Jon Appleton

Publications

Scholarship

• Dartmouth College Jon Appleton Archive at DRAM
  DRAM Announces the Dartmouth College Jon Appleton Archive
  DRAM is a not-for-profit resource providing educational communities with on-demand streaming access to CD-quality audio (192kbps Mp4), complete original liner notes and essays from independent record labels and sound archives. Continuing in the tradition of DRAM's sister company New World Records, one of DRAM's primary focuses is the preservation and dissemination of important recordings that have been neglected by the commercial marketplace, recordings that may otherwise become lost or forgotten.
• Dartmouth College Library - Rauner Special Collections Guide to the Papers of Jon Appleton, 1931 - 2009
  Jon Howard Appleton (1939- ). Professor of music at Dartmouth from 1978-2006. Composer, and co-developer of the Synclavier. Contains correspondence, publicity materials, newspaper and magazine articles, photographs, floppy discs, programs, reviews, recordings, a VHS tape, compact discs and musical scores. Documents Appleton's career as a composer, primarily in the field of electronic music, and his time as a professor at Dartmouth.

Significant Writings

• "How I Became a Russian Composer", liner notes to Jon Appleton: The Russian Music, Phoenicia Publishing, 2009.
• "Is Simplicity the New Complexity?" Society for Electro-Acoustic Music in the United States, Fort Wayne, Indiana, April, 2009.
• "A Vision of the Future: Musical Delivery Systems in the Mid 21st Century," Symposium at Royal Institute of Technology and Royal College of Music, Stockholm. Sweden, October, 2004.
• "Musical Storytelling," in Contemporary Music Review, 1996, Vol. 15, pp. 57-62.
• "Science in the Service of Music; Music in the Service of Science," Computer Music Journal, 1992.
• Twenty-First Century Musical Instruments: Hardware and Software, Institue for Studies in American Music, Brooklyn, New York, 1989.
• "Guest Editorial" with Lars-Gunnar Bodin, Keyboard Magazine, May, 1986.
• "Live and in Concert: Composer/Performer Views of Real-Time Performance Systems," Computer Music Journal, Vol. 8, No. 1, 1984.
• "Electronic Music: Questions of Style and Compositional Technique,"
• The Musical Quaterly, Vol. LXV, No. 1, January, 1979.
• "Nagra brev fran framtiden," Nutida Musik, Hafte 2, 1971, p.35.
• "Re-evaluating the Principle of Expectation in Electronic Music," Perspectives of New Music, Fall-Winter, 1969, p.106.

Books

• "Aesthetic Direction in Electronic Music," "Tradition and Change: The Case of Music," "'Otahiti: The Development of a Personal Style," in On the Wires of our Nerves, Robin Heifetz, Ed., Bucknell University Press, 1989.
• Twenty-First Century Musical Instruments: Hardware and Software, Institue for Studies in American Music, Brooklyn, New York, 1989.
• Co-Editor with Ronald Perera; The Development and Practice of Electronic Music, Prentice-Hall, Inc., 1975.
• Preface to Introduction to Electroacoustic Music by Barry Schrader, Prentice-Hall,1982.

Articles

• "My Friend Max," Computer Music Journal, Summer, 2009.
• "Ce que la musique électroacoustique doit à Max Mathews," Max Mathews: Portraits polychromes, Institut National de l'audiovisuel, Paris, France, 2007.
• "Confessions of a Former Performer of Electro-Acoustic Music," in Contemporary Music Review, 1999, Vol. 18.
• "Musical Storytelling," in Contemporary Music Review, 1996, Vol. 15, pp. 57-62.
• "Science in the Service of Music; Music in the Service of Science," Computer Music Journal, 1992.
• "President's Message," Journal SEAMUS, Vol. III, No. 1, March, 1988.
• "President's Report," Journal SEAMUS, Vol. III, No. 2, October, 1988.
• "Review Essay: 'The Composer and the Computer'", The Musical Quarterly, Fall, 1986.
• "Guest Editorial" with Lars-Gunnar Bodin, Keyboard Magazine, May, 1986.
• "Live and in Concert: Composer/Performer Views of Real-Time Performance Systems," Computer Music Journal, Vol. 8, No. 1, 1984.
• "Electronic Music: Questions of Style and Compositional Technique,"
• The Musical Quaterly, Vol. LXV, No. 1, January, 1979.
• "A Composer's View - Electronic Music's Rising Fortunes,"
• Schwann Record and Tape Guide, October, 1978.
• "Prospects for Electronic Music in the 1980's,"American Music Center Newsletter, Vol. 20, No. 4, 1978.
• "A Special Purpose Digital System for Musical Instruction, Composition and Performance," with Sydney Alonso and Cameron Jones, Computers and the Humanities, Vol. 10, p. 209. Reprinted in Creative Computing, March-April, 1977.
• "Elektronisk musik pa 1980-talet," Nutida Musik, Hafte 3, 1976 p.24.
• "Koncentrerad information om ny musik," a review of David H. Cope's "New Directions in Music," in Nutida Musik, Hafte 2, 1976, p. 26.
• "The Electric Music of Tonga: The Use of Non-Western Music by Western Composers," Mundus Artium, Vol. VII, No. 1, 1974, p.172.
• "Nagra brev fran framtiden," Nutida Musik, Hafte 2, 1971, p.35.
• "The State of Electronic Music: 1972," College Music Symposium, Vol.12, Fall, 1972, p.72.
• "The Making of Human Music," Music Journal 1971 Anthology, p. 30.
• "Electronic Music and the Composer's Future," The World of Music (UNESCO), Vol. XIII, No. 1, 1971, p.29.
• "Svensk elektronisk musik," Nutida Musik, Hafte 3, 1970, p.14.
• "The Composer in Academia," College Music Symposium, Spring, 1970, p.62.
• "Re-evaluating the Principle of Expectation in Electronic Music," Perspectives of New Music, Fall-Winter, 1969, p.106.
• "Neubewertung des Prinzips der 'Erwartung' von Botschaften fur elektronische Musik," Experimentelle Musik, Gebr. Mann Verlag, Berlin, l970.
• "A New Role for the Composer," Music Journal, Vol. XXVII, No. 3, March, 1969. Reprinted in Nutida Musik, Hafte 4, 1969.
• "Additive vs. Subtractive Synthesis," Electronic Music Review, Vol. 2, No. 1.
• "Tradition and Change: The Case of Music," with Leonard Kasdan, Comparative Studies in Society and History, Vol. 12, No. 1, p.50.
• "Report from Yale: Festival of Contemporary American Music," Current Musicology, Spring, 1966.
• "Tone-Relation, Time-Displacement and Timbre: An Approach to Twentieth Century Music," The Music Review, Vol. 27, No. 1.
• "Aesthetic Direction in Electronic Music," Western Humanities Review, Autumn, 1964. Reprinted inAmerican Journal, Vol V, No. 2, Japan-American Forum, October, 1965, Comentario, December, 1966.

Reviews of my own compositions

• "Jon Appleton," Contes de la mémoire, by Alcides Lanza, Computer Music Journal, Volume 22, No. 3, Fall, 1998.

Reviews

• "Paul Lansky: What She Carried," Computer Music Journal, Vol. 24, No. 4, Winter, 2001.
• "Wendy Carlos: Clockwork Orange, Sonic Seasonings, Tales of Heaven and Hell," Computer Music Journal, Vol 24, No. 1, Spring, 2000.
• "Bits and Pieces: EMS 30 years," Computer Music Journal, Vol. 23, No. 2, 1999
• "Gilbert Trythall's 'Principles and Practice of Electronic Music, " NOTES, March, 1975.
• "Proceedings of the First-Third Annual Conference of the American Society of University Composers," NOTES, Vol. 31, No. 3, 1975.
• "Otto Luening and Vladimir Ussachevsky," Contemporary Music Newsletter, Vol. IV, No. 2.
• "Royalton, Vermont- Current Chronicle," The Musical Quarterly, Vol. LVI, No. 1, January, 1969.
• "Berlin-Current Chronicle," The Musical Quarterly, Vol. LV, No. 1, January, 1970.
• "International Electronic Music Catalog," NOTES, Vol. 25, No. 1.
• "Rapport fra den internationale konference om elektronmusik," Dansk Musik Tidskrift 1981/1982, Nr. 2, p. 90.
• "Harold N. Lee's 'Perception and Aesthetic Value,'" NOTES, Vol. 25, No. 1.
• "Ernst Krenek's 'Horizon Circled,'" The Musical Quarterly, Vol. LIV, No. 1.
• "Electronic Music Review," NOTES, Vol. 24, No.3.
• "Edmond Gurney's 'The Power of Sound," NOTES, Vol. 24, No. l.

Papers

• "Is Simplicity the New Complexity?" Society for Electroacoustic Music in the United States, Fort Wayne, Indiana, April, 2009.
• "A Vision of the Future: Musical Delivery Systems in the Mid 21st Century," Symposium at Royal Institute of Technology and Royal College of Music, Stockholm. Sweden, October, 2004.
• "When Technology Becomes Invisible," Special College Music Society Sympsoium Celebrating the Fortieth Anniversary of the First Concert of Electronic Music in the United States," October, 1992.
• "On the Use of Digital Performance Instruments in Concert," The International Electronic Music Conference in Stockholm, Sept., 1981.
• "Current Developments in Digital Performance Instruments," 49th Meeting of the Australian-New Zealand Association for the Advancement of Science, Auckland, January, 1979.
• "Digital Performance Instruments," International Society for Contemporary Music Symposium; Stockholm, Sweden, May, l978.
• "Report from Dartmouth," International UNESCO Summer Workshop in Computer Music, Aarhus, Denmark, August, 1978.
• "Studio Report," 1977 International Computer Music Conference, University of California at San Diego, October, 1977.
• "Composer's Languages vs. Real-Time Synthesis," Conference on Computing in the Arts and Humanities, New York University, October, 1977.
• "Computer-Based Music Instruction," National Association of Schools of Music, Chicago, 1977.
• "Computer Languages vs. Real-Time Improvisation in Electronic Music," Music Educators National Conference, Chicago, April, 1978.
• "Problems of Designing a Composer's Language for Digital Synthesis," Audio Engineering Society, 57th Convention, May, 1977.
• "Teaching Tape Studio Techniques for Music Synthesis," Acoustical Society of America, 85th Meeting, April, 1973.
• "Contemporary Composition - A Means of Evaluation," College Music Society National Meeting, November, 1972.
• "Re-evaluating the Principle of Expectation in Electronic Music," Akademie der Kunste, Technische Universitat Berlin, October, 1968.
• "The Graveyard of the Neo-Past," American Musicological Society,Northwest Chapter, January, 1964.