Stephen Crawford
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**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 ? 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. //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 instruments or means have you had/do you have now/do you want for the making of microtonal music?// Trombone, some software (inventory), 2 autoharps, jaw harps //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. //Any good microtonal anecdotes?// There once was a composer from Nantucket...
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<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 /> 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.<br /> <br /> <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, some software (inventory), 2 autoharps, jaw harps<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.<br /> <br /> <em>Any good microtonal anecdotes?</em><br /> There once was a composer from Nantucket...</body></html>