Chronology of Lejaren Hiller's Life

1924
Born in New York City on 23 February 1924

1938-41
Piano lessons with Harvey Brown

1939-41
Instruction in harmony with Harvey Officer

1941-42
Studied with Milton Babbitt: strict counterpoint, ear training, and composition

1941-43
Oboe lessons with Joseph Marx

1942-45
Studied with Roger Sessions: composition and analysis

1944
BA in Chemistry, Princeton University

1944-45
Studied theory and composition with Milton Babbit and Roger Sessions

1945
Married Elizabeth Hasley on 18 April 1945 in Elkton, Md.

1946
MA in Chemistry, Princeton University

1947
PhD in Chemistry, Princeton University

1947-52
Worked as a research chemist for E. I. DuPont de Nemours and Company, Waynesboro, Va.: researched cellulose chemistry; discovered successful method for dyeing acrylic fibers like "Orlon"

1951
Composed Piano concerto and Suite for small orchestra--first of his compositions to be performed in concert; performed by The Virginia Symphony Orchestra in Waynesboro on 17 April 1951

1952-58
Member of the Department of Chemistry at University of Illinois at Urbana-Champaign

1953-55
Studied the Heinrich Schenker theory with Hubert Kessler

1956
Composed Illiac suite for string quartet in collaboration with Leonard Isaacson--the first significant work to use a computer in its composition

1958
M.Mus degree in Music, University of Illinois at Urbana

1958-61
Assistant professor at School of Music, University of Illinois

1958-68
Founded and directed the Electronic Music Studio at the University of Illinois 1959
Published Experimental music which explained the process involved in the preparation of the Illiac suite

1960
Published textbook Principles of chemistry with Rolfe H. Herber

1961-64
Associate professor at School of Music, University of Illinois

1963
Collaborated with Robert Baker to produce Computer cantata. This piece was prepared with three different computers. The text (by Lee Hultzen, Joseph Allen, and Murray Miron consists of five stochastic approximations to spoken English), was generated with Illiac I. The music score was prepared by IBM-7090 on MUSICOMP. The two examples of computer-generated sounds were prepared with the CSX-1 computer of the Coordinate Science Laboratory. This music was premiered at Urbana on 8 December 1963.

1964
Wrote Informationstheorie und Computermusik

1964-68
Professor at School of Music, University of Illinois

1967-69
In collaboration with John Cage, composed HPSCHD (for one to seven harpsichords and one to fifty-one tapes). "The soli, save one, were generated by a computer program based upon Mozart's Musical dicegame, K.294-d and the I-Ching Book of Changes." -- Quote from Hiller's own program notes. The music was first presented at Urbana on 16 May 1969.

1968
Appointed Frederic B. Slee Professor of Composition at SUNY, Buffalo

1968-74
Co-director, with Lukas Foss, of the Center for the Creative and Performing Arts, SUNY, Buffalo

1970
Adjunct professor of Science at SUNY, Buffalo

1973-74
Fulbright lecturer, Warsaw
Worked in Polish Radio's Experimental Studio

1974
Co-director, with Morton Feldman, of the Experimental Studio at Buffalo

1976
Finished Electronic sonata (indoor version, for a four-channel tape) and Midnight carnival (outdoor version, for at least 3 four-channel and 3 two-channel tape recorders with at least 42 loudspeakers) for an American Bicentennial commission by the City of St. Louis

1976
National Endowment for the Arts Award

1979
National Endowment for the Arts Award

1980
Fulbright lecturer at Salvado da Bahia, Brazil
Visited Cuba, the first American composer to do so since Castro's revolution

1980
Birge-Cary Professor of Music at SUNY, Buffalo

1985
Co-organizer, with Hinrich Martens, of a UB computer music exhibit for the U.S. Pavilion at the World's Fair in Tsukuba, Japan where his Expo'85 for multiple synthesizers was performed

1990
Retired, SUNY at Buffalo

1994
Died 26 Jan 1994 at Buffalo (in Niagara Lutheran Nursing Home)

Lejaren Hiller: Chronological List of Compositions

1940
H. 0(a): Wordless chorus

1941
H. 0(b): Two short pieces for orchestra

1946
H. 1: Sonata, No. 1 for piano, "H. one" (1946, revised 1968)

1947
H. 2: Sonata, No. 2 for piano (1947, revised 1953)
H. 3: Trio for violin, cello and piano

1948
H. 4: Seven artifacts for piano (1948, revised 1973)

1949
H. 5: Quartet, No. 1 for strings
H. 6: Concerto for piano and orchestra
H. 7: Sonata, No. 1 for violin and piano
H. 8: Children's suite for piano

1950
H. 9: Sonata, No. 3 for piano
H. 10: Jesse James, for vocal quartet and piano
H. 11: Sonata, No. 4 for piano

1951
H. 12: Suite for small orchestra
H. 13: Quartet, No. 2 for strings
H. 14: Fantasy for three pianos

1953
H. 15: Symphony, No. 1
H. 16: Quartet, No. 3 for strings

1954
H. 17: Twelve-tone variations for piano

1955
H. 18a: Sonata, No. 2 for violin and piano
H. 18b: Sonata for cello and piano (1955/77)

1956
H. 19: Two theater pieces for piano

1957
H. 20: Quartet, No. 4 for strings "Illiac suite"
H. 21: Music for "A dream play"
H. ?: Kyrie

1958
H. 22: Music for "The birds"
H. 23: Scherzo for piano
H. 24a/b: Five Appalachian ballads, for voice and guitar/harpsichord

1959
H. 25: Divertimento for eleven instruments
H. 26: Electronic music for "Blue is the antecedent of it"

1960
H. 27: Cuthbert Bound, chamber music for four actors and tape recorder
H. 28: Symphony, No. 2

1961
H. 29: Sonata, No. 5 for piano
H. 30a: Music for a film "Time of the heathen"
H. 30b: "Nightmare music" for tape alone

1962
H. 31: Quartet, No. 5 for strings "In quarter-tones"
H. 32: Amplification, for tape recorder and jazz band
H. 33: Music for "The man with the oboe"
H. 34: "Spoon River, Illinois" for narrators and instrumental sextet

1963
H. 35: Seven electronic studies for two channel tape recorder
H. 36: Computer cantata for soprano, tape and chamber ensemble

1964
H. 37: Machine music for piano, percussion and tape

1966
H. 38: A triptych for Hieronymus
H. 39: Suite for two pianos and tape

1968
H. 40: An avalanche for pitchman
H. 41: HPSCHD, for 1 to 7 harpsichords and 1 to 51 tapes
H. 42: Algorithms I, for nine instruments and tape (Versions I-IV)
H. 43a: Computer music for percussion and tape

1969
H. 44: Three rituals for two percussion, projections and lights

1970
H. 45: Sonata, No. 3 for violin and piano

1971
H. 46: A cenotaph for two pianos

1972
H. 47a: Sonata, No. 6 for piano "Rage over the lost Beethoven"
H. 47b: Rage over the lost Beethoven
H. 48: Algorithms II, for nine instruments and tape
H. 49: Quartet, No. 6 for strings

1974
H. 50: Six easy pieces for violin and piano
H. 51: A portfolio for diverse performers and tapes

1975
H. 52: Malta, for tuba and tape
H. 53: A preview of coming attractions, for symphony orchestra

1976
H. 54: Electronic sonata, for four-channel tape
H. 55: Midnight carnival, for a principal tape, indeterminate number of subsidiary tapes and other events in an urban environment

1977
H. 56: Persiflage, for flute, oboe and percussion
H. 57: "Ponteach", a melodrama for narrator and piano

1978
H. 58: Diabelskie skrzypce for stringed instruments and harpsichord

1979
H. 59: An apotheosis of archaepterix, for piccolo and berimbau
H. 60: Quartet, No. 7 for strings

1980
H. 61: Minuet and trio for six performers

1981
H. 62: Quadrilateral for piano and tape
H. 43b: Computer music for soprano, piccolo, percussion and tape

1982
H. 63: Music for "Chang Fu, the witch of Moon Mountain", for soprano, flute, viola, harp and percussion

1983
H. 64: Three compositions for tape
H. 65: Tetrahedron for harpsichord

1984
H. 66: Staircase tango for piano
H. 67: Algorithms III for nine instruments and tape
H. 68: Fast and slow for saxophone quartet

1985
H. 69: Expo '85 for multiple synthesizers
H. 70: The fox trots again, for chamber ensemble

1986
H. 71 : Metaphors for guitar quartet

1987
H. 43c: Computer music, for soprano and tape
H. 72: Symphony, No. 3

1989
H. 73: John Italus

Lejaren Hiller: Alphabetical list of Compositions

H. 42      Algorithms I for nine instruments and tape (1968)

H. 48      Algorithms II for nine instruments and tape (1972)

H. 67      Algorithms III for nine instruments and tape (1984)

H. 32      Amplification for tape recorder and jazz band(1962)

H. 59      An apotheosis of archarpterix for piccolo and berimbau (1979)

H. 40      An avalanche for pitchman, prima donna, player piano, percussionist and pre-recorded playback (1968)

            The birds -- See Music for The birds

            Blue is the antecedent of it -- See Electronic music for Blue is the antecedent of it

H. 46      A cenotaph for two pianos (1971)

            Chang Fu, the witch of Moon Mountain   -- See Music for Chang Fu, the witch of Moon Mountain

H. 8        Children's suite for piano (1949)

H. 36      Computer cantata for soprano, instrumental ensemble and two-channel tape recorder (1963)

H. 43a    Computer music for percussion and tape (1968)

H. 43c    Computer music for soprano and piano (1987)

H. 43b    Computer music for soprano, piccolo, percussion and tape (1968/81)

H. 6        Concerto for piano and orchestra (1949)

H. 27      Cuthbert Bound, chamber music for four actors and tape recorder (1960)

H. 58      Diabelskie skrzypce for stringed instrument and harpsichord (1978)

H. 25      Divertimento for eleven instruments (1959)

            A dream play   -- See Music for "A dream play"

H. 26      Electronic music for "Blue is the antecedent of it" (1959

H. 54      Electronic sonata, for four-channel tape (1976)

H. 69      Expo' 85 for multiple synthesizers (1985)

H. 14      Fantasy for three pianos (1951)

H. 68      Fast and slow for saxophone quartet (1984)

H. 24a    Five Appalachian ballads, for voice and guitar (1958)

H. 24b    Five Appalachian ballads, for voice and harpsichord (1958)

H. 70      The fox trots again, for chamber ensemble (1985)

H. 41      HPSCHD, for 1 to 7 harpsichords and 1 to 51 tapes (1968)

            Illiac suite -- See Quartet, No. 4 for strings

            In quarter tones -- See Quartet, No. 5 for strings

H. 10      Jesse James, for vocal quartet and piano (1950)

H. 73      John Italus: an eleventh century melodrama (1989)

H. ?        Kyrie (1957)

H. 37      Machine music for piano, percussion and two-channel tape recorder (1964)

H. 52      Malta, for tuba and tape (1975)

            Man with the oboe -- See Music for "Man with the oboe"

H. 71      Metaphors, for guitar quartet (1986)

H. 55      Midnight carnival, for a principal tape, an indeterminate of subsidiary tapes and other events in an urban environment (1976)

H. 61      Minuet and trio for six performers (1980)

H. 21      Music for "A dream play" (1957)

H. 22      Music for "The birds" (1958)

H. 63      Music for "Chang Fu, the witch of Moon Mountain", for soprano, flute, viola, harp and percussion (1982)

H. 33      Music for "Man with the oboe" (1962)

H. 30a    Music for a film "Time of the heathen", suite for chamber orchestra (1961)

            Music for a TV show "Spoon River, Illinois" -- See "Spoon River, Illinois"

            Music lesson -- See Minuet and trio for six performers

H. 30b    Nightmare music, for tape alone (1961)

H. 56      Persiflage, for flute, oboe and percussion (1977)

H. 57      Ponteach, a melodrama for narrator and piano (1977)

H. 51      A portfolio for diverse performers and tapes (1974)

H. 53      A preview of coming attractions, for symphony orchestra (1975)

H. 62      Quadrilateral for piano and tape (1981)

H. 5        Quartet, No. 1 for strings (1949)

H. 13      Quartet, No. 2 for strings (1951)

H. 16      Quartet, No. 3 for strings (1953)

H. 20      Quartet, No. 4 for strings "Illiac suite" (1957)

H. 31      Quartet, No. 5 for strings "In quarter-tones" (1962)

H. 49      Quartet, No. 6 for strings (1972)

H. 60      Quartet, No. 7 for strings (1979)

H. 47b    Rage over the lost Beethoven (1972) -- See also Sonata, No. 6 for piano

H. 23      Scherzo for piano (1958)

H. 4        Seven artifacts for piano (1948, revised 1973)

H. 35      Seven electronic studies for two-channel tape recorder (1963)

H. 50      Six easy pieces for violin and piano (1974)

H. 1        Sonata, No. 1 for piano "Opus one" (1946, revised 1968)

H. 2        Sonata, No. 2 for piano (1947, revised 1968)

H. 9        Sonata, No. 3 for piano (1950)

H. 11      Sonata, No. 4 for piano (1950)

H. 29      Sonata, No. 5 for piano (1961)

H. 47a    Sonata, No. 6 for piano "Rage over the lost Beethoven" (1972)

H. 7        Sonata, No. 1 for violin and piano (1949)

H. 18a    Sonata, No. 2 for violin and piano (1955)

H. 45      Sonata, No. 3 for violin and piano (1970)

H. 18b    Sonata for cello and piano (1955/77)

H. 34      "Spoon River, Illinois" for narrators and instrumental sextet(1962)

H. 66      Staircase tango for piano (1984)

            String Quartet No. 4 (in quartertones) -- See Quartet, No. 5 for strings

            String Quartet No. 5  (In Quarter Tones) -- See Quartet, No. 5 for strings

H. 12      Suite for chamber orchestra (1951)

H. 39      Suite for two pianos and tape (1966)

H. 15      Symphony, No. 1 (1953)

H. 28      Symphony, No. 2 (1960)

H. 72      Symphony, No. 3 (no date)

H. 65      Tetrahedor for harpsichord (1983)

H. 64      Three compositions for tape (1983)

H. 44      Three rituals for two percussion, projections and lights (1969)

            Time of the heathen -- See Music for "Time of the heathen"

H. 3        Trio for violin, cello and piano (1947)

H. 38      A triptych for Hieronymus, for actors (1966)

H. 17      Twelve-tone variations for piano (1954)

            Two short pieces for orchestra -- See Very early pieces

H. 19      Two theater pieces for piano (1956)

H. 0        Very early pieces (1940-41)

            Wordless chorus -- See Very early pieces

Lejaren Hiller: Technical Reports from the University of Illinois at Urbana-Champaign and SUNY at Buffalo

Technical Reports from the University of Illinois at Urana-Champaign

Materials located: ML3798.I5

1. Hiller, Lejaren Arthur. "Music for Two One-Act Plays: Revised Performance Scripts for 'B1ue is the Antecedent of It' and 'Cuthbert Bound'," 1961/68.
2. Baker, Robert A. "Preparation of Musicwriter Punched Paper Tape for Use by the ILLIAC Digital Computer," 1961.
3. Temperley, Nicholas M. "Personal Tempo and Subjective Accentuation," 1961.
4. Hiller, Lejaren Arthur. "Report on Contemporary Experimental Music, 1961," 1962.
5. Hiller, Lejaren Arthur. "lnformation Theory and Musical Analysis," 1962.
6. Hiller, Lejaren Arthur. "Seven Electronic Studies for Two-Channel Tape Recorder (1963)," 1963.
7. Beauchamp, James W. "A Statement of Progress of the Research Investigation 'Generation and Creation of New Electronic Sounds'," 1963.
8. Hiller, Lejaren Arthur and Robert A. Baker, "'Computer Cantata': A Study in Composition Using the University of Illinois IBM 7090 and CSX-1 Electronic Digital Computers," 1963.
9. Baker, Robert A. "MUsic Simulator-Interpreter for Compositional Procedures for the IBM 7090 Electronic Digital Computer," 1963.
10. Beauchamp, James W. "A Report on the Magnavox Sponsored Research Investigation: "The Development of New Electronic Systems for Generating Musical Sound," 1964.
11. Hansell, Susan Hostrup. "A Provisional List of Electronic Music Compositions," 1966.
12. Hiller, Lejaren Arthur, J. L. Divilbiss, David Barron, Herbert Brün and Erh Lin. "Operator's Manual for the CSX-1 Music Machine," 1966.
13. Hiller, Lejaren Arthur and Antonio Leal, "Revised Musicomp Manual," 1966.
14. Beauchamp, James W., Alton B. Otis, Gary R. Grossman and James A. Cuomo. "Four Sound Processing Programs for the ILLIAC II Computer and D/A Converter," 1968.
15. Beauchamp, James W. "A Computer System for Time-Variant Harmonic Analysis and Synthesis of Musical Tones," 1967.
16. Rogers, Marvin C. Jr. "An Artificial Reverberation System for the Electronic Music Studio," 1967.
17. Otis, Alton B. "An Analog Input/Output System for the ILLIAC II," 1967.
18. Hiller, Lejaren Arthur. "Music Composed with Computer -- An Historical Survey," 1968.
19. Hiller, Lejaren Arthur and James W. Beauchamp. "Review of Completed and Proposed Research on Analysis and Synthesis of Musical Sounds by Analog and Digital Techniques," 1967.
20. Andrus, Donald. "An Analysis of the Acoustics Of Tamtam Sounds," 1968.
21. Beauchamp, James W. "Electronic Music Equipment, 1950-1970, A Technical Survey," 1970.

Technical Reports from SUNY at Buffalo

No. 1-13 are cataloged separately; on the open shelves.

1. Chang, Chaw-Bing. "The Design of an Interface Machine Between a PDP-8 Computer and an Ampex-354 Audio Tape Recorder," 1970. ML3798.C45
2. Kleen, Leslie D. "Two Research Applications in Musical Applications of Electronic Digital Computers," 1972. ML3798.K6
3. Brainerd, Robert F. "Two Musical Applications of Computer Programming," 1972. ML3798.B7
4. Hiller, Lejaren Arthur. "Computer Programs Used to Produce the Composition HPSCHD," 1972. Buffalo: National Science Foundation Project No. GK-14191. ML410.H6542ZH6
5. Asuar, Jose Vicent. "Programmed Control of Analog Sound Generators by a Digital Computer," 1973. ML3798.A82
6. Kumra, Raveesh K. "The Composition of ALGORITHMS II by a Digital Computer," 1973. MT41.K8
7. Gena, Peter. "'MUSICOL Manual, Version 1, (MUSical Instruction Composition Oriented Language) for the 6400 Digital Computer," 1973. MT41.G35M8
8. Seirup, John. "TR4P4, A Fortran Program Dealing with the Computer Simulation of Traditional Four-Part Harmony," 1973. MT41.S44
9. Gena, Peter. "Closed Subroutines for Music Composition (Eleven Subroutines by Lejaren Hiller and Peter Gena, Programmed in Fortran 4," 1975. MT41.G35
10. Hiller, Lejaren Arthur. "Phrase Generation in Computer Music Composition," 1978. MT41.H588
11. Ames, Charles. "Mustran 4.1, User's Manual," 1979. MT41.A59 1979
12. Hiller, Lejaren Arthur. "Composing the Second Movement of ALGORITHMS III," 1980. ML410.H6542ZH58
13. Hiller, Lejaren. "Computer Programs Used to Produce the Composition ALGORITHMS I," 1983. ML410.H6542ZH59
14. Hiller, Lejaren. "Computer Programs Used to Produce the Composition, ALGORITHMS III," in preparation. (Not in Archive or The Music Library)

Lejaren Hiller: His Writings as Author and Co-author

1. "Acoustic and electronic music in the university music curriculum." American Music Teacher 12, no. 4 (1963): 24-25, 37
2. Analysis and Synthesis of Musical Sounds By Analog and Digital Techniques: an Interim Progress Report to the National Science Foundation. Urbana: University of Illinois Press, 1967.
3. The avant-garde string quartet in the U.S.A., record liner notes in VoxBox SVBX-5306, Vox Production, NY, 1973.
4. "The composer and the computer." Abacus 1, no. 4 (summer 1984): 9-31.
5. "Composing with computers: a progress report." Computer Music Journal 5, no. 4 (winter 1981): 7-21.
   Reprint in The music machine, ed. Curtis Roads, 75-89. Cambridge, Mass.: MIT Press, 1989.
   Includes list of compositions.
6. "Composition with hierarchical structures." Paper presented at the Second Annual Music Computation Conference, Urbana, Ill, November 7-9, 1985.
7. "Computer generation of sequential musical patterns." Paper presented at the 89th Meeting of the Acoustical Society of America, Austin, Texas, 1975.
   Abstract in Journal of the Acoustical Society of America 57, Suppl. 1 (Spring 1975): S10.
8. "Computer music." In Cybernetic Serendipity, ed. Jasia Reichardt, 21-23. New York: Praeger, 1969.
9. "Computer music." In Encyclopedia of Computer Science and Engineering, 2nd ed., New York: Van Nostrand Reinhold, 1982: 232-48.
10. "Computer music." Scientific American 201, no. 6 (December 1959): 109-20.
    Reprinted in Readings From Scientific American : Computer and Computation, 113-22. San Francisco: W. H. Freeeman, 1971.
11. "Computer music from the University of Illinois," record liner notes for Heliodor HS-25053, M.G.M. Recording Co., 1967.
12. "Dyskusja : Wlodziemierz Zonn, Pitagoreiziu Naiwny." Res Facta 8 (1977): 62.
13. "Electronic and computer music." St. Louis Post-Dispatch, 7 May 1959, 5(C).
14. New Encyclopedia Britannica, 15th ed. S.v. "Electronic music."
15. New Encyclopedia Britannica, 16th ed. S.v. "Electronic music."
16. "Electronic music at the University of Illinois." Journal of Music Theory 7 (1963): 99-126.
17. "Electronic synthesis of microtonal music." Proceedings of the American Society of University Composers 2 (April 1967): 99-106.
18. "From recognition in music." Proceedings of IFIP Congress, 1965, vol. 2, Washington DC: Spartan Books, 1966: 625-26.
19. "The generation of music by high-speed digital computers." Scanfax 10 (1956): 7.
20. "Informationsteori." Stockholm, Sweden : Sohlman's Forlag AB, 1976: 192-213. (Sohlman's Musiklexicon, vol. 3)
21. Informatistheorie und Computermusik. Mainz: B. Schott't Söhne, 1964.
    Review in the whole issue of Darmstädter Beiträge zur Neuen Musik, no. 8, 1964.
    Review by Fritz Winckel in Musica 19, no. 1 (1965): 45.
    Review in Dansk Musiktidsskrift 41, no. 6 (1966): 186.
    Review in Musikhandel; offizielles Fachblatt für den Handel mit Musikalien, Schallplatten, Musikinstrumenten und Zubehör 19, no. 5 (1968): 246.
22. "An integrated electronic music console." Journal of the Audio Engineering Society 13 (1965): 142-50.
23. "Jim Tenney at Illinois: a reminiscence." Perspectives of New Music 23 (1987): 514-16.
24. "Jüngste Entwicklung auf dem Gabiet der Computer-Musik." In Informationstheorie und Computermusik. Mainz: Schott, 1964.
25. "Lejaren Hiller : An apotheosis of archaeopterix for piccolo and berimbau," liner notes for Spectrum SR-313, Uni-Pro Productions, Harriman, NY, 1981.
26. "Lejaren Hiller : An avalanche...; Suite for two pianos and tape; Malta for tuba and tape," liner notes for Copra 1206, Capra Recordings, Santa Cruz, CA, 1979.
27. "Lejaren Hiller : computer music retrospective," liner notes for Wergo WER -6012812, B. Schott's Sohne, Mainz, 1986.
28. "Lejaren Hiller : Jesse James for vocal quartet and piano; Five Appalachian ballades for voice and guitar," liner notes for Orion 78287, Orion Recordings, Los Angeles, 1977.
29. "Lejaren Hiller : A portfolio for diverse performers and tapes," liner notes for CRI -SD 438, CRI Productions, New York, 1980.
30. "Lejaren Hiller : Sonata Nos. 4 and 5 for piano," liner notes for Orion-75176, Orion Recordings, Los Angeles, 1975.
31. "Lejaren Hiller : String quartet no. 6," liner notes for CRI-SD332, CRI Productions, New York, 1975.
32. "Lejaren Hiller : Twelve-tone variations for piano (1954); Machine music for piano, percussion and tape (1964); Sonata no. 3 for violin and piano (1970)," record liner notes for Turnabout TV-S34536, Vox Productions, NY, 1973.
33. "Lejaren Hiller : a 30-year retrospective," liner notes for Spectrum SR-190, Uni-Pro Productions, Harriman, NY, 1984.
34. "Musical applications of electronic digital computers." Gravesaner Blätter 27/28 (1965): 46-72.
35. "Musikalische Anwendugen von electronischen Digitalrechnern." Gravesaner Blätter 27/28 (1966): 96-137.
36. "Musique Electronique." L'Ere Atomique, Encyclopedie des Sciences Modernes, vol. 8. Geneva, Switzerland: Editions Rene Kister, 1958: 110-12.
37. "Muzyczny zastosowanie elektronowych maszyn cyfrowych." Ruch Muzyczny 6, no. 7 (1962): 11-13.
38. "Muzyka eksperimentalne -- komponowanie z pomoca komputer." Res Facta 5 (1971): 5-44.
39. "Observations by the composer." (discussion and analysis of Machine music) In Electronic Music : a Listener's Guide, ed. E. Schwartz, 226-29. New York: Praeger Publishers, 1973.
40. "On the use of a high-speed electronic digital computer for musical composition." M.M. Thesis, University of Illinois, 1958.
41. "Phrase structure in computer music." In Proceedings of the 1978 International Computer Music Conference, vol. 1, ed. C. Roads, 192-213. Evanston, Illinois: Northwestern University Press, 1979.
42. "Programming a computer for musical composition." In Computer Applications in Music, ed. G. Lefkoff, 65-88. Morgantown, WV : West Virginia University Library, 1967.
43. "Programming the I-Ching oracle." Computer Studies in the Humanities and Verbal Behavior 3 (1970): 130-43.
44. "Review of 'Music from mathematics'" (Decca LP Recording) Proceedings of the IEEE 51 (1963): 538.
45. "Review of 'Silence' by John Cage," The Quarterly Journal of Speech 48 (1962): 316-17.
46. "Review of 'The technology of computer music' by M. V. Mathews, et al." Notes 26 (1970): 764-65.
47. "Some comments on computer sound synthesis." Proceedings of the American Society of University Composers 1 (April 1966): 47-49.
48. "Some compositional techniques involving the use of computers." In Music by Computers, ed. Heinz von Foerster and James W. Beauchamp, 71-83. New York: John Wiley, 1969.
49. "Some structural principles of computer music." Journal of the American Musicological Society 9 (fall 1956): 247-48.
50. "Stochastic generation of note parameters for music composition." In Proceedings of the Venice 1982 International Computer Music Conference, comp. Thomas Blum and John Strawn, 623-52. San Francisco, Cal.: Computer Music Association, 1985.
51. "Sulla programmazione del Gioco musicale dei dadi di Mozart." [On the Programming of the Musical Dice Game of Mozart] In I porfili del suono scritti sulla musica electroacustica e la computer music, ed. Serena Tamburini and Mauro Bagella, 135-37. Salerno: Musica Verticale-Gulzerano, 1987.
52. "These electrons go round and round and come out music." IRE Student Quarterly 8, no. 1 (September 1961): 36-45.
53. "Z prac studia muzyki eksperimentalnej University of Illinois." Horizonty Muzyki 1, no. 38 (26 March 1964): 1-5.

---

List of Publications by Hiller with Co-Authors

1. With: Ames, Charles.

   • "Automated composition: an installation at the 1985 International Exposition in Tsukuba, Japan." Perspectives of New Music 23, no. 2 (spring-summer 1985): 196-215.

2. With: Baker, Robert A.
   • "Automated music printing." Journal of Music Theory 9 (1965): 128-52.
   • "Computer cantata: an investigation in compositional procedure." Perspectives of New Music 3 (1964): 62-90.
   • "Computer music." In Computer Applications in the Behavioral Sciences, ed. by H. Borko, 424-51. Englewood Cliffs, NJ : Prentice Hall, 1962.
3. With: Bean, Calvert.
   • "Information theory analysis of four sonata expositions." Journal of Music Theory 10;(1966): 96-137.
4. With: Beauchamp, James W.
   • "Research in music with electronics." Science 150 (1965): 161-69.
5. With: Fuller, Ramon.
   • "Structure and information in Webern's 'Symphonie, op. 21'." Journal of Music Theory 11 (1967): 60-115.
6. With: Isaacson, Leonard M.
   • Experimental Music : Composition with an Electronic Computer. New York: McGraw-Hill, 1959. Reprint, Westport, Conn.: Greenwood Press, 1979.

     Excerpts appeared in The Modeling of Mind: Computers and Intelligence, ed. Kenneth M. Sayre and Frederick J. Crosson, 43-71. Notre Dame, Ind.: University of Notre Dame Press, 1963.
     Review by Werner Meyer-Eppler in Archiv der elektrischen Ubertragung 14 (1960): 237.
     Review by N. Gastinel in Chiffres 3 (1960): 128.
     Review by Thomas H. O'Beirne in The Computer Journal (1959/60): 205.
     Review by Peter Westergaard in Journal of Music Theory 3 (1959): 302-06.
     Review by Max V. Mathews in Proceedings of IRE 47 (1959): 1792.
     Review by Richard W. Hamming in Computing Reviews 1 (1960): 16.
     Review by Bernhard Hansen in Neue Zeitschrift fur Musik 123 (1962): 147 -48.
     Review by Robert L. Jacobs in The Music Review 22, no. 4 (1961): 326-29.
     Review by Peter A. Evans in Music and Letters 42, no. 4 (1964): 369-71.
     Review by Miroslav Filip in Slovenska hubda 8, no. 4 (1964): 128.
     Review in Canadian Music Journal 5, no. 2 (1961): 61+.
     Review by George F. McKay in Journal of Research in Music Education 7, no. 2 (fall 1989): 232.

   • "Musical composition with a high-speed digital computer." Journal of Audio Engineering Society 6 (1958): 154-60.
7. With: Kumra, Raveesh.
   • Composing Algorithms II by means of change-ringing. Technical Report no. 6. Buffalo, New York: SUNY, Department of Music, 1979.
     Also published in Interface 8 (1979): 129-68.
8. With: Levy, Burt.
   • "General system theory as applied to music analysis. Part I." Atti del Convegno Modena (4-6 October 1982): 295-316.
   • "General system theory as applied to music analysis. Part II." In Musical Grammars and Computer Analysis, ed. M. Baroni and L. Callegari, 295-316. Florence: L. S. Olschki, 1984.
9. With: Ruiz, Pierre.
   • "Synthesizing musical sounds by solving the wave equation for vibrating objects." Journal of the Audio Engineering Society 19 (1971): 462-70, 542-51.
     Also appears in Robert F. Brainerd's Two musical applications of computer programming, 63-71. Technical Report, no. 3. Buffalo, NY: National Science Foundation Project no. GK 14191. September 1972.

Lejaren Hiller: Bibliography of Writings about Lejaren Hiller

Writings identified from RILM Abstracts of Music Literature, 1967-1991, and Music Index, 1949-1991

1. American Composers : A Biographical Dictionary, 1982 ed. S.v. "Hiller, Lejaren Arthur, Jr."
2. ASCAP Biographical Dictionary, 4th ed. S.v. "Hiller, Lejaren Arthur."
3. Baker's Biographical Dictionary of Musicians, 8th ed. S.v. "Hiller, Lejaren (Arthur, Jr.)"
4. Brown, Frank. "La Musique par Ordinateur." Paris: Presses Universitaires de France, 1982.
5. Brun, H. "On the Conditions under Which Computers Would Assist a Composer in Creating Music of Contemporary Relevance and Significance." Proceedings of the American Society of University Composers 1 (1966): 30-37.
6. Chadabe, Joel. "Some Reflections on the Nature of the Landscape within Which Computer Music Systems Are Designed." Computer Music Journal 1, no. 3 (June 1977): 5-11.
7. Contemporary American Composers : A Biographical Dictionary, 2nd ed. S.v. "Hiller, Lejaren."
8. "Electronic composers." Jazz & Pop 8 (December 1969): 33.
9. Ernst, D. "John Cage." Polyphony 5, no. 1 (1979): 14.
10. Von Foerster, Heinz and J. W. Beauchamp, eds. Music by Computers. New York: Wiley and Sons, 1969.
11. Green, Tona. "Lejaren Hiller : Computer Music Retrospective (1957-1985)." Computer Music Journal 13, no. 1 (spring 1989): 64-65.
12. Hansell, S. H. "Electronische Experimente Ostilch des Mississippi." MELOS 29 (1962): 388-91.
13. Howe, H. S. "Composing by Computer" (Version of paper presented at the Second International Conference on Computers and the Humanities, held at Univ. of Southern Calif., Apr., 1975) Computers and the Humanities 2 (1975): 281 -90.
14. "Hudebni expresionismus a theorie informaci." (Translated from Neue Zurcher Zeitung 3, July 1965) Hudebni Rozhledy 19, no. 3 (1966): 90-91.
15. Husarik, Steven. "John Cage and Lejaren Hiller's HPSCHD, 1969." American Music 1/2, no. 2 (1983).
16. Kassler, Jamie C. "Report from London : Cybernetic Serendipity." Current Musicology 7 (1968): 47-59.
17. Lachartre, Nicole. "Les musiques artificielles." Diagrammes du monde 146 (April 1969): 1-96.
18. Maehder, Jürgen. "Technologischer Fortschritt und Fortschritt des Komponierens : Synthesetechniken in der zeitgenössischen Computermusik und musikalische Struktur." In Quo vadis musica?, 60-76. Kassel: Barenreiter, 1990.
19. Moles, Abraham A. Théorie de l'information et perception esthétique. Paris: Flammarion, 1958. *Also, as Information Theory and Esthetic Perception. Translated by Joel E. Cohen. Urbana, Ill.: University of Illinois Pre ss, 1966.
20. Moore, James A. "Music and computer compositions." Communications of the Association for Computing Machinery 15, no.2 (February 1972): 104-13.
21. Morton, Brian and Pamela Collins, eds. Contemporary Composers. Chicago : St. James Press, 1992. S.v. "Hiller, Lejaren A(rthur), Jr.," by David Revill.
22. "Music Journal's 1992 gallery of living composers." Music Journal 30 (1992): 46.
23. Newson, G. "Electronic Odessey." Composer 26 (winter 1967-68): 11-14.
24. Oehlschlagel, Reinhard. "Neue Musik von A-Z." Opern Welt (July 1970): 43.
25. Pierce, John R. "The computer as a musical instrument." (letter to the editor). Journal of the Audio Engineering Society 8, no. 2 (1960): 139-40.
26. Rakowski, A. "O zastosowaniu cyfrowych maszyn matematycznych do muzyki." Muzyka ; kwartalnik poswiecony historii i teorii muzyki 7, no. 3 (1962): 83 -96.
27. Sadie, Stanley, ed. New Grove Dictionary of Music and Musicians. New York : Macmillan, 1980. S.v. "Hiller, Lejaren," by Gilbert Chase.
28. Schwartz, Elliot. Electronic Music : a Listner's Guide. New York: Praeger Publishers, 1973.
29. Sedelow, Sally Yeates. "The computer in the humanities and fine arts." Computing Surveys 2, no. 2 (1970): 89-110.
30. "Will a machine compose a new symphony?" School Music 31 (January 1960): 59.
31. Wittlich, G. "Music as information." Your Musical Cue 7, no. 3 (1970-71): 3-9.

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Interviews with Lejaren Hiller

1. "John Cage, Lejaren Hiller: HPSCHD." Interview by Larry Austin. Source : Music of the Avant-Garde 2, no.2 (1968): 10-19.
   Reprint, Computer Music Journal 16, no. 4 (1992): 15-29.
2. Soundpieces : Interviews With American Composers. Interview by Cole Gagne and Tracy Caras. Mentuchen, NJ: Scarecrow, 1982.
3. "O zastosowaniu komputerow w muzyce mowi Lejaren Hiller (interview)." Interview by Zbigniew Piotrowski. Ruch Muzyczny 18, no. 4 (1974): 3-4.