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and digital audio synthesis as head of the Lab's Music, Mind, and
Machine group and served as associate academic head of its graduate program in media arts and sciences from 2000 until his retirement in 2010. His notable students include
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in the summer of 1973, enabling him to abandon his previous methodology in favor of a streamlined, software-based approach. Shortly thereafter, the
Experimental Music Studio was formed in laboratory space vacated by
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laboratory as an inevitable extension of the institution's mandate. After a two-year period in which Vercoe designed a real-time digital synthesizer, Wiesner and
334:. Linda Solow Blotner, Mary Wallace Davidson, Brenda Chasen Goldman, Geraldine Ostrove, Boston Area Music Libraries. Cambridge, Mass.: MIT Press. 1983.
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He served as a consultant for the Boston
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paved the way for the subsequent evolution of digital musical composition. From 1970 to 1971, he served as a visiting lecturer at the
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in 1974, he joined the Lab for
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because
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In 1971, Vercoe became an assistant professor of humanities at the
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Michigan School of Music, Theatre & Dance alumni
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of music and media arts. For many years, he directed research in
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Vercoe demonstrating the
Synthetic Performer at IRCAM in 1984
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before emigrating to the United States. While employed as an
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Humanities, Arts, and Social Sciences faculty
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initiative. He is also an accomplished jazz musician.
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standard, is also historically derived from Csound.
155:composer-in-residence (1967-1968), he earned his
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378:"Driving force behind laptop for each child"
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69:Learn how and when to remove this message
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96:. He is best known as the inventor of
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239:. Following promotion to
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100:, a music
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102:synthesis
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290:See also
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119:Born in
94:composer
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350:9576366
149:Seattle
139:at the
47:improve
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