Works

"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."

[SCORE AVAILABLE FOR DOWNLOAD] The first in the In the Beginning series of eight major works for various instrumental ensembles, soloists and electronic media.

With George Manupelli and Jacqueline Humbert, performance art ensemble, created for the Maple Sugar group, Toronto.

For brainwave performer and computer music system.

Solo piano, developed through solo improvisational practice, also used as sound track for a film by Mary Moulton.

[SCORE PDFs AVAILABLE FOR DOWNLOAD.] With G. Manupelli, J. Humbert, M. Moulton, W. Winant, J. Tenney, A. Holloway, M. Byron, and C. Arnoldin, full length concert work for performance art ensemble, created originally for a performance by the Maple Sugar group at The Music Gallery, Toronto, 1977.

Solo piano interfaced with Buchla 300 Electronic Music System, developed through improvisational practice.

Self–organizing musical form for soloist with computer assisted brain signal analysis capable of extracting auditory event related potentials (ERPs) and spectral information, interactive electronic music system, touch sensors, small acoustic sources, and software by the composer.

With George Manupelli and Michael Byron, full–length concert work for performance art ensemble; violinist playing As Time Goes By is stuffed with wadded newspapers by two artists as musicians perform while doing choreographed calisthenics with amplified breath, includes electronic music.

Created for the Maple Sugar performance art collective in Toronto by David Rosenboom, William Winant, Juan Pablo Orrego, and George Manupelli.

Concert encounter arranged for two previously unacquainted pianists, Charles McDermed and David Rosenboom, who perform without having visual contact with each other.

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