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Sonata for Piano (piano solo); ca. 7’ (1969, withdrawn).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Opus 7 (four instrumentalists and live electronics); indeterminate duration (1970, withdrawn).
Opus 8 (live electronic installation); indeterminate duration (1970, withdrawn).
Tracings (piano and live electronics); ca. 12-18’ (1970, withdrawn).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).
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).
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; Strathmore Hall, Rockville, MD. (1985, documentation available).
(untitled) installation, proposal; Boston University, Boston, MA. (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).