{"title":"Fundamental Sound: A Conversation with Hubert Howe","authors":"Mark Zaki","doi":"10.1162/comj_a_00611","DOIUrl":null,"url":null,"abstract":"Hubert Howe (see Figure 1) received AB, MFA, and PhD degrees from Princeton University, where he studied with J. K. (“Jim”) Randall, Godfrey Winham, and Milton Babbitt. As one of the early researchers in computer music, he was a principal contributor to the development of the Music 4B and Music 4BF programs. In 1968, he joined the faculty of Queens College of the City University of New York (CUNY), where he became a professor of music and director of the electronic music studios. He also taught computer music at the Juilliard School in Manhattan for 20 years. Howe has been a member of the American Composers Alliance since 1974 and has served as its President from 2002 to 2011. He is also a member of the New York Composers Circle and has served as Executive Director since 2013. He is currently active as Director of the New York City Electroacoustic Music Festival, which he founded in 2009. Recordings of his music have been released on the labels Capstone and Centaur, among others. This conversation took place over Zoom during March and April 2022. It begins with a look at Howe’s student years at Princeton and traces his pioneering journey through to his musical activity today. Aspects of his composition and programming work are discussed, as well as his thoughts on pitch structure and timbral approaches to composition. More information about his music and work can be found at http://www.huberthowe.org.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 3","pages":"9-19"},"PeriodicalIF":0.4000,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Computer Music Journal","FirstCategoryId":"1085","ListUrlMain":"https://ieeexplore.ieee.org/document/10301853/","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS","Score":null,"Total":0}
引用次数: 0
Abstract
Hubert Howe (see Figure 1) received AB, MFA, and PhD degrees from Princeton University, where he studied with J. K. (“Jim”) Randall, Godfrey Winham, and Milton Babbitt. As one of the early researchers in computer music, he was a principal contributor to the development of the Music 4B and Music 4BF programs. In 1968, he joined the faculty of Queens College of the City University of New York (CUNY), where he became a professor of music and director of the electronic music studios. He also taught computer music at the Juilliard School in Manhattan for 20 years. Howe has been a member of the American Composers Alliance since 1974 and has served as its President from 2002 to 2011. He is also a member of the New York Composers Circle and has served as Executive Director since 2013. He is currently active as Director of the New York City Electroacoustic Music Festival, which he founded in 2009. Recordings of his music have been released on the labels Capstone and Centaur, among others. This conversation took place over Zoom during March and April 2022. It begins with a look at Howe’s student years at Princeton and traces his pioneering journey through to his musical activity today. Aspects of his composition and programming work are discussed, as well as his thoughts on pitch structure and timbral approaches to composition. More information about his music and work can be found at http://www.huberthowe.org.
期刊介绍:
Computer Music Journal is published quarterly with an annual sound and video anthology containing curated music¹. For four decades, it has been the leading publication about computer music, concentrating fully on digital sound technology and all musical applications of computers. This makes it an essential resource for musicians, composers, scientists, engineers, computer enthusiasts, and anyone exploring the wonders of computer-generated sound.
Edited by experts in the field and featuring an international advisory board of eminent computer musicians, issues typically include:
In-depth articles on cutting-edge research and developments in technology, methods, and aesthetics of computer music
Reports on products of interest, such as new audio and MIDI software and hardware
Interviews with leading composers of computer music
Announcements of and reports on conferences and courses in the United States and abroad
Publication, event, and recording reviews
Tutorials, letters, and editorials
Numerous graphics, photographs, scores, algorithms, and other illustrations.