Professor, Corwin Endowed Chair of Composition
Professor Clarence Barlow is the Corwin Professor of Composition and he holds the Corwin Chair. From its inception, the Corwin Chair has been an important post for promoting the creation and performance of contemporary music, for making regional, national, and international connections with other composition programs, for bringing noted composers to UCSB as guests to broaden students' horizons, and for attracting students to UCSB. Barlow's career achievements fulfill the Corwin's vision of fostering a link between continuing excellence in traditional approaches to composition while also recognizing the emerging role of music in the media arts and technology. Barlow's past and current teaching posts include twelve years as Professor of Composition and Computer Music at the renowned biennial Summer Courses of the International Music Institute at Darmstadt (1982-1994); over twenty years as Lecturer in Computer Music at Cologne Music University (1984-2005); four years as Artistic Director of the Institute of Sonology at The Hague's Royal Conservatoire (1990-1994); and twelve years as Professor of Composition and Sonology at the Royal Conservatoire (1994-2006). Other posts include Visiting Professor of Composition and Acoustic Art at the Folkwang University in Essen, Germany (1990-1991), and Visiting Professor of Composition at the ESMAE School of Music and Dramatic Arts in Porto, Portugal (2005-2006).
Barlow, who studied composition under Bernd Alois Zimmermann (1968-1970) and Karlheinz Stockhausen (1971-1973), is a universally acknowledged pioneer and celebrated composer in the field of electroacoustic and computer music. He has made groundbreaking advancements in interdisciplinary composition that unite mathematics, computer science, visual arts, and literature. While he has been a driving force in interdisciplinary and technological advances, his music is nevertheless firmly grounded in tradition and thus incorporates much inherited from the past. His works, primarily for traditional instruments, feature a vocabulary that ranges from pretonal to tonal, nontonal, or microtonal idioms, and, further, may incorporate elements derived from non-western cultures. Between 1961 and 2011 Barlow has produced over 90 works of various types, 3 orchestral (2 piano concertos, and a work for large orchestra); 38 chamber works for various groups of traditional instruments, including 2 string quartets; 2 choral pieces; 5 vocal works with accompaniment; 28 piano pieces (including works for two pianos); 2 organ works; and 19 electroacoustic works, a few of which fall into the category of radio plays and music theater.
The works have been programmed on concerts far too numerous to list. Between 1976 and 2009, over 30 concerts in Germany and elsewhere have been devoted entirely to Barlow's music (Aachen, Bremen, Cologne, Dortmund, Frankfurt, The Hague, Helsinki, Kiel, Ljubljana, London, Munich, Münster, New York, Rotterdam, Stockholm, Yokohama, Zurich). Several works have been recorded and released on CD.
In addition to his renown as a composer, Barlow has also attained high distinction as an interdisciplinary researcher, author, and software developer. His publications include numerous works, one of which is an extensive study on tonality and metricism, Bus Journey to Parametron (1980, 1984). Additional publications are the software that Barlow has written as aids for composing and notating music. These include Autobusk, a modal and metric pitch and rhythm generator (2001), the notation programs ЖSC (1984) and Tupletizer (1998) and numerous audio generation programs.
Clarence Barlow’s Teaching Schedule
WINTER QUARTER 2014
Tuesdays 3:00-4:50 p.m. Music Building, Room 1145
This is a course on Clarence Barlow’s derivation of music from other sources –
language, other musics, algorithms, visual images, sound recordings.
MUS 211A*: On the Derivation of Music from Other Sources
Jan. 7th Music from Language (1)
Jan.14th Music from Language (2)
Jan.21st Music from Other Musics (1)
Jan.28th Music from Other Musics (2)
Feb. 4th Music from Algorithms (1)
Feb.11th Music from Algorithms (2)
Feb.18th Orchideæ Ordinariæ, an orchestral piece incorporating the above
Feb.25th Music from the Visual
Mar. 4th Music from Recordings (1) – CCU, a soundscape piece based on sounds of Calcutta
Mar.11th Music from Recordings (2) – Zero Crossing, based on sounds of around the world
*Also crosslisted as INT 94LQ(till Feb.11th)andMAT 594CB
Wednesdays 4:00-6:50 p.m. Music Building, Room 1129
featuring Barlow’s own software (available to students)
MUS210A / MAT270A: Software Development as a Means to Composition
Jan. 8th Mididesk– a set of programs* for ofine MIDIle-processing (the principle)
Jan.15th Autobusk (1) – a realtime program* for generating MIDImelodies & rhythms
Jan.22nd Autobusk (2) – the “Pre-processors”*: more on the theoretical background
Jan.29th Autobusk (3) – the “Post-processors”*: practical work with AUTOBUSK
Feb. 5th Spectralist – a set of programs for converting spectra to MIDIevents
Feb.12th Dissonometer – a program for measuring dissonance between timbres
Feb.19th Tupletizer – for an efcient notational quantization of time data
Feb.26th Isis (1) – downpitching sound waves to disintegrate them into note streams
Mar.05th Isis (2) – a set of programs implementing the ISISprinciple
Mar.12th Miscellaneous other programs
*Atari programs (emulated on the PC/Mac), all others Linux/Mac