Stephen Crawford: Difference between revisions

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== 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?

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 == 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?