Thomas DeLio

List of Compositions by Year

Most scores available through this website (free download); also, see list of scores by instrumentation.

Several scores available through Smith Publications/Sonic Art Editions (www.smith-publications.com)

1969       

Sonata for Piano (piano solo); ca. 7’.  (withdrawn)

Water, text - Robert Lowell ( soprano, violin, piano); ca.  4’ (withdrawn).

1970     

Media Luna (soprano, 3 Bb cl., vln. vla. vcl.), texts- F. G. Lorca; ca. 6. (withdrawn).

Opus 7 (four instrumentalists and live electronics); indeterminate duration (withdrawn).            

Opus 8 (live electronic installation); indeterminate duration (withdrawn).

Tracings (piano and live electronics); ca. 12-18’ (withdrawn).

1971    

Sonata for piano (on one note); ca. 5'.

The River Merchant’s Wife (2 vln., vla., vcl.);  ca. 5'.

String Quartet; ca. 4’.

Dance Space (dancer and live electronics); indeterminate duration (withdrawn).

Threshold Spaces (live electronics); indeterminate duration (withdrawn).

1972    

A Draft of Shadows, texts - Octavio Paz (soprano, piano, 3 perc); ca. 9'.

Cassandra (chorus SATB, vcl., perc.) text-Robinson Jeffers; ca. 13'.

Chamber Symphony No. 1  (ob., Bb cl. Bb bass cl., 2 Bb tpts., 6 vln, 2 vla., 2 vcl.); ca. 2 ½’.

Chamber Symphony No. 2  (fl., Bb cl., sop sax., hn., C tpt., 4 vln., 4 vla., 4 vcl.); ca. 1 ½’.

1973      

Gestures  (soprano sax., piano); ca. 8' (unavailable).

Traces (fl., Bb cl., alto sax., vln, vla  vcl., piano); ca. 9'.

Marginal Developments  (piano solo); ca. 9'

1974      

Serenade (piano solo); ca. 9'

The Circular Gates (fl., Bb cl., baritone sax., bsn., vln., vcl., pno., speaker (male)); ca. 3 ½’.

1977    

I-VI (ob., Bb cl., alto sax., Bb tpt., 2 Bass cl., 2 bsn.); two sets; ca. 3' per set.

4 Series/I,II,III,IV  (3 Bb cl., 2 vln., 2 vcl.); ca. 3' per series.

1978    

(untitled) installation; Brown University, Providence, RI. (no documentation)

1979    

(untitled) installation; Brown University, Providence, RI.  (no documentation)

Four (8-79) (3 Bb cl., soprano sax., alto sax., tenor sax., 4 vln., 2 vla.); three sets, ca. 3’, per set.

1980    

Five (6-80) (2 Bb cl., Bb Bass cl., soprano sax., alto sax., tenor sax., 6 vln.); ca. 4'.

Five (8-80) (10 vln., 4 vla., 4 vcl.); 5 sets, ca. 4' per set.

1981    

Six (1-81) (Bb cl./Bb bass cl., Bb tpt., 6 vln.); two sets, ca. 4' per set.

Six Variants I (2 fl., alto fl., 3 Bb cl., 12 vln., 2 vla.); eight sets,  ca. 3' per set.

Partial Manifolds (wind ensemble, spread throughout the concert hall), duration variable (withdrawn).

Partial Conjunctions (wind ensemble, spread throughout the concert hall), duration variable (withdrawn).

1982    

Four Variants (4 vls., 4 vla., 4 vcl.); three sets, ca. 2' per set.

Five Variants I (2 fl., alto fl., 3 Bb cl., 6 vln.); three sets, ca. 3' per set.

Six (4-82) (6 vln., 4 vla., 2 vcl.); three sets, ca. 4' per set.

Four (9-82) (3 Bb cl., 4 vln.,  2 vla.); ca. 2'.

1983    

Sequence (piano solo); ca. 8'.

Text (piano solo); ca. 8'.

(untitled) installation; Corcoran Gallery, Washington, DC. (documentation available).

(untitled) installation; Kornblatt Gallery, Washington, DC. (documentation available).

(untitled) installation; UMBC Art Gallery, Baltimore, MD. (documentation available).

Six (1-83) (3 Bb cl., 4 vln., 2 vla.); ca. 4'.

1984    

4 (6 vln.); ca. 2'.

3 (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 1'.

Six Variants II (2 fl., alto fl., 3 Bb cl, 4 vln., 4 vla., 4 vcl.); six sets, ca. 3' per set.

(untitled) installation; Baltimore Museum of Art Baltimore, MD. (documentation available).

(untitled) installation, proposal; UMCP Art Gallery, College Park, MD. (documentation available).

1985    

(untitled) installation; Strathmore Hall, Rockville, MD. (documentation available).

(untitled) installation, proposal; Boston University, Boston, MA. (documentation available).

(untitled) installation, proposal; Washington Project for the Arts, Washington, DC. (documentation available).

Three (5-85) (2 vln., 2 vla., 2 vcl.); ca. 1'.

Five (7-85) (Bb cl., 6 vln.); ca. 2'.

Five Variants II (2 fl., alto fl., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.

Five Variants III (6 vln., 6 vla. 6 vcl.); three sets, ca. 3' per set.

1986    

Against the silence... (perc. ensemble, piano, 4-channel electroacoustic sound);  ca. 20'.

Four (5-86) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.

Four (6-86)  (3 Bb cl., sop.sax., alto sax., ten.sax., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.

Six (7-86)  (Bb cl., Bb tpt., 2 vln., 2 vla., 2 vcl.); three sets, ca. 4' per set.

Four (9-86)  (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.

Five (11-86) (3Bb cl., 4 vln., 2 vla.); ca. 3'

Five (12-86)  (3 Bb cl., 2 vla.); ca. 2'.

1987    

Five (1-87)  (3 Bb cl., oboe, 2 vla.); ca. 2'.

Five (2-87)  (3 Bb cl., 2 vla.); ca. 5'.

contrecoup... (soprano, fl., piano, perc.), text- Stéphane Mallarmé; ca. 9 1/2'.

Transparent Wave (snare drum solo); ca. 2’  Smith Publications.

Five (6-87)  (fl., ob., 3 Bb cl.); ca. 2'.

Five (7-87)  (fl., 3 Bb cl., 2 vln.); ca. 2'.

Four (8-87)  (2 vln., 2 vla., 2 vcl.); ca. 2'.

Five (8-87) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.

Five (11-87) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.

Five (12-87)  (3 Bb cl., Bb tpt., 2 vln., 2 vla., 2 vcl.); ca. 3'.

1988    

Five (1-88)  (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.

Five (2-88)  (3 Bb cl., 4 vln.); ca. 3'.

Five (3-88)  (Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.

Five (5-88)  (3 Bb cl., 2 Bb tpt., tbn.); ca. 4'.

Six (5-88)  (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 4'.

Five (6-88)  (ob., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.

At Briggflatts meetinghouse  (soprano, piano), text - Basil Bunting; ca. 7'  Smith Publications.

the root, the sap (soprano, piano), text – Basil Bunting; ca. 13’.

1989    

One (6-89)  (ob., 3 Bb cl., Bb tpt., 2 vla., 2 vcl.); ca. 2'.

1990    

Bright seaweed reaping (soprano, 3 Bb cl., piano, 2 perc.), text- Cid Corman; ca. 4'.

Two Songs (soprano, 3 Bb cl., 2 perc., piano, harp), texts- Cid Corman; ca. 10' (withdrawn).

anti-paysage  (fl., piano, perc., two-channel electroacoustic sound); ca. 10'.

1991    

Of  (two-channel electroacoustic sound); ca. 3' 

for  (fl., ob., Bb cl., vln., piano, perc.); ca. 2 ¾’.

between  (fl., 3 perc.); ca. 3'.

Than (orchestra: fl., ob., 2 Bb cl., bsn., 2 C tpt., ten. tbn., bass tbn., 4 perc., harp, piano, 4 vln., 4 vla., 4 vcl., 4 cb.); ca. 4'.

1992    

Equinox  (6 voices, 2 dancers, 4 perc.) text – William Bronk; ca. 4'.

as again  (two-channel electroacoustic sound); ca. 6'  

as so  (two-channel electroacoustic sound); ca. 6'.

so on  (two-channel electroacoustic sound); ca. 2' 

not  (piano, perc.); ca. 6'  Smith Publications.

1993    

Though  (piano solo); ca. 5'   Smith Publications.

Five (1-93)  (fl., ob., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.

Transparent Wave II  (piano solo); ca. 1'.

1994    

so again  (two-channel electroacoustic sound); ca. 2'  

on again   (two-channel electroacoustic sound); ca. 3'  

of again    (two-channel electroacoustic sound); ca. 4'  

Pine, Bamboo, Plum   (two-channel electroacoustic sound); ca. 2'.

as though  (percussion solo);  ca. 2'.

1995    

“because the... (two-channel electroacoustic sound); ca. 2'.                            

as though, again  (fl., Bb cl., vln., perc., (one player)); ca. 2'.

as though, so again  (fl., Bb cl., C tpt., vln., vcl., piano, perc.); ca. 2'.

as though / after  (chamber orchestra: fl., ob., Bb cl., bsn., perc.,  6 vln. I, 6 vln. II, 4 vla., 4 vcl.,2 cb.); ca. 5’.

1996    

to make / -as / in-  (two-channel electroacoustic sound) text – Leslie Scalapino; ca. 5'.

que cela se puisse (fl., Bb cl., vln., cb., piano) text- Stéphane Mallarmé; ca. 1' (withdrawn).            

or (ob., 2 Bb cl., C tpt., vln., vcl., 1 perc.); ca. 2'.

1997    

think on parch  (two-channel electroacoustic sound) text – P. Inman; ca. 19'.

though, on  (two-channel electroacoustic sound); ca.2'.

plin,h  (two-channel electroacoustic sound); ca. 1 3/4'.

plin,x  (two-channel electroacoustic sound); ca . 1'.

m,nce  (two-channel electroacoustic sound); ca. 2'.

as in  (string orchestra); ca 2 ½’.

1998    

n,mcr  (two-channel electroacoustic sound); ca. 1'.

nna,c  (two-channel electroacoustic sound); ca. 1'.

“decker”  (two-channel electroacoustic sound) text – P. Inman; ca. 9'.

n,c  (two-channel electroacoustic sound); ca. 1'.

1999    

x,e  (two-channel electroacoustic sound);  ca. 2'.

inc,e  (two-channel electroacoustic sound); ca. 1'.

Transparent Wave III (soprano solo) text- A. R. Ammons; ca. 2'.

Center (soprano solo) texts - A. R. Ammons; ca. 8’.

as though / of (two-channel electroacoustic sound); ca. 5'.

2000    

qu,m  (two-channel electroacoustic sound); ca. 2'.

qu,r  (two-channel electroacoustic sound); ca. 2'.

z,rb  (two-channel electroacoustic sound); ca. 2'.

Center / s  (two-channel electroacoustic sound); ca. 4'.

Transparent Wave IV  (marimba solo); ca. 2'  Smith Publications.

Transparent Wave V  (cello solo); ca. 4'.

2001   

et ainsi  (soprano, fl., ob., Bb cl., C tpt., ten. tbn., vln., vcl., piano, 2 perc.), texts – Stéphane Mallarmé; ca. 9'.

ce,lf   (two-channel electroacoustic sound); ca. 1'.

cel,f, (two-channel electroacoustic sound); ca. 1'.

,c,el,f  (two-channel electroacoustic sound); ca. 1'.

2002    

amounts. to., text - P. Inman; three versions:

1) amounts. to. (installation version; score and three stereo .wav files); plays continuously over several days.

2) amounts. to. (CD version; stereo .wav file); ca. 17’.

3) amounts. to. (concert version; four mono .wav files); ca. 30’.

2003    

so, between (fl., Bb cl., vcl., piano, perc.); ca. 2'.

Belle-Isle I-IV  (two-channel electroacoustic sound); ca. 7'.

wave / s  (percussion solo), based on Transparent Wave IV; ca. 4'.

Transparent Wave VI  (vibraphone solo); ca. 2'.

2004     

e/ede  (3 Bb cl., ob., bsn., C tpt., piano, vln., vla., vcl.); ca. 3'.

e,nm  (fl., cl., vln., vcl., perc.); ca. 2'.

Iol  (piccolo, Bb cl. Eng. Hn., Bb tpt., 2 vln., 2 vla.); ca. 2'.

Ilil  (4 vln., 4 vcl.); ca. 2'.

alomn  (Bb cl., 2 vln., 2 vla.); ca. 2'.

Zilahn  (two-channel electroacoustic sound); ca. 3'.

2005    

IV-VIII (Bb clarinet and string quartet); 2 ½’.

qu’un espace / sépare (soprano solo, percussion ensemble); ca. 5 ½’.

mn, s  (fl., cello); 1 ¾’.

Song: “Foxrock near Dublin…” (electroacoustic sound, 5.0 surround), text – P. Inman; 8’.

2006    

onnh I (fl., Bb cl. doubling bass cl., vln., vcl., piano, perc.); 2’.

onnh II (fl., ob., Bb cl. doubling bass cl., vln., vla., vcl., piano, perc.); 2’.

transients / waves (percussion solo), based on Transparent Wave VI; 4’.

transients / images (percussion, piano), based on Transparent Wave VI; 5 ½’.

transients / resonances (fl., Bb cl., vln., vcl., perc., piano), based on Transparent Wave VI; 5 ½’.

XV-XXI  (3 Bb cl. vln., vcl., perc.); ca. 3 ½’.

XI-XV  (Bb bass cl., Bb tpt., vln, vla., vcl.); ca. 2 ½’.

XIII-XVII (ob., Bb cl., Bb bass cl., C tpt., vln., vla., perc.); ca. 2 ¼’.

2007   

Transparent Wave VII (saxophone solo); ca.  1 ¾’.

Transparent Wave VIII (percussion solo); ca. 1 ¼’.

…zwischen den Worten  (electroacoustic sound, 5.0 surround, also available in stereo), texts – Paul Celan; ca. 8 ½’.

- en / l’espace de… (XXVI-XXX) (soprano and chamber orchestra); ca. 2 ¼’.              

XXIII-XXVII (two-channel electroacoustic sound); ca. 3’17”.

2008   

ylm, n (XX-XXV) (ob., 3 Bb cl./1 doubling bass cl., soprano sax., alto sax.,  vln., vla.); ca. 3’.

cs, s (XIV-XVII) (ob., Bb cl., vln., vla.); ca. 1 ¾’.

sc, s (X-XIII) (ob., Bb. Cl., soprano sax., vln., vla.); ca. 1 ¾’.

lymn (XXX- XXXIV) (fl., ob., Bb cl., bsn., 2 vln., vla., vcl.); ca. 1 ½’.

XXXII- XXXVI (fl., ob., Bb cl., bsn., 2 vln., vla., vcl.); ca. 1 ½’.

Sakuteiki (XXII-XXIV) (two-channel electroacoustic sound); ca. 6’

2009   

Five Pieces for Piano (piano solo): ca. 4’.

for string orchestra (10 vln., vla., vcl.): ca. 1 ¾’.

folium (Bb cl., ob., soprano sax., 10 vln., vla., vcl.); ca. 5’.

…that light (soprano solo); texts Cid Corman; ca. 6’.

Trio (vln, vcl, piano); ca. 8’.

Five Pieces for Clarinet and Percussion (Bb cl., perc.-1 player); ca 4’ (withdrawn).

Five Pieces for Cello and Percussion (vcl.., perc.-1 player); ca 4’ (withdrawn).

2010    

sam, text by P. Inman, three versions:

1) sam (installation version; 4 mono .wav files and multiple HDTV Widescreen TVs); plays continuously over several days.

2) sam (version for single HDTV Widescreen TV and stereo .wav file); ca. 17’.

3) sam (concert version; 5.0 surround); ca. 17'.

jeu de timbres (percussion solo); ca. 6'.

transients / interferences (fl. doubling picc. and bass fl., gtr., vln., perc. 1 player); ca. 5'.

2011     

Quatre Petites Mélodies (1920), composed by Erik Satie (orchestrated by Thomas DeLio); 3'.

transients / refractions (orchestra); 5 1/2'.

et avant / image (flute solo, 9 perc.); ca. 7'. (also 6 perc. version)

et avant / image / aussi (fl., ob., Bb cl., alto sax., C tpt., tenor tbne., 9 perc.); ca. 7'.

et avant / image/ l'autre (fl., ob., Bb cl., alto sax., C tpt., ten. tbne., 4 vln., 4 vla.,4 vcl.,9 perc.); ca. 7'.

…that light… (sop., fl., Bb cl., C tpt., vln., vcl, perc. (1 player)); texts Cid Corman; ca. 6’.

2012    

…à l’autre, ainsi (piano, chamber orchestra); ca. 6 ¾’.

2013    

…sound / shivering / silence (percussion solo); ca. 9’.

anti-paysage II (two-channel electroacoustic sound); ca. 7 ¾’.

aengus, text by P. Inman, three versions:

1) aengus (installation version; six mono .wav files); plays continuously over several days. 

2) aengus (CD version; stereo .wav file); ca. 31 ½’.

3) aengus (concert and DVD version; 5.0 surround); ca. 31 ½’.

Song: “aengus” (two-channel electroacoustic sound), text P. Inman; ca. 5 ¼’.

2014     

…sound / shivering / silence II (percussion quartet); ca. 12’.

après  Belle-Isle (two-channel electroacoustic sound); ca. 2’.

Hörreste (Soundscrapes)  (two-channel electroacoustic sound); ca. 4 ½’.

In Prag  (In Prague) (two-channel electroacoustic sound); ca. 6 ¾’.

Sakuteiki (electroacoustic sound, 5.0 surround); ca. 6’.

Schaufäden (Sight Threads)  (two-channel electroacoustic sound); ca. 3’.

Sichtbar (Visible)  (two-channel electroacoustic sound); ca. 5’.

Vorflut (Outfall)  (two-channel electroacoustic sound); ca. 1 ½’.

Weissgrau (Whitegray)  (two-channel electroacoustic sound); ca. 4 ½’.

2015   

inents (electroacoustic composition in 7 parts, some two-channel and some 5.0 surround and one with video); ca. 70’.

…sound / shivering / silence III (percussion sextet); ca. 15’

Three Songs (soprano and orchestra); texts – Stéphane  Mallarmé; ca. 5’

2016     

et absence (violin solo and percussion ensemble); ca. 7’.

Spüren (Traces) (two-channel electroacoustic composition); ca 5’.

Trois Visages (flute, violin and soprano soloists and percussion ensemble; texts – Stéphane Mallarmé; ca. 21’.

2017     

by parch reading (two-channel electroacoustic composition); ca. 7’.

limn (two-channel electroacoustic composition); ca. 3’.

Sherds (two-channel electroacoustic composition); ca 3’.

…klingend (piano solo); ca. 10’.

…klingend II (piano and percussion); ca. 10’.

2018    

…klingend III  (piano and chamber ensemble); ca. 10’.

String Quartet; ca. 8 ½’.

Transparent Wave IX (bass flute solo); ca. 2’20”.

Transparent Wave X (viola solo); ca. 2’11”.

inents (sound installation: ten-channel electroacoustic composition; speakers graduated in size and curved speaker stands also graduated in size); text by P. Inman; plays continuously over several days.

2019    

from this condensery (solo soprano); texts – Lorine Neidecker; ca. 5 ½’.

Passages (flute doubling piccolo and bass flute and four percussionists); ca. 8’.

Passages II (flute doubling piccolo and bass flute, four percussionists and string trio); ca. 8’.

Ludions ((chamber orchestra); original by Erik Satie, 1923; orchestrated by Thomas DeLio); ca. 4’.

Diptych (two-channel electroacoustic composition) in two parts; part 1, 2’20”; part 2, 2’35”.

India, (two-channel electroacoustic composition) in three parts: Chennai, Jaipur and Kashi; each 5’.

Sinnfäden (two-channel electroacoustic composition) in seven parts; part 1, 1’41”; part 2, 2’00”; part 3, 1’31”; part 4, 2’17”; part 5, 1’16”; part 6. 3’36”; part 7, 1’56”.

2020    

Tangier (two-channel electroacoustic composition); I, 2’10”; II, 2:10; III, 2:10; IV, 2:10.

from this condensery II (soprano and percussion quartet); texts - Lorine Neidecker; ca 9’.

Trois Mélodies ((mezzo-soprano and chamber orchestra); original by Erik Satie, 1916; orchestrated by Thomas DeLio); texts - Léon-Paul Fargue, Mimi Godebska, and René Chalupt); ca. 4’.

Transparent Wave XI (Bb clarinet); 2’49.5”.

nishaan (two-channel electroacoustic composition); nishaan (May 2020), 3’20”; nishaan (July 2020), 50”; nishaan (October 2020), 1’31”.

2021    

Transit (chamber ensemble); 8’30”.

alama (two-channel electroacoustic composition); alama (January, 2021 a), 47”; alama (January, 2021 b), 47”; alama (January, 2021 c), 47”.

dấu (two-channel electroacoustic composition); dấu (March, 2021) a, 1’30”; dấu (March, 2021) b, 1’30”.

işharet (two-channel electroacoustic composition); işharet (July, 2021), 2’20”; işharet (August, 2021), 2’41”.

and of of (two-channel electroacoustic composition); 10’30”.

Transparent Wave XII (Trumpet in C); 3’16”.

2022

anti-paysage III (chamber ensemble); 5’45”.

2023

a content_of echo (two-channel electroacoustic composition); 15’14”.

anti-paysage IV (two-channel electroacoustic composition); 10’01”.

…sound / shivering / silence IV (percussion sextet); 17’30”.

List of Compositions by Instrumentation

Most scores available through this website (free download); also, see list of scores by year.

Several scores available through Smith Publications/Sonic Art Editions (www.smith-publications.com)

SOLO INSTRUMENT

Sonata for Piano (piano solo); ca. 7’ (1969, withdrawn).

Sonata for piano (on one note); ca. 5' (1971).

Marginal Developments  (piano solo); ca. 9' (1973).

Serenade (piano solo); ca. 9' (1974).

Sequence (piano solo); ca. 8' (1983).

Text (piano solo); ca. 8' (1983).

Transparent Wave (snare drum solo); ca. 2’ (1987) Smith Publications.

Though  (piano solo); ca. 5' (1993) Smith Publication.

Transparent Wave II  (piano solo); ca. 1' (1993).

as though  (percussion solo);  ca. 2' (1994).

Transparent Wave IV  (marimba solo); ca. 2' (2000) Smith Publications.

Transparent Wave V  (cello solo); ca. 4' (2000).

wave / s  (percussion solo), based on Transparent Wave IV; ca. 4' (2003).

Transparent Wave VI  (vibraphone solo); ca. 2' (2003).

transients / waves (percussion solo), based on Transparent Wave VI; 4’(2006)  .

Transparent Wave VII (saxophone solo); ca.  1 ¾’ (2007).  

Transparent Wave VIII (percussion solo); ca. 1 ¼’ (2007).

Five Pieces for Piano (piano solo): ca. 4’ (2009) .

jeu de timbres (percussion solo); ca. 6' (2010).

…sound / shivering / silence (percussion solo); ca. 9’ (2013).

…klingend (piano solo); ca. 10’ (2017).

Transparent Wave IX (bass flute solo); ca. 2’20” (2018).

Transparent Wave X (viola solo); ca. 2’11” (2018).

Transparent Wave XI (Bb clarinet); 2’49.5” (2020).

Transparent Wave XII (Trumpet in C); 3’16” (2021).

CHAMBER MUSIC (mixed ensemble without voice)

Opus 7 (four instrumentalists and live electronics); indeterminate duration (1970, withdrawn).        

Opus 8 (live electronic installation); indeterminate duration (1970, withdrawn).

Tracings (piano and live electronics); ca. 12-18’ (1970, withdrawn).

The River Merchant’s Wife (2 vln., vla., vcl.);  ca. 5' (1971).

String Quartet; ca. 4’ (1971).

Gestures  (soprano sax., piano); ca. 8' (1973, unavailable).

Traces (fl., Bb cl., alto sax., vln, vla  vcl., piano); ca. 9' (1973).

I-VI (ob., Bb cl., alto sax., Bb tpt., 2 Bass cl., 2 bsn.); two sets; ca. 3' per set (1977).

4 Series/I,II,III,IV  (3 Bb cl., 2 vln., 2 vcl.); ca. 3' per series (1977).

Four (8-79) (3 Bb cl., soprano sax., alto sax., tenor sax., 4 vln., 2 vla.); three sets, ca. 3’, per set (1979).

Five (6-80) (2 Bb cl., Bb Bass cl., soprano sax., alto sax., tenor sax., 6 vln.); ca. 4' (1980).

Five (8-80) (10 vln., 4 vla., 4 vcl.); 5 sets, ca. 4' per set (1980).

Six (1-81) (Bb cl./Bb bass cl., Bb tpt., 6 vln.); two sets, ca. 4' per set (1981).

Six Variants I (2 fl., alto fl., 3 Bb cl., 12 vln., 2 vla.); eight sets,  ca. 3' per set (1981).

Four Variants (4 vls., 4 vla., 4 vcl.); three sets, ca. 2' per set (1982).

Five Variants I (2 fl., alto fl., 3 Bb cl., 6 vln.); three sets, ca. 3' per set (1982).

Six (4-82) (6 vln., 4 vla., 2 vcl.); three sets, ca. 4' per set (1982).

Four (9-82) (3 Bb cl., 4 vln.,  2 vla.); ca. 2’ (1982).

Six (1-83) (3 Bb cl., 4 vln., 2 vla.); ca. 4' (1983).

4 (6 vln.); ca. 2' (1984).

3 (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 1' (1984).

Six Variants II (2 fl., alto fl., 3 Bb cl, 4 vln., 4 vla., 4 vcl.); six sets, ca. 3' per set (1984).

Three (5-85) (2 vln., 2 vla., 2 vcl.); ca. 1' (1985).

Five (7-85) (Bb cl., 6 vln.); ca. 2' (1985).

Five Variants II (2 fl., alto fl., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set (1985).

Five Variants III (6 vln., 6 vla. 6 vcl.); three sets, ca. 3' per set (1985).

Four (5-86) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3' (1986).

Four (6-86)  (3 Bb cl., sop.sax., alto sax., ten.sax., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set (1986).

Six (7-86)  (Bb cl., Bb tpt., 2 vln., 2 vla., 2 vcl.); three sets, ca. 4' per set (1986).

Four (9-86)  (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2' (1986).

Five (11-86) (3Bb cl., 4 vln., 2 vla.); ca. 3' (1986).

Five (12-86)  (3 Bb cl., 2 vla.); ca. 2' (1986).

Five (1-87)  (3 Bb cl., oboe, 2 vla.); ca. 2' (1987).

Five (2-87)  (3 Bb cl., 2 vla.); ca. 5' (1987).

Five (6-87)  (fl., ob., 3 Bb cl.); ca. 2' (1987).

Five (7-87)  (fl., 3 Bb cl., 2 vln.); ca. 2' (1987).

Four (8-87)  (2 vln., 2 vla., 2 vcl.); ca. 2' (1987).

Five (8-87) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3' (1987).

Five (11-87) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3' (1987).

Five (12-87)  (3 Bb cl., Bb tpt., 2 vln., 2 vla., 2 vcl.); ca. 3' (1987).

Five (1-88)  (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2' (1988).

Five (2-88)  (3 Bb cl., 4 vln.); ca. 3' (1988).

Five (3-88)  (Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2' (1988).

Five (5-88)  (3 Bb cl., 2 Bb tpt., tbn.); ca. 4' (1988).

Six (5-88)  (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 4' (1988).

Five (6-88)  (ob., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3' (1988).

One (6-89)  (ob., 3 Bb cl., Bb tpt., 2 vla., 2 vcl.); ca. 2' (1989).

for  (fl., ob., Bb cl., vln., piano, perc.); ca. 2 ¾’ (1991).

between  (fl., 3 perc.); ca. 3' (1991). 

not  (piano, perc.); ca. 6' (1992) Smith Publications.

Five (1-93)  (fl., ob., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3' (1993).

as though, again  (fl., Bb cl., vln., perc., (one player)); ca. 2' (1995).

as though, so again  (fl., Bb cl., C tpt., vln., vcl., piano, perc.); ca. 2' (1995).

or (ob., 2 Bb cl., C tpt., vln., vcl., 1 perc.); ca. 2' (1996).

so, between (fl., Bb cl., vcl., piano, perc.); ca. 2' (2003).

e/ede  (3 Bb cl., ob., bsn., C tpt., piano, vln., vla., ; ca. 3' (2004).

e,nm  (fl., cl., vln., vcl., perc.); ca. 2' (2004).

Iol  (piccolo, Bb cl. Eng. Hn., Bb tpt., 2 vln., 2 vla.); ca. 2' (2004).

Ilil  (4 vln., 4 vcl.); ca. 2' (2004).

alomn  (Bb cl., 2 vln., 2 vla.); ca. 2' (2004).

IV-VIII (Bb clarinet and string quartet); 2 ½’ (2005).

mn, s  (fl., cello); 1 ¾’ (2005).

onnh I (fl., Bb cl. doubling bass cl., vln., vcl., piano, perc.); 2’ (2006).

onnh II (fl., ob., Bb cl. doubling bass cl., vln., vla., vcl., piano, perc.); 2’ (2006).

transients / images (percussion, piano), based on Transparent Wave VI ; 5 ½’ (2006).

transients / resonances (fl., Bb cl., vln., vcl., perc., piano), based on Transparent Wave VI; 5 ½’ (2006).

XV-XXI  (3 Bb cl. vln., vcl., perc.); ca. 3 ½’ (2006).

XI-XV  (Bb bass cl., Bb tpt., vln, vla., vcl.); ca. 2 ½’ (2006).

XIII-XVII (ob., Bb cl., Bb bass cl., C tpt., vln., vla., perc.); ca. 2 ¼’ (2006).

ylm, n (XX-XXV) (ob., 3 Bb cl./1 doubling bass cl., soprano sax., alto sax.,  vln., vla.); ca. 3’ (2008).

cs, s (XIV-XVII) (ob., Bb cl., vln., vla.); ca. 1 ¾’ (2008) .

sc, s (X-XIII) (ob., Bb. Cl., soprano sax., vln., vla.); ca. 1 ¾’ (2008).

lymn (XXX- XXXIV) (fl., ob., Bb cl., bsn., 2 vin., vla., vcl.); ca. 1 ½’ (2008).

XXXII- XXXVI (fl., ob., Bb cl., bsn., 2 vln., vla., vcl.); ca. 1 ½’ (2008).

folium (Bb cl., ob., soprano sax., 10 vln., vla., vcl.); ca. 5’ (2009) .

Trio (vln, vcl, piano); ca. 8’.

Five Pieces for clarinet and percussion (Bb cl., perc.-1 player); ca 4’ (2009, withdrawn).

transients / interferences (fl. doubling picc. and bass fl., gtr., vln., perc. 1 player); ca. 5' (2010) .

et avant / image (flute solo, 9 perc.); ca. 7'. (also 6 perc. version) (2011). 

et avant / image / aussi (fl., ob., Bb cl., alto sax., C tpt., tenor tbne., 9 perc.); ca. 7' (2011).

et avant / image/ l'autre (fl., ob., Bb cl., alto sax., C tpt., ten. tbne., 4 vln., 4 vla.,4 vcl.,9 perc.); ca. 7' (2011).

…sound / shivering / silence II (percussion quartet); ca. 12’(2014).

…sound / shivering / silence III (percussion sextet); ca. 15’ (2015).

et absence (violin solo and percussion ensemble); ca. 7’ (2016).

Trois Visages (flute, violin and soprano soloists and percussion ensemble; texts – Stéphane Mallarmé; ca. 21’ (2016).

…klingend II (piano and percussion); ca. 10’ (2017) .

…klingend III (piano and chamber ensemble); ca. 10’ (2018).

String Quartet; ca. 8 ½’(2018).

Passages (flute doubling piccolo and bass flute and four percussionists); ca. 8’ (2019).

Passages II (flute doubling piccolo and bass flute, four percussionists and string trio); ca. 8’ (2019).

Transit (chamber ensemble); 8’30” (2021).

anti-paysage III (chamber ensemble); 5’45” (2022).

…sound / shivering / silence IV (percussion sextet); 17’30” (2023).

CHAMBER MUSIC (mixed ensemble with voice)

Water, text - Robert Lowell (soprano, violin, piano); ca.  4’ (1969, withdrawn).

Media Luna (soprano, 3 Bb cl., vln. vla. vcl.), texts- F. G. Lorca; ca. 6' (1970, withdrawn).

A Draft of Shadows, texts - Octavio Paz (soprano, piano, 3 perc); ca. 9' (1972).

The Circular Gates (fl., Bb cl., baritone sax., bsn., vln., vcl., pno., speaker (male)); ca. 3 ½’ (1974).

contrecoup... (soprano, fl., piano, perc.), text- Stéphane Mallarmé; ca. 9 1/2'  (1987).

At Briggflatts meetinghouse  (soprano, piano), text - Basil Bunting; ca. 7' (1988) Smith Publications.

the root, the sap (soprano, piano), text – Basil Bunting; ca. 13’ (1988).

Bright seaweed reaping (soprano, 3 Bb cl., piano, 2 perc.), text- Cid Corman; ca. 4' (1990).

Two Songs (soprano, 3 Bb cl., 2 perc., piano, harp), texts- Cid Corman; ca. 10' 1990, withdrawn).

Equinox  (6 voices, 2 dancers, 4 perc.) text – William Bronk; ca. 4' (1992).

que cela se puisse (fl., Bb cl., vln., cb., piano, spoken voice) text- Stéphane Mallarmé; ca. 1' (1996, withdrawn).

et ainsi  (soprano, fl., ob., Bb cl., C tpt., ten. tbn., vln., vcl., piano, 2 perc.), texts – Stéphane Mallarmé; ca. 9' (2001).

qu’un espace / sépare (soprano solo, percussion ensemble); ca. 5 ½’ (2005).

…that light… (sop., fl., Bb cl., C tpt., vln., vcl, perc. (1 player)); texts Cid Corman; ca. 6’ (2011).

Trois Visages (flute, violin and soprano soloists and percussion ensemble; texts – Stéphane Mallarmé; ca. 21’ (2016).

from this condensery II (soprano and percussion quartet); texts - Lorine Neidecker; ca 9’ (2020).

Trois Mélodies ((mezzo-soprano and chamber orchestra); original by Erik Satie, 1916; orchestrated by Thomas DeLio); texts - Léon-Paul Fargue, Mimi Godebska, and René Chalupt); ca. 4’ (2020).

PERCUSSION  (solo and ensemble)

Tracings (piano and live electronics); ca. 12-18’ (1970, withdrawn).

A Draft of Shadows, texts - Octavio Paz (soprano, piano, 3 perc); ca. 9' (1972).

Transparent Wave (snare drum solo); ca. 2’ (1987) Smith Publications.

as though  (percussion solo);  ca. 2' (1994).

Transparent Wave IV  (marimba solo); ca. 2' (2000) Smith Publications.

wave / s  (percussion solo), based on Transparent Wave IV; ca. 4' (2003).

Transparent Wave VI  (vibraphone solo); ca. 2' (2003).

qu’un espace / sépare (soprano solo, percussion ensemble); ca. 5 ½’ (2005).

transients / waves (percussion solo), based on Transparent Wave VI; 4’(2006)  .

Transparent Wave VIII (percussion solo); ca. 1 ¼’  (2007).

jeu de timbres (percussion solo); ca. 6' (2010).

et avant / image (flute solo, 9 perc.); ca. 7'. (also 6 perc. version) (2011).

…sound / shivering / silence (percussion solo); ca. 9’ (2013).

…sound / shivering / silence II (percussion quartet); ca. 12’ (2014).

…sound / shivering / silence III (percussion sextet); ca. 15’ (2015).

et absence (violin solo and percussion ensemble); ca. 7’ (2016).

Trois Visages (flute, violin and soprano soloists and percussion ensemble; texts – Stéphane Mallarmé; ca. 21’ (2016).

…klingend II (piano and percussion); ca. 10’ (2017).

from this condensery II (soprano and percussion quartet); texts - Lorine Neidecker; ca 9’ (2020).

…sound / shivering / silence IV (percussion sextet); 17’30” (2023).

PIANO  (solo and solo with ensemble)

Sonata for Piano (piano solo); ca. 7’  (1969, withdrawn).

Sonata for piano (on one note); ca. 5' (1971).

Marginal Developments  (piano solo); ca. 9' (1973).

Serenade (piano solo); ca. 9' (1974).

Sequence (piano solo); ca. 8' (1983).

Text (piano solo); ca. 8' (1983).

Though  (piano solo); ca. 5' (1993) Smith Publication.

Transparent Wave II  (piano solo); ca. 1' (1993).

Five Pieces for Piano (piano solo): ca. 4’(2009) .

…à l’autre, ainsi (piano, chamber orchestra); ca. 6 ¾’ (2012).

…klingend (piano solo); ca. 10’ (2017).

…klingend II (piano and percussion); ca. 10’ (2017) .

…klingend III (piano and chamber ensemble); ca. 10’ (2018).

SOPRANO (solo and with ensemble)

Water, text - Robert Lowell (soprano, violin, piano); ca.  4’ (1969, withdrawn).

Media Luna (soprano, 3 Bb cl., vln. vla. vcl.), texts- F. G. Lorca; ca. 6' (1970, withdrawn).

A Draft of Shadows, texts - Octavio Paz (soprano, piano, 3 perc); ca. 9' (1972).

contrecoup... (soprano, fl., piano, perc.), text- Stéphane Mallarmé; ca. 9 1/2'  (1987).

At Briggflatts meetinghouse  (soprano, piano), text - Basil Bunting; ca. 7' (1988) Smith Publications.

the root, the sap (soprano, piano), text – Basil Bunting; ca. 13’ (1988).

Bright seaweed reaping (soprano, 3 Bb cl., piano, 2 perc.), text- Cid Corman; ca. 4' (1990).

Two Songs (soprano, 3 Bb cl., 2 perc., piano, harp), texts- Cid Corman; ca. 10' 1990, withdrawn).

Transparent Wave III (soprano solo) text- A. R. Ammons; ca. 2' (1999).

Center (soprano solo) texts - A. R. Ammons; ca. 8’ (1999).

et ainsi  (soprano, fl., ob., Bb cl., C tpt., ten. tbn., vln., vcl., piano, 2 perc.), texts – Stéphane Mallarmé; ca. 9' (2001).

qu’un espace / sépare (soprano solo, percussion ensemble); ca. 5 ½’ (2005).

- en / l’espace de… (XXVI-XXX) (soprano and chamber orchestra); ca. 2 ¼’ (2007).    

…that light (soprano solo); texts Cid Corman; ca. 6’ (2009).

Quatre Petites Mélodies (1920), composed by Erik Satie (orchestrated by Thomas DeLio); 3' (2011).

…that light… (sop., fl., Bb cl., C tpt., vln., vcl, perc. (1 player)); texts Cid Corman; ca. 6’ (2011).

Three Songs (soprano and orchestra); texts – Stéphane  Mallarmé; ca. 5’ (2015).

Trois Visages (flute, violin and soprano soloists and percussion ensemble; texts – Stéphane Mallarmé; ca. 21’ (2016).

Ludions ((chamber orchestra); original by Erik Satie, 1923; orchestrated by Thomas DeLio); ca. 4’ (2019).

from this condensery (solo soprano); texts – Lorine Neidecker; ca. 5 ½’ (2019).

from this condensery II (soprano and percussion quartet); texts - Lorine Neidecker; ca 9’ (2020).

WIND ENSEMBLE

Partial Manifolds (wind ensemble, spread throughout the concert hall), duration variable (withdrawn).

Partial Conjunctions (wind ensemble, spread throughout the concert hall), duration variable (withdrawn).

ORCHESTRAL MUSIC

Chamber Symphony No. 1  (ob., Bb cl. Bb bass cl., 2 Bb tpts., 6 vln, 2 vla., 2 vcl.); ca. 2 ½’ (1972).

Chamber Symphony No. 2  (fl., Bb cl., sop sax., hn., C tpt., 4 vln., 4 vla., 4 vcl.); ca. 1 ½’ (1972).

Than (orchestra: fl., ob., 2 Bb cl., bsn., 2 C tpt., ten. tbn., bass tbn., 4 perc., harp, piano, 4 vln., 4 vla., 4 vcl., 4 cb.); ca. 4' (1991).

as though / after  (chamber orchestra: fl., ob., Bb cl., bsn., perc.,  6 vln. I, 6 vln. II, 4 vla., 4 vcl.,2 cb.); ca. 5' (1995).

transients / refractions (orchestra); 5 1/2' (2011).

…à l’autre, ainsi (piano, chamber orchestra); ca. 6 ¾’ (2012).

ORCHESTRAL MUSIC (with voice)

- en / l’espace de… (XXVI-XXX) (soprano and chamber orchestra); ca. 2 ¼’ (2007) .    

Quatre Petites Mélodies (1920), composed by Erik Satie (orchestrated by Thomas DeLio); 3' (2011).

Three Songs (soprano and orchestra); texts – Stéphane  Mallarmé; ca. 5’ (2015).

Ludions ((chamber orchestra); original by Erik Satie, 1923; orchestrated by Thomas DeLio); ca. 4’ (2019).

Trois Mélodies ((mezzo-soprano and chamber orchestra); original by Erik Satie, 1916; orchestrated by Thomas DeLio); texts - Léon-Paul Fargue, Mimi Godebska, and René Chalupt); ca. 4’ (2020).

CHORUS (with instruments)

Cassandra (chorus SATB, vcl., perc.) text-Robinson Jeffers; ca. 13' (1972).

ELECTROACOUSTIC (without instruments)

Threshold Spaces (live electronics); indeterminate duration (1971, withdrawn).

Dance Space (dancer and live electronics); indeterminate duration (1971, withdrawn).

Of  (two-channel electroacoustic sound); ca. 3' (1991). 

as again  (two-channel electroacoustic sound); ca. 6' (1992). 

as so  (two-channel electroacoustic sound); ca. 6' (1992).

so on  (two-channel electroacoustic sound); ca. 2' (1992).

so again  (two-channel electroacoustic sound); ca. 2'  (1994).

on again   (two-channel electroacoustic sound); ca. 3' (1994). 

of again    (two-channel electroacoustic sound); ca. 4' (1994). 

Pine, Bamboo, Plum   (two-channel electroacoustic sound); ca. 2' (1994).

“because the... (two-channel electroacoustic sound); ca. 2' (1995).       

to make / -as / in-  (two-channel electroacoustic sound) text – Leslie Scalapino; ca. 5' (1996).

think on parch  (two-channel electroacoustic sound) text – P. Inman; ca. 19' (1997).

though, on  (two-channel electroacoustic sound); ca.2' (1997).

plin,h  (two-channel electroacoustic sound); ca. 1 3/4' (1997).

plin,x  (two-channel electroacoustic sound); ca. 1' (1997).

m,nce  (two-channel electroacoustic sound); ca. 2' (1997).

n,mcr  (two-channel electroacoustic sound); ca. 1' (1998).

nna,c  (two-channel electroacoustic sound); ca. 1' (1998).

“decker”  (two-channel electroacoustic sound) text – P. Inman; ca. 9' (1998).

n,c  (two-channel electroacoustic sound); ca. 1' (1998).

x,e  (two-channel electroacoustic sound);  ca. 2' (1999).

inc,e  (two-channel electroacoustic sound); ca. 1' (1999).

as though / of (two-channel electroacoustic sound); ca. 5' (1999).

qu,m  (two-channel electroacoustic sound); ca. 2' (2000).

qu,r  (two-channel electroacoustic sound); ca. 2' (2000).

z,rb  (two-channel electroacoustic sound); ca. 2' (2000).

Center / s  (two-channel electroacoustic sound); ca. 4' (2000).

ce,lf   (two-channel electroacoustic sound); ca. 1' (2001).

cel,f, (two-channel electroacoustic sound); ca. 1' (2001).

,c,el,f  (two-channel electroacoustic sound); ca. 1' (2001).

Belle-Isle I-IV  (two-channel electroacoustic sound); ca. 7' (2003).

Zilahn  (two-channel electroacoustic sound); ca. 3' (2004).

Song: “Foxrock near Dublin…” (electroacoustic sound, 5.0 surround), text – P. Inman; 8’ (2005).

…zwischen den Worten  (electroacoustic sound, 5.0 surround, also available in stereo), texts – Paul Celan; ca. 8 ½’ (2007).

XXIII-XXVII (two-channel electroacoustic sound); ca. 3’17” (2007).

Sakuteiki (XXII-XXIV) (two-channel electroacoustic sound); ca. 6’ (2008).

anti-paysage II (two-channel electroacoustic sound); ca. 7 ¾’ (2013).

Song: “aengus” (two-channel electroacoustic sound), text P. Inman; ca. 5 ¼’ (2013).

après  Belle-Isle (two-channel electroacoustic sound); ca. 2’ (2014).

Hörreste (Soundscrapes)  (two-channel electroacoustic sound); ca. 4 ½’ (2014).

In Prag  (In Prague) (two-channel electroacoustic sound); ca. 6 ¾’ (2014).

Sakuteiki (electroacoustic sound, 5.0 surround); ca. 6’ (2014).

Schaufäden (Sight Threads)  (two-channel electroacoustic sound); ca. 3’(2014).

Sichtbar (Visible)  (two-channel electroacoustic sound); ca. 5’ (2014).

Vorflut (Outfall)  (two-channel electroacoustic sound); ca. 1 ½’ (2014).

Weissgrau (Whitegray)  (two-channel electroacoustic sound); ca. 4 ½’ (2014).

inents (electroacoustic composition in 7 parts, some two-channel and some 5.0 surround and one with video); ca. 70’ (2015).

Spüren (Traces) (two-channel electroacoustic composition); ca 5’ (2016).

by parch reading (two-channel electroacoustic composition); ca. 7’ (2017).

limn (two-channel electroacoustic composition); ca. 3’ (2017).

Sherds (two-channel electroacoustic composition); ca 3’ (2017).

Diptych (two-channel electroacoustic composition) in two parts; part 1, 2’20”; part 2, 2’35” (2019).

India, (two-channel electroacoustic composition) in three parts: Chennai, Jaipur and Kashi; each 5’.

Sinnfäden (two-channel electroacoustic composition) in seven parts; part 1, 1’41”; part 2, 2’00”; part 3, 1’31”; part 4, 2’17”; part 5, 1’16”; part 6. 3’36”; part 7, 1’56” (2019).

Tangier (two-channel electroacoustic composition); I, 2’10”; II, 2:10; III, 2:10; IV, 2:10 (2020).

nishaan (two-channel electroacoustic composition); nishaan (May 2020), 3’20”; nishaan (July 2020), 50”; nishaan (October 2020), 1’31” (2020).

alama (two-channel electroacoustic composition); alama (January, 2021 a), 47”; alama (January, 2021 b), 47”; alama (January, 2021 c), 47” (2021).

dấu (two-channel electroacoustic composition); dấu (March, 2021) a, 1’30”; dấu (March, 2021) b, 1’30” (2021).

işharet (two-channel electroacoustic composition); işharet (July, 2021), 2’20”; işharet (August, 2021), 2’41” (2021).

and of of (two-channel electroacoustic composition); 10’30” (2021).

a content_of echo (two-channel electroacoustic composition); 15’14”.

anti-paysage IV (two-channel electroacoustic composition); 10’01”.

ELECTROACOUSTIC (with instruments)

Against the silence... (perc. ensemble, piano, 4-channel electroacoustic sound);  ca. 20' (1986).

anti-paysage  (fl., piano, perc., two-channel electroacoustic sound); ca. 10' (1990). 

INSTRUMENTAL and ELECTROACOUSTIC with DANCE

Dance Space (dancer and live electronics); indeterminate duration (1971, withdrawn).

Equinox  (6 voices, 2 dancers, 4 perc.) text – William Bronk; ca. 4' (1992).

SOUND INSTALLATIONS

(untitled) installation; Brown University, Providence, RI. (1978, no documentation).

(untitled) installation; Brown University, Providence, RI.  (1979, no documentation).

(untitled) installation; Corcoran Gallery, Washington, DC. (1983, documentation available).

(untitled) installation; Kornblatt Gallery, Washington, DC. (1983, documentation available).

(untitled) installation; UMBC Art Gallery, Baltimore, MD. (1983, documentation available).

(untitled) installation; Baltimore Museum of Art Baltimore, MD. (1984, documentation available).

(untitled) installation, proposal; UMCP Art Gallery, College Park, MD. (1984, documentation available).

(untitled) installation; Strathmore Hall, Rockville, MD. (1985, documentation available).

(untitled) installation, proposal; Boston University, Boston, MA. (1985, documentation available).

(untitled) installation, proposal; Washington Project for the Arts, Washington, DC. (1985, documentation available).

amounts. to., text - P. Inman; three versions (2002):

1) amounts. to. (installation version; score and three stereo .wav files); plays continuously over several days.

2) amounts. to. (CD version; stereo .wav file); ca. 17’.

3) amounts. to. (concert version; four mono .wav files); ca. 30’.

sam, text by P. Inman, three versions (2010):

1) sam (installation version; 4 mono .wav files and multiple HDTV Widescreen TVs); plays continuously over several days.

2) sam (version for single HDTV Widescreen TV and stereo .wav file); ca. 17’.

3) sam (concert version; 5.0 surround); ca. 17'.

aengus, text by P. Inman, three versions (2013):

1) aengus (installation version; six mono .wav files); plays continuously over several days. 

2) aengus (CD version; stereo .wav file); ca. 31 ½’.

3) aengus (concert and DVD version; 5.0 surround); ca. 31 ½’.

inents (sound installation: ten-channel electroacoustic composition; speakers graduated in size and curvedspeaker stands also graduated in size); text by P. Inman; plays continuously over several days (2018).