Elizabeth Hoffman

Professor of Music
D.M.A. 1996 (composition), Washington; M.A. 1986 (composition), SUNY Stony Brook; B.A. 1985 (music), Swarthmore

Office Address: Waverly, 24 Waverly Place, 268 New York, New York (US) 10003
Phone: (212) 998-8306

Fax: (212) 995-4147
Personal Homepage

Areas of Research/Interest
acoustic, electroacoustic, and computer composition; models for analysis and criticism of contemporary art music and sonic art; theories of the avant-garde, feminist theories of and through music

External Affiliations
International Computer Music Association; International Alliance for Women in Music; College Music Society; Society for Electro-Acoustic Music in the United States.

International Computer Music Association Commission Award for Berlin ICMC 2000; Seattle Arts Commission Artists Awards, 1997 and 1994; International Alliance of Women in Music, Search for New Music Winner, 1996-97; commission from Diffusion i Média, Montréal 1996; ORF International Prix Ars Electronica, Austria, Honorary Mention, Computer Music Category, 1995; Bourges Grands Prix Internationaux de Musique Electroacoustique, Residence Prize, 1994; Commissions from Abbie Conant, trombonist, 1999; The Esoterics vocal ensemble 1996 and 1994; Western European Travel Grant, University of Washington, 1995.

Select Publications:

Numbers (1997), for mezzo-soprano and computer-generated tape. Recorded on Computer Music Journal CD, Winter 1998.
Alchemy (1996), computer-generated music. Recorded on Minatures Concrètes, Diffusion i MéDIA (IMED 9837).
Vim (1995), recorded on CD-ROM accompanying The Csound Book. R. Boulanger, editor. MIT Press. 2000.
Tesserae (1994), computer-generated music. Selected performances: Rendez-vous Electro de l'Ina-GRM, Salle Olivier Messiaen Maison, Paris, France, December 1996; Synthèse '95, Bourges, France, June 1995. Florida Electroacoustic Music Festival, April 2000. Recorded on ORF Prix Ars Electronica ’95 CD.

Faculty Bio:
Creative work spans acoustic, electroacoustic and computer music composition, and revolves increasingly around paradigms with constructivist elements, especially regarding an emphasis on the sonically tactile or textural. Acoustic music includes experimental instrument design. Recent electroacoustic music explores commentary between the musical and the 'real' (e.g., sampled) sound domains; and juxtaposition of sound that is visually evocative with that which spawns a purely auditory focus. Work in progress involves real-time processing for spectral distortions of original sounds.

Research interests have centered around theories of musical analysis; analytic models for contemporary musics with fundamentally timbral orientations; the structure-affect relationship especially as it impacts listener dynamics; compositional applications of the pitch continuum, stochastics, and computer-assisted techniques. Recent interests include gender issues in the field of music technology; and historical/cultural premises as they impact esthesis and poesis.

Recipient of a Bourges Residence Prize and ensuing residency at the Basel EMS; Prix Ars Electronica mention; International Computer Music Association commission (2000), American Composers Forum, Jerome Foundation Award (2002), NYU CAS Golden Dozen teaching award.  Associate Editor of Perspectives of New Music Journal. Director of the Washington Square Computer Music Studio.

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