8/4/95 Larry Polansky Curriculum Vitae
Department of Music Dartmouth College Contents
ACADEMIC POSITIONS and EDUCATION GRANTS, HONORS, AWARDS, COMMISSIONS, RESIDENCIES SELECTED PUBLICATIONS and RECORDINGS Papers presented, Talks, Panels, Guest Teaching INTERVIEWS, BIOGRAPHICAL, CITATIONS, RADIO PROGRAMS EDITIORIAL POSITIONS and SERVICE Selected Performances of My Compositions PERFORMANCES OF OTHERS' WORK
ACADEMIC POSITIONS and EDUCATION
ACADEMIC POSITIONS 1990_ Assistant Professor of Music. Dartmouth College;
1981_1990 Assistant Professor of Music. Mills College, Oakland. Graduate and undergraduate teaching, courses taught include orchestration, computer and electronic music, theory (all levels), composition, theory, jazz, American Music, guitar, graduate thesis advising (M.A and M.F.A). Developed several new graduate courses, and undergraduate courses in computer music and American music.
1988 Interim Director: Mills College Center for Contemporary Music.
1981_87 Research and Administrative Staff. Center for Contemporary Music, Mills College. Duties include development of computer music systems, seminars, teaching, technical assistance, concert booking and production, and public relations.
1981_89 Positions at the Mills College Center for Contemporary Music. Director, CCM Seminar in Formal Methods Series (1981-1989); Director and conductor, Mills College Contemporary Performance Ensemble (1981_86); Coordinator, CCM Workshop/Residency Program (1984_1989).
EDUCATION Institutional 1978 M.A. in Music Composition, University of Illinois at Champaign_Urbana. 1977 Graduate work in mathematics, music and computer science, York University, Toronto. 1976 B.A., double major in mathematics and music, University of California Santa Cruz.
Private Study Composition: James Tenney, Ben Johnston, Ron Riddle.
Instrumental: Jazz Guitar with Chuck Wayne (1979-80), George Barnes (1971-2), Michael Goodrick (1974); mandolin (bluegrass) with Frank Wakefield, Paul Kramer and others; Jazz theory/improvisation with Lee Konitz (1970).
GRANTS, HONORS, AWARDS, COMMISSIONS, RESIDENCIES
GRANTS, HONORS, AWARDS, COMMISSIONS, RESIDENCIES [selections jh]
1995_6 Fullbright Senior Scholar/Teacher Fellowship, to Australia.
1994_5 Pro Helvetia Foundation Grant, Switzerland, for United States tour of my piano piece: Lonesome Road ("The Crawford Variations"), performed by three Swiss pianists.
1994 Residency at Mills College Center for Contemporary Music, to do computer music software development. Sponsored by the National Endowment for the Arts.
1990 Guest composer and lecturer, Darmstadt Internationalen Ferienkursen fr Neue Musik. One of three American composers sponsored by the Hessichen Rundfunk as part of a series of concerts entitled "Three Generations of American Music: John Cage, James Tenney, Larry Polansky. Included public lecture, recording, and concert.
Guest composer, Telluride Composer-to-Composer Festival. The other composers were Laurie Anderson, Roger Reynolds, Henry Brant, Geri Allen, Hugh Davies, Ge Gan-ru, Robert Morris, Pauline Oliveros, I Wayan Sadra, Leo Smith, James Tenney, and Gerhard Stbler.
Visiting faculty, York University, Toronto, Canada. Graduate and undergraduate seminars in composition, computer music, my own work, the music of Ruth Crawford, and HMSL.
1989 Visiting Fellow, Victoria University of Wellington, New Zealand, two weeks of classes in tuning, computer music, composition, and theory.
1988_91 Grants (three), New York State Meet the Composer, for concerts in New York City and Troy.
1988 Guest composer/faculty, University of Washington, Seattle. Graduate seminars in composition, computer music, HMSL, and theory.
1986 Artist-in-residence, with Anita Feldman and Lenny Pickett, Real Art Ways, Hartford, CT, to record Milwaukee Blues (for two tap dancers and five saxophones).
1984 American Music Center Composer Assistance Award, Milwaukee Blues.
1983 Winner: Young Composers of the Western States Competition, California Institute of the Arts: Three Monk Tunes for tap dancer and percussionist.
1982 Mellon Foundation Grant for computer assisted research in music composition.
1982_90 Seven Mills Faculty Minor Research Grants, for: publication of Meta + Hodos; CD production (2 grants), copying for ______ ___, copying_____, book on Tenney, research on "Morphological Metrics."
1980 BMI Young Composer's Award for ___ (Sh'ma): Fuging Tune in G.
1979 American Music Center Composer Assistance Grant, ___: Fuging Tune in G.
1979_80 University of Illinois Graduate Research Fellowship on intonation, Partch critical edition (with Ben Johnston); Graduate Teaching Assistantship (theory).
1978 Canada Arts Council Grant to participate in national choreographer/composer festival.
National Endowment for Humanities Youthgrant for computer analysis of Carl Ruggles' Portals.
1976_78 Ontario Graduate Fellowship and York University Graduate Development Grant and Research Assistantship in software and conducting.
1976 University of California President's Undergraduate Fellowship for Computer Music Research.
SELECTED PUBLICATIONS and RECORDINGS
Selected recordings of my own work Books Software (published and released) Articles, Writings: Computer music, music theory, about my own composition, music and technology Editor and Publisher Selected Published Compositions Recordings: producer, and other roles Other Writings (Reviews, Incidental Writings)
SELECTED PUBLICATIONS and RECORDINGS
CD's Devoted to my own music
1994 Simple Harmonic Motion. . Includes Another You (17 Variations for solo harp), Movement for Andra Smith (My Funny Valentine for just string quartet), Movement for Lou Harrison (for just bass quartet), and Horn, for french horn and computer. Artifact Recordings CD 1011
1990 The Theory of Impossible Melody. Includes ______ (for voice and live interactive computer), Four Voice Canons #3_6 (computer, percussion), Simple Actions (live interactive computer), and Psaltery (electro-acoustic work). Artifact Recordings CD 1004. Anthologies
1995 Study: Anna, the long and the short of it. Electro-acoustic work on The Aerial #6, Aerial/What's Next CD compilation, Non Sequitur Recordings.
1994 The World's Longest Melody: Piano Studies #1, #4, #5, #9, #11, set of electro-acoustic works on Hallways: 11 Composers and HMSL CD. Frog Peak Music FP002.
1993 Four Voice Canon #8 ("Nerve Canon"), electro-acoustic work with Ray Guillette. Cuneiform CD entitled Transforms. NEED NUMBER
1992 ___ __ (Al Het) (for the people of Nicaragua), Leonardo Music Journal CD #2.
______ B'rey'sheet) (In the beginning...) (Cantillation Study #1), for voice and live interactive computer. On Numbers Racket: Compilation Volume #2 (commercial cassette release). Just Intonation Network, JIN-002.
1991 _____ (V'leem'shol) (And to rule...) (Cantillation Study #2) for five flutes. Ann LaBerge, flutes. CDCM Computer Music Series Compact Disc. Volume 11: The Virtuoso in the Computer Age _ II. Sponsored by National Endowment for the Arts Grant. Centaur CD. NEED NUMBER
1988 Live Interactive Computer Music, Frog Peak Music; recordings of ______, 17 Simple Melodies of the Same Length, Simple Actions, and Cocks, Crow....
1986 Four Voice Canon #3, on Music at Mills, Mills College Centennial Album. LP.
1985 Hensley Variations. For guitar, flute and viola. Opus One Records. LP.NEED NUMBER
Movement for Andrea Smith (My Funny Valentine for Just String Quartet), in TELLUS Cassette Magazine, Just Intonation Issue. NEED NUMBER
1991 HMSL Version 4.2 Programmer's Manual, with Phil Burk. Computer music language manual, most recent edition, Summer, 1991. Distributed with HMSL, by Frog Peak Music. 208 pp.
1983 The Early Works of James Tenney, Soundings Press, booklength theoretical study. ??????????
1986 New Instrumentation and Orchestration, Frog Peak Music.
Software (published and released)
1994 Spectral Mutation Functions in Soundhack. Authored by Tom Erbe, I collaborated with Erbe to incorporate these functions of mine for spectral morphing, and wrote the section in the manual. Soundhack is a very widely used program.
1985_92 HMSL (Hierarchical Music Specification Language). An experimental, real-time interactive computer composition language, based upon theoretical ideas for hierarchical structure and morphological transformation in music. Developed and written by myself, David Rosenboom and Phil Burk at the Mills College Center for Contemporary Music. HMSL is still in wide use. My work has included designing, developing, teaching, and supporting the language, and writing theoretical and compositional software in it.
Articles, Writings Computer music, music theory, about my own composition, music and technology [selections jh]
1995 "Spectral Mutation in Soundhack," with Tom Erbe. Forthcoming in the 20th Anniversary Issue of the Computer Music Journal. Previously published in Proceedings of the 5th Biennial Conference on Arts and Technology, Connecticut College.
1994 "Live Interactive Computer Music in HMSL, 1984-1992," in Computer Music Journal, 18(2):59_77, Summer.
1991 "Morphological Mutation Functions: Applications to Motivic Transformation and a New Class of Cross-Synthesis Techniques," with Martin McKinney. Proceedings of the ICMC. Montreal. pp. 234_241.
"Live Interactive Intelligent Computer Music in HMSL: Notes on Pieces 1984-91," With Nick Didkovsky, Proceedings of the ICMC. Montreal. pp. 37_44.
1990 "HMSL (Hierarchical Music Specification Language): A Theoretical Overview," with Phil Burk and David Rosenboom. Perspectives of New Music, 28(2):136_178, Summer.
"Collaboration: Tap Scored and Notes on the Three Monk Tunes," with Anita Feldman, Leonardo, 23(4).
"Notes on the Tunings of Three Central Javanese Slendro/Pelog Pairs," Experimental Musical Instruments, VI:2, Spring.
1987 "Morphological Metrics: An Introduction to a Theory of Formal Distances," Proceedings of the ICMC, Urbana.
"Item: Lou Harrison as a speculative theorist," A Lou Harrison Reader, Soundings Press.
"James Tenney and Space Travel," introduction to Perspectives of New Music "James Tenney Packet," 25:1&2, Winter/Summer.
"HMSL: Overview (Version 3.1) and Notes on Intelligent Instrument Design," (Polansky, Burk, and Rosenboom), Proceedings of the ICMC, Urbana.
"Paratactical Tuning: An Agenda for the Future Use of Computers in Experimental Intonation," Computer Music Journal, 11(1):61_68.
"The Mills College Center for Contemporary Music's 'Seminar in Formal Methods Series': A Documentary History of the First Five Years," with John Levin, Leonardo, 20(2):155_163, Spring.
"The HMSL Experimental Intonation Environment on the Commodore Amiga," 1/1, The Journal of the Just Intonation Network, Winter. REFERENCE
1985 "HMSL (Hierarchical Music Specification Language): A Real-Time Environment for Formal, Perceptual, and Compositional Experimentation," with David Rosenboom, Proceedings of the ICMC, Vancouver.
"Some Recent Developments at the Mills College Center for Contemporary Music," with David Rosenboom, Proceedings of the ICMC, Vancouver.
"Confessions of a Lousy Carpenter: Some Thoughts on Composing for Standard Instruments in Just Intonation," 1/1, Journal of the Just Intonation Network, Winter. REFERENCE
"Notes on Piano Study #5 (for Fender Rhodes in just intonation), 1/1, 4(1):14_16, Fall.
"History and the Word: Form and Tonality in Schoenberg's 'Phantasy for Violin with Piano Accompaniment'." ex tempore, 3:1.
1984 "Tuning Systems in American Gamelan, Part I: Interval Sizes in Javanese Slendro," Balungan, 1:2.
1983 "Interview with David Rosenboom," Computer Music Journal, 7(4), Winter. (Also printed in OP "U" issue). Reprinted in the book The Music Machine, MIT Press.
1980 "Hierarchical Temporal Gestalt Perception in Music," (James Tenney with Larry Polansky), Journal of Music Theory. REFERENCE
1978 "A Hierarchical Gestalt Analysis of Ruggles' Portals," Proceedings of the ICMC, Evanston.
Editor and Publisher
1995 Publisher and main editor, John Chalmers' Divisions of the Tetrachord, Frog Peak Music.
1991 Guest and founding editor, Leonardo Music Journal, Vol. 1, #1, published by the International Society for Arts, Sciences, and Technology. Participated in the founding of the journal and CD series, and formulated themes and selected guest editors for the first four issues and CD's.
1987 Guest Editor, Perspectives of New Music special issue on James Tenney, 25:1&2, Winter/Summer.
1986 Publisher and editor, Meta + Hodos and META Meta + Hodos, by James Tenney, Frog Peak Music (reprinted: 1988, 1992).
Selected Published Compositions
1995 Horn, for french horn and live electronics, Xenharmonikon 14 .
Haiga: A little farfetched and hard to believe (a complete surrogate biography of Larry Wendt), visual poetry, cover for special issue of furnitures (#10) consisting of Wendt's essay on sound poet Henri Chopin.
1992 The World's Longest Melody, graphics version, documentation and manual published in Array, Newsletter of the International Computer Music Association, 12:3.
1990 Canon for Flute, in 1/1, The Quarterly Journal of the Just Intonation Network, 6:2.
1988 Movement for Lou Harrison, for four contrabasses, revised version, Xenharmonikon XII.
1987 Distance Musics I-VI, works for performer/programmers and live interactive computer music systems; and Four Violin Studies (what to do when the night comes for Jim Tenney), Perspectives of New Music, 25:1&2, Winter/Summer.
Four Bass Studies (what to do when the night comes _), for solo contrabass, Xenharmonikon X.
1986 Three Rimbaud Settings, in Ear Magazine vocal issue. 10(3), January_March.
Hensley Variations, Gottlieb Variations ("The Year of Jubalo"), and Sacco, Vanzetti (arrangement of Ruth Crawford song), in New Music for Plucked Strings, Frog Peak Music.
1984 Here To Stay, for violin and pitch sensing microprocessor, in Active Listener, #4.
1980 ___(Sh'ma): Fuging Tune in G, in Soundings #11.
1979 Dance of the Tombstone/Gauss Music, Scores as Art traveling exhibit and catalog, Canada, Ontario Art Museum.
1978 Cocks Crow, Dogs Bark..., (tuning analysis of early orchestra version), in MusicWorks Number 1.
17 for the 36, in Generation, Princeton, N.J.
Piano Study #5, in XenHarmonikon #7/8
1977 Movement for Andrea Smith (My Funny Valentine for Just String Quartet), and Movement for Lou Harrison (for two violins),in Xenharmonikon #6.
Recordings: producer, and other roles
1992 _ 4 Producer, with Jody Diamond, Asmat Dream, New Music Indonesia (Sunda) Vol. 1 and Mana 689, New Music Indonesia (Central Java) Vol. 2., and Karya: The Works of I Wayan Sadra New Music Indonesia Vol. 3, Lyrichord CD's.
1991 Producer, James Tenney: Selected Compositions 1961-1969. CD of Tenney's early Bell Labs computer music and early electronic music. FP001/ART1007.
1993 Associate producer, Thumpmusic, CD of music for two pianos by contemporary composers, FP003.
Associate producer, blow, CD of contemporary music for flute and computer electronics by composer/performer Ann LaBerge, FP004.
1978 Jon Hassell: Vernal Equinox, Lovely Music Record, (special piano tuner).
1991 Producer, Stay a Maverick, by I Wayan Sadra, Leonardo Music Journal CD#1 (and wrote liner notes).
1977 David Rosenboom: On Being Invisible, ARC Records, (computer technician).
1991 20th Century Microtonal Notation, by Gardner Read. Leonardo Music Journal, 1:1.
Ruth Crawford Seeger (Madeleine Guame), Leonardo, 24(3):293_297.
Review of two journals: Electronic Cottage and Music Program Zero's News of Music. Leonardo Music Journal, 1:1.
1990 Short Reviews, On the Wires of Our Nerves, edited by Robin Heifetz, for Leonardo, 23:4; The Sackbut Blues: Biography of Hugh LeCaine, by Gayle Young, for Leonardo, 24:1.
Arts/Sciences: Alloys (Iannis Xenakis), Leonardo, 23(4):385_388.
1989 The Music of Ben Johnston (by Heidi Von Gunden), Leonardo, 23(1):67_69.
1986 "Comments on David Carrier's 'Theoretical Perspectives on the Arts, Sciences and Technology'," Leonardo, 19:2.
1984_7 Over 30 book and recording reviews of traditional and contemporary American musics for OP Magazine. Many reviews of traditional American, classical, contemporary, world musics and early jazz for OPtion magazine. Several articles on contemporary music (William Colvig, Hugh LeCaine, Pauline Oliveros, and others) for OPtion magazine.
1986_9 Several book and recording reviews, Balungan.
Incidental writings (philosophical, editorials, solicited short contributions, published letters)
1994 "Seventeen Thoughts on 'Music Since 1960' (in the form of a haiku)," Sounds Australian, Journal of Australian Music,#41, Autumn. of Music, #13, Winter.
1991 "On Competitions," Forum. Computer Music Journal. 15(3).
"The Future of Music/The Future of Leonardo." Editor's introduction to Leonardo Music Journal, 1:1.
"17 Gloomy Sentences (and commentary) at the turn of the millenium (in the form of an editorial)." Leonardo Music Journal, 1(1). Second "editorial" for the issue of which I was guest editor.
1989 "Sounds, Musics and Leonardo," with Roger Malina, and Elliot Mazer, editorial in "parent" journal announcing first issue of Leonardo Music Journal (LP, editor), Leonardo, 23:1.
1988 "Being a Composer in America," Perspectives of New Music, 26(1):213_214, Winter.
1987 "The Future of Music," (editor and contributor), feature in Leonardo, 20(4). (Reprinted in Evos Newsletter #8, Perth, Australia).
"Music Languages," letter to Recording Engineer and Producer, October.
1985 "The Art of Apostasy," JACOB Newsletter for Jewish Arts in the Bay Area; reprinted in At Mills.
"On Inclusionary and Preclusionary Fanaticism," guest editorial for 1/1, The Journal of the Just Intonation Network, 1(2):2, 13, Winter.
"The Music of Alexis Alrich," in Soundchoice Magazine, "A" Issue.
1984 "Interview with Richard Zvonar," "Z" Issue of OP Magazine.
"Profiles of American Contemporary Music," series of articles on Carl Ruggles, David Pate, James Tenney, CCM, Gary Schmidt, David Rosenboom and others, OP Magazine.
"Accompanimental Styles in American Traditional Music," series of articles on Riley Puckett, Stanley Brothers, Shape Note singing, Red Clay Ramblers, and others, for OP magazine.
1983 "Seventeen Parables of Love," short story, MusicWorks, Toronto.
Selected Unpublished Work (Program notes, in-house documents, etc.)
1990 Beginning Central Javanese Gender, book of gender repertoire and technique, written as transcription, organization, and annotation of the teaching of Sukamso of Solo, Central Java. Available from the American Gamelan Institute.
1987 "The Music of Ruth Crawford Seeger," extensive historical and analytical program notes for Mills College concert of Crawford Seeger's music.
1984 Program notes (extensive) for James Tenney's Three Indigenous Songs and Dane Rudhyar's Trois Chansons de Bilitis, San Francisco Symphony New and Unusual Music Series.
1983-4 In house CCM technical documents: PATCH-IV Manual, co-written with David Rosenboom and CCM graduate students, 1984; CCM FORTH/68k Operating and Technical Manual, booklength CCM circulated computer document.
1983 "The Unsung Malvina Reynolds," Berkeley Stage Co. Newsletter.