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Interviewed by Norma Beecroft as part of her ebook, Conversations With Post World War II Pioneers of Electronic Music.
Recorded on audio cassette.
Digital transfer and editing: William Van Ree
Hubert S. Howe
b. 1942, Portland, Oregon
Hubert S. Howe Jr., known to his friends and acquaintances as Tuck, is a well known expert especially in the field of computer music. He has published numerous articles on various aspects of electronic music, and written books on the subject, notably Electronic Music Synthesis: Concepts, Facilities, Techniques, 1975, TRS-80 Assembly Language, 1981, and TRS-80 Model III Assembly Language, 1983. His prolific output as a composer include works for traditional instruments and many pieces for various electronic resources, tape, synthesizer and computer generated.
Educated at Princeton University, where he studied with J.K. Randall, Godfrey Winham and Milton Babbitt, Howe received his A.B., M.F.A., and Ph.D. He was Professor of Music and Director of the Electronic Music Studios at Queens College of the City University of New York. He has enjoyed a long career as an educator at the Juilliard School, University of Alabama, and was Director of the Aaron Copland School of Music at Queens College. He has been active in not only the computer music field as a member of the International Computer Music Association, but also in the American section of the ISCM, and President of the American Composers Alliance.
b.Lunenberg MA,1926 - d. New York NY, 2002
Known as the New York School, whose members included John Cage, Morton Feldman and Christian Wolff, Earle Brown was a major figure in contemporary music since the 1950s. His particular approach -to composition was influenced by the conceptual attitudes toward art as practiced by Abstract Impressionists Alexander Calder and Jackson Pollock, and musical iconoclasts like Charles Ives and Carl Ruggles, also New Englanders.
With a background in engineering and mathematics, as well as studies in trumpet and big band performances, Earle Brown then pursued studies at the Schillinger House School of Music in Boston. In 1952 he moved to New York, and joined the Project for Music for Magnetic Tape organized by John Cage and David Tudor with sound engineers Louis and Bebe Barron. In 1954, Cage and Tudor performed works by Brown during their European tour, and the effect of this tour was lauded, often revered, and certainly scandalized by Europeans. To Europe, it was America.
Earle Brown’s influence on contemporary music has been extensive, with his experiments in time notation, improvisation and open-form composition. During his lifetime, he received many commissions, awards and residencies, among those at the California Institute of the Arts, Yale University, Tanglewood and Aspen Music Festivals, the American Academy in Rome and the Basel Conservatory of Music. On November 20, 2002, the Museum of Modern Art paid homage to Earle Brown, one of the great American composers of the 20th century in a program of his music.