A collection collecting of generative grammars. 1976.

Part of paperplay mini-book series. Limited edition.

Kenneth Gaburo (1926-1993) is renowned as a teacher, pioneer of electronics in music, jazz pianist, writer, ecologist, publisher, and proponent of compositional linguistics. Over the course of a dedicated career, his uncompromising work carved out its own patch in the territory of American experimentalism.

Eight or more performers and instructors. Score.

A composition for one actor and tape, or two actors. Score. 1970

Kenneth Gaburo (1926-1993) is renowned as a teacher, pioneer of electronics in music, jazz pianist, writer, ecologist, publisher, and proponent of compositional linguistics. Over the course of a dedicated career, his uncompromising work carved out its own patch in the territory of American experimentalism.

Lingua Press, 1976

Kenneth Gaburo (1926-1993) is renowned as a teacher, pioneer of electronics in music, jazz pianist, writer, ecologist, publisher, and proponent of compositional linguistics. Over the course of a dedicated career, his uncompromising work carved out its own patch in the territory of American experimentalism.

Lingua Press, 1976

James Kirtland Randall (1929 - ) was born in Cleveland, Ohio. He studied at the Cleveland Institute of Music from 1934 to 1947, and subsequently attended Columbia University (B.A., 1955), Harvard (M.A., 1956) and Princeton (M.F.A., 1958). He studied piano with Leonard Shure and composition with Herbert Elwell, Thad Jones, Roger Sessions and Milton Babbitt. From 1958 to 1991 he taught at Princeton, where he was professor of music. He was a founding member of the American Society of University Composers and has written articles on composing and music theory for several journals, notably Perspectives of New Music (some of these were collected in the monograph Compose Yourself: A Manual for the Young (Open Space, 1995)). He also collaborated with Benjamin Boretz on the book Being About Music: Textworks 1960-2003 (Open Space, 2003).

From the early 1960s into the 1970s, Randall engaged principally in computer synthesis of sound and, with Godfrey Winham, developed facilities for this at Princeton University. His tape compositions were generated by the MUSIC IV B program, a version of MUSIC IV introduced at Princeton. He designed his own software "instruments," which enabled him to specify every aspect of every sound and structure developments within single notes in ways that reflect principles of development used in whole compositions as, for example in Lyric Variations for Violin and Computer (1966-1968).

In 1980 he turned his attention to improvised musical performance and began a series of explorations of spontaneous group performance, or "real-time co-creation," involving many kinds of musicians and other artists (painters, dancers) as well. The ongoing efforts, preserved on hundreds of sound recordings and videotapes (under the project name Inter/Play), document the emergence of idiosyncratic group styles and performing conventions. Randall is himself a regular participant in these performances. In 1990, Randall, along with Elaine Barkin and Benjamin Boretz, started the publications series Open Space.

A Lingua Press Numberplay, 1991.

Gaburo collects and assembles 41 writers who explore such issues as aleatoric music, language, and poetry. Gaburo founded Lingua Press in 1975, taught at the University of Iowa, and is best known for his experimental musical compositions.

A Lingua Press Bookplay, 1990

Introduction by Kenneth Gaburo,Herbert Brun, Annea Lockwood, David Dunn,John Cage.

Chris Mann (March 9, 1949 Australia–September 12, 2018 New York NY) was an Australian composer, poet and performer specializing in the emerging field of compositional linguistics, coined by Kenneth Gaburo and described by Mann as "the mechanism whereby you understand what I'm saying better than I do".[1] He was, in the last 2 decades of his life, based in New York City.

Mann studied Chinese and linguistics at the University of Melbourne, and his interest in language, systems, and philosophy is evident in his work. Mann founded the New Music Centre in 1972 and taught at the State College of Victoria in the mid-1970s. He then left teaching to work on research projects involving cultural ideas of information theory and has been recognized by UNESCO for his work in that field.[1]

Mann moved to New York in the 1980s and was an associate of American composers John Cage and Kenneth Gaburo. He performed text in collaboration with artists such as Thomas Buckner, David Dunn, Annea Lockwood, Larry Polansky, and Robert Rauschenberg.

Mann recorded with the ensemble Machine For Making Sense with Amanda Stewart, Rik Rue and others, Chris Mann and the Impediments (with two backup singers and Mann reading a text simultaneously while only being able to hear one another), and Chris Mann and The Use. His piece The Plato Songs, a collaboration with Holland Hopson and R. Luke DuBois, features realtime spectral analysis and parsing of the voice into multiple channels based on phonemes. Mann has also participated in the 60x60 project.[2]

Mann taught in the Media Studies Graduate program at The New School. He died in September 2018 after a recurrence of cancer. He is survived by his wife and two children.

Lingua Press, 1988

Gaburo was born in Somerville, New Jersey. He served as a professor of music at the University of Illinois, the University of California, San Diego, and the University of Iowa. His notable students include James Tenney and Allen Strange. He is renowned as a teacher, pioneer of electronics in music, jazz pianist, writer, ecologist, publisher, and proponent of compositional linguistics.

In 1968, he joined the faculty at the new San Diego campus of the University of California where in 1972 a Rockefeller Foundation grant enabled him to start NMCE IV, this time with an actor, a virtuoso speaker, a mime, a gymnast, and a sound-movement artist (Rosen and Moore 2001). Until his resignation from UCSD in 1975 he produced a large number of integrated theatrical works, such as the collection Lingua and Privacy.

In 1975, Gaburo founded Lingua Press, which produces scores, books, records, audio tapes, videotapes, and films (Rosen and Moore 2001). This firm is dedicated to putting forth unique artist-produced works in all media having to do with language and music. Many of the publications have been exhibited in book art shows throughout the world. Gaburo lived in the Anzo-Borrego desert writing and teaching from 1980 until 1983. In 1980, he was artistic director for the first "authentic" production of Harry Partch's The Bewitched for the Berlin Festival (recorded on Enclosure Five: Harry Partch, innova 405). His understanding of Partch's concept of corporeality has deep connections with his own concern for physicality and how it informs compositions. His 1982 tape work, RE-RUN, for instance, was generated after a 20-hour sensory deprivation exercise.

He became Director of the Experimental Music Studio at the University of Iowa in 1983. The studio put intensive focus on composition, technology, psycho-acoustic perception, performance, and the affirmation of the uniqueness of the individual to create his/her own language reality. At the studio, he founded the Seminar for Cognitive Studies, a forum for discussion of the creative process. His concern for the investigation of music as legitimate research, and composition as the creation of intrinsic appropriate language, led to a series of readings in compositional linguistics for solo performer.

He most often made innovative use of electronics and explored tonality, serialism, and what he called "compositional linguistics" such as in his LINGUA series (Listening). He also wrote minimal pieces such as The Flow of (u) for three voices singing unison.

Gaburo died in 1993 in Iowa City, Iowa.

The archive of his life's work is held at the University of Illinois Music Library.

Special issue of this US magazine dedicated in its entirety to the late Australian artist/compositional linguist/raconteur Chris Mann, who died in 2018. The magazine contains tributes from Mann associates and admirers, including Warren Burt, Amanda Stewart, Pi-0, Ronald Robboy, Linda Kouvaras, Alvin Lucier, Ruark Lewis, Annea Lockwood, as well as Mann’s own writing and an interview with him by Philip Blackburn.

88 pages bound in soft-cover glossy colour cover by Brigid Burke.