Stephen Crawford - Revision history

BudjarnLambeth: Added links to dead end page

2024-01-09T06:53:18Z

Added links to dead end page

← Older revision		Revision as of 06:53, 9 January 2024
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	== Progress report ==		== Progress report ==
	; What was your path to discovering alternate tunings?		; What was your path to discovering alternate tunings?
	: The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)		: The first step was my introduction to [[Xenakis]], [[Stockhausen]], and [[Laurie Anderson]] and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered [[Stuart Dempster]] and the [[Deep Listening Band]] in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the [[New Music Ensemble]]. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet [[Stuart Dempster]] and [[Ellen Fullman]] when she was in Austin. When I got to Houston, I found [[Nameless Sound]] (formerly the [[Pauline Oliveros]] Foundation). I saw [[Jacob Barton]], [[Dan Sedgwick]], [[Marji Gere]] and [[Ben Grow]] perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the [[Xenharmonic Praxis Summer Camp]] in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)

	; What are your current/past/future particular interests?		; What are your current/past/future particular interests?

Fredg999: Cleanup progress report

2022-04-10T21:53:28Z

Cleanup progress report

← Older revision		Revision as of 21:53, 10 April 2022
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	'''Stephen Crawford (under construction)'''		'''Stephen Crawford (under construction)'''

	''What was your path to discovering alternate tunings?''		== Progress report ==
			; What was your path to discovering alternate tunings?
			: The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)

	The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I ~~discovered Stuart Dempster and~~ the ~~Deep Listening Band in the early 1990's. I even remember doing~~ a ~~little dance when I found his book I was so excited~~. ~~I often spent hours browsing the lonely, dusty shelves~~ of the ~~Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends~~ of ~~mine and I formed an experimental improvisational~~ music~~/performance art ensemble~~, ~~and we often accompanied dance performances and had~~ some ~~"happenings" around campus. I got~~ to ~~meet Stuart Dempster and Ellen Fullman when she was in Austin~~. ~~When~~ I ~~got~~ to ~~Houston, I found Nameless Sound (formerly~~ the ~~Pauline Oliveros Foundation)~~. I ~~saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform~~ as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)		; What are your current/past/future particular interests?
			: I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well.

	''What ~~are your current~~/~~past~~/~~future particular interests~~?''		; What instruments or means have you had/do you have now/do you want for the making of microtonal music?
			: Trombone, 2 autoharps, jaw harps; I also have some software: microsynth, ScalaVista, Garage Band, Cubase LE, and I'm trying out Ableton Live to see if it's worth the money to me (I'm disappointed that its soft-synths don't re-tune easily); I'd really like to not get too dependent on electronics, I seem to be a bigger fan of using live instruments; I would really like to get a dan bau and/or a sanxian but also get better at doing these intervals on trombone

	~~I am the band director at a performing arts magnet high school. Because of~~ the ~~format~~ of ~~our school's~~ music ~~program~~, ~~I have some freedom to introduce more diverse music to my students~~. ~~I would like to show my students~~ the ~~possibilities that can open up~~ to ~~them by exploring outside traditional Western music~~. I ~~want to compose as well~~.		; What instruments or means have you successfully used in the making of microtonal music? Recommendations?
			: Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series. H-Pi Software's microsynth is very handy and easy to use. I wish it had more sounds. XENHARMONIC PRAXIS SUMMER CAMP 2012 was AWESOME!

	~~''What instruments or means have you had/do you have now/do you want for the making of microtonal music?''~~		; Any good microtonal anecdotes?
			: There once was a composer from Nantucket...
	~~Trombone, 2 autoharps, jaw harps~~; I also have some software: microsynth, ScalaVista, Garage Band, Cubase LE, and I'm trying out Ableton Live to see if it's worth the money to me (I'm disappointed that its soft-synths don't re-tune easily); I'd really like to not get too dependent on electronics, I seem to be a bigger fan of using live instruments; I would really like to get a dan bau and/or a sanxian but also get better at doing these intervals on trombone

	~~''What instruments or means have you successfully used in the making of microtonal music? Recommendations?''~~

	Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series. H-Pi Software's microsynth is very handy and easy to use. I wish it had more sounds. XENHARMONIC PRAXIS SUMMER CAMP 2012 was AWESOME!

	''Any good microtonal anecdotes?''

	There once was a composer from Nantucket...

	{{DEFAULTSORT:Crawford, Stephen}}		{{DEFAULTSORT:Crawford, Stephen}}
	[[Category:People]]		[[Category:People]]
	[[Category:Musicians]]		[[Category:Musicians]]

Fredg999 category edits: Moving from Category:Musician to Category:Musicians using Cat-a-lot

2022-02-22T23:55:04Z

Moving from Category:Musician to Category:Musicians using Cat-a-lot

← Older revision		Revision as of 23:55, 22 February 2022
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	{{DEFAULTSORT:Crawford, Stephen}}		{{DEFAULTSORT:Crawford, Stephen}}
	[[Category:People]]		[[Category:People]]
	[[Category:~~Musician~~]]		[[Category:Musicians]]

Fredg999: Categories, sort key

2022-02-03T16:54:03Z

Categories, sort key

← Older revision		Revision as of 16:54, 3 February 2022
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	There once was a composer from Nantucket...		There once was a composer from Nantucket...
	~~[[Category:crawford]]~~
	~~[[Category~~:~~progress]]~~		{{DEFAULTSORT:Crawford, Stephen}}
	[[Category:~~report~~]]		[[Category:People]]
	[[Category:~~stephen~~]]		[[Category:Musician]]

Xenwolf: Xenwolf moved page StephenCrawford to Stephen Crawford: no need for WikiCase any more

2021-02-02T07:53:00Z

Xenwolf moved page StephenCrawford to Stephen Crawford: no need for WikiCase any more

← Older revision	Revision as of 07:53, 2 February 2021
(No difference)

Wikispaces>FREEZE at 00:00, 17 July 2018

2018-07-17T00:00:00Z

← Older revision		Revision as of 00:00, 17 July 2018
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	~~<h2>IMPORTED REVISION FROM WIKISPACES</h2>~~		'''Stephen Crawford (under construction)'''
	~~This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>~~
	~~: This revision was by author [[User:Andrew_Heathwaite\|Andrew_Heathwaite]] and made on <tt>2013-03-10 13:25:44 UTC</tt>.<br>~~		''What was your path to discovering alternate tunings?''
	~~: The original revision id was <tt>413597398</tt>.<br>~~
	~~: The revision comment was: <tt>Reverted to Sep 23, 2012 7:02 pm: spammed!</tt><br>~~
	~~The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>~~
	~~<h4>Original Wikitext content:</h4>~~
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Stephen Crawford (under construction)
	//What was your path to discovering alternate tunings?//
	The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)		The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)

	//What are your current/past/future particular interests?//		''What are your current/past/future particular interests?''

	I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well.		I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well.

	//What instruments or means have you had/do you have now/do you want for the making of microtonal music?//		''What instruments or means have you had/do you have now/do you want for the making of microtonal music?''

	Trombone, 2 autoharps, jaw harps; I also have some software: microsynth, ScalaVista, Garage Band, Cubase LE, and I'm trying out Ableton Live to see if it's worth the money to me (I'm disappointed that its soft-synths don't re-tune easily); I'd really like to not get too dependent on electronics, I seem to be a bigger fan of using live instruments; I would really like to get a dan bau and/or a sanxian but also get better at doing these intervals on trombone		Trombone, 2 autoharps, jaw harps; I also have some software: microsynth, ScalaVista, Garage Band, Cubase LE, and I'm trying out Ableton Live to see if it's worth the money to me (I'm disappointed that its soft-synths don't re-tune easily); I'd really like to not get too dependent on electronics, I seem to be a bigger fan of using live instruments; I would really like to get a dan bau and/or a sanxian but also get better at doing these intervals on trombone

	//What instruments or means have you successfully used in the making of microtonal music? Recommendations?//		''What instruments or means have you successfully used in the making of microtonal music? Recommendations?''

	Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series. H-Pi Software's microsynth is very handy and easy to use. I wish it had more sounds. XENHARMONIC PRAXIS SUMMER CAMP 2012 was AWESOME!		Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series. H-Pi Software's microsynth is very handy and easy to use. I wish it had more sounds. XENHARMONIC PRAXIS SUMMER CAMP 2012 was AWESOME!

	//Any good microtonal anecdotes?//		''Any good microtonal anecdotes?''
	There once was a composer from Nantucket...~~</pre></div>~~
	~~<h4>Original HTML content~~:~~</h4>~~		There once was a composer from Nantucket...
	~~<div style="width~~:~~100%; max-height~~:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />		[[Category:crawford]]
	~~<em>What was your path to discovering alternate tunings?</em><br />~~		[[Category:progress]]
	The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some &quot;happenings&quot; around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)<br />		[[Category:report]]
	~~<br />~~		[[Category:stephen]]
	~~<em>What are your current/past/future particular interests?</em><br />~~
	I am the band director at a performing arts magnet high school. Because of the format of our school's music program, I have some freedom to introduce more diverse music to my students. I would like to show my students the possibilities that can open up to them by exploring outside traditional Western music. I want to compose as well.<br />
	~~<br />~~
	~~<em>What instruments or means have you had/do you have now/do you want for the making of microtonal music?</em><br />~~
	~~Trombone, 2 autoharps, jaw harps; I also have some software~~: microsynth, ScalaVista, Garage Band, Cubase LE, and I'm trying out Ableton Live to see if it's worth the money to me (I'm disappointed that its soft-synths don't re-tune easily); I'd really like to not get too dependent on electronics, I seem to be a bigger fan of using live instruments; I would really like to get a dan bau and/or a sanxian but also get better at doing these intervals on trombone<br />
	~~<br />~~
	~~<em>What instruments or means have you successfully used in the making of microtonal music? Recommendations?</em><br />~~
	Trombone, autoharp, jaw harp. Jaw harp is excellent for hearing the harmonic series. H-Pi Software's microsynth is very handy and easy to use. I wish it had more sounds. XENHARMONIC PRAXIS SUMMER CAMP 2012 was AWESOME!<br />
	~~<br />~~
	~~<em>Any good microtonal anecdotes?</em><br />~~
	~~There once was a composer from Nantucket...</body></html></pre></div>~~

Wikispaces>Andrew_Heathwaite: Imported revision 413597398 - Original comment: Reverted to Sep 23, 2012 7:02 pm: spammed!

2013-03-10T13:25:44Z

**Imported revision 413597398 - Original comment: Reverted to Sep 23, 2012 7:02 pm: spammed!**

← Older revision		Revision as of 13:25, 10 March 2013
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	: This revision was by author [[User:~~guest~~\|~~guest~~]] and made on <tt>2013-03-10 08:23:23 UTC</tt>.<br>		: This revision was by author [[User:Andrew_Heathwaite\|Andrew_Heathwaite]] and made on <tt>2013-03-10 13:25:44 UTC</tt>.<br>
	: The original revision id was <tt>~~413560360~~</tt>.<br>		: The original revision id was <tt>413597398</tt>.<br>
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	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	//Any good microtonal anecdotes?//		//Any good microtonal anecdotes?//
	There once was a composer from Nantucket...		There once was a composer from Nantucket...</pre></div>


	~~learning about online stores [[https://www.facebook.com/bparnall/posts/418214691602614\|eCommerce Training]]~~</pre></div>
	<h4>Original HTML content:</h4>		<h4>Original HTML content:</h4>
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />
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	<br />		<br />
	<em>Any good microtonal anecdotes?</em><br />		<em>Any good microtonal anecdotes?</em><br />
	There once was a composer from Nantucket...~~<br />~~		There once was a composer from Nantucket...</body></html></pre></div>
	~~<br />~~
	~~<br />~~
	~~learning about online stores <a class="wiki_link_ext" href="https://www.facebook.com/bparnall/posts/418214691602614" rel="nofollow">eCommerce Training</a>~~</body></html></pre></div>

Wikispaces>guest: Imported revision 413560360 - Original comment:

2013-03-10T08:23:23Z

**Imported revision 413560360 - Original comment: **

← Older revision		Revision as of 08:23, 10 March 2013
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	: This revision was by author [[User:~~stephencrawford~~\|~~stephencrawford~~]] and made on <tt>~~2012~~-09-23 22:~~02:13~~ UTC</tt>.<br>		: This revision was by author [[User:guest\|guest]] and made on <tt>2013-03-10 08:23:23 UTC</tt>.<br>
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	//Any good microtonal anecdotes?//		//Any good microtonal anecdotes?//
	There once was a composer from Nantucket...</pre></div>		There once was a composer from Nantucket...


			learning about online stores [[https://www.facebook.com/bparnall/posts/418214691602614\|eCommerce Training]]</pre></div>
	<h4>Original HTML content:</h4>		<h4>Original HTML content:</h4>
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />
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	<em>Any good microtonal anecdotes?</em><br />		<em>Any good microtonal anecdotes?</em><br />
	There once was a composer from Nantucket...</body></html></pre></div>		There once was a composer from Nantucket...<br />
			<br />
			<br />
			learning about online stores <a class="wiki_link_ext" href="https://www.facebook.com/bparnall/posts/418214691602614" rel="nofollow">eCommerce Training</a></body></html></pre></div>

Wikispaces>stephencrawford: Imported revision 367133806 - Original comment:

2012-09-23T22:02:13Z

**Imported revision 367133806 - Original comment: **

Wikispaces>stephencrawford: Imported revision 367133722 - Original comment:

2012-09-23T22:01:47Z

**Imported revision 367133722 - Original comment: **

← Older revision		Revision as of 22:02, 23 September 2012
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	: This revision was by author [[User:stephencrawford\|stephencrawford]] and made on <tt>2012-09-23 22:01:47 UTC</tt>.<br>		: This revision was by author [[User:stephencrawford\|stephencrawford]] and made on <tt>2012-09-23 22:02:13 UTC</tt>.<br>
	: The original revision id was <tt>~~367133722~~</tt>.<br>		: The original revision id was <tt>367133806</tt>.<br>
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	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Stephen Crawford (under construction)		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Stephen Crawford (under construction)
	//What was your path to discovering alternate tunings?//		//What was your path to discovering alternate tunings?//
	The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.		The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)

	//What are your current/past/future particular interests?//		//What are your current/past/future particular interests?//
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />
	<em>What was your path to discovering alternate tunings?</em><br />		<em>What was your path to discovering alternate tunings?</em><br />
	The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some &quot;happenings&quot; around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.<br />		The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some &quot;happenings&quot; around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. (I think I was actually looking for The School for Designing a Society, and stumbled upon XPSC.)<br />
	<br />		<br />
	<em>What are your current/past/future particular interests?</em><br />		<em>What are your current/past/future particular interests?</em><br />

← Older revision		Revision as of 22:01, 23 September 2012
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	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:stephencrawford\|stephencrawford]] and made on <tt>2012-09-23 21:59:10 UTC</tt>.<br>		: This revision was by author [[User:stephencrawford\|stephencrawford]] and made on <tt>2012-09-23 22:01:47 UTC</tt>.<br>
	: The original revision id was <tt>~~367133068~~</tt>.<br>		: The original revision id was <tt>367133722</tt>.<br>
	: The revision comment was: <tt></tt><br>		: The revision comment was: <tt></tt><br>
	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Stephen Crawford (under construction)		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Stephen Crawford (under construction)
	//What was your path to discovering alternate tunings?//		//What was your path to discovering alternate tunings?//
	The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in ~~2009~~, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.		The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some "happenings" around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.

	//What are your current/past/future particular interests?//		//What are your current/past/future particular interests?//
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>StephenCrawford</title></head><body><strong>Stephen Crawford (under construction)</strong><br />
	<em>What was your path to discovering alternate tunings?</em><br />		<em>What was your path to discovering alternate tunings?</em><br />
	The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some &quot;happenings&quot; around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and ? perform as An Exciting Event at the Artery in Houston in ~~2009~~, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.<br />		The first step was my introduction to Xenakis, Stockhausen, and Laurie Anderson and the record library in Interlochen Summer Music Camp in the mid-1980's. Those artists me possibilities in music and performance art that I had never encountered before. Then I discovered Stuart Dempster and the Deep Listening Band in the early 1990's. I even remember doing a little dance when I found his book I was so excited. I often spent hours browsing the lonely, dusty shelves of the Music Library where the experimental music was kept. I devoured scores and recordings and joined the New Music Ensemble. Some composer friends of mine and I formed an experimental improvisational music/performance art ensemble, and we often accompanied dance performances and had some &quot;happenings&quot; around campus. I got to meet Stuart Dempster and Ellen Fullman when she was in Austin. When I got to Houston, I found Nameless Sound (formerly the Pauline Oliveros Foundation). I saw Jacob Barton, Dan Sedgwick, Marji Gere and Ben Grow perform as An Exciting Event at the Artery in Houston in 2008, and met the udderbot for the first time. After a hiatus of a couple of years, I somehow heard of the Xenharmonic Praxis Summer Camp in 2011, and after looking at all the implications that explored, I was hooked. I think I was actually looking at The School for Designing a Society, and stumbled upon XPSC.<br />
	<br />		<br />
	<em>What are your current/past/future particular interests?</em><br />		<em>What are your current/past/future particular interests?</em><br />