( CHOWNING 'S MUSIC PROJECT

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Proposal for Research Project "-* in

COMPUTER GENERATED MUSIC

AND

ACOUSTICAL ANALYSIS

September 1966 - June 1970

Proposed by

Leland Smith, Associate Professor of Music

John Chowning, Lecturer in Music

Department of Music

School of Humanities and Sciences

Stanford University

February 11, 1966 APPROVAL SIGNATURES

Leland Smith Associate Professor of Music

W. L. Crosten Professor of Music and Executive Head of Department of Music

For the University TABLE OP CONTESTS

Abstract i Purpose of Project 1 Research Areas 3 Personnel 8 Budget 10 Appendix I Existing System and Work Appendix II Curricula Vitae 1

ABSTRACT

The Music Department of requests a grant in support of a research project involving application of scientific procedures and tools to music. Specifically, the grant would be used to develop and support an already existing computer based sound studio that will be equally effective in acoustical analysis and as a compositional medium. The initial grant is requested for a period beginning September, 1966 and ending September, 1970. 1

PROPOSAL FOR RESEARCH PROJECT IN COMPUTER GENERATED MUSIC AND ACOUSTICAL ANALYSIS

Leland Smith and

Purpose of the Project

For a number of years there has been a rapidly growing awareness of the vast possibilities offered to the musician through the production of computer generated sound. Sophisticated computers such as the IBM 7090 have become recognized as the most powerful tools yet developed for acoustical studies, the generation of sound used in electronic music, and even the development of the compositional procedures themselves that are especially well adapted to electronic media. The first step in realizing the full potential of computer generated music must be the development of practical methods of acoustical analysis so that known musical sounds may be readily synthesized. The establishment of a "catalogue" of programs for the simulation of conventional musical instruments and other "natural- sounds would serve as a point of departure for the programming of the limitless variety of sounds that may be produced by the computer. While acoustical analysis may be done in other ways it is apparent that when computers are utilized for this task the results produced will be of far greater accuracy than any others previously achieved. Work is currently being done here in the production of artificial reverb- eration. This is of great importance to electronic music since its "environment- must largely be self-contained. Detailed analysis of reverberation in connection with conventional music in its natural environment is clearly necessary. The out- come of such acoustical studies must surely prove important for related musical fields such as instrument construction, concert hall architecture, etc. In the basic program for computer generated music, as developed by at Bell Telephone Laboratories, the computer is used to generate samples of a desired sound-pressure wave. The samples are then passed through a digital to analog converter and recorded on magnetic tape. This use of the computer as a sound generator not only allows the composer a precise control of timing and wave form, but it also offers him a facile means of experimentation with complex programmed' circuits which would be prohibitively expensive and difficult to use in their analog form. There is also a practical advantage in that the "hardware" is fixed once 2 and for alls computer, D-A converter, and tape recorder. Therefore, the effectiveness of an investment of time and money is not lessened because of obsolescence, for when the present computer is replaced by a newer and faster machine, the basic approach to music generation need not be changed at all.

Quite apart from the use of the computer as a generator of sound is its use ac an aid in compositional procedures. Much work is yet to be done in the deter- mination of just what elements (or parameters) of musical composition can successfully be dealt with by the computer. -It has become commonplace for composers of today to use a kind of mathematical process to provide themselves with a special repertory of musical materials (e.g. a variety of motives and their permutations) for each particular composition. The employment of the computer for this task would not only lead to a great saving of the composer's time but would most likely have a profound influence on his musical thinking. The computer will also greatly faci- litate the solution of problems in regard to tunings of intervals and scales both within our traditional 12 note system and the infinite number of microtonic systems that may be used in computer generated music.

It is obvious that many technical problems will arise whose solution will require advanced knowledge of computer systems. For this reason one of the three research assistants involved will be drawn from the advanced pre-doctoral students in computer science. However this project being primarily directed toward the application of computer science to mußic generation, acoustical analysis, and compositional pro- cedures, the rest of the staff requested will be made up of highly trained musicians who have already attained success in producing music for conventional media. The final value of this project will be assessed as much in terms of the aesthetic quality of the music produced as in terms of the purely technical knowledge gained.

Current Support

Research in the application of computers to musical composition has been done at M. I. T. , Princeton, Illinois, the Bell Laboratories and other locations. At Stanford this work has been pursued during the past two years by John Chowning, Lecturer in Music, and doctoral candidate working in the composition seminar of Professor Leland Smith. Mr. Chowning' s work was supported during the first year by an IBM Fellowship and this year by a Stanford Wilson Fellowship. Other than a small grant for related equipment, there has been no other support for this research at Stanford up to this time. Given the potential of the present and future equipment of the Stanford Computation Center, the research done here thus far in computer generated music, and the active interest of the Department of Music in this research, 3 it is only reasonable to predict that Stanford will become one of the primary centers for the study and practice of the application of computer science to acoustics and the art of music. However this will only be possible if support for a long-range Beries of research projects is forthcoming. Because this represents such a revolu- tionary step in the field of music and the scope of the funds involved, it is unlikely that the sources for 3uch support will be found among those usually associated with university music departments. Rather, it would seem that those sources usually associated with scientific research would be better able to evaluate and provide for the implementation of such projects.

If full advantage is to be taken of the momentum already present in these earliest stages of research and, especially, if the availability of certain key personnel (who might otherwise be forced to take employment elsewhere) is to be assured, it is essential that this project should begin operation in the autumn of 1966.

Research Areas

The project proposed below is conceived as falling into two two-year segments, the first emphasizing research into the potential of the computer for sound generation Bind acoustical analysis and the second emphasizing the development of practical applications of the knowledge previously gained. Of course there will inevitably be much overlapping in these general aims since each series of experiments will ordinarily produce some finished musical product and, later, each new application of the methods developed will raise new problems.

to time-sharing. First two yearsi 1. Adaptation of the music program (1966-67, 1967-68) 2. Research in acoustical analysis: the problem of "listener fatigue" and the simulation of "natural" sounds, reverberation as related to "presence". 3. Development of peripheral programs tc allow more exact realization of the composer's aims.

1. Time-sharing. Until recently an electronic music studio has been conceived as a collection of analog equipment consisting of tape-recorders, wave form generators, mixers, etc. As mentioned above, work during the past few years has shown that certain digital computers are better able to generate classes of acoustical signals. At Stanford, 4

■uaio generation has been done on an IHC 7090 computer. In this work it has bean noted that thera is one great diaadvantage in digital simulation aa oomparad to analog methods. Between the programming of one step in an experiment, its evaluation, and the programing of a second step, there is often a time delay of 24 hours or more. This delay imposes a severe limitation on the efficiency of the experimenter. Since evaluation of oomplex acoustical signals is for the most part subjective, it is generally necessary for the experimenter to have quick access to these signals which are the prime information resulting from any given step.

The most common solution to this problem is a type of real-time music generation (M.1.T., Illinois, Argonne Lab., etc.), where the user is able to monitor and have some degree of control over the signal as the samples are being generated by the oomputer. There are two requirements basic to this approach: first, the user must have complete control of the computer; second, the rate at which the computer cal- culates the samples must not be less than the sampling rate. To work on a complex acoustioal problem such as artificial reverbation (multiple complex delay circuits) in real-time would mean that the user must have complete control of a computer of extraordinary power to generate samples at even a minimally effective rate. Because, this kind of aoceas to a large computer is unrealistic, real-time sound generation is not suitable for the research which we propose to do. From the point of view of composition, real-time access to the 'composed' sounds is of little importance. Composers are trained to mentally retain and manipulate in frequency and time a previously heard timbre. What is important to the composer is to have available in the program a large set of possibilities from which to choose in the development of his basic material.

At Stanford we have the opportunity to develop a system which would preserve the generality of the music program as conceived by Mathews and yet would also allow the solution of complex acoustical problems in quasi real-time. Under the proposed Stanford time-sharing system the user would have access to an IBM System 360 (Model 67) computer, via scope or teletype, simultaneously with 50-100 other users. The system will allow each user to have small amounts of processing time for the solution of his individual computational problem. Ideally, each user will feel that he is in complete control of the computer from his console. In the case of the music program, samples of a sound wave would be calculated by the computer and stored in a peripheral memory device such as a disk-file. The user would then call the samples from memory to the D-A conversion equipment and record the signal on tape. In this 5 way, the acouatioal data would ba available to the uaar from a few seconds to minute aftar each parametric alteration. Although thie method would only be i praotical for 10-15 aeconde of aound at a 10kc aampling rate, this is more than sufficient time for experimental purposes. Having developed the sounds he wishes to use under time-sharing, the user would submit under the 'batch job' system longer sequences of sound (compositions) which would be processed as is currently being done (see appendix I). Thus, under time-sharing, digital simulation of conventional sounds and acoustical environments would be achieved in quasi real- time yet with no reduction in program power.

In either an analog electronic music studio or digital 'studio' only one person can utilize the full potential of the "hardware" or "software", as the oase may be. Under time-sharing, however, one user will be able to work con- currently with a second, each having available the entire resources of the 'studio' with his own individually designed circuitry.

2. Aoouatical analysis. Currently in use at Stanford is a program developed by Raj Reddy under Pro- feaaor John McCarthy's Artificial Intelligence Project, for use in speech synthesis and analysis. One phase of this program is designed to accept an acoustical signal via microphone or magnetic tape, to do a digital to analog conversion, and to perform a Fourier analysis of the signal. The output can be obtained in various forms such as a apeotrum analysis of the frequency components or a scope projection of the attack and deoay characteristics. Clearly, this program ia an invaluable tool in acouatioal analysis and in ita present form much work can be dene in the analyaia of the acoustical properties of conventional musical instruments. With minor changes the program oould be made to perform, for example, an analysis of the reverberation oharacteristies (echo density, etc.) of various acoustical environmenta.

"Liatener fatigue" is a term uaed to expraaa the effect of certain sounds on the liatener. This term ia most often associated with the perception of elec- tronic muaio. Evan in a reasonably accurate aimulation of a conventional instrument, as has been done on the R.C. A. Music Synthesiser, laymen and trained musioians alike complain about the tiresome nature of the sound aa compared to its non- eleotronic counterpart. Thia complaint cannot be eaaily attributed to a simple prejudice against electronic music It is well known that a listener "tires" wary quickly whan lietening to a aine wave, the reaaon being that there is an

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obvious lack of transients. It is also well known that in natural sounds there ia an abundanoe of tranaienta. If electronic muaic ia aver to gain general accept- ance aa muaioally uaaful Bound, it is necessary through simulation of natural sounds to determine the nature of these tranaients, i.e. which are random and/or periodic and to what extent. The data reaulting from experimentation in thia area would ba of paramount importance to the composer whether he was simulating conventional sounds or oreating altogether new ones.

Electronic music is tranamitted by means of a standard audio speaker. Becauae the speaker cone is a fixed point in space, the listener will perceive the sounds aa emanating from that point. In the case of two speakers (atereo) the listener will perceive the sound as emanating from any point on a straight line between the two speakers. In either case there is a noticeable lack of "depth" or "presence" in the sound. The lack of effective control over the acoustical "environment", an important contributor to "listener fatigue", has proven to be one of the major problems in electronic music up to the present time. It can be shown that "presence" is a funotion of reverberation. Therefore, if a precise control of reverberation could be achieved, proper correlation of the reverberated waves and the direct wavee would allow the generation of a sound which appears to emanate from any point on a atraight line of infinite distance behind the apeaker cone.

Basic reaaarch into the nature of reverberation has been done by M.R. Schroeder at Bell Labs. He has formulated the basic requirements for an artificial reverb- erator uaable in digital aimulation. At Stanford we are using his work as a basis for research into the relationship of reverberation and "presence". The ability to locate and relocate aounda continuously in a two dimeneional space would allow the oompoaer vast new poeaibilitiea in creating musical structures.

3* Peripheral programs. Rhythmio articulation in muaic is more akin to kineathetic motion than to atrict mathematical diviaion. A oomputer program which would read an articulated pulae randered on a suitable input device by the compoaer would allow for a much more natural sound in the time domain. It haa already been determined that auch programming ia fairly uncomplicated. Similarly, a program which would allow the oompoaer to draw with a light pen on a scope would expand immenaely the poasibilitiea of defining sound envelopea. 7

two years: Snphasis on the production of music and: (1968-69, 1969-70) 1 . Development of Programming Techniques 2. Cataloguing and Classification of Programs. 3. Development of Notation Systems. 4. Training Composers in the use of Computers.

1. Programming Techniques. Built into the basic sound-generating program is the possibility of defining sub-routines to perform compositional functions such as scaling dynamics and tempi according to an overall time scale. Sub-routines can also be written to actually manipulate the musical material according to the wishes of the composer. An in- vestigation into the possibilities of adapting compositional thought processes to programming methods could lead to entirely new ways of thinking about musical structure. An initial step in this investigation might be the writing of a pyramid of inter-acting compositional sub-routines to which only one would be given direct data. Thus, by altering a small amount of data from run to run, the composer could create vastly different, but totally determined, compositions. The technique gained in such use of sub-routines would then be applied to the development of a procedural language specific to musical purposes.

2. Cataloguing and Classification of Programs. The success of the proposed project would greatly depend on the development of an effective cataloguing system by which program (parameter) listings could be easily matched with the taped examples. Furthermore, all tapes and programs would be classified according to various acoustical properties, e.g. artificial environments, basic wave forms, etc.

3. Notation Systems. It is currently possible for plotters to draw finished scores of the music generated by the computer. The notation is necessarily graphic rather than tra- ditional. However, the tendency in much of the present day composition for conventional instruments has been toward forms of graphic notation where traditional notation has proved inadequate. Clearly, as more advanced compositional ideas are developed, there will be a concurrent need for the further development of pertinent notation systems.

Seco; 8

4. Training Composers. A primary aim of this project is to develop the means whereby the computer may be widely used as the most flexible musical instrument yet devised. In a sense, it will become an instrument upon which the composer "plays" directly. That is, the performance of the music will be precisely determined by the composer indications. It is believed that, ultimately, a composer will need not know any more about the electronic details of a computer in order to write for it as a musical instrument than Bach needed to know about organ building in order to write his great Toccatas and Fugues. To bring this about, a procedural language must be devised with which student composers can be taught to transfer their sound conceptions directly into computer information much as they are now taught the notation of their ideas for conventional instruments.

Personnel Required for Project:

Director of Project: Leland Smith

Research Associate (Assistant Director): John Chowning

Research Associate: Christopher Lantz

Research Assistants (3): One doctoral candidate in Computer Science and two doctoral candidates in Musical Composition. ("£ time to be devoted to this project and ■£ time to regular studies.)

Leland Smith has been teaching at Stanford since 1958. His musical training included several years study with and Roger Sessions (and service as assistant to each of these composers) and study at the Paris Conservatory on a traveling fellowship from the University of . His compositions include works for virtually all musical media and these works have been performed by the , the Orchestra of America () and numerous other musical groups. He has written a book on the detailed analysis of tonal music and a chapter for a book on Anton Webem, who is considered as the primary early influence on composers of electronic music. Leland Smith has received major awards for muaioal composition from the Fromm Music Foundation and the Copley Foundation and is a member of the American Composers' Alliance. He is a performer

on several instrumenta and ia conversant with the laws of acoustics as they apply 9

instruments. While he has to theories of music and the construction of musical the unavailability of the not worked before with electronic media - because of has maintained contact with very expensive equipment necessary for such work - he the music thus produced. the developments of such media throughout the world and generated music has Contact with the work done at Stanford so far in computer sufficient to under- demonstrated that his knowledge of physics and mathematics is a whole is ample stand the nature of the problems involved. This background as preparation for the direction of this project.

then for three years John Chowning studied first at Wittenberg University and Stanford University with Nadia Boulanger in Paris. Since 1962 he has worked at and completed all under Leland Smith. Up to this time he has received an M. A. Musical Arts degree. but a small part of the work required for the Doctor of Department of Music, Over the past two years he has, with the support of the He has independently pursued his interest in electronic music and computers. medium at the Science and given lectures on the significance of this new musical March, 1965 and Humanities Symposium for high school students held at Stanford in is a Lecturer in at the annual Stanford Conference in May, 1965- Mr. Chowning Society for the Performance Music at Stanford and associate musical director of the cultural of Contemporary Music, a major contributor to the San Francisco Bay-area life.

Christopher (Leighton) Lantz studied with Milton Babbitt from 1956 to 1959, the C A. Music during which time he investigated the work being done with R. worked for a Synthesizer. After receiving his B. A. degree from Bard College, he Master's degree at year with a synthesizer at Utrecht, Holland. He received his Musical Arts Stanford in 1962 and will have completed work toward the Doctor of Leland Smith. degree in June 1966. In his work at Stanford he has studied under warmly received in He has composed for almost all media and his music has been co-director of the performances in Europe, New York and the West Coast. He is a year he has Society for the Performance of Contemporary Music. During the past of music. been investigating computer applications to the composition 10

Camputar Generated Music

lana tion of Budget

Part- time technical assistance. The stated sum would serve to oaver the maintenance oast of the required output equipment necessary to sound generation (D-A converter, smoothing filters, multiplexer, tape reoorder). In addition, thia sum would be used to cover the adaptation and design of equipment for special uses such aa the input device required by the program that reads articulated rhythmic pulses.

Travel expenses. Besides the obvious value in attending conferences, it would occasionally be extremely useful to viait other installationa where work iB being carried aut in similar areas. Far example, in our work with digital simulation of reverber- ation many man hours of work and hours of computer time would have been saved had the researcher bean able to spend a few days at the Bell Laboratories observing the work currently being done there in the study of acoustical environ monta.

Spaoial equipment. Two high quality magnetic tape recorders will be required for the project. The four channel Ampex MR 70 would be used to record the signal from the D-A converter, either single channel or multiplexed in two, three, or four channels. To successfully create acoustical environments it will ultimately be necessary to introduce the reverberated signal from at least four speakers surrounding the listener. The AG 350, housed in portable cases, would be used to make single and two channel dubs from the MR 70 and to record test cases in various auditoriums for purposes of analysis. 11

Conputer Generated Music

BUDGET

Ist yr. 2nd yr. 3rd yr. 4th yr. Director of Project Half time, academic year 6,000. 6,300. 6,650. 6,980. Full time, summer (2/9 full-time salary) . 2,667. 2,800. 2,977. 3,103. Research Associate (Assistant Director) Full time, calendar year 10,000. 10,500. 11,025. 11,580.

Research Associate Full time, calendar year 8,000. 8,400. 8,820. 9,260.

Researoh Assistants ($4,200 each) (Two doctoral candidates in music, one in computer science.) Half time, academic year Full time, summer 12,600. 12,600. 12,600. 12,600

Part-time technical assistance 1,000. 1,000. 1,000. 1,000. (adapting programs to available equipment, maintenance of tape recorders, etc.)

Part-time secretarial work 1,000. 1,000. 1,000. 1,000. (aid in preparing reports and accounting)

Total staff costs 41,267. 42,600 44,072 45,523. Staff benefits (9.45) ?t879- 4.004. 4.143. 4.279. $45,146. $46,604. $48,215. $49,802.

Travel expenses 1,500. 1,500. 1,500. 1,500. (to take part in conferences and study other projects)

Special equipment (non-recurring expense) 13,275. -0- -0- -0- Ampex Tape Recorder and accessories AG 350 - - $2,b25. Ampex Tape Recorder MR 70 - 7,650. Installation casts, micro- phones, amplifiers, re- cording tape, related small equipment ------3,000. Computer time 45,000. 45,000. 45,000. 45,000. (200 hra./yr. at $225 per hour)

Indirect coats (based on University's approved provisional rate of 46% of salaries and wages) 18,98?. 19.596. 20.273. 21.041. $123,904. $112,700. $114,988. $117,343. Grand tatal for Four-year Project $468,935. APPENDIX I

The Existing System and Work Accomplished

There are two computers at the Stanford installation on which the project currently depends for music generation. An IBM 7090 is used to generate the samples of the wave form according to the music program. The samples are stored on a disk file to which a smaller computer ( PDP-1) also has access. The PDP-1 calls the samples from the disk at a constant rate (10 or 20 kc) and passes them through a digital to analog converter. The resulting signal is simultaneously passed through a smoothing filter and recorded on magnetic tape. Compared to other installations using the BTL music program this system has an advantage in that the acoustical data can be obtained immediately on completion of the 7090 run. However, a successive run is still dependent on turn-around time.

The work done with this system has been primarily in artificial reverberation and the development of compositional sub-routines. Correspondence with Max Mathews at BTL indicated that very little is known about 'presence' of sound. Inasmuch as 'presence' is one of the basic listener demands, it was decided that this should be a primary area for investigation both for scientific and for aesthetic reasons. It was first determined that a sine wave having only attack and decay transients does suggest its position in space as the listener moves toward and away from the loud speaker in an auditorium. This suggests that 'presence' is a function of the acoustical environment rather than of the sound itself. Simulations of re- verberated sound have been tried using single delays, single delays with multiple tap points, and currently a reverberation circuit developed by Manfred Schroeder at BTL.

Sub-routines have been developed which allow complex musical situations, involving many programmed 'instruments', to be controlled by only 10 or 12 para- meters. The oomposer sets the limits of the musical activity and then writes a sub-routine which within these limits converts a few general parameters to specific parameters for each of the many sounds desired. This use of sub-routines has proven to be not only labor saving in the preparation of a musical but useful as a compositional technique. APPENDIX II CURRICULUM VITAE

Leland Smith born August 6, 1925, Oakland, Calif.

Married, three children

Education: 1941 -43 , 1946-47. Studied composition, orchestration, fugue, etc. with Darius Milhaud. University of California 1946-48, A.B. and M.A. degrees. Studied composition with Roger Sessions and musicology with Manfred Bukofzer. Graduated with highest honors; elected to Phi Beta Kappa; awarded three fellowships. Paris Conservatory 1948-49. Studied in class of

Languages: moderate fluency in French, reading knowledge of German

Musical instruments studied: clarinet, saxophone, oboe, violoncello, bassoon, French horn, all keyboard instruments. Extensive professional performance experience as pianist, clarinetist, and bassoonist. Worked with the Chicago Symphony, the San Francisco Symphony, the orchestras of the Chicago and San Francisco Opera Companies and the New York City Ballet, etc., etc.

Teaching: University of California 1950, assistant to Roger Sessions. Mills College 1951-52, summer sessions of 1953, 1956, and 1957, visiting professor autumn 1961. 1952-58. Organized program in teaching musical composition and developed university chamber music concerts. Stanford University 1958 to present. Associate Professor since 1 963 . In charge of Doctoral program in musical composition and additionally has taught a wide variety of classes, ranging from harmony, fugue, and orchestration (including the acoustics of musical instruments), to 19th and 20th century music history and the history of music theory. Organized and participated in numerous concert performances.

Professional memberships: Musicians" Unions Locals 6 and 10; International Society for Contemporary Music, Chicago and Northern California Chapters, served as Chairman, Vice-chairman and member of Board of Directors for several years. College Music Society. International Webern Society (charter member). Elected to Amerioan Composers' Alliance, 1962

Commissions and awards: Mills Collage, commiasion for centennial celebration Fromm Music Foundation, commission for music for Boston Symphony players. Copley Foundation. $1,000 award for work in composition Fulbright Commission, senior research grant to compose in France, 1964-1965. Leland Smith

Partial list of compositions and performances:

Intermexio and Capricoio (piano, 1952) Many performances in New York, Chicago, San Francisco, etc.

Four Etudes (piano, 1952) Many performances

Piano Sonata ( 1954) Chicago, San Francisco (ISCM).

Six Bagatellea and a Fantasy (in progress) (piano)

Concert Piece (violin & piano, 1951 ) San Francisco (iSCM), Chicago and many others.

Sonatina (violin 4 piano 1953) Many performances

Sonata for Heokelphone (or Viola) and Piano (1954) Chicago, Berkeley, Paris (1965)

Divertimento #1 (five instruments, 1949) Oakland (1956)

Divertimento #2 (chamber orch., 1957) Stanford (1961)

String Trio ( 1953) ISCM Chicago and San Francisco. Recorded by Fantasy Records.

Quintet for Bassoon and Strings ( 1956) Seattle and Tanglewood, Mass.

Sonata for Trumpet and Piano ( 1 947) French National Radio and many others.

Trio for Flute, Cello k Piano (1947) Bruaaels, Chicago, Oakland.

Trio for Violin, Trumpet & Clarinet (1948) ISCM New York and others.

Wind Trio (i960) Many performances.

Woodwind Quintet (1950 New York, Chicago (ISCM), etc. Quartet for Horn, Violin, Cello & Piano ( 196 1 ) Stanford, San Francisco (TV).

Sonata for Violin and Harpsichord ( 1965) Stanford, San Francisco (TV)

Three Pacifist Song* (i960) San Francisco, Chicago.

Two Motets (chorus, 1956) Many performances.

Cantata (chorus, soloists, & orchestra or two pianoa, 1948) Chicago, Stanford Leland Smith

Compositions and performances, continued:

Symphony I ( 1 951 ) San Francisco Little Symphony (four performances)

Santa Claus (opera in 5 scenes on a libretto of E. E. Cummings, 1955) Chicago (two performances)

Overture to Santa Claus (1955) San Francisco Symphony, Enrique Jorda, conductor, (4 performances)

Concerto for Orchestra (1956) Orchestra of America, Richard Korn, conductor, Carnegie Hall,N.Y Advice to Young Ladies (women's chorus,clarinet, violin & cello, 1 963) Not yet performed.

Dona Nobis Pacem (large chorus & 13 instruments, 1964) Not yet performed.

Arrangements: Bonporti, Seventh Invention for Violin and Bass ( 1958) Beethoven, Variations on America (symphonic band, 1961) Schubert, Song of the Spirit over the Waters (men's chorus and piano solo, 1960, published by Carl Fischer, Inc.) Also many other arrangements for wind ensembles.

Public Lectures: North Park College (Music and Society). Mills College (3 lectures on the musical activity of composer, performer and listener.) Cornell College (The Work of the Composer). University of California at Davis (The Changing Audience). San Francisco (ISCM) (Webern's Saxophone Quartet). Writings: Handbook of Harmonic Analysis, Stanford University, 1963 . Composition and Pre-ocmposition in the Music of Anton Webern, University of Washington Press, May 1966. John MacLeod Chowning born August 22, 1934, Salem, New Jersey

Married, two children

Education: U. S. Navy School of Music. 1952-53

Wittenberg University. 1955-59, B. of Music degree. Graduated with honors.

Paris. France. 1959-62, studied with Nadia Boulanger. Stanford University. 1962 - . M. A. degree, finishing Doctor of Musical Arts degree

Language: French

Musical instruments studied: violin, piano, percussion instruments, timpanist with the Dayton Philharmonic, Springfield Symphony, Stanford Symphony. Percussionist in many contemporary music performances.

Teaching: Wittenberg University. 1955-59, instructor in percussion.

Stanford University. 1 963-64. Teaching assistant in mueic theory, 1966 - , Lecturer in music.

Professional membership: Associate musical director of the Society for the Performance of Contemporary Music.

Awards: Instrumentalist Magazine: Award for, and future publication of a paper on extended techniques for the traditional percussion instruments

Public Lectures: Stanford University. 1965, on computer generated music, High School Science and Humanities Symposium and at the Stanford Conference Performed Compositions: Piano Sonata ( 1958) Trio (two clarinets and bass clarinet 1957) Inversion (piano, 1959) Music for Chamber Orchestra ( 1 959) Piece for Percussion (i960) ITEM (soprano, piano, cello, percussion, 1962) Two studies for percussion (two players 1 96 3 ) Piece for Orchestra ( 1964) Piece for Three New Instruments (3 players 1965 )