Your search for "James Tenney" revealed the following:
Peter Garland: Waves Breaking on Rocks
Aki Takahashi, piano; Ari Streisfeld, violin (track 5)/ John Duykers, tenor; Santa Fe New Music: David Felberg, Ikuko Kanda, violin; James Shields,bass clarinet; John Marchiando, trumpet; Lynn Gorman, harp; Madeline Williamson, piano; Jeff Cornelius, Angela Gabriel, Jim Goulden, and David Tolen, percussion; John Kennedy, conductor Peter Garland (b 1952) studied...
John Bischoff (b 1949) is an early pioneer of live computer music. He was a founding member of the League of Automatic Music Composers (1978), considered to be the world’s first Computer Network Band. His long experience teaching music theory, harmony, and counterpoint is evident in his work: In the...
Ingram Marshall: IKON and Other Early Works
This CD comprises the text-sound works (1974-1980) on which Ingram Marshall concentrated throughout the seventies and falls into two parts: the works from the Fragility Cycles period (Cries Upon the Mountains, SUNG, Sibelius in His Radio Corner, and IKON) and the earlier works (Cortez, Weather Report, and The Emperor's Birthday)....
Works for Violin & Electronics by Eric Chasalow, Michael Gatonska, Michael Harrison, Mari Kimura, Hannah Lash, & Eric Moe Mari Kimura, violin Mari Kimura's career is a measure of how violin virtuosity has changed over the last few centuries, and particularly in the last fifty years. By the middle of...
Michael Byron: Dreamers of Pearl
Joseph Kubera, piano Michael Byron (b 1953) was a pupil of James Tenney, and later, of Richard Teitelbaum. The body of music he has composed over the past thirty years has been harmonically rich, rhythmically detailed, and increasingly virtuosic. Dreamers of Pearl (2004-05) evinces a sensitivity for the sound of...
Michael Pisaro-Liu: Radiolarians
Though richly varied, Michael Pisaro-Liu’s (b.1961) works are linked through their philosophical and ethical concern for the interaction between music and its sounding environment, their openness to the creative contributions of performers, and their capacity for making felt our belonging to and participation in a world of continuous and often...
David Rosenboom: How Much Better If Plymouth Rock Had Landed on the Pilgrims
David Rosenboom (b 1947) has been widely acclaimed as an innovator in American experimental music since the 1960s. Although much of his work has been collaborative, virtually none of his large-scale collaborative works has hitherto been documented on record. How Much Better If Plymouth Rock Had Landed on the Pilgrims...
Kyle Gann: Nude Rolling Down an Escalator
"Some of the rhythms developed through the present acoustical investigation could not be played by any living performer; but these highly engrossing rhythmical complexes could easily be cut on a player-piano roll. This would give a real reason for writing music specially for player-piano..." —Henry Cowell Like many composers...
Ghost Ensemble: Margaret Lancaster, flute; Sky Macklay, oboe; Ben Richter, accordion; Chris Nappi, percussion; Lucia Helen Stavros, harp; Martine Thomas, viola; Tyler J. Borden, violoncello; James Ilgenfritz, contrabass; Kyle Motl, contrabass; Carl Bettendorf, conductor Rewild is an effort to make visceral the relationship between our own lives and the manifold periodicities...
Elliot Simpson, Chaz Underriner, Cristián Alvear, Vicente Araya, guitars; Brian Parks, virginal; Colleen Potter Thorburn, harp The immersive sonic textures that characterize Michael Winter's (b 1980) music are crafted from comprehensive lists of data, with each composition encompassing a musical question that is addressed algorithmically. A performance lasts for as...