[ continued from previous file]
Papers presented, Talks, Panels, Guest Teaching
International Computer Music Conference, Music Theory and Technology Conferences Grants Panels, Chair of Paper Sessions Papers on other topics and at other conferences Invited Lectures, Guest Teaching at Other schools, and Public Demonstrations and Workshops
Papers presented at conferences, Invited Talks, Panels, etc. International Computer Music Conference, Music Theory and Technology Conferences
1990 "Possible and Impossible Melody: Some Formal Aspects of Contour," with Richard Bassein, Society for Music Theory conference, Oakland.
1988 "HMSL and Live Interactive Intelligence in Music," SIMMS Conference, Melbourne, Australia.
1987 "HMSL Version 3.12," SEAMUS Conference, Dartmouth.
"HMSL and the future of computers and music" with Phil Burk, International Synergy Association, Los Angeles, California.
"Morphological Metrics," International Computer Music Conference, Urbana, Illinois.
"HMSL: Overview (Version 3.1) and Notes on Intelligent Instrument Design," (Burk, Polansky, Rosenboom), International Computer Music Conference, Urbana, Illinois.
1986 "Distance Musics,"Dept. of Math and Computer Science, University of California at Berkeley.
1985 "Some Philosophical Considerations in the Design of Computer Music Composition Programs in an Educational Environment," EDUCOM conference, Stanford University.
"Recent Developments at the Mills College Center for Contemporary Music," with David Rosenboom at 11th International Computer Music Conference, Vancouver, Canada.
"HMSL (Hierarchical Music Specification Language): A Real-Time Environment for Formal, Perceptual, and Compositional Experimentation," with David Rosenboom at the 11th International Computer Music Conference, Vancouver, Canada.
1978 "A Hierarchical Gestalt Analysis of Ruggles' Portals," International Computer Music Conference, Evanston, Illinois. Grants Panels, Chair of Paper Sessions, etc.
1994 Chair, paper session, "Analysis of Popular Music," West Coast Conference of Music Theory and Analysis, Oakland, California.
McKnight Foundation Composition Fellowship, panelist Minneapolis, Minnesota.
1993 Illinois Arts Council, Composition Fellowships, panelist, Chicago, Illinois.
1991 Panelist, "Cross-Cultural Composition," six Indonesian and United States composers discussing their work. University of California at Berkeley Conference on Contemporary Music in Indonesia.
1991 Paper adjudicator, International Computer Music Conference, Montreal.
1990 _ 91 Five National Endowment for the Arts Review Panels: InterArts "New Forms" Program (1991); InterArts "New Forms" Program, special "reconvened" panel to consider controversial censored grants, (1990); Centers for New Music Resources/Services to Composers Grants, (1990 and 1991).
Papers on other topics and at other conferences
1988 Panelist, "Microtonality: The Big Picture" (w/Ben Johnston, LaMonte Young, Joel Mandelbaum, and others)), Microfest, NY .
Invited Respondent, Charles Boone's lecture on "History of Bay Area Music," San Francisco Museum of Modern Art.
1987 Panelist, "What Algorithmic Composition Can and Cannot Do," (Charles Dodge, chair), SEAMUS Conference, Dartmouth College.
1986 Panelist, Symposium for the Revival of Jewish Art, Palo Alto, California.
1986-90 "The Music of Ruth Crawford Seeger," several lecture performances (with Jody Diamond, soprano) on the life and music of this composer, at MIlls College, Cornish Institute for the Arts, York University, and other places.
1986 "The Three Monk Tunes for Tap Dancer and Percussionist," presentation to the American Dance Festival, with Anita Feldman, Durham, North Carolina.
1985 "Indigenous Music and the Avant-Garde," paper given at Sonneck Society for American Music, Talahassee, Florida.
1983 "Dealing with the Avant-Garde," California Music Library Association, Hayward State University, California.
Invited Lectures, Guest Teaching at Other schools, and Public Demonstrations and Workshops
1994 Concert/lecture about my own music as part of Mills College Center for Contemporary Music's Songlines Festival (sponsored by a grant from the National Endowment on the Arts).
1990 Guest lecture to Clarence Barlow's computer music class, on HMSL, Darmstadt, Germany.
HMSL lecture and presentation, with Nick Didkovsky, Experimental Intermedia Foundation Computer Music Series, New York City.
1989 Victoria City Art Gallery, special wednesday night public series of guest artists, lecture/demonstration on my own music, Wellington, New Zealand.
Two classes on computer music at the Melbourne College of Arts and Education, Melbourne, Australia.
Graduate seminar in computer music, LaTrobe University, Melbourne, Australia.
Composers Forum, lecture on my own music, University of Melbourne, School of Music, Melbourne, Australia.
Guest speaker and consultant, University of California Conference on New Music in Indonesia, Den Pasar, Bali.
Public lectures on "Field Recording Techniques" and my own computer music (in Indonesian) sponsored by the Ethnomusicology program, University of North Sumatra (USU), Medan, Indonesia.
1988 Lecture/demonstration on HMSL and my own music (in Indonesian), Duta Wacana University, Jogyakarta, Indonesia. Sponsored by computer science department.
Lecture demonstration of my music, Perth Institute of Contemporary Art, sponsored by Evos Music, with performance of Simple Actions, Perth, Australia.
"Advanced HMSL Programming," w/ Phil Burk and Robert Marsanyi, public seminar at the Center for Contemporary Music, Oakland, California.
1986 Guest artist, Wesleyan University/Hartt College visiting lecturers series.
1986_87 HMSL Demonstrations: Carnegie Mellon Educational Software Fair, Pittsburgh, PA., (1986); International Computer Music Conference, Urbana (1987); several public presentations at Mills College (Formal Methods Seminar Series twice, Mills College Faculty Seminar, many informal CCM demos); Public Access Synthesizer Studio, NYC, two public presentations (1987); University of San Francisco, Guest Lecture Series in Computer Science (1988); Cornish Institute for the Arts, Seattle (1988); Music Gallery (1990, sponsored by MusicWorks), many other guest talks about HMSL at various universities (1986-present).
1985 "HMSL," talk with David Rosenboom, Seminar in Formal Methods Series, Center for Contemporary Music, Oakland, California.
1983 "Formal Languages," San Jose State Electronic Music Seminars.
Designer and Director, Mills CCM Public Access Computer Music Class Series.
INTERVIEWS, BIOGRAPHICAL, CITATIONS, RADIO PROGRAMS
Interviews, Biographical, Citations, Radio Programs.
Extended interview with Carl Stone for KPFK/KPFA radio about my music, included broadcasts of a number of my works; also featured as part of his "100 Minutes" project of 100 American composers for National Public Radio. 1991 Biographical entry in Baker's Biographical Dictionary of Musicians, ed. Nicolas Slonimsky.
1989 Interviewed by Alistair Riddell on my music, computer music, and HMSL, for ARRAY, Journal of the Australian Computer Music Association.
Section on HMSL in Current Directions in Computer Music Research, edited by Max Mathews and John R. Pierce, MIT Press.
1990, 1985 "Music of Larry Polansky," two different KPFA radio shows devoted to my work, with Charles Amirkhanian (1985) and Barbara Golden (1990).
1989 Workshops in computer music and DX7 techniques, ASKI Padang Panjang, Sumatra; computer music workshops, Jakarta International School, International School Cultural Festival.
Interviewed by Australian Public Radio, Melbourne, as preview for ASTRA Concert of the Music of Jody Diamond and Larry Polansky, Melbourne.
Guest (with Jody Diamond) on Charles Amirkhanian's "Ode to Gravity," discussing the music of Indonesian composer I Wayan Sadra.
Interviewed on New Music Survey Magazine, Radio New Zealand, "The Concert Program."
Interviewed on my work and computer music: Singapore Straits Times.
1988 Improvisation workshop with selected advanced high-school students, Perth, Western Australia.
Interview with and profile of Larry Polansky, in Consortium on Math and Its Applications entitled "Rock n' Roll Meets Higher Math," by Steve Unruhe.
"Interview with Larry Polansky," Evos Newsletter #9 (followup letter in #10), Perth, Western Australia.
Interviewed and guest on Warren Burt's "That Modern Stuff" radio show, Melbourne Public Radio, entire show devoted to music of Larry Polansky and Jody Diamond.
Radio show on my music, Perth Public Radio, Western Australia, broadcast.
1985 Featured composer, "Main Street USA," Australian Broadcasting Co. series on American composers; Psaltery and ___(Sh'ma) Fuging Tune in G, 1985.
1983 "Interview with Larry Polansky," OP Magazine "P" issue, (by Daniel Junas).
EDITIORIAL POSITIONS and SERVICE
EDITIORIAL POSITIONS 1991 Guest Editor, first issue of the Leonardo Music Journal. Associate editor, 1991_ present.
1985_ Music Advisory Editor, Leonardo: The Journal of The International Society for the Arts, Sciences, and Technology, also technical reviewer and manuscript adjudicator.
1985_9 Contributing Editor, 1/1, Journal of the Just Intonation Network.
1986_ Editorial advisory board, ex tempore: A Journal of Compositional and Theoretical Research in Music.
SERVICE 1991 Board Member, Electronic Music + Festival, Oakland/San Francisco.
1985 _ 89 Music Staff, KPFA Radio, Berkeley. Regular show of experimental music co-hosted with Jody Diamond called "The Thin Edge of the Wedge," (about 20 shows) (1985-1989). Special series of shows on "Experimental Music from Indonesia," Nov. - Dec., 1989.
1985 _ 88 Advisory Board, American Festival of Microtonal Music, New York City, New York.
1986 Board of Advisors (artistic), Oakland Festival at the Lake, Ethnic Music Stage.
Internal Grants for Studios, Graduate Programs (Mills and Dartmouth)
Mills Course Development Grant, design and construction of undergraduate computer music studio (1985). Mills College CCM Institutional Grants Written, directed and administered: * NEA New Music Presenters Grant (1985-7); * NEA Centers/Services Grant for project entitled "CCM Guest Composer Workshop/Residency Program," (1984-5); * NEA Services to Composers Grant for "Seminar in Formal Methods" Series, (1980,1984); * Inter-University Consortium for Educational Computing, major grant for first version of HMSL, myself and David Rosenboom, administrators and developers (1985); * Wrote and administered many Meet the Composer California grants for the CCM (1984-1988).
Selected Performances of My Compositions
Concerts and Festivals of My Compositions Performances of Individual Pieces (Listed by Piece)
Selected Performances of My Compositions Concerts and Festivals of My Compositions
1991 Darmstadt Summer Festival concert of my work sponsored, recorded and broadcast by Hessicher Rundfunk as part of "Three Generations of American Music" event _____ (V'leem'shol), Movement for Andrea Smith (for just string quartet) and Hensley Variations for guitar, flute and viola. Half of the concert was my work, half of the concert was James Tenney's. Darmstadt, Germany.
... Slippers of Steel; Three Improvisations for performers and software delay; and 51 Melodies...; Nick Didkovsky/Larry Polansky Ensemble, Experimental Intermedia Foundation.
1990 Concert of my work by New York's Downtown Ensemble, including: Duet (for two performers and live computer), Quartet in F for Paula Ravitz (for piano, clarinet in A, trombone and viola) and Three Studies (for performers and live computer). New York City.
Concert of my music on Experimental Intermedia Foundation Computer Music Series, included Horn (for french horn and live computer), Simple Actions (trio version) (for three performers and three computers) and Duet (for two performers and live computer). With guest performers Nick Didkovsky and Chris Bobrowski, New York City. Concert of my work at the Music Gallery, Toronto, Ontario, with guest performers Paul Dutton (poet), John Oswald (sax), and Jody Diamond (voice). Piece included: Simple Actions/Rules of Compossibility (with Paul Dutton); 17 Simple Melodies of the Same Length (saxophone and live computer); ______ (B'rey'sheet)
Concert of my work by Gamelan Son of Lion, included Bedhaya Sadra/Bedhaya Guthrie and Four Voice Canon #7, the latter commissioned and both performed by Gamelan Son of Lion, New York City. Half of the concert was my work, half was Jody Diamond's.
1989 Concert of my work by the ASTRA Choir, John McCaughey, director. Included Bedhaya Sadra/Bedhaya Guthrie, (commissioned and premiered by ASTRA Choir); Simple Actions/Rules of Compossibility (collaboration with Chris Mann) for poet and live interactive computer electronics; ______ (B'rey'sheet) for voice and live computer. Melbourne, Australia.
1989 Concert of my own work, the work of Jody Diamond and traditional American music (guitar and piano), ASKI (Music Conservatory) Padang Panjang, West Sumatra.
1988 Solo HMSL concert, University of Washington, Seattle (17 Simple Melodies..., Simple Actions, ______), 1988.
Solo concert of my live interactive computer music at New Langton Arts, San Francisco. Works included Simple Actions, 17 Simple Melodies, ______, Cocks Crow... With guest performers George Brooks, John Bischoff, Phil Burk, Melody Sumner, and Jody Diamond.
Concert of live interactive computer music with John Bischoff, Experimental Intermedia Foundation, NYC (Simple Actions, 17 Simple Melodies, ______ Cocks Crow...), with performers Jody Diamond and Daniel Goode.
1987, 1983, 1981 Three solo concerts of my music (live interactive computer music, ensemble works, solo works), Roulette, New York City.
1986 Buy One for Spare Parts, a collaborative live computer music concert with Phil Burk and Phil Stone, using HMSL. Part of UBU's "Network Muse" Series, The Lab, San Francisco, Other composers on the series included Chris Brown, Tim Perkis, Mark Trayle, and John Bischoff. Our concert included several of my Distance Music studies for composer/performer/programmers.
Concert of my music at Experimental Intermedia Foundation, New York City, and at Rensaleer Polytechnic Institute, Troy, New York. Works included Four Voice Canons #3-6, Three Monk Tunes for tap dancer and percussionist, and ______.
1985 Larry Polansky/Ron Kuivila, collaborative concert of live computer music, Center for Contemporary Music, Oakland, California.
1982 "Under the Double Eagle," solo concert of my work at Mills College, included: ___ (Fuging Tune in G) for chamber ensemble; Psaltery (for tape); Four Voice Canon #3 (tape), Piano Study #5 (for just Fender Rhodes), and other works.
Performances of Individual Pieces (Listed by Piece)
Lonesome Road (The Crawford Variations). 51 variations for solo piano (one hour and a half long work). 1995 North American Tour sponsored by Pro Helvetia Foundation and Bay Area Pianists. Performances at Roulette (New York City), The Music Gallery (Toronto), Bay Area Pianists (Berkeley), and elsewhere. Several radio broadcasts as well.
The Casten Variation, for solo piano. Computer_composed work. 1994 Performances by Sarah Cahill: Mills College Songlines Series, Bates College Festival of New American Music, solo recital (Berkely), and several others.
Roads to Chimacum. Computer_composed work for string quartet or mandolin quartet. 1995 Mandolin quartet version, premiered by the Modern Mandolin Quartet, Mills College, Oakland.
51 Melodies. Computer_composed work for two electric guitars and rock band. 1992 Trio version (solo electric guitar; LP soloist), Mills College Center for Contemporary Music New Music Concert.
Three Studies (for performers and live computer) 1990 Telluride, Telluride Composer to Composer Festival, performed by LP, I Wayan Sadra (suling) and Iris Brooks (flute), Telluride, Colorado.
Movement in E Major for John Cage. Violin and piano. 1990 Abel_Steinberg_Winant trio, Mills College. Horn. French horn and live computer.
1990 Mills College Center for Contemporary Music, Chris Bobrowski, french horn.
______ (B'rey'sheet)(Cantillation Study #1), for voice and live interactive computer, All performances with Jody Diamond, voice; LP, computer. 1995 Recording featured as part of "Musica y Tecnologia" radio series, series of several broadcasts, Buenos Aires, Argentina.
1990 The Exploratorium, San Francisco.
1988 Featured on Slightly Off Main Street, Australian Broadcasting System.
SIMMS Conference Computer Music Concert, Melbourne, Australia.
1987 Featured work, International Computer Music Conference, Urbana, Illinois.
Mills College Center for Contemporary Music, Oakland, California.
___ __ (Al Het) (for the people of Nicaragua), for voice and slendro gender/pelog gambang (one player). 1988 Berkeley Contemporary Chamber Players.
Mills College, and several other performances by Jody Diamond (voice) and Gino Forlin (percussion).
1987 Asian Art Museum, San Francisco.
_____ (V'leem'shol) (...And to rule) (Cantillation Study #2). Computer_composed work for five flutes. All performances by Ann LaBerge, flute and multi-tracked flutes. 1985 _ 94 Many performances (around thirty) as part of Ann LaBerge's repertoire on tour in Europe, the U.S and the Soviet Union.
1985 Center for 21st Century Music Concert, Oakland, California.
International Computer Music Conference, Vancouver, Canada.
The Birth of Peace. Collaboration with Chris Mann, Alistair Riddle, Simon Veitch, and others. Live computer work (HMSL and 3DIS System), with video-computer interactive goldfish. 1989 Australia Contemporary Center for Art, sponsored by Goethe Institute, Melbourne, Australia.
Simple Actions. For solo live interactive computer. 1988 NewComp Computer Music Festival, Boston.
Linden Experimental Music Concerts, Melbourne, Australia.
York University, Toronto, Ontario (with poet Paul Dutton).
Three hour installation duet version (with Nick Didkovsky), with kinetic sound-sculptress Sarah Garden Armstrong's Air Player IX, New York City.
1987 Roulette, New York City.
KPFA Radio (live performance).
Mills College Center for Contemporary Music.
Marin Headlands Arts Center
17 Simple Melodies of the Same Length. For melody instrument and live interactive computer. 1988_90 Logos Foundation, Ghent, Belgium and several other European performances, by flutist Anne La Berge.
1988 Penine Hart Gallery, New York City, by clarinetist Daniel Goode.
Cornish Institute for the Arts and University of Washington, Seattle, by clarinetist Bill Smith
Mills College Challenge Concert, by saxophonist George Brooks.
Hensley Variations. (flute, viola and harp) and The Time is Now (chamber ensemble and soprano). 1985_8 Several performances by the ISKRA Ensemble, San Francisco Bay Area.
Another You (17 variations for solo harp in just intonation) 1994 Stichting Huygens-Fokker Foundation, The Ijsbreker, Amerstam, The Netherlands, Mariska Poole, harp.
1988 Microfest, Festival of Microtonal Music, New York City, Alyssa Hess, harp.
1986 New Music America Festival, Houston.
1982 Roulette, New York City, Alyssa Hess, harp.
1981 Carnegie Recital Hall (premiere), New York City, Alyssa Hess, harp.
Milwaukee Blues. For two tap dancers and five saxophones; and Study for Milwaukee Blues. For three tap dancers. All performances by Anita Feldman Tap Company. 1988 Milwaukee Dance Festival.
1987 "Out of the Blue" series, New York City (several performances).
New Music America Festival, Philadelphia.
1987_8 Several other performances in United States by this company.
Quartet in F for Paula Ravitz. For piano, viola, clarinet in A, trombone. 1979 ARRAY Ensemble, Toronto (also CBC Broadcast).
Buy Some For Spare Parts, a live HMSL computer music installation, with audience participation, involving two pieces: Draw Piece (with Phil Burk), and Simple Actions, 1986 San Francisco Museum of Modern Art.
Unhappy Set of Coincidences. For guitar and bass, flute and bass, or any two melody instruments. 1985_6 ISKRA Ensemble (several performances).
1984 Winterhaven Youth Orchestra, Gary Schmidt, arranger and conductor, Winterhaven, Florida.
1979-80 On tour in the United States with New Kanon New Music Ensemble (about 25 performances).
Piano Studies #1 and #2 1986 Alexis Alrich, solo piano recital, San Francisco.
Conversation, a live electronic installation for large numbers of microphones, speakers, computer_controlled matrix switcher, specially designed software and hardware. Collaboration with John Levin and Richard Povall. 1986 San Francisco Museum of Modern Art.
Four Bass Studies (for solo string bass) and Will You Miss Me (for flute, bass, harp and untrained male voice) 1985_6 Several performances and broadcasts by the American Festival of Microtonal Music, New York City .
Sascha's Song (for the peoples of Chile. Electro-acoustic work for tape. 1990 Dartmouth College New Music Festival (tape version).
1983 Chile Ten Years On ... concert, San Diego, California. Version with live ensemble, Vincent Plush, conductor. Subsequently broadcast internationally.
Three Monk Tunes. For tap dancer and percussionist. All performances by Anita Feldman with Gary Schall or William Winant. 1982_9 California Institute for the Arts Annual New Music Festival, Los Angeles, California.
Berkeley Contemporary Chamber Players, Berkeley, California
Vital Arts Center, New York City.
Roulette, New York City.
Lincoln Center Out of Doors Festival, New York City.
New Performance Gallery, San Francisco.
Oberlin College, Oberlin, Ohio.
Rensaleer Polytechnic Institute, Troy, New York.
Experimental Intermedia Foundation, New York City.
Avant-Garde-A_Rama Festival, New York City.
Several other performances across the country and in New York City.
1986 Performance tour of Japan (about 15 performances).
Larry Polansky/David Pate, evening of quintet arrangements of my own jazz tunes with Florida saxophonist, Tampa (1985).
Four Voice Canon #3. Computer_compose and _generated work. 1987 3rd International Computer Music Conference (1987)
1978 20th Anniversary Electronic Music Concert, University. of Illinois, Urbana, Illinois.
Sweet Sue, duet version (guitar and baritone sax), 1986 Performed by LP with Anthony Braxton, Mills College Center for Contemporary Music Staff Concert.
Four Voice Canons #3-6. Two computer_composed and _generated tape works, two computer_composed works for four percussionists. 1985_6 Performed on solo recitals by percussionist William Winant including New Music America 1985 (Los Angeles); Real Art Ways (Hartford, Connecticut); several radio broadcasts (WKCR in New York, KPFA in Berkeley, and others); SpazioMusica Festival, Cagliari, Italy.
Four Bass Studies, Four Voice Canon #4, Resting Place (tape work) 1984_6 Toured with Ann Rodiger and dancers, performed several times in New York City, San Francisco, and elsewhere.
Silence Study #4. For four actors and violist. 1976 Maple Sugar, Toronto, and several other performances in California.
Dance of the Tombstone/Gauss Music. For live electronics and dancer. 1976 A-Space, Toronto.
Hitting the Open Man, 1986 Graphic score exhibited at Scribing Sound, New Music America Houston.
Several pieces commissioned and on tour with dance companies and choreographers, including Anita Feldman, Ann Rodiger, Nancy Bryan, Barbara Roesch, Paula Ravitz (1976_87).
PERFORMANCES OF OTHERS' WORK
Performer on other composers' recordings Guitarist, Mandolinist Computer, Conductor, Musical Director World Premieres American premieres
Selected performances of music by other composers, and other styles of music
Performer on other composers' recordings 1995 Electric guitar and mandolin, Barbara Golden's Greatest Hits Volume 1, Book and Accompanying CD, Burning Books.
1992 Gender player, and other gamelan instruments on CD Lou Harrison: Gamelan Music, Music Masters Classics.
1990 Gender player, Jody Diamond's Pangkur NZ, released on MusicWorks 47 cassette.
Programmer, performer and collaborator, The Birth of Peace, by Chris Mann, book and tape published by NMA Australia.
1989 Mandolin, Wendy Reid's Tree Piece #10, on Wendy Reid's LP Tree Pieces, Frog Records.
1988_9 Electric guitar, David Mahler's "Elvis is Watching You," and arranger, guitarist, slide guitarist and mandolinist for his "Xmas Time of Year," Saugus Newhall Band, Wind-Up Music cassettes.
1986 Mandolin, Alexis Alrich's Palm Boulevard, Opus One Records LP.
Electric bass, Frank Martin's Poemes de Morte, Opus One Records LP, Kent Nagano, conductor.
1985 Guitar I, and musical director, James Tenney's Septet for Six Electric Guitars and Electric Bass, world premiere and recorded (live) for Tellus Cassette Magazine .
Performer, Philip Corner: Two Works for Gamelan Ensemble, Edizioni Lotta Poetica and Studio Morra LP, Verona, Napoli.
1980 Performer, Gamelan in the New World, Gamelan Son of Lion, Folkways LP.
1991 Solo electric guitarist, Lois V Vierk's GO Guitars, Wesleyan University. Also performed this piece at Mills College (1988).
1990 Mandolin, in works by I Wayan Sadra, Henry Brant, and Pauline Oliveros, Telluride Composer-to-Composer Festival.
1983 Electric guitar soloist, Francis Thorne's Liebesrock, Cabrillo Festival Orchestra, Dennis Russell Davies, conductor.
1978 Mandolinist, touring ensemble of Schoenberg's Serenade, Illinois and Indiana.
Computer, Conductor, Musical Director 1990 Computer, Nick Didkovsky's Lottery Piece, Mills College. Conductor, David Behrman's In Slendro, In Vitro, with Gamelan Son of Lion ensemble, New York City.
1987 Director and performer, The Music of Ruth Crawford Seeger, Mills College.
1986 Software programmer, HMSL, for Pauline Oliveros' Dear.John, computer generated work commissioned by the West German Radio for John Cage's birthday.
Curator, Center for Contemporary Music concert at San Francisco Museum of Modern Art.
Software programmer, HMSL, for Philip Corner's computer_generated Delicate Computations.
1985_6 New Music for Plucked Strings, series of concerts co-produced with Alexis Alrich of new music for guitars, mandolins, etc. World premieres by Alrich, Tenney, Jody Diamond, myself, and Larry Simon; and works by Paul Bowles and Ruth Crawford (the latter arranged by Alrich and myself); San Francisco Bay Area.
1984 Director and performer, "Music of David Mahler" Concert, Mills College.
1981_9 Produced many guest artist concerts at Mills College and at the CCM of electronic and instrumental music; work included artist selection, scheduling, publicity, technical production, performance, grantwriting, artist liason, etc.
1981_5 Directed over 15 concerts by Mills College Contemporary Performance Ensemble. Performed work by established and emerging composers, featuring world, American, and West Coast premieres. Frequent conductor and performer, (1981-85).
1980_1 Founder, composer, guitarist and mandolinist: New Kanon New Music Ensemble, touring group played several of my own pieces. World Premieres
Music of Andrew Newell, Henry Brant, David Behrman, I Wayan Sadra, James Tenney, David Fuqua, Chris Bobrowski, Nick Didkovsky, Gayle Young, Gary Schmidt, Philip Corner, Zae Munn, David Rosenboom, Chris Brown, Richard Schwarz, Robin Holcomb, Jody Diamond, David Fuqua, Alexis Alrich, Larry Simon, Joy Krinsky, Gino Forlin, David Rothenberg.
American premieres Music of John Cage, James Tenney, Michael Nyman, Ben Johnston, Francis Thorne, Anthony Braxton.
Central Javanese Style Gendér 1991 Lou Harrison's Homage to Pacifica, premiered at opening of new KPFA building, Berkeley.
1990 World premiere of Lou Harrison's Soetjatmoko Set, Portland, Oregon.
1989 Pieces by Jody Diamond. Concerts in Melbourne (ASTRA Choir concert of music of Jody Diamond), on tour in New Zealand (Victoria, Nelson, and Christchurch).
Music of Lou Harrison and Jody Diamond, Da Camera Chamber Society, DeMenil Museum, Houston.
1986 With Gamelan Si Betty, Lou Harrison, director, Saratoga Springs Festival.
Personal Data Languages: classical Hebrew translation and Hebrew cantillation (1984-1988); Modern Hebrew (one year of study at the University of Illinois); Spanish, reading, writing and speaking; Indonesian, beginning-intermediate reading, writing, translating and speaking.
Chair, Board of Directors, American Civil Liberties Union, Oakland, California, 1984-6. Member, board of Directors, 1981-7.
¨ Intensive study of Javanese gendér (two handed bronze mallet instrument with Sukamso (from the faculty of STSI Solo and the Mangkunegaran Court Gamelan), Solo, Central Java (1988-89); other study in Java (1988-9): gamelan tuning with Tentrem Sarwanto, master tuner and instrument builder, Bawa (Javanese male singing style), with Darsono, and gender panerus, with Suratno (both on the Faculty of STSI Solo).