ANNIE GOSFIELD PUBLICATIONS /BIBLIOGRAPHY

PUBLICATIONS Six essays for ’ “The Score”, a series on music published in the Opinion section:

"Confessions of a Composeress" reflections on being female and a composer in the 21st Century. The New York Times. 6 August 2013. http://opinionator.blogs.nytimes.com/2013/08/06/confessions-of-a-composeres

"Advice to Young Composers" on why we should all consider ourselves young composers. The New York Times. 5 December 2009. http://opinionator.blogs.nytimes.com/2009/12/05/the-score-advice-to-young-composers/

“Bringing in the Noise" on the influence of noise and environmental sound in music. The New York Times. 29 March 2007. http://thescore.blogs.nytimes.com/2007/03/29/bringing-in-the-noise/

“Composer House Arrest" on the day-to-day process of composition. The New York Times. 20 March 2007. http://thescore.blogs.nytimes.com/2007/03/20/composer-house-arrest/

“Factory Girl" on composing a site-specific piece for a factory in Germany. The New York Times. 8 March 2007. http://thescore.blogs.nytimes.com/2007/03/08/factory-girl/

“How I Learned to Love the Wrong Notes” autobiographical information and influences. The New York Times. 1 March 2007. http://thescore.blogs.nytimes.com/2007/03/01/the-new-y1/

OTHER ARTICLES AND ESSAYS “Fiddling With Sputnik: How I Wrote Lost Signals and Drifting Satellites,” Arcana II, Musicians on Music edited by . New York: Granary Books/Hips Road 2007, p.104-109

“Music From Factories,” cover story on the composition, production, and performance of EWA7, a site-specific piece performed in a factory in Germany. Avant Magazine [London]. Winter 2000.

“Inspired by Noise,” notes on becoming a composer written for a magazine for gifted children. Imagine, published by Johns Hopkins University Center for Talented Youth. Volume 15 Number 2, Nov. 2007.

CONFERENCE PAPERS PRESENTED ON GOSFIELD'S MUSIC Feisst, Sabine. “Defying Constructions of Female Gender: Annie Gosfield’s Industrial Soundscapes,” International Conference for Feminist Theory and Music, 27-31 May 2009, University of North Carolina, Greensboro.

Feisst, Sabine. “The City as Muse: Annie Gosfield’s New York City Soundscapes,” Annual Meeting, Society for American Music, Denver, 19-22 March 2009.

Feisst, Sabine. “The City as Muse: Annie Gosfield’s New York City Soundscapes,” 14th International Congress “Music – City. Traditions and Perspectives of Urban Music Cultures,” Gesellschaft für Musikforschung, Institut für Musikwissenschaft, University of Leipzig, Germany, 28 September-3 October 2008. Annie Gosfield bibliography p.1 Weber, Eckhard. “Schwermetall und Satellitenmusik. Die grenzüberschreitenden Klangwelten von Annie Gosfield” ("Heavy metal music and satellites. The cross-border Soundscapes by Annie Gosfield") Open Music, Zentrum für Genderforschung KUG Institut 17 IEM CUBE, Graz, Austria, 9 December 2013

CITATIONS IN BOOKS, TEXTBOOKS, AND ENCYCLOPEDIAS Boyd, Melinda; Pendle, Karin. Women in Music: A Research and Information Guide. London: Routledge, 2012, p159.

Dicaire, David. Musicians, 1945 to the Present. Jefferson, North Carolina: McFarland & Co., 2006, p138.

Feisst, Sabine. “The City as Muse: Annie Gosfield’s New York City Soundscape.” Kongressbericht: Musik – Stadt: Traditionen und Perspektiven urbaner Musikkulturen. Gesellschaft für Musikforschung, Leipzig, 28 September-3 October 2008. Leipzig: Gudrun Schröder Verlag, 2009.

Feisst, Sabine: “The City as Muse: Annie Gosfield’s New York City Soundscapes,” in Musik – Stadt: Traditionen und Perspektiven urbaner Musikkulturen, vol. 2, ed. Sebastian Klotz (Leipzig: Gudrun Schröder Verlag, 2012), 80–86. Feisst, Sabine. “Gosfield, Annie.” Entry in Die Musik in Geschichte und Gegenwart, ed. L. Finscher, Supplement-Volume. Kassel: Bärenreiter Verlag, 2008.

Gagné, Nicole V. Historical Dictionary of Modern and Contemporary Classical Music. Lanham, Maryland: The Scarecrow Press, 2011, p.92, 106, 117-118, 306. Gould, Claudia; Smith, Valerie. 5000 Artists Return to Artists Space: 25 Years. New York: Artists Space, 1998 p.299.

Gale Group. Bibliographic Guide to Music 2000. : G. K Hall & Company, 2001, p.52. Hinkle-turner, Elizabeth. Women Composers And Music Technology in the United States: Crossing the Line. London: Ashgate Publishing, 2006.

Katz, Steve. Time's Wallet, Volume 1. Denver, Colorado: Counterpath Press, 2010, p127.

Kole, K.C. Something Incredibly Wonderful Happens: Frank Oppenheimer and His Astonishing Exploratorium. Chicago, Illinois: University of Chicago Press, 2012, p313. Kuhn, Laura. Baker's Biographical Dictionary of Music and Musicians, Centennial Edition (ninth). New York: Schirmer Books, 2001.

Leopoldseder, Hannes; Schöpf, Christine; and Stocker, Gerfried. Ars Electronica 1979-2004: The Network For Art, Technology And Society. Ostfildern, Hatje Cantz Verlag, 2005, p.291. Martin, Bill. Avant Rock: Experimental Music from the Beatles to Bjork. Chicago: Open Court Publishing Company, 2002, p.129. Nicholls, David. The Cambridge Companion to John Cage. Cambridge University Press, 2006, pp. 245, 249. Pasternak, Anne. Creative Time: The Book. Princeton Architectural Press, 2007, p.267.

Schenck, Christian; Leopoldseder, Hannes; and Schöpf, Christine. Cyberarts: International Compendium Prix Ars Electronica. Basel, Birkhäuser, 1997, p.197.

Annie Gosfield bibliography p.2 Wilkins, Margaret Lucy. Creative Music Composition: The Young Composer's Voice. London: Routledge, 2006, p.265. Watson, Ben. Derek Bailey and the Story of Free Improvisation. London: Verso, 2004, p.310.

FEATURE-LENGTH INTERVIEWS AND ARTICLES Cahill, Greg: “Bring on the Noise.” Strings Magazine. April 2005.

Cowley, Julian: “Music Out of the Moon.” The Wire. May 2005.

Feisst, Sabine: “Komponieren mit urbanen Klängen" ("Composing with Urban Sounds"). MusikTexte, issue 115. November, 2007, p.5-15.

Gelt, Jessica: “‘War of the Worlds’ to invade Disney Hall and the streets of downtown L.A.” Preview of opera and interview with and Christoper Rountree. The Times. 8 November 2017

Hanssen, Frederik: “Lausche wild & gefährlich” (“Listen wild and dangerous”) profile on the composer and preview of 2012 MaerzMusik portrait concert. Der Tagesspiegel, Berlin, Germany. 17 March 2012.

Hanssen, Frederik: “Creating Art from Noise: Composer Annie Gosfield shows how it’s done in Berghain” profile excerpted from Der Tagesspiegel. The Berlin Journal. Issue #23. Fall 2012.

Hewett, Ivan: “Annie Gosfield: inspiration from the messages of the Resistance: Annie Gosfield tells Ivan Hewett how her latest work was shaped by the wartime exploits of her piano teacher.” The Telegraph (London) 9 November 2011.

Kojić, Zorica: “I look forward to listening to the Serbian metal” (“Radujem se slušanju srpskog metala”). Interview and concert preview from Belgrade, Serbia. Danas. 14 May 2013. http://www.danas.rs/danasrs/kultura/radujem_se_slusanju_srpskog_metala.11.html?news_id=260718

Oteri, Frank: “Annie Gosfield: Ghosts in the Machine.” NewMusicBox. February, 2007.

Schweitzer, Vivien: “Annie Gosfield, Scoring the Music of Machines.” In-depth profile and interview about Gosfield's past in factories, punk clubs, and the influence of found sources, improvisation, coffee, whiskey, technology and mortality. The New York Times. 2 September 2015.

Uitti, Frances-Marie: “A Three Way Talk: Interview with Roger Kleier and Annie Gosfield.“ Contemporary Music Review, Volume 25. London: Routledge, 2006, p.603-612.

REVIEWS Anderberg, Thomas “Nutida konstmusik” ("Contemporary art music"). Review of "Almost Truths and Open Deceptions" in Swedish. Dagens Nyhede, Stockholm, Sweden. 14 November 2012.

Carl, Robert: “ All-Stars.” Review of "The Manufacture of Tangled Ivory". Fanfare. September/ October 1996.

Carl, Robert: “Gosfield.” CD review of “Burnt Ivory and Loose Wires.” Fanfare. March/April 1999.

Carl, Robert: “Gosfield.” CD review of “Flying Sparks and Heavy Machinery.” Fanfare. July/August 2002.

Colter Walls, Seth: “Review: A ‘Fake News’ Opera on the Streets of Los Angeles" review of “War of the Worlds” performed by the . The New York Times. 13 November 2017. Annie Gosfield bibliography p.3 Colter Walls, Seth: “The 25 Best Classical Music Recordings of 2017" review of “Unbound” featuring “The Blue Horse Walks on the Horizon” by the Jasper String Quartet. The New York Times. 13 December 2017. Cowley, Julian: “Annie Gosfield.” Concert review of "EWA7" at King's Place, London. The Wire. March 2009.

Cowley, Julian: “Almost Truths and Open Deceptions.” CD Review. The Wire #344. October 2012. da Fonseca-Wollheim, Corinna: “Review: Annie Gosfield Makes Machines Hum in ‘Electric Sweepers and Vacuum Creepers’.” Review of performance at The Stone, New York. The New York Times. 8 September, 2015 da Fonseca-Wollheim, Corinna: “Monica Germino Puts Electronics and Violin Together, and Myriad Sounds Ensue.” Concert review of “Long Waves and Random Pulses” at the Austrian Cultural Forum New York. The New York Times. 16 June 2013.

Gann, Kyle: “Consumer Guide.” CD review of “Burnt Ivory and Loose Wires.” Village Voice. 17 August 1999.

Gann, Kyle: “Framing Wallpaper.” Concert review of "The Manufacture of Tangled Ivory." Village Voice. 24 March 1998.

Gann, Kyle: “Orchestral Maneuvers.” Concert review of "Lost Night." The Village Voice. 26 December 1998.

Gann, Kyle: “Rattling the Stones.” Concert review of "EWA7" at the Brooklyn Anchorage. Village Voice. 6 September 2000.

Gardner, Alexandra: "Sounds Heard - Annie Gosfield Almost Truths and Open Deceptions." CD review. NewMusicBox 9 October 2012. http://www.newmusicbox.org/articles/sounds-heard-annie-gosfield-almost-truths-and-open-deceptions/

Goldsmith, Kenneth: “Burnt Ivory and Loose Wires.” CD review. New York Press. 30 December 1998.

Kojić, Zorica: “Fantazmagorija postanja” (“Phantasmagoria of Genesis”). Concert review from Belgrade, Serbia. Danas. 19 May 2013. http://www.danas.rs/danasrs/kultura/fantazmagorija_postanja.11.html?news_id=261013

Kors, Stacey: “Making Up Their Minds.” Preview of Otherminds festival/interview. SF Weekly. 15 March 2000.

Kozinn, Allan: “Out of Static and Bleeps Can Come, Yes, Melodies.” Concert review, Merkin Concert Hall. The New York Times. 5 May 2007.

Kozinn, Allan: “The Sound of the New Is Heard All Over.” Best of 2007 citing Merkin Concert Hall performance. The New York Times. 23 December 2007.

Kozinn, Allan: “And Now They Sing the Fiddle Electric.” Concert review of Cornelius Dufallo performing “Lost Signals and Drifting Satellites.” The New York Times. 30 November 2009.

Kozinn, Allan: “Making Music Out of Uncracked Codes and a Factory’s Din.” Portrait concert review, The Stone. The New York Times. 8 August 2010.

Lozaw, Tristram: “12th Annual Bang on a Can Summer Festival Marathon” Concert review of “Almost Truths and Open Deceptions.” Rolling Stone. 8 August 2013.

Melcher, Kristina: “Gosfield Redefines the Art of Noise.” Concert review from the Santa Fe Chamber Music Festival. The Santa Fe New Mexican. 1 August 2002.

Annie Gosfield bibliography p.4 Mermelstein, David: “‘War of the Worlds’ Review: The Invasion Takes LA" Review of “War of the Worlds” performed by the Los Angeles Philharmonic. The Wall Street Journal. 15 November 2017. Millett, Naomi: “The Music Factory.” Concert review. The West Australian Today. 12 May 2000.

Oestreich, James R: “After all the Hoopla, Balloons and Electronics for Schubert? Why Not?” Concert review of the Alternative Schubertiade. The New York Times. 22 September 1997.

Oestreich, James R: “Long-Distance Love Affair in Santa Fe.” Overview of Santa Fe Chamber Music Festival. The New York Times. 30 July 2002.

Pareles, Jon: “Of Songs, Stories and WikiLeaks: Laurie Anderson Gets Political at River to River Shows.” Concert review of Laurie Anderson at the River to River Festival (with a performance by Annie Gosfield). The New York Times. 21 June 2013.

Platt, Russell: "Classical Notes: Close Encounters." Review of "Almost Truths and Open Deceptions" CD. The New Yorker 1 April 2013.

Punt, Rodney: “Annie Gosfield in Concert - The Industrial Age Goes Avant-Garde." Portrait concert review from Los Angeles. The Huffington Post. 5 October 2010.

“Perfect Pitch.” Concert review of "Brooklyn, October 5, 1941." Sports Illustrated. 9 February 1998.

Potter, Keith: “Minds at play in ‘Frisco Bay.” Concert review of the Otherminds Festival. The Independent [London]. 27 May 2000.

Rosenberg, Marion Lignana: “An Ethereal Mix of Satellite Sounds and Violin.” Concert review from The Stone, New York City. Newsday. 21 June 2005.

Ross, Alex: "True West: California Operas by John Adams and Annie Gosfield." Review of "War of the Worlds” performed by the L.A. Philharmonic. The New Yorker 11 December 2017.

Schmid, Rebecca: "New Releases: Almost Truths and Open Deceptions." Musical America. 27 July 2012. http://www.musicalamerica.com/mablogs/?p=6287

Schweitzer, Vivien: “Microtonal Fluctuation in Moods of All Colors.” Concert review of Flux Quartet performing "Lightheaded and Heavyhearted." The New York Times. 14 March 2010.

Schweitzer, Vivien: “Conversations With Sondheim And His Melodies.” Concert review of Anthony DeMare’s Sondheim project at Symphony Space. The New York Times. 11 March 2013.

Schweitzer, Vivien: “Experimental Interludes: At the Stone, the Flux Quartet Flexes Its Muscles.” Concert review of the Max Mandel and Eric Huebner performing “Tenacious Friction and Swerving Conviction” at The Stone. The New York Times. 29 May 2014.

Schweitzer, Vivien: “A Different Way to Jam: Annie Gosfield’s ‘Signal Jamming and Random Interference.” Concert review of the JACK Quartet performing a portrait concert of Gosfield’s music at Roulette. The New York Times. 8 December 2014.

Seibert, Brian: “A Meet-Up of Freedom, Innovation and Intensity: ‘The Spectators’ at New York Live Arts.” Review of Pam Tanowitz Dance with "Lightheaded and Heavyhearted" performed live. The New York Times. 16 May 2013.

Annie Gosfield bibliography p.5 Sheehy Hoover, Joanne: “Program Takes Music to the Brink of Noise.” Concert review from the Santa Fe New Music Festival. The Sunday Journal [Santa Fe, New Mexico]. 28 July 2002.

Smith, Ken: “Gosfield.” CD review of “Lost Signals and Drifting Satellites.” The Gramophone. June 2005.

Smith, Steve: “On a Swaying Barge, a Little Rice-Bowl Music.” Concert review of Real Quiet performing “Wild Pitch” at Bargemusic. The New York Times. 19 September 2008.

Smith, Steve: “Laptop and Piano, Dispelling Traditions.” Concert review of Sarah Cahill performing “Five Characters Walk Into a Bar.” The New York Times. 4 August, 2010.

Smith, Steve: “A Little Bit of Europe Big Enough for New York: Moving Sounds Festival at the Czech Center.” CD release concert review. The New York Times. 16 September 2012.

Strini, Tom: “Performance Evokes Painful Emotions with Beautiful Music.” Concert review of "Smoking and Drifting" at the Milwaukee Art Museum. Milwaukee Journal Sentinel. 13 January 2002. Swed, Mark: “Aron Kallay experiments, triumphs in Piano Spheres' 'Nothing Is Real.'” Concert review of Aron Kallay performing “Brooklyn, October 5, 1941” The Los Angeles Times. 17 December 2014. Swed, Mark: “Mirga Grazinyte-Tyla takes the lead in an inspired women’s night with the L.A. Phil.'” Concert review of the Green Umbrella premiere of “Refracted Reflections and Telepathic Static" performed by Christina and Michelle Naughton. The Los Angeles Times. 2 March, 2016. Swed, Mark: “‘War of the Worlds’: Delirious opera rises from the death and destruction of L.A.” Review of “War of the Worlds” performed by the Los Angeles Philharmonic The Los Angeles Times. 13 November 2017. Tommasini, Anthony: “Still Music to the Ears, but From Odd Sources.” Concert review of Michael Nicolas performing “Burn Again with a Low Blue Flame” at Bargemusic. The New York Times. 15 January 2015.

Van Peer, René: “Violinist in a dialogue with radio waves” concert review of Monica Germino performing “Long Waves and Random Pulses”. Eindhoven Dagblad (Netherlands). 10 September 2012.

Vidal, José Ignacio: “Annie Gosfield: Bordeando el futurismo sonoro con obras para piano” ("Annie Gosfield: Bordering the futurism sound with piano works"). “Almost Truths and Open Deceptions” CD Review. The Holy Filament (Chile). 7 November, 2012 http://theholyfilament.cl/articulos/annie-gosfield-bordeando-el-futurismo-sonoro-con-obras-para-piano/

Woolfe, Zachary: “A Master of Musical Feedback Turns to Immigration" Preview for performance at YIVO. The New York Times. 26 April 2017. Woolfe, Zachary: “Music in Review: Annie Gosfield.” Portrait concert review of "Daughters of the Industrial Revolution" at The Kitchen. The New York Times. 6 March 2011. Young, Rob: “Lost Signals and Drifting Satellites.” CD review. The Wire. February 2005.

Annie Gosfield bibliography p.6 DISCOGRAPHY

PORTRAIT CD’s “Almost Truths and Open Deceptions” Annie Gosfield, Tzadik 8088, 2012. Wild Pitch performed by Real Quiet (Felix Fan, David Cossin, and Andrew Russo) Phantom Shakedown performed by Annie Gosfield Almost Truths and Open Deceptions performed by Felix Fan, the Flux Quartet, Blair McMillen, David Cossin, Alex Lipowski, and Tony Falanga Daughters of the Industrial Revolution performed by Annie Gosfield, Ches Smith, and Roger Kleier Cranks and Cactus Needles performed by the Pearls Before Swine Experience (Stockholm)

“Lightning Slingers and Dead Ringers” Works for piano performed by Lisa Moore Cantaloupe CA21061, 2011. Lightning Slingers and Dead Ringers for piano and sampling keyboard Brooklyn, October 5, 1941, for piano, baseballs, and baseball mitt Funding from the Argosy Foundation

“Lost Signals and Drifting Satellites” Annie Gosfield, Tzadik 8007, November 2004. Lightheaded and Heavyhearted performed by the Flux Quartet Lost Signals and Drifting Satellites performed by George Kentros The Harmony of the Body-Machine performed by Mentryville performed by Annie Gosfield

“Flying Sparks and Heavy Machinery” Annie Gosfield, Tzadik 7069, 2001. Compositions inspired by Gosfield’s fellowship in the factories of Nuremberg, Germany EWA7 performed by Annie Gosfield, Roger Kleier, Ikue Mori, Jim Pugliese, and Sim Cain Flying Sparks and Heavy Machinery performed by the FLUX Quartet and Talujon Percussion Funding from the Mary Flagler Cary Charitable Trust, The Jerome Foundation, and the Yvar Mikhashoff Fund for New Music.

“Burnt Ivory and Loose Wires” Annie Gosfield, Tzadik 7049, 1998. Nickolaievski Soldat, Freud, The Manufacture of Tangled Ivory, Four Roses, and Blue Serge performed by Annie Gosfield, Roger Kleier, Ted Mook, Jim Pugliese, and Christine Bard Brawl performed by the Rova Saxophone Quartet

COMPILATIONS The Blue Horse Walks on the Horizon performed by the Jasper String Quartet. “Unbound.” New Amsterdam Records in partnership with Sono Luminus, 2017

Rolling Sevens and Dreaming Elevens performed by bassist James Ilgenfritz. “Origami Cosmos.” Infrequent Seams, 2017

Shattered Apparitions of the Western Wind performed by pianist Kathleen Supové. “The Debussy Effect.” New Focus, 2016

Four Roses and a Five Spot performed by cellist Michael Nicolas and Annie Gosfield. “Transitions.” Sono Luminus, 2016

Arrangement of Steven Sondheim's A Bowler Hat performed by pianist Anthony DeMare. “Liaisons: Re-imagining Sondheim for the Piano." ECM, 2015.

Annie Gosfield bibliography p.7 Veve 33 Annie Gosfield interpreting Billy Martin's graphic score. “Wandering.” Billy Martin, Amulet Records, 2015

Hoover Has the Last Laugh? performed by Annie Gosfield. “vs. Interpretation, an Anthology on Improvisation Volume 1.” Agosto, 2015

The Wanton Brutality of a Tender Touch performed by pianist Oni Buchanan. “Savagery and Sophistication.” Velvet Ear Records, 2014

Don’t Bite the Hand that Feeds Back performed by Annie Gosfield "The NYFA Collection: 25 Years of New York New Music.” Innova, 2010. Brooklyn, October 5, 1941 performed by by Jennifer Hymer "Ceci n'est pas un piano." Ambitus Musikproduktion, 2010.

Knuckleduster performed by Gosfield and Roger Kleier “The Night Has Many Hours.” Innova, 2010. Lost Signals and Drifting Satellites performed by Jennifer Choi “Violectrica: Music for Violin And Electronics.” Classical Jam 101, 2009. Brooklyn, October 5, 1941 performed by Blair Mcmillen “Powerhouse Pianists.” American Modern Ensemble AMR, 2008. A Sideways Glance from an Electric Eye performed on the virtual Rhythmicon by Annie Gosfield “The Art of the Virtual Rhythmicon” a CD of works composed for an electronic version of Henry Cowell’s Rhythmicon. Innova, 2006. Marked by a Hat, performed by Marco Cappelli “The Extreme Guitar Project” a CD of commissioned works from Downtown New York Composers for Marco Cappelli. Mode, 2006. Contributions to There and Back Again (2006) and Twice Around the Earth (2005) compilations of environmental recordings released on ReR, produced as part of “Out of the Blue Radio.” All is Encompassed in the Night a new piece made from Art Bears multi-track masters “Art Bears Revisited’ part of “Art Bears: The Art Box.” ReR, 2004. Second Avenue Junkman, performed by Annie Gosfield, Roger Kleier, and Greg Cohen “Irving Stone Memorial Concert.” Tzadik, 2004. Five Will Get You Seven performed by Zeitgeist “If Tigers Were Clouds.” Innova, 2003. Cranks and Cactus Needles performed by The Pearls Before Swine Experience “Swine Live!” Caprice Records (Sweden), 2003 The Manufacture of Tangled Ivory performed by the Bang on a Can Allstars “Bang on a Can Classics.” Cantaloupe Records, 2002.

Cobra composed by John Zorn. With John Zorn, Susie Ibarra, Cyro Baptista, Derek Bailey, Erik Friedlander, , Jennifer Choi, Sylvie Courvoisier, Jamie Saft, Ikue Mori, Marcus Rojas, Josh Roseman, Trevor Dunn. Tzadik, 2002 Brooklyn, October 15, 1941 (one-minute version) performed by pianist Guy Livingston “Don’t Panic: Sixty Seconds for Piano.” Wergo (Germany) and Harmonia Mundi (USA), 2001. Manual Labor Pains performed by Annie Gosfield “State of the Union 2001” a compilation curated by Elliott Sharp. EMF, 2001.

Annie Gosfield bibliography p.8 Chambers Street and Woodside Meteor composed and performed by Gosfield and Roger Kleier. On Roger Kleier’s “Deep Night, Deep Autumn.” Starkland, 2001. Cram Jin Quotient performed by Gosfield on a CD of contemporary interpretations of Schubert “An Alternative Schubertiade” Compilation. CRI, 1999. The Manufacture of Tangled Ivory performed by Annie Gosfield, on a CD featuring compositions that received awards and honorable mentions from the 1997 Prix Ars Electronica competition “Prix Ars Electronica” Compilation. ORF, (Österreichischer Rundfunk/Austrian Radio) 1997. Blue Serge performed by Annie Gosfield on a CD created for an installation in Amsterdam “Bring Your Own Walkman” Compilation. Staalplaat, 1997. The Manufacture of Tangled Ivory performed by the Bang on a Can Allstars “Cheating, Lying Stealing.” Sony Classical, 1996.

Don’t Scrap Freedom performed by Annie Gosfield on a compilation curated by Elliott Sharp “State of the Union” Compilation. Atavistic, 1996.

Updated 16 December 2017

Annie Gosfield bibliography p.9