About Thomas deLio
...among the most significant experimental composers of his generation, a composer whose work...is rooted in every detail of the sonic experience...
Christopher Shultis, Regents' Professor of Music, University of New Mexico
Well over two decades of my listening life have been immeasurably graced by live and recorded performances of the music of Thomas DeLio.
Wesley Fuller, Professor Emeritus, Clark University
Thomas DeLio engages and illuminates the world of Peter Inman's poetry in his music as passionately as Robert Schumann does Heinrich Heine's, and in this way he situates himself among the great art song composers... the listener lingers in many thresholds: between sound and silence; between the poet's voice and the composer's composition; between a recording as a composition in and of itself, rather than a recording as a representation of a performance; between a work of art being made and a work of art completed. At a carefully constructed intersection of the musical, the visual, and the literary, DeLio and Inman create a liminal space that is its own genre, a potent world of constant imminence that extends the tradition of art song beyond its tradition of poetic representation and illumination.
Linda Dusman, Chair, Professor of Music, The University of Maryland Baltimore County
...a musicologist with a vision, a musicologist not in the least apprehensive of tackling music that would have seemed to most quite out of reach of any analytical method...when I came to know DeLio's own music, I found that it revealed the same sense of wondering at the world.
Herman Sabbe, Professor of Musicology at the Université Libre de Bruxelles and Ghent University
Biography
Thomas DeLio is a composer and theorist, internationally renowned in both fields. He has composed music for soloists, chamber ensembles and orchestra, and is especially noted for his work in computer music. His compositions have been performed worldwide and are recorded on numerous labels including Wergo (Germany), 3D Classics (France), Neuma, Centaur, Capstone, ERMMedia and Spectrum. Neuma (now under the imprint of Innova) thus far has released five volumes of his music on disc as part of an ongoing project to release his complete work.
He has published over thirty essays in such periodicals as The Journal of Music Theory, Perspectives of New Music, Interface, Artforum, Contemporary Music Review (London), Revue d'Esthetique (Paris), and MusikText (Cologne). A number of his essays have been anthologized, and translated into German, French and Italian. His books include Circumscribing the Open Universe (University Press of America; Italian translation, Semar Editore, Rome), The Music of Morton Feldman (Greenwood Press), and The Amores of John Cage (Pendragon Press). The first volume of his collected essays (1980-2000) was published in 2017 by the Edwin Mellen Press. A second volume (2001-present) is in progress.
A book about his work, entitled Essays on the Music and Theoretical Writings of Thomas DeLio was published by The Edwin Mellen Press (2008). It contains essays by leading composers and scholars from Europe and the United States. Contributors to this volume include: Herman Sabbe, Professor, Ghent State University (Belgium); Robert Morris, Professor, Eastman School of Music; Agostino di Scipio, Professor, University of Bari (Italy); Christopher Shultis, Regents Professor, University of New Mexico; Wesley Fuller, Professor Emeritus, Clark University; Morris Palter, Professor, University of Alaska; Linda Dusman, University of Maryland Baltimore County; Tom Goldstein, University of Maryland Baltimore County; and, Michael Boyd, Chatham University.
In 2011 The University of Maryland Special Collections Division established a new archive, The Thomas DeLio Papers. This archive holds DeLio’s sketches and manuscripts for his music, books and essays; master tapes from numerous recording sessions; journal articles, books CDs and DVDs; correspondence with such composers, poets and artists as Iannis Xenakis, John Cage, Alvin Lucier, Morton Feldman, Elliott Carter, Sol LeWitt, and P. Inman, among others. Eventually all his teaching materials will also be held in this collection as well as work by his students in both theory and composition.
Reviews
Below are the most recent reviews. Click here for complete list.
Archives and Citations
Archives
In 2011 The University of Maryland Special Collections Division established a new archive, The Thomas DeLio Papers. This archive holds DeLio’s sketches and manuscripts for his music, books and essays; master tapes from numerous recording sessions; journal articles, books CDs and DVDs; correspondence with such composers, poets and artists as Iannis Xenakis, John Cage, Alvin Lucier, Morton Feldman, Elliott Carter, Sol LeWitt, and P. Inman, among others. Eventually all his teaching materials will also be held in this collection as well as work by his students in both theory and composition.
The Ivy Plus Program has instituted a new archive entitled The Contemporary Composers Web Archive. This Archive is an initiative developed by the music librarians at Brown, Columbia, Cornell, Dartmouth, Duke, Harvard, Princeton and Yale. These librarians have chosen a group of “notable contemporary composers” to include in this new online archive. This archive “aims to preserve the websites of “notable contemporary composers in order to assure the continuing availability of these important and potentially ephemeral documents for use by researchers and scholars.” Thomas DeLio was one of the composers chosen for this.
Citations
New Groves Dictionary of Music and Musicians (1999-2000 edition).
Baker's Biographical Dictionary of Musicians (Eighth Edition), p. 412.
Wikipedia entry for Thomas DeLio created December 2006.
Book (Subject)
Essays on the Music and Theoretical Writings of Thomas DeLio, Contemporary American Composer, with Accompanying CD of Selected Compositions of Thomas DeLio
Thomas Licata, ed.; The Edwin Mellen Press (2008).
Contributors: Herman Sabbe, Professor, Ghent State University (Belgium); Robert Morris, Professor, Eastman School of Music; Agostino di Scipio, Professor, University of Bari (Italy); Steven Johnson, Professor, Brigham Young University; Christopher Shultis, Regents Professor, University of New Mexico; Linda Dusman, Professor and Chair, University of Maryland Baltimore County; Wesley Fuller, Professor Emeritus, Clark University; Morris Palter, Professor, Arizona State University; Michael Boyd, Professor Chatham College.
A revealing look at the artistic and theoretical output of Thomas DeLio whose original compositions, books, and essays are innovative, wide-ranging and wholly provocative. Through essays written by and in tribute to this composer and theorist his contribution to music is more thoroughly appreciated and understood. A CD of compositions is included.
Table of Contents
Preface
Herman Sabbe
Introduction
Thomas Licata and Jerry Tabor
Composer
The Complexity of Experience
Thomas DeLio
Luminous Presence: Thomas DeLio’s ‘think on parch’
Linda Dusman
Experiencing and Defining Digitally Recorded Musical Silence: The Electronic Music of Thomas DeLio
Agostino Di Scipio
‘Bright Seaweed Reaping’: A Song of Thomas DeLio
Wes Fuller
The Dialectics of Experimentalism
Chris Shultis
Perception/Form: Thomas DeLio’s ‘Though’ for Solo Piano
Michael Boyd
The Evolution of Performance Practice: Thomas DeLio’s ‘wave / s’
Morris Palter
A Conversation with Composer Thomas DeLio
Tracy Wiggins
Theorist
Circumscribing the Open Universe
Thomas DeLio
The Open Universe, Revisited
Thomas DeLio
Music / Talking About Music / Talking About Talking About Music
Robert Morris
Pitch, Timbre, and Space in Morton Feldman’s ‘For Frank O’Hara’
Steve Johnson
The Sonic Landscape: ‘Bewegt’ by Anton Webern
Thomas DeLio
su una nota sola: Giacinto Scelsi’s ‘Quattro Pezzi, No. 3’
Thomas DeLio
List of Compositions
Discography
Bibliography
Index
About the Contributors
Essays on the Music of Thomas DeLio
Not including essays in the book
Essays on the Music and Theoretical Writings of Thomas DeLio Thomas Licata Ed. The Edwin Mellen Press, 2008
The Complexity of Experience - Thomas DeLio, originally published in Perspectives of New Music
contrecoup…: Nonlinearity and Computer Aided Composition - Thomas DeLio, originally published in Interface
An Exercise: Dismantling the Silence - Thomas DeLio, originally published in Interface
(ex)Congruities - Thomas DeLio and Peter Inman, originally published in The Contemporary Music Review
Toward a Morphology of Presence: The Sound Installations of Thomas DeLio - Michael Hamman, originally published in Interface
Sense without Syntax: The Art of P. Inman and Thomas DeLio - Benjamin R. Levy, originally published in The Contemporary Music Review
on Thomas DeLio from “Traffic/Light: Post-Cage Discourses on Silence” - Bill Sallak, originally published as program note in Thomas DeLio: space/image/word/sound II
A Draft of Shadows - Wesley York, originally published in Percussive Notes Research Edition
CD Booklet for Thomas DeLio: Selected Compositions 1991-2013
CD Booklet for Thomas DeLio: Selected Compositions II 1972-2015
CD Booklet for Thomas DeLio: Selected Compositions III 1972-2015
DVD Booklet for Thomas DeLio: space / image / word / sound
DVD Booklet for Thomas DeLio: space / image / word / sound II
DVD Booklet for Thomas DeLio: space / image / word / sound III
Books (Author and Contributor)
Books (author)
Analytical Studies of the Music of Ashley, Cage, Carter…: Essays in Contemporary Music: Collected Essays Volume I (1980-2000), Thomas DeLio, Patricia Burt (ed.) (The Edwin Mellen Press 2017).
Analytical Studies about Music by Thomas DeLio: Beethoven, Carter, Chopin, DeLio, Feldman…: Collected Essays: Volume 2, Thomas DeLio (The Edwin Mellen Press 2020).
The Amores of John Cage, one volume in the series Sourcebooks in American Music (Hillsdale, NY: Pendragon Press, 2010).
Circumscribing the Open Universe (Lanham, Md.: The University Press of America, l983).
L’Universo Aperto, (Italian translation of Circumscribing the Open Universe (Rome: Semar Editore, 2001).
Books (editor and contributor)
The Music of Morton Feldman, New York: Greenwood Press/Excelsior Press (joint imprint), 1995); contributions - Introduction; Last Pieces; Bibliography; Discography.
Contiguous Lines; Issues and Ideas in the Music of the '60's and '70's (Lanham, Md.: The University Press of America, l985); contributions “Introduction”; "The Dialectics of Structure and Materials: Iannis Xenakis' Nomos Alpha"; "Sound, Gesture and Symbol."
Books (co-editor)
Twentieth Century Music Scores (Englewood Cliffs, N.J.: Prentice Hall, Inc.,1989).
Words and Spaces (Lanham, Md.: The University Press of America, 1989).
Books (contributor)
“su una nota sola: Giacinto Scelsi's Quattro Pezzi,” in Thomas DeLio: Composer and Scholar, Thomas Licata, ed. (The Edwin Mellen Press, 2008).
“The Sonic Landscape: Bewegt by Anton Webern,” in Thomas DeLio: Composer and Scholar, Thomas Licata, ed. (The Edwin Mellen Press, 2008).
“The Open Universe, Revisited”, in Thomas DeLio: Composer and Scholar, Thomas Licata, ed. (The Edwin Mellen Press, 2008).
“Introduction” to the book Mind Models by Roger Reynolds (Routledge, 2005).
“Xenakis’ Diamorphoses” in Electronic Music: Analytical Perspectives, Thomas Licata, ed. (Greenwood Press, 2002).
"A Question of Order: Cage, Wolpe, and Pluralism" in The New York Schools of Music and Visual Arts, Steven Johnson, ed. (London: Routledge, 2002), pp. 135-157.
"Structure as Context," expanded version; reprinted from Interface (Brussels: Vol. 17, No. 2, pp. 65-77) in Writings About John Cage, edited by Richard Kostelanetz (Ann Arbor: The University of Michigan Press, 1993).
“Introduction”; and "Sound Installation: The Strathmore Hall Art Center" in Words and Spaces (Lanham, Md.: The University Press of America, 1989).
"Music Today: Issues of the Avant Garde in the '70's" (published under the title "Avant-Garde Issues in '70's Music") in Breaking the Sound Barrier, edited by Gregory Battcock, (New York: E.P. Dutton, l98l), pp. 254-27l.
"Philip Glass" and "Steve Reich" in No Title (Catalogue of the Sol LeWitt Collection), edited by John Paoletti (Middletown, Connecticut: Wesleyan University, l98l), pp. 55-57, 85-87.
Journal, Guest Editor
Music/Text, Contemporary Music Review (Edinburgh: Vol. 34, Nos. 5-6, 2015) CMR is the most important English Language journal in Europe devoted to contemporary music. The issue DeLio guest edited is devoted to the question of text setting in recent music. The following composers contributed essays about their work: Roger Reynolds, Christian Wolff, Jean-Claude Risset, Chaya Czernowin and Thomas DeLio. In addition a noted scholar contributed an essay about each of these composers.
Encyclopedia (contributor)
Die Musik in Geschichte und Gegenwart (German encyclopedia), edited by Dr. Ludwig Finscher (Kassel: Barenreiter-Verlag, 1999); contribution - "Robert Ashley."
Essays (author)
"A Study in Non-Hierarchical Coherence" in Legacies of Power in American Music: Essays in Honor of Michael J. Budds Edited By Judith A. Mabary (Routledge, 2022).
“Roger Reynolds” in Roger Reynolds Tributes, Adam Greene ed., (San Diego: Senza Misura Music Publishing, 2019).
“Composing a Sound: Giacinto Scelsi’s L’âme ailée / L’âme ouverte for violin solo,” (College Music Symposium, Volume 56, 2016).
“A Web of Words: Elliott Carter’s End of a Chapter,” (College Music Symposium, Volume 57, 2017).
“(ex)Congruities” (The Contemporary Music Review, Vol. 34, Nos. 5-6, 2016), pp.478-492.
“Introduction: Music/Text,” (The Contemporary Music Review, Vol. 34, Nos. 5-6, 2016), pp. 367-372.
"The Marvelous Illusion: Morton Feldman’s The Viola in My Life (1),” (London: The Contemporary Music Review, Vol. 23, No. 6, 2013), pp. 589-638.
“Dis-moi, Daphénéo: Erik Satie’s Path to Modernism,” (The College Music Symposium, Vol. 51, 2011), http://symposium.music.org/.
“su una nota sola: Giacinto Scelsi's Quattro Pezzi,” Thomas DeLio: Composer and Scholar, Thomas Licata, ed. (The Edwin Mellen Press, 2008).
“The Sonic Landscape: Bewegt by Anton Webern,” Thomas DeLio: Composer and Scholar, Thomas Licata, ed. (The Edwin Mellen Press, 2008).
“The Open Universe, Revisited”, Thomas DeLio: Composer and Scholar, Thomas Licata, ed. (The Edwin Mellen Press, 2008). Introduction to the book Mind Models by Roger Reynolds (Routledge, 2005).
“Xenakis’ Diamorphoses” in Electronic Music: Analytical Perspectives, Thomas Licata, ed. (Greenwood Press, 2002).
"A Question of Order: Cage, Wolpe, and Pluralism" in The New York Schools of Music and Visual Arts, Steven Johnson, ed.(Routledge, 2002).
“Xenakis,” Perspective of New Music (Vol. 39, No. 1; Winter 2001), pp. 231-243. Invited paper for memorial issue for Xenakis.
“On Christian Wolff”, Etcetera (KTC 1227, 2001).
"Language and Form in an Early Atonal Composition: Schoenberg's Op. 19, No. 2," The Indiana Theory Review (Vol. 15, No. 2; Fall, 1994), pp. 17-20.
"Time Transfigured: Erik Satie's Parade," The Contemporary Music Review (London: Vol. 7, No. 2, 1993), pp. 141-162; a special issue devoted to time in contemporary music.
"The Complexity of Experience," Perspectives of New Music (Vol. 31, No. 1, 1993; pp. 64-77; in "Forum on Complexity," a symposium devoted to the issue of complexity in contemporary music.
"contrecoup...: Nonlinearity and Computer Aided Composition," Interface (Brussels: Vol. 20, 1991), pp. 153-163.; a special issue devoted to computers and composition).
"An Exercise: Dismantling the Silence," Interface (Brussels: Vol. 18, No. 3, 1989).
"Structure and Strategy: Iannis Xenakis' Linaia-Agon", Interface (Brussels: Vol. 16, No. 3, 1987), pp. 143-164.
"A Proliferation of Canons II: Luigi Dallapiccola's Goethe Lieder, No. 6," Interface (Brussels: Vol. 16, Nos. 1-2, 1987), pp. 38-47.
"A Proliferation of Canons: Luigi Dallapiccola's Goethe Lieder No. 2," Perspectives of New Music (Vol. 23, No. 2, 1985), pp. 186-195.
"Spectra," Brass Bulletin (Bülle, Switzerland: No. 49, 1985), pp. 102-103.
"Lecture: Return and Recall," Percussive Notes (Research Edition; Vol. 22, No. 6, 1984), pp. 76-81.
"Structure as Behavior: Christian Wolff's For 1, 2 or 3 People," Percussive Notes (Research Edition; Vol. 22, No. 6, 1984), pp. 46-53.
"The Shape of Sound: Alvin Lucier's Music for Pure Waves, Bass Drums and Acoustic Pendulums," Percussive Notes (Research Edition; Vol. 21, No. 6, 1983), pp. 15-22.
____________, MusikTexte (Cologne: 1986, in German translation), pp. 36-39.
____________, Fasciolo No. 19 (Italy, Vol IX, Nos. 1-2, August 1999,in Italian translation).
"Toward an Art of Imminence: Morton Feldman's Durations III, #3," Interface (Brussels: Vol. 12, No. 3, 1981), pp. 465-480.
"Circumscribing the Open Universe," Perspectives of New Music (Vol. 20, No.1, 1981), pp. 357-362.
"Sound, Gesture and Symbol," Interface (Brussels: Vol. 10, No. 3-4, 1981), pp. 199-219.
"The Music of Alvin Lucier," Interface (Brussels: Vol. 10, No. 2, 1981), pp. 137-146.
"Structural Pluralism: Some Observations on the Nature of Open Structures in the Music and Visual Arts of the Twentieth Century," The Musical Quarterly (Vol. 67, No. 2, 1981), pp. 527-543.
"Structure as Context," Sonus (Spring, 1981), pp. 14-27.
____________, (revised and expanded), Interface (Brussels: Vol. 17, No. 2), pp. 65-77.
"The Goethe Lieder of Luigi Dallapiccola," Winds Quarterly (Winter, 1980), pp. 35-45.
"John Cage's Variations II: The Morphology of a Global Structure," Perspectives of New Music (Vol. 19, No. 1, 1980), pp. 351-371.
____________, Revue d'Esthetique (Paris: Nos. 13-14-15, 1987-88), pp. 169-176.
"Spatial Design in Elliott Carter's Canon for 3," Indiana Theory Review (Fall, 1980), pp. 1-12.
____________, Winds Quarterly (Fall, 1980), pp. 9-15.
"Iannis Xenakis' Nomos Alpha: The Dialectics of Structure and Materials," The Journal of Music Theory (Vol. 24, No. 1, 1980), pp. 63-95.
"Music Today: Issues of the Avant-Garde in the '70's" (published under the title: "Avant-Garde Issues in '70's Music"), Artforum (Vol. 18, No. 1, 1979), pp. 61-67.
Lectures, Panels, Conferences, and symposia
Lectures
John Cage Centennial Festival, Washington, DC (September 4-10, 2012), weeklong celebration throughout DC of the 100th birthday of American composer John Cage; my participation included the presentation of a lecture on the Amores of John Cage (American University).
"The Amores of John Cage," National Gallery of Art, January 23, 2011.
“amounts. to.” Gallery Talk, New Mexico Museum of Art (Albuquerque, 2003).
“Technology and the Compositional/Theoretical work of Thomas DeLio,” Center for Art and Technology and Department of Music, University of New Mexico (Albuquerque, 2002).
“Xenakis’ Diamorphoses” in Electro-Acoustic Music: Analytical Perspectives, XIII Colloquium on Musical Informantics (L’Aquila, Italy, 2000)
“A Question of Order,” Music Theory Lecture Series, Eastman School of Music (Rochester, NY, 2000).
"Nonlinearity and Computer Aided Composition, Revisited," Musica in Mostra, Musica Verticale Festival, (Rome, Italy; 1991).
"Morton Feldman's Last Pieces, No. 3"; Music Theory Lecture Series (Hartt College of Music, The University of Hartford, 1989).
"Non-Linearity in Contemporary Music"; New Music Seminar Series, Washington Project for the Arts (Washington, D.C., 1987).
"Structure and Strategy: Iannis Xenakis' Linaia-Agon"; Art Étonné, Bibliothèque National (Luxembourg, Luxembourg, 1986).
"Sound Installations: History, Aesthetics and Techniques"; The American Composer, His Music and His Muses, Strathmore Art Center (Rockville, Md., 1985).
"Return and Recall"; lecture presented as part of symposium on interdisciplinary notational systems, Res Musica Baltimore, Baltimore Museum of Art (Baltimore, Md., 1984).
"Sound, Gesture and Symbol"; annual conference of the American Society of University Composers, The University of Cincinnati (Cincinnati, Ohio, 1981).
"Structural Pluralism: Some Observations on the Nature of Open Structures in the Music and Visual Arts of the Twentieth Century"; lecture co-sponsored by the Departments of Art and Music, Wesleyan University (Middletown, CT, 1980).
"Mathematics and Composition: The Music of Xenakis"; The Wednesday Seminar Series, Hartt College of Music, The University of Hartford (Hartford, CT, 1976).
"Computer Applications to Musical Composition"; Tri-College Lecture Series, Clark University, Worcester, Ma., 1979).
"Mathematics and Music: The Music of Xenakis"; Tri-College Lecture Series, Clark University (Worcester, Ma., 1979).
"Music of Contemporary American Composers"; Cross and Scroll Society Lecture Series, The College of the Holy Cross (Worcester, Ma., 1978).
"Structural Pluralism: Some Observations on the Nature of Open Structures in the Music and the Visual Arts of the Twentieth Century"; lecture series presented in honor of Robert Cogan on the occasion of his fifteen year retrospective, The New England Conservatory of Music (Boston, Ma., 1978).
Panels
John Cage Centennial Festival, Washington, DC (September 4-10, 2012), weeklong celebration throughout DC of the 100th birthday of American composer John Cage; my participation included serving as panelist in the panel discussion concluding the festival with Roger Reynolds and Gordon Mumma (Hirschorn Gallery).
Moderator and participant in panel discussion at the Library of Congress in 2010 entitled "Forum on Art and Technology." Video of panel discussion made available in 2011 on Library of Congress web site. http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=4870
"The Place of New Music in Contemporary American Society," (The University of Akron (Akron, Ohio, 1992).
"Composition Today"; The Composer's Symposium, The University of New Mexico (Albuquerque, NM, 1991).
"Sightings/Soundings: The Art of John Cage"; Strathmore Hall Arts Center (Rockville, Md., 1989).
Conferences and Symposia (invited participant)
John Cage Centennial Festival, Washington, DC (September 4-10, 2012), weeklong celebration throughout DC of the 100th birthday of American composer John Cage; my participation involved the presentation of a lecture on the Amores of John Cage (American University); panelist in the panel discussion concluding the festival with Roger Reynolds and Gordon Mumma (Hirschorn Gallery); actor in the play An Alphabet (Corcoran Gallery).
"Complexity," an international symposium devoted to recent composition; Perspectives of New Music, 1993. - essay: "The Complexity of Experience" (see Publications) - score: between
"Composition Theory," an international symposium devoted to the subject of computers and composition; Interface, Otto Laske, guest editor, (Brussels: Vol. 20, No. 3-4, 1991); contributions, essays: "contrecoup...: Nonlinearity and Computer Aided Composition"
"Analysis and Analyses," an international symposium devoted to the subject of analysis; Interface, Jos Kunst, University of Utrecht, symposium editor, (Brussels: Vol.16, No. 1-2, 1987): essay (author): "A Proliferation of Canons II: Luigi Dallapiccola's Goethe Lieder #6"
"Art Étonné"; Bibliothèque National (Luxembourg, Luxembourg, 1986); transcript of panel reprinted in Interface (Brussels: Vol. 16, No. 3, 1987);
"Time in Contemporary Musical Thought," The Contemporary Music Review (Vol. 7, Part 2,1993), Jonathan Kramer, guest editor; an international symposium devoted to time in twentieth century music; contribution, essay: "Time Transfigured: Erik Satie's Parade" (see Publications).
"From Hearing and Reading to Listening and Understanding: An Attempt to Bridge the Gap," Michael Udow, Percussive Notes (Research Edition: Vol. 21, No. 6, 1983), pp. 72-75.
Reviews (author)
“Roger Reynolds,” Computer Music Journal (Vol. 26, No. 2; Summer 2002), pp. 103-107.
"Rasa," Computer Music Journal (Vol. 19, No. 1, 1994), pp. 114-115.
"Roger Reynolds," "Electro-Acoustic Music II,” "The Contemporary Flute", Computer Music Journal (Vol. 17, No. 3, 1993), pp. 70- 73.
"Electro-Acoustic Music: Classics" (Babbitt, Xenakis, et. al.), Computer Music Journal (Vol. 15, No. 2; 1991), pp 77-79.
"James Dashow: Mnemonics, Oro, Argento & Legno, Archimedes," Computer Music Journal (Vol. 14, No. 2; Summer 1990), pp. 71-72.
"Micro Technology Unlimited's MicroAudio Studio," The Music and Computer Educator (Vol. 1, No. 5, 1990), pp. 25-27.
Theses and Dissertations (subject)
Morris Palter, DMA thesis, University of California San Diego (2006).
Tracy Wiggins, masters thesis, Hartt School of Music, University of Hartford (2005).
Michael Boyd, masters thesis, SUNY Stony Brook (2003).
Craig Hoffman, masters thesis, University of Akron, (2000).
Recordings
Many CDs and DVDs available from Neuma Records.
CDs and DVDs
Thomas DeLio: space / image / word / sound (computer music in 5.0 surround) including Song: Foxrock near Dublin… , et avant / image, …zwischen den Worten (Schwimmhäute, Redewände), - qu’un espace / sépare, amounts. to., “sam”, “aengus” (Neuma 450-201, 2013; DVD). DVD Booklet
Thomas DeLio: space / image / word / sound II (computer music in 5.0 surround sound) including five versions of the composition inents, Hörreste (Soundscrapes), In Prag (In Prague), Schaufäden (Sight Threads), Sichtbar (Visible), Vorflut (Outfall), Weissgrau (Whitegray), and Sakuteiki (Neuma 450-202, 2016; DVD). DVD Booklet
Thomas DeLio: space / image / word / sound III (computer music in 5.0 surround sound) a 5.0 reduction of the 10-channel sound installation inents. DVD Booklet
Thomas DeLio: Selected Compositions 1991-2013, including Belle-Isle I-IV, computer music; transients / images, percussion, piano; …transients, computer music; Though, piano solo; XXXIII – XXVII, computer music; as though, percussion solo; as though / of, computer music; between, flute, piano, 3 percussionists; z,rb, computer music; Center, solo voice; Center / s, computer music; Than, orchestra; ,c,el,f, computer music; that light, solo soprano; Song: “aengus”, computer music; Zilahn, computer music (Neuma 450-108; 2013). CD Booklet
Thomas DeLio: Selected Compositions II 1972-2015, including inents (two versions), computer music; anti-paysage, flute, piano, percussion; anti-paysage II, computer music; - en / l’espace de…, soprano and orchestra; x,e, inc,e, m,nce, and n,c, computer music; Text and Serenade, piano solos; not, piano, percussion; and, A Draft of Shadows, soprano and percussion ensemble (Neuma 450-116; 2016). CD Booklet
Thomas DeLio: Selected Compositions III 1972-2015, including Trois Visages, percussion ensemble, flute, violin, soprano; wave / s, percussion solo; Against the silence… percussion ensemble; limn, computer music (six versions); by parch reading, Sherds, “decker”, Spüren, computer music (Neuma 450-120; 2019). CD Booklet
Transparent Waves: Selected Compositions IV, including and of, “of” ,e,nm (2004), Transparent Waves I, IV, VI, VII, VIII, as though, again, Tangier, India, işharet, nishaan, alama, dáu (Neuma 153, 2022; CD). CD Booklet
Song: “Foxrock, near Dublin…” (Capstone, CPS-8811, 2008; DVD).
…zwischen den Worten (Schwimmhäute, Redewände) (Capstone, CPS-8811, 2008; DVD).
Center/s, tape (Neuma, 450-105, 2006).
Belle-Isle I-IV, tape (Neuma, 450-105, 2006).
qu,m, tape (Neuma, 450-105, 2006).
wave / s, percussion solo (Centaur, CRC-2742, 2006).
Though, piano solo (Capstone, CPS-8745, 2005).
Transparent Wave V, piano solo (Capstone, CPS-8745, 2005).
Text, piano solo (Capstone, CPS-8745, 2005).
Than, orchestra (ERMMedia, ERM-6692, 2003); in Masterworks of the New Era series.
amounts. to. electronic opera (Centaur, CRC-2633, 2003).
Center, soprano and chamber ensemble (Neuma, 450-102, 2002).
think on parch, tape (Capstone, CPS-8693, 2001).
“decker”, tape (Capstone, CPS-8669, 1999).
plinh,h, tape (Neuma, 450-99, 1999).
m,nce, tape (Cambridge, MA: Neuma,450-99,1999).
though, on, tape (Capstone, CPS 8645, 1997).
as though, percussion solo (Capstone, CPS 8645, 1997).
so again, tape (Capstone, CPS 8645, 1997).
not, piano and percussion (Capstone, CPS 8645, 1997).
...a different liquid, tape (Capstone, CPS 8645, 1997).
to make / -as / in-, tape (Capstone, CPS 8645, 1997).
"because the..., tape (Neuma, 450-92, 1996).
Pine, Bamboo, Plum, tape (Neuma, 450-92, 1996).
so on, computer generated tape (Paris: 3D Classics, 3D-8014, 1996).
as again, computer generated tape (Paris: 3D Classics, 3D-8014, 1996).
between, flute, percussion ensemble (Paris: 3D Classics, 3D-8014, 1996).
anti-paysage, flute, piano, percussion, tape (Neuma 450-90, 1995).
Of, tape (Neuma 450-90, 1995).
Though, piano (Neuma 450-90, 1995).
so again, tape (Neuma 450-90, 1995).
on again, tape (450-90, 1995).
of again, tape (450-90, 1995).
contrecoup..., chamber ensemble (Neuma 450-81, 1993).
Against the silence..., percussion ensemble and four-channel tape, (Mainz: Wergo,
WER 2029-2, 1992); in ComputerMusic Currents series.
______________(Paris: 3D Classics, 3D-8014, 1996).
LPs
Partial Manifolds, wind ensemble (Spectrum, SR-302, 1985).
Gestures, saxophone and piano (Spectrum, SR-163, 1982).
Marginal Developments, piano solo (Spectrum, SR-144, 1982).
Serenade, piano solo (Spectrum, SR-128, 1980).