Thomas DeLio is a composer and theorist, internationally renowned in both fields. He has composed music for soloists, chamber ensembles and orchestra, and is especially noted for his work in computer music. His compositions have been performed worldwide and are recorded on numerous labels including Wergo (Germany), 3D Classics (France), Neuma, Centaur, Capstone, ERMMedia and Spectrum. His music is published in the US by Resonant Editions, Sonic Art Editions and, in Italy, by Semar Editore
He has published over thirty essays in such journals as The Journal of Music Theory,Perspectives of New Music, Interface, Artforum, Contemporary Music Review (London), Revue d'Esthetique (Paris), andMusikText (Cologne). A number of his essays have been anthologized, and translated into German, French and Italian. His books include Circumscribing the Open Universe (University Press of America; Italian translation, Semar Editore, Rome),The Music of Morton Feldman (Greenwood Press), and The Amores of John Cage (Pendragon Press). He has participated in conferences, festivals and residencies throughout the world.
A book about his work, entitled Essays on the Music And Theoretical Writings of Thomas DeLio was published by The Edwin Mellen Press (2008). It contains essays by leading composers and scholars from Europe and the United States. Contributors to this volume include: Herman Sabbe, Professor, Ghent State University (Belgium); Robert Morris, Professor, Eastman School of Music; Agostino di Scipio, Professor, University of Bari (Italy); Christopher Shultis, Regents Professor, University of New Mexico; Wesley Fuller, Professor Emeritus, Clark University; Morris Palter, Professor, University of Alaska. A companion volume entitled Thomas DeLio: Collected Essays Vol. I (1980-2000) will be published by the Mellen Press in 2013.
In 2011 The University of Maryland Special Collections Division established a new archive, The Thomas DeLio Papers. This archive will hold Professor DeLio’s sketches and manuscripts for his music, books and essays; master tapes from numerous recording sessions; journal articles, books CDs and DVDs. In addition it will hold his correspondence, including, letters from such composers, poets and artists as Iannis Xenakis, John Cage, Alvin Lucier, Morton Feldman, Elliott Carter, Sol LeWitt, P. Inman, among others. Eventually all his teaching materials will also be held in this collection as well as work by his students in both theory and composition.
About Thomas DeLio
"...among the most significant experimental composers of his generation, a composer whose work...is rooted in every detail of the sonic experience... "
Christopher Shultis, Regents' Professor of Music, University of New Mexico
"Well over two decades of my listening life have been immeasurably graced by live and recorded performances of the music of Thomas DeLio."
Wesley Fuller, Professor Emeritus, Clark University
"Thomas DeLio engages and illuminates the world of Peter Inman's poetry in his music as passionately as Robert Schumann does Heinrich Heine's, and in this way he situates himself among the great art song composers... the listener lingers in many thresholds: between sound and silence; between the poet's voice and the composer's composition; between a recording as a composition in and of itself, rather than a recording as a representation of a performance; between a work of art being made and a work of art completed. At a carefully constructed intersection of the musical, the visual, and the literary, DeLio and Inman create a liminal space that is its own genre, a potent world of constant imminence that extends the tradition of art song beyond its tradition of poetic representation and illumination."
Linda Dusman, Chair, Professor of Music, The University of Maryland Baltimore County
"...a musicologist with a vision, a musicologist not in the least apprehensive of tackling music that would have seemed to most quite out of reach of any analytical method...when I came to know DeLio's own music, I found that it revealed the same sense of wondering at the world."
Herman Sabbe, Professor of Musicology at the Université Libre de Bruxelles and Ghent University
William C. Evans specializes in music technology applications, recording studio techniques and choral music. At the University of Maryland, he has taught courses in music technology as well as the College Park Scholars “Science, Technology and Service” course which combines music technology with community service. Mr. Evans’ expertise in music technology is sought after as he serves in an advisory capacity to music software and hardware companies and presents workshops in music applications for music associations.
Mr. Evans is choral director and music technology instructor at Sherwood High School. He has served as a guest conductor and choral clinician in Delaware, Virginia and Maryland. He has served as guest conductor of the Towson University Vocal Jazz Ensemble and as a guest lecturer in music technology at the Catholic University of America.
Mr. Evans has received numerous honors and awards over the years, including the University of Maryland Outstanding Teachers Award from the Center for Teaching Excellence and Maryland State Computer Educator of the Year from the Maryland Instructional Computer Coordinators Association.
David Froom’s music has been performed extensively throughout the United States by major orchestras, ensembles, and soloists, including, among many others, the Louisville, Seattle, Utah, League/ISCM, and Chesapeake Symphony Orchestras, The United States Marine and Navy Bands, the Chamber Music Society of Lincoln Center, the 21st Century Consort, Boston Musica Viva, the New York New Music Ensemble, the Haydn Trio Eisenstadt, and the Aurelia Saxophone Quartet. His music has been heard in performance in England, France, Germany, Austria, Italy, Holland, Cyprus, China, New Zealand, and Australia. His music is available on CD on the Bridge, Navona, New Dimensions, Naxos, Arabesque, Capriccio, Centaur, Sonora, Crystal, Opus 3, and Altissimo labels, and is published by the American Composers Alliance.
Among the many organizations that have bestowed honors on him are the American Academy of Arts and Letters (Academy Award, Ives Scholarship), the Guggenheim, Fromm, Koussevitzky, and Barlow Foundations, the Kennedy Center (first prize in the Friedheim Awards), the National Endowment for the Arts, The Music Teachers National Association (MTNA-Shepherd Distinguished Composer for 2006), and the state of Maryland (five Individual Artist Awards). He had a Fulbright grant for study at Cambridge University, and fellowships to the Tanglewood Music Festival, the Wellesley Composers Conference, and the MacDowell Colony. His biography is included in Groves (2nd ed., 2001, updated for Groves American, 2ed. 2013). He serves on the boards of directors for the American Composers Alliance, the 21 Century Consort, and the New York New Music Ensemble. He is Professor of Music at St. Mary's College of Maryland, where he has been teaching since 1989, and, for twelve years, served as Chair of the Music Department. His main composition teachers were Chou Wen-chung, Mario Davidovsky, Alexander Goehr, and William Kraft.
James Fry is a composer and former associate director of the University of Maryland School of Music. His background includes degrees in composition from the Eastman School of Music of the University of Rochester (Ph.D.) and Southern Methodist University (M.M., B.M). His works are published by Needham Publishing Co., Willis Music Co. and American Composer Editions, and recorded on the Capstone and Contemporary Recording Studios labels. Dr. Fry's most recent CD, Kaleidoscope, released by Capstone in 1998, was well received by critics and has been aired in the U.S., Japan and Australia.
The recipient of a number of national prizes and awards, Dr. Fry has received commissions from the University of Connecticut Wind Ensemble, the University of Illinois Chamber Players, the North Dakota Music Teachers Association, the Grand Forks Federation of Music Clubs, and the North Dakota Centennial Commission for a full-length orchestral work commemorating the State's centennial. He has toured, performed and lectured in a number of cities in Russia and, during the 1996/97 academic year, taught as a Fulbright scholar at the Glinka State Conservatory in Nizhny Novgorod. In 1994 he was named the MTNA-Shepherd Distinguished Composer of the Year by the Music Teachers National Association. His compositions for a variety of media are widely performed in the U.S. and abroad. Dr. Fry is the co-author of “Music Composition Resource” an Internet resource for composers and is a member of the American Composers Alliance, an affiliate of Broadcast Music, Inc.
Robert Gibson studied double bass with Jane Little (Atlanta Symphony), Analee Bacon (University of Georgia), Warren Benfield (Chicago Symphony), and Lucas Drew (University of Miami). While completing his studies at the University of Miami (B.M., 1972), he also performed as a member of the Greater Miami Philharmonic Orchestra under Alain Lombard. His composition studies were with Steven Strunk (M.M., Catholic University, 1975) and Lawrence Moss (D.M.A., University of Maryland, 1980). He is professor of music at the University of Maryland School of Music, where he directs the Music Technology Lab and Computer Music Studio I.
Mr. Gibson has been a composer member of the Contemporary Music Forum of Washington, DC (1987–2000), and he is also active as a performer of new music. As a jazz bassist and composer he has appeared leading his own groups and, during the early 80’s, as a sideman with internationally recognized artists including Mose Allison, Bob Berg, Marc Copland, Tom Harrell, Eddie Harris, and Barney Kessel.
Among Mr. Gibson’s compositions are Offrande for string quartet, Concerto for Double Bass and Chamber Orchestra, A Sound Within for piano solo, and numerous works for various chamber ensembles. His compositions have been performed throughout the United
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