001. "Iannis Xenakis: Regard, Disregard; Liberation." Perspectives of New Music 39/1 (Winter 2001): 211-214.
1998, 1999. "Composing and the Sense of Self." Codexxi vol.1, no. 1 (Barcelona). Also published in Open Space issue 1, Spring 1999: 42-53.
1995 "Three Dreams Come True," in "Touched by Machine? -- Composition and Performance in the Digital Age," Computer Music Journal vol. 19, no 3 (Fall): 13-14.
1995 "Some Remarks on Network Models for Music." In Musical Transformations and Intuitions: A Festschrift for David Lewin , ed. Raphael Atlas and Michael Cherlin. Pendragon Press.
1994 "Centers; Dissenters (Music, Religion, Politics)." Current Musicology 56/1994: 72-85.
1993d "Differences." Perspectives of New Music 31/2: 58-71. Also in Music and Power, Proceedings of the Music and Power Symposium, Seattle, 1991. Committee for a Center for Creation and Interdisciplinary Study of Music, University of Washington School of Music, 1991.
1993c "Le Compositeur et ses AMIs: Remarques sur la CAO." Cahiers de l'Ircam / Recherche et Musique Bilan 1992, second trimester no. 3: 119-32.
1993b "Repetition." Contemporary Music Review 7(1993): 49-58.
1993a "Interview with Ustad Imrat Khan." Perspectives of New Music 30/2: 126-45.
1991 "Musical Analysis of Brain Cell Interspike Interval Codes for Language: Part 2." In Music and Science, Proceedings of the Music and Science Symposium, Seattle, 1991. Committee for a Center for Creation and Interdisciplinary Study of Music, University of Washington School of Music.
1990d "The LISP Kernel: A Portable Software Environment for Composition." Computer Music Journal 14(4): 42-58.
1990c "Using the 'LISP Kernel' Musical Environment," Musicus 1(2): 144-64.
1990a "Processing Musical Abstraction: Remarks on LISP, the NeXT, and the Future of Musical Computing." Perspectives of New Music 28/1 (Winter 1990): 180-91.
1989e "Notes on Methodology in Music Theory." Journal of Music Theory 33/1: 143-54.
1989d "ICMC88: Crossroads at Cologne." Perspectives of New Music 27/1 (Winter): 264-71.
1989c "Toward a Theory for Chord Progression." Revised from 1981 (q.v.). In Theory Only, 11/1 & 2 (May): 1-10.
1989b "What is Valuable in Art, and Can Music Still Achieve It?" Perspectives of New Music 27/2 (Summer): 6-17.
1989a "New Research Paradigms." Spectrum 12/1 (Spring): 84-94.
1988b "Computer Music: A View from Seattle." Computer Music Journal, 12/3, Fall: 15-30.
1988a "Theories for Some Ars Antiqua Motets, with Attendant Methodological Considerations." English version of "Teorie su alcuni mottetti dell'Ars antiqua, con relative considerazioni metodologiche." Musikometrika 1: 191-214.
1987b "Ethnomusicological Approaches to Western Art Music: A Native Reflection." World of Music, volume 29/1: 9-18.
1987a Review of Generalized Musical Intervals and Transformations by David Lewin. Journal of Music Theory 31/2: 305-317.
1984 "Teorie su alcuni mottetti dell' ars antiqua, con relative considerazioni metodologiche." Proceedings of the International Conference on Musical Grammars and Computer Analysis (Modena, 1982). In Quaderni della Rivista Italiana di Musicologia a cura di Societa Italiana di Musicologia. M. Baroni e L. Callegari, eds. Firenze: Leo S. Olschki.
1983 "D-Light Reflecting: On the Nature of Comparison." Brahms Studies: Analytical and Historical Perspectives. Ed. George Bozarth. Oxford University Press, 1990.
1982 "Opening Remarks." Proceedings of the Symposium on Future Computer Applications in Music Theory (1982).
1981 "Toward a Theory for Chord Progression." Actes du Second Symposium International Informatique et Musique, 1981. ELMERATO, CNRS, 27 rue Paul Bert, 94200 IVRY (France): 79-92.
1980b "On Some Computational Models of Music Theory." Computer Music Journal 4, no. 2 (Summer): 66-73. (First presented at the 1979 National Conference of the Association for Computing Machinery.) Revision published in The Music Machine, ed. Curtis Roads (M.I.T. Press, 1989).
1979-80a "Relating Sets." Perspectives of New Music 18, nos. 1 and 2 (double issue, Fall 1979 and Spring 1980): 483-98. (First presented at the 1979 Annual Meeting of the Society for Music Theory.)
1979b "Aspects of Musical Explanation." Perspectives of New Music 17, no. 2 (Spring): 204-24. (This is a revised and expanded version of February 2, 1979 Theory Festival paper.)
1979a "Logic, Set Theory, Music Theory." College Music Symposium 19, no. 1 (Spring): 114-27. (This is a published version of the paper presented in Evanston, November, 1977.)
1978 "Contemporary Music at the University of Washington." Co-authored with William Bergsma. Perspectives of New Music 17, no. 1 (Fall): 211-13. (Published as "Contemporary Group.")
1977c "I. In Theory Only/ II. Rhythm, and talk about it." Perspectives of New Music 15, no. 2 (Spring): 234-39.
1977b "Milton Babbitt's Du: A Query." In Theory Only 3, no. 2 (May): 32.
1977a "Re: 'Towards a Phenomenalistic Account of Music's Performances,' Charles J. Smith (ITO 2/11-12: 17-29)." In Theory Only 3, No. 3 (June): 2.
1976 "How Do You Du (by Milton Babbitt)?" Perspectives of New Music 14, no. 2 and 15, no. 1 (double issue): 61-81.
1976 Review of Sound Structure in Music by Robert Erickson. Music Library Association Notes 32, no. 4 (June): 754-55.
1975 "Gentle Reminder #1: Two Common-Tone Theorems." In Theory Only 1, no. 2 (May): 10-12.
1974-75a "On Pitch or Rhythm: Interpretations of Orderings Of and In Pitch and Time." Proceedings of the American Society of University Composers. Also published in Perspectives of New Music 13, no. 2 (Spring 1975): 182-204. [The Perspectives version also includes the first of the Peanut Butter Defies Gravity cycle.]
1972 Review of Music and Meaning by Wilson Coker. Perspectives of New Music 11, no. 1 (Fall): 255-58.
1990b From French: "Sieves," by Iannis Xenakis. Perspectives of New Music 28/1 (Winter): 58-79.
1987c From French: "Xenakis on Xenakis" (jointly with Professor Roberta Brown). Perspectives of New Music 25: 16-49.
1985 From French: "Contemporary Music and the Public" by Michel Foucault and Pierre Boulez. Perspectives of New Music 24/1: 6-13.
2007 "“Mille Plateaux, You Tarzan: A Musicology of (An Anthropology of (an Anthropology of A Thousand Plateaus)).” SMT national conference, Baltimore, Nov 2007.
2007 “Approaching Musical Action.” Keynote talk, Society for Computing and Mathematics in Music Annual Conference, Berlin, Germany, May 2007
2006 “Repetition (yet again), Indifference.” Society for Music Theory national meeting, Los Angeles, November 2006
2006 “Forgetful Functors: Music, Monoids, Homotopy, and So On.” Fields Institute for Research in Mathematical Sciences, Toronto, June 9, 2006.
November 2, 2004 “What Music Theory Might Be: Lewin Nets, Category Theory, Homotopy Classes.” International Computer Music Conference, Miami.
2003 "Some Recent Developments in Mathematics Applied to Music." American Mathematical Society, Baton Rouge.
2002 "On My Recent Compositional and Theoretical Work." University of California, San Diego.
2000 "Recent Computer Music of John Rahn." University of Maryland.
1999 "Composing and the Sense of Self." University of Minnesota.
1995b "Working on the Sea of Souls: Technical and Aesthetic Considerations." Featured presentation at the Seminario Internacional sobre Musica y Ordenadores, Universidad Internacional Menendez y Pelayo UIMP, Cuenca, Spain, Oct 11-3.
1995a "Time and Pitch: Heterogeneous Phenomenal Spaces." Invited special presentation, Phonos Foundation, University of Barcelona, Spain, Oct. 9.
1994e Committee on the Status of Women seminar, Society for Music Theory Annual Meeting, Talahassee, Florida, November.
1994d Panelist, special panel: "Touched by Machine? Composition and Performance in the Digital Age." International Computer Music Conference, Aarhus, Denmark, September 16.
1994c Some Remarks on Network Models of Music. Invited contribution, International Symposium on Music and Mathematics, Bucharest, Romania, May 13-23.
1994b Working on the Sea of Souls. Distinguished Lecturer Colloquium, University of California, Santa Barbara, March 28.
1994a Some Remarks on Network Models of Music. Invited and featured speaker, Annual Meeting of the West Coast Conference on Music Theory and Analysis, Mills College, March 25-27.
1993 Committee on the Status of Women seminar, Society for Music Theory Annual Meeting, MontrÝal, Canada, November 4-7.
1992f "Gender in the Classroom" panel, Society for Music Theory Annual Meeting, Kansas City, October 14-19.
1992e "M(O)ther, or Disciplinin' Dozens." In a Symposium at the University of Chicago Humanities Center called "Disciplining the Muse," May 29-31.
1992d "Centers; Dissenters (Music, Religion, Politics)." University of Chicago Music Department Colloquium, May 28th.
1992c "Centers; Dissenters (Music, Religion, Politics)." Jackson School of International Studies, University of Washington, May 12.
1992b "Centers; Dissenters (Music, Religion, Politics)." West Coast Music Theory Conference, Santa Barbara, April 10-12.
1992a "Differences." University of British Columbia, February 7th.
1991d "Differences." Princeton University, October 7.
1991c "Repetition." Joint Annual Meetings of the Arnold Schoenberg Institute and New York State Music Theory Society, Barnard/Columbia Universities, NYC, October 4-6.
1991b "Differences." "Music and Power" Symposium, Committee for a Center for Creation and Interdisciplinary Study of Music, University of Washington, May 5, 1991.
1991a D. F. Cawthon and John Rahn. "Musical Analysis of Brain Cell Interspike Interval Codes for Language." "Music and Science" symposium, Committee for a Center for Creation and Interdisciplinary Study of Music, Seattle, February 1991.
1990 D. F. Cawthon, J. Rahn, G. A. Ojemann, E. Lettich, D. F. Kalk, and D. B. Percival. "Music as a Tool in Analysis of Interspike Interval Codes for Language and Memory." Society for Neuroscience Annual Meeting.
1988 "What is Valuable in Art, and Can Music Still Achieve It?" Invited paper at the national meeting of the Society for Electro-Acoustic Music in the United States, Olympia, Washington, October.
1988 Invited presentation at the First International Workshop on Artificial Intelligence and Music, Cologne, September 1988. "The Lisp Kernel: A Portable Environment for Musical Composition."
1988 Invited participant, "Centennial Symposium: Music in Post-Modern America: Celebrating Contradiction and Diversity," Pomona College. Panelist in the final session called "Reactions: a Look Toward the Future," with John Cage and H. Wiley Hitchcock.
1987 Annual Meeting of the Society for Music Theory, Plenary Session on "The State of Research in Music Theory". The invited paper was entitled "New Research Paradigms."
1985 "Ethnomusicological Approaches to Western Art Music: A Native Reflection." Annual Meeting of the Society for Ethnomusicology, Vancouver, B.C., November.
1984 "Theories for Petrus de Cruce Motets." Music Colloquium, Stanford University, February.
1984 Discussant (with Don Randel), joint AMS/SMT session: Historical and Theoretical Studies of Landini's Music, A Symposium. Annual Meetings of the AMS and SMT, October 26.
1983 "D-Light Reflecting: The Second Symphony and Violin Concerto." Invited paper at the International Brahms Conference, Library of Congress, May 1983.
1982 "Another Lecture / Breakfast / Out of Haydn." A two-hour presentation to the music faculty and students of Princeton University, Princeton, N.J., March 26.
1982 "Notes or Notions." Guest lecture series, Eastman School of Music, Rochester, N.Y., April 19.
1982 "Beyond ATMEMB." University of Michigan, Ann Arbor, April 23.
1982 "(In-)Formal Approaches to an Interesting Theory for Petronian Motets." Columbia University, April 29.
1982 "Theories for Some Arts Antiqua Motets, with Attendant Methodological Considerations." Invited paper at the International Conference on Musical Grammars and Computer Analysis, Modena (Italy), October.
1981 "Toward a Theory for Chord Progression." Second Symposium International Informatique et Musique, Orsay (France), July.
1981 "Opening Remarks." Symposium on Future Computer Applications in Music Theory, Society for Music Theory, Los Angeles, October. (Organized and chaired symposium, which took place during the 1981 Annual Meeting of the Society for Music Theory in Los Angeles.)
1980 "Some MO Motets." A two-hour presentation at the University of British Columbia, October.
1979 "Aspects of Musical Explanation." Paper delivered at University of Washington Music Theory Festival, February 1-3.
1979 "Contemporary Analytic Techniques: Pro and Con." A panel session at the National Conference of the American Society of University Composers, San Diego, March 2.
1979 "Recent Approaches to the Pedagogy of Theory." A panel session at the National Conference of the Music Teachers' National Association, Seattle, April 2.
1979 "Musica Solera: Continuity and Tradition in the Radical Avant-Garde." A two-hour lecture at the Henry Gallery Association, Seattle, September 26.
1979 "On Some Computational Models of Music Theory." An invited paper presented at the National Conference of the Association for Computing Machinery, Detroit, October 30.
1979 "Relating Sets." An invited paper presented as a response at the National Conference of the Society for Music Theory, N.Y.C., November 1.
1977 "Away From Some Non-Definitions (A Formalized Definitional System for Atonal Theory)." Presented at a University of Washington Music Colloquium, Seattle, April 15.
1977 "Logic, Set Theory, Music Theory." Paper presented at the Second National Conference on Music Theory, Evanston, Illinois, November.
1975 "The Use of Formalized Theories in Music Theory." Presented at McGill University, Montreal, February 10.
1974 "On Pitch or Rhythm: Interpretations of Ordering Of and In Pitch and Time." An invited paper presented at the National Conference of the American Society of University Composers in New York City, February.
1974 "An exposition of Kurt Goedel's Incompleteness Theorem from Goedel's Original Paper (1930), and Discussion of its Musical Consequences." Presented at John Clough's seminar on computers and music theory in Ann Arbor, October 16.
1992 KALI (1986) and MIRANDA (1990). CDCM Computer Music Series Volume 12, "Composers in the Computer Age -- I". Centaur Records CRC 2144, distributed by Harmonia Mundi. Supported by a competitive grant from the Computer Music Association.
1987 KALI (1986). Perspectives of New Music cassette (volume 25).
2005 Greek Bones for two trombones. Premiered on May 11, 2005 in Seattle by Chris Stover and Don Immel.
2000-2001 HOBOE for solo oboe. Rebecca Henderson, Seattle.
2000 THE NEW MOTHER (a chamber opera)
1994 SEA OF SOULS: 2. CITY for computer-realized tape. 35 minutes. Seattle (Meany Hall), February 1994. 1993 SEA OF SOULS: 1. SEA for computer-realized tape. 13 minutes. Seattle (Meany Hall), April 1993.
1992 ANOTHER LECTURE (1980) score published in Perspectives of New Music 30/1 (Winter 1992): 238-48.
1991 DANCE. Sound synthesized on NeXT computer networked to an IBM 3090, using Lisp Kernel software and Csound. Seattle (Meany Hall), February 19. A collaboration with choreographer Jim Coleman, and dancers Amy Chavasse and Rip Parker.
1989-90 JESSE for viola and percussion.
SUPERMAN for viola and snare drum.
PLEDGE for viola and vibraphone.
SUPERMAN and PLEDGE premiered in Seattle (Meany Hall), November 26, 1990. Eric Shumsky, viola;Tom Collier, percussion.
MIRANDA. Sound synthesized on NeXT computer using Lisp Kernel software and Csound. Premiered at the Cliff Michel Gallery in Seattle, November 1, 1990. A collaboration with painter Mary Henry.
1986 KALI. Computer-generated tape piece. Seattle (Meany Hall), February 26, 1986. Duration 9 1/4 minutes. KALI was selected by international jury for performance at the International Computer Music Conference in The Hague, Fall.
1983 IRT 4/23. Taped improvisation piece, with Keith Johnston. Duration 16 minutes.
1981 OUT OF HAYDN for fortepiano. Princeton, N.J., May 1982. Douglas Dickson, piano.
1980 ANOTHER LECTURE for tape and speaker. Seattle, April 26, 1980. John Rahn, speaker.
1978. IMPROVISATIONS ON A SYNCLAVIER OF CORN. Tape: digitally synthesized using a Synclavier I. Composed on a University of Washington Summer Salary Award. First performed Seattle, November 1, 1978.
1976 BREAKFAST for solo piano. Composed on a University of Washington Summer Salary Award. First performed Seattle, May 18, 1977. Robert Nell, piano.
1973 PEANUT BUTTER DEFIES GRAVITY. Three songs with original texts for soprano and piano, the first of which is published in Perspectives of New Music 13, no. 2. First performed Princeton, N.J., May 19, 1973. Janet Steele, soprano; Ursula Oppens, piano.
1972 TRIO for clarinet, cello, and piano. Published as part of Ph.D. dissertation, "Lines (Of and About Music)" (Princeton, 1974). First performed Princeton, N.J., May 21, 1972. Alan Blustein, clarinet; Fred Sherry, cello; Robert Miller, piano.
1971 HOS ESTIN for SATB full chorus (chamber chorus optional), oboe, violin, vibraphone, bass trombone, and timpani.
1971 TROIS CHANTS DE MERE L'OIE for soprano and piano. Princeton, N.J., March 30, 1973. Adele Lottes, soprano; Anita Cervantes, piano.
1970 COUNTERPOINTS FOR SOLO TRUMPET. Commissioned and published by Autograph Editions, N.Y.
1970 THREE TITBITS for clarinet and cello. Westport, Conn., May 1970. Edwin Riley, clarinet; Marcia Riley, cello.
1970 DELOUMENON for concert band. Commissioned and published by Autograph Editions, N.Y. Ann Arbor, Michigan, November 13, 1974. The University of Michigan Wind Ensemble, Garry McTerry conducting.
1969 REDUCTIONIST VARIATIONS FOR PIANO. Douglass College, Rutgers University, November 18, 1974. Jefferson Connell, piano.
1969 QUINTET for flute, oboe, clarinet, horn, bassoon. New Paltz, N.Y., April, 1970. The Euterpe Players.
1969 GAMES for saxophone and string quartet. Ithaca, N.Y., April 22, 1970.
1969 PROGRESSIVE ETUDE FOR BASS TROMBONE. Commissioned and published by Autograph Editions, N.Y.
1968 FIVE FORMS for solo piano. Hays, Kansas, 1968. Richard Collins, piano.
1968 EPITHALAMIUM for solo piano. Performances in N.Y.C.; New Paltz, N.Y.; West Point; Washington, D.C.; Princeton; Seattle; New Brunswick, N.J. One of the specified compositions for the 1981 Concours International d'Interpretation de Musique Contemporaine pour Piano, Saint-Germain-en-Laye, France.
1967 COLLABORATION for Eb clarinet, trumpet, trombone, viola, and 'cello. Juilliard School of Music, May. John Rahn, conducting.
1967 A LYRICAL, LINEAR BASIS FOR THREE DOUBLE BASSES. Co-composed with artist S. A. Jones. New Paltz, New York, April, 1970.
1967 ALICE. Computer realized in 1971 using MUSIC4BF.
1967 SONATA FOR BASSOON AND HARPSICHORD. Calvary Church, N.Y.C., May 26, 1968. Jefferson Connell, keyboard; John Rahn, bassoon.
Courses Taught
Undergraduate level: composition; chromatic harmony, tonal analysis, ear training and pseudo-perfect pitch, orchestration, thirteenth-century and fourteenth-century counterpoint, sixteenth-century counterpoint, twentieth-century counterpoint.
Undergraduate and Graduate level: Composition; Schenkerian analysis, analysis of the early and the later serial Stravinsky, comparison of Freie Satz in German with English translation (two terms), post-Schenkerian tonal analysis, atonal theory and analysis, serial theory, advanced serial theory, post-serial theory, analysis of music after 1960, miscellaneous analysis seminars, analysis of medieval and renaissance music, history of ancient Greek through medieval theory including readings in Latin sources, medieval polyphonic notation and critical evaluation of editions of medieval music, new research paradigms for music theory, Pascal programming for music, computational models of music theory, computer music seminar (software sound synthesis and front-end software), computer representation of music (joint graduate seminar with the Department of Computer Science), Lisp programming for music, "Music, Time, and Language," aesthetics, "Nonhierarchy," "Network and Non-recursive Representations of Music" (with Professor Robert Haralick of UW EE), Critical Theory of Music -- Art and Entertainment, Critical Theory of Music -- "Music, Sex, and Slime Molds," Artificial Intelligence and Music, Critical Theory of Music -- "Against Representation,"Music, Democracy, and the Market," "How We Got Out of Analysis, and How We Can Get back In," "Using Technology to Learn and Teach Music," "Music, Desire, Political Economy," "The Problem of Good and Evil ... Music," "Resemblance, Resentment," Analysis of orchestral music, Advanced Schenker, Advanced Serialism, Ancient Greek and Medieval Theory, Music and Mathematics (multiple times, twice team-taught with different professors from UW Mathematics), Body and Soul, Musical Time in the Performing Arts (three times, differently), Ancient Greek Music Theory
Jason Yust, Theory, Boston University
Moreno Andreatta, Theory (I was First Reader for his University of Paris Graduate School thesis), working at IRCAM, Paris.
Eduard Resina, Chair of Composition and Theory, Escola Superior de Musica de Catalunya (Barcelona, Catalunya, Spain), composition
Ciro Scotto, Eastman School, then University of South Florida, composition/theory
Ben Carson, University of California, Santa Cruz, composition
Lynne Rogers, Theory, Oberlin College, then U. Texas, now William Patterson University, 2012 President of the Society for Music Theory
Karen Grylls, University of Auckland NZ, theory
Craig Weston, Kansas State University, composition
Christian Asplund, Brigham Young University, composition
Tom Baker, University of Washington, composition
Andrew Buchman, Evergreen State College (WA), composition
Scientific Committee, The Creative and Scientific Legacies of Iannis Xenakis, Toronto/Guelph/Waterloo Canada, June 8-10.
2003 co-organizer (with Moreno Andreatti) and Keynote Speaker, conference at IRCAM, Paris, to take place October 2003: "Autour de la Set-Theory : Rencontre musicologique franco-américaine"
2002- Society for Music Theory Diversity Committee
2001 Jury member to select faculty for the new Escola Superior de Musica de Catalunya (Barcelona, Catalunya, Spain)
2000 Chair, Search Committee for a new Editor of Perspectives of New Music
2000 Chair, Music and Mathematics session, Society for Music Theory, Toronto
1993-96 Society for Music Theory Board
1992-95 Society for Music Theory Committee on the Status of Women
1994 Organizing Committee, International Symposium on Music and Mathematics, Bucharest, Romania, May 1994.
1992-3 Steering Committee, West Coast Music Theory Society
1991-2 Program Committee, West Coast Music Theory Conference
1991 Program Committee, 1991 SMT Annual Meeting (Cincinnati, Ohio).
1988-90 Joint Program Committee for the joint meetings of AMS, SMT, and SEM in Oakland, California, 1990.
1988-90 Chair, SMT Program Committee for the 1990 Joint Meeting.
1988-89 Program Committee, 1989 SMT Annual Meeting (Austin, Texas).
1988 Chair, Serial Theory session, Society for Music Theory, Baltimore.
1988 Invited to help organize "Musique Presentes", Brussels, March 1989 (a month-long festival of contemporary music).
1988 International Advisory Board, Symposium of the International Musicological Society, and Organizing Committee for "Music Since 1960". The Symposium will be held in Australia in August of 1988. "Music Since 1960" is one of three focal areas.
1983 Chair, Pitch-Class Set Theory session, Society for Music Theory, New Haven, November 1983.
1983 Organized and chaired the Brahms Theory session at the International Brahms Conference, Library of Congress, May 1983.
1982 Accepted the editorship of Perspectives of New Music, December, 1982.
1981 Organized and chaired the Symposium on Future Computer Applications in Music Theory as part of the Annual Meeting of the Society for Music Theory, Los Angeles, October 1981.
1979 Organized and chaired the University of Washington Music Theory Festival, February 1-3, 1979.
1978-79 Committee on Program Design, Society for Music Theory.
1977 Advisory Committee, Second National Conference on Music Theory, Evanston, Ill., November 1977.
1976 Steering Committee, First National Conference on Music Theory, Boston, February 1976. Panelist at organizational meeting. Proposed this conference and obtained approval of host organization (the American Society of University Composers) at the 1975 ASUC conference in Iowa City.
2008-2009 Exective Committtee, University of Washington Faculty Senate
2006-2008 University of Washington Faculty Senate
2005-6 Music Theory Search Committee
2004-5 Chair, Music Theory Search Committee
2000-2001 responsible for writing the "self study" documentation for the re-accreditation of the School of Music by the NASM.
2000 UW Arts and Sciences UIF advisory committee
1994-present Associate Director for Academic Affairs and Advising and Graduate Program Advisor, School of Music (Chair of School of Music Graduate Faculty and Graduate Council, Graduate Program Coordinator, Supervisor of Advising office, curricular oversight; ex officio on Educational Policy Committee, SOM Advisory Council, Scholarship Committee)
1998-2000 UW Royalty Research Fund grant committee
1999 Distinguished Graduate Mentor Award Selection Committee
1998-99 Search Committee, Director of the Center for Humanities
1995 Search Committee, Viola
1994 Search committee, Theory
1985-94 Graduate Advisor for Composition.
1975-present Advisory Committee, Contemporary Group.
1988-93 Head, Division of Composition/Theory.
1993 ad-hoc committee for promotion to Professor of Patricia Michaelian
1993 Chair, nominating committee for Graduate Council seat
1992-3 University Graduate School Graduate Council.
1992-3 Chair, Theory Search Committee.
1992 Chair, Ad Hoc Committee for Promotion to Professor of Larry Starr
1992 Ad Hoc Committee for Promotion to Professor of Jonathan Bernard
1991 Organized CCISM symposium "Music and Power," May 1991.
1991 Organized CCISM symposium "Music and Science," February 1991.
1990 Organized CCISM symposium "Music and Politics," November 1990.
1988-92 Chair, Committee for a Center for the Creation and Interdisciplinary Study of Music (CCISM). Won a $15000 grant for 1990-91 and organized a number of activities during this period.
1991 Chair, Search Committee, Composition/Theory position.
1990 Committee for promotion and tenure of Douglas Keefe (Systematic Musicology)
1988-1990 Founding Director, School of Music Computer Center.
1989 Committee to Review the Dean of the Graduate School 1988-89 Chair, Graduate School review committee for the proposed M.F.A. degree program in Dance.
1988 Ad hoc committee to review Graduate School support of scholarly journals.
1988-89 Chair, Search Committee, position 2, Composition/Theory.
1988-89 Search Committee, position 1, Composition/Theory.
1987 Committee for reappointment of Douglas Keefe (Systematic Musicology)
1986-89 School of Music Advisory Council.
1986 Search Committee for position in Music Theory.
1986 Chair, ad hoc committee for the tenure and promotion of Ter Ellingson (Ethnomusicology).
1985 Chair, ad hoc committee for the promotion to Professor of Daniel Neuman Ethnomusicology).
1985-86 Chair, Search Committee for Opera Production position, 1985-86.
1985-88 Member of University Graduate Council.
1984-89 School of Music computer accounts manager.
1984-86 Coordinator of Upper-Division and Graduate Theory.
1984-85 Search Committee for Music History position.
1984 Chair, Search Committee for an Acoustician (Systematic Musicology).
1984 Chair, ad hoc committee for the tenure and promotion of George Bozarth.
1983-84 Search Committee for the Director of the School of Music.
1983 Chair, ad hoc committee for the tenure and promotion of Larry Starr.
1983 Selection Committee for the Graduate School Research Fund Recruitment Scholarships, 1983.
1982-84 Personnel Committee.
1982 School of Music Financial Emergency Committee (Fall).
1978-79 Administrator of School of Music computer accounts.
1976-78 Chair of the School of Music Educational Policy Committee.
1976 Co-founder of the Music Colloquium series.
1992 Volunteer in the Composer's Workshop classes for Seattle-area pre-college students organized by the Seattle Symphony.
In order of decreasing ability: English, French, Latin, German, Italian, Spanish, Catalan, Greek, Romanian
1991-5 Augmented, refined, and taught Lisp Kernel/csound.
1990-91 Learned and taught Csound; refined and taught my Lisp Kernel software.
1988-90 Founding Director of the School of Music Computer Center; helped to secure $50,000 private grant. Ended with a mix of IBM ATs, Mac IIs, and NeXT computers networked together.
1988 Chosen by the University of Washington administration to receive one of the first NeXT computers as a beta-tester. It arrived January 3, 1989, including 16 megabytes of RAM, a 660 megabyte SCSI disk, and a NeXT laser printer.
1988 New course beginning Autumn 1988: Lisp Programming for Music.
1987-89 Wrote the Lisp Kernel.
1987 Rewrote the architecture of the basic synthesis software to allow implementation on parallel and vector processing machines (Music 4P).
1986 Principal Investigator for an Isis program Grant from DEC which furnished a VaxStation l for evaluation for a year (Spring).
1986 Joint course taught with Professor Steve Tanimoto of Computer Science, Spring: Computer Representation of Music and Music Notation, Computer Science 590/Music 575B.
1983-86 Translated Music4BFUW from FORTRAN4 to FORTRAN5 with added modules and expanded array sizes, using the Extended Memory Options on the Cyber 855. Part of programming effort for composition, KALI. Wrote 5,000 line FORTRAN "orchestra" for KALI.
1986 Principal Investigator for an IBM Olympus Grant of $34,500 worth of computer equipment, for development and delivery of three music Workstations for Computer Music using IBM AT PCs. Successfully ported all synthesis software to the AT from the Cyber.
1985 Learned Lisp and wrote basic documentation and a small library to enable students to use the Lisp on the Cyber. (September)
1984-85 Added on-line documentation to MUSIC4BF. Proposed new course in computer music (Music 485, Seminar in Computer Music); taught course from Spring 1984. Obtained funds for and oversaw acquisition of a $30,000 Digital Sound Lab for 4-channel, 16-bit digital-to-analog and analog-to-digital conversion, installed February.
1983 Implemented MUSIC4BF at the University of Washington on the ACC Cyber [involved adapting and rewriting parts of original Fortran program]. Wrote some Cyber Command Language procedures to facilitate students running MUSIC4BF. Taught course in computer music using MUSIC4BF. Under a Graduate School Research Fund grant, added to MUSIC4BF software new Fortran subroutines and functions, including SIPIT, OSCILI1, OSCILN, OGSET, OG OG1 OGI OGI1, EVSET, EV, and various instrument subroutines and functions such as KAZOO, FM, and VOWEL.
1982 Learned MIX (Paul Lansky's digital synthesis program at Princeton) and used it over a period of several months to generate several hours of digitally generated sound on Princeton's IBM 3033 and 3083. Wrote several thousand lines of FORTRAN for use in composition and sound synthesis. Re-learned MUSIC4BF. Experimented with a new synthesis technique which required rewriting many of the most fundamental subroutines and functions (e.g. OSCIL).
1981 Wrote Pascal programs to investigate the structure of a music-theoretical relation, ATMEMB, from my article "Relating Sets." Reported in "Toward a Theory for Chord Progression" and "Beyond ATMEMB."
1980 Learned Pascal. Taught a course in Pascal programming for music applications. Wrote a package of Pascal programs implementing many relations in atonal theory.
1970-73 Learned FORTRAN and Basic and the synthesis programs MUSIC4BF and MUSIC360.
1968-70 Director, Euterpe Players (a contemporary chamber ensemble and improvisational group).
1968-70 Bassoonist, Premier Woodwind Quintet.
1967-70 Bassoonist, U.S.M.A. Band at West Point.
1966-67 Associate first bassoon, American Symphony (conducted by Stokowski).
1966-67 First bassoon, Springfield Symphony (Massachusetts).
1960-61 First bassoon, New Haven Symphony.
1960-62 First bassoon, Connecticut Symphony (conducted by Jonel Perlea).
1986-87 Member of Pusaka Sunda gamelan ensemble, directed by Burhan Sukarma.
1970-73 Composition and theory studies with Milton Babbitt, J. K. Randall, and Benjamin Boretz.
1964-66 Assistant conductor of the Pomona College Orchestra.
1959-62, 66-67 Bassoon studies with Harold Goltzer of the New York Philharmonic.
1957-59 Bassoon studies with Robert Pfeuffer of the Detroit Symphony.