I probably started 'composing' when I was 20 in 1974. I probably started calling the work "d compositions" around the same time to distinguish myself from more traditional composers. I'm an analytical person, "d composing" is analytical. The separation of the "d" from "composing" without the usual "e" in between is a reference to my d liberate graduation from high school with a D average. I knew that my approach to composing, & just about everything else, would not be popular or accepted by most as 'valid'.
It was never my interest to (d) compose 'beautiful music'. There're plenty of other people doing that already. I like & respect the work of most of them. It was my intention, instead, to USE sounds for whatever purpose appealed to me - with conventional aesthetics being irrelevant & an obstacle to original thinking. As such, I can be considered a "Sound Artist", although I've never particularly liked that term because of the "Art" part.
I was probably influenced in my self-identification as "d composer" by a comment by Karlheinz Stockhausen I vaguely recall reading in which he called himself a decomposer. Much later, I heard or read a joke to the effect of "I'm following in the footsteps of Mozart & Beethoven, I'm decomposing." I'm sure Edgar Varèse's "Organized Sound" & John Cage's embracing of noise & silence is in there somewhere too. I was nurtured by the musical revolutions of the mid 20th century & took off from there with very few intermediate steps.
Be all that as it may, what I now credit as my very 1st (d) composition is entitled "Dead Man with a Horn". This piece has a libretto which is a poem by my friend of the time, Brian Wolle (aka Herr Brain Storm Drain as he was eventually (un)'known' as). Brian was a fan of cornetist Bix Beiderbecke & a novel inspired by the music of Beiderbecke is entitled "Young Man with a Horn" - hence Brian's take-off title. Obviously, this is in keeping with the overall humor (& morbidity) of d composing so I was off to a very fitting start. This piece has never been performed.
Trying to list all of the work here, let alone provide relevant d scriptions & links, is more than a daunting task. Nonetheless, I'm going to try to at least get started on it. Someone may actually be interested someday & for anyone other than myself compiling such information is so far beyond daunting that it's well-nigh 'impossible'.
Given that I use many neologisms & puns to describe my audio work/play there aren't necessarily absolutely definitive fixed categories that each piece fits into. It might be more appropriate to call something "booed usic", eg, than to call it a "d composition".
Here, I'm putting just about all of it under the "(d) composition" parasol not to keep it in the shade but to shine more light on it. If I were to be more rigorous, the collaborative sound sculpture "Harps & Angles" wouldn't be here & neither would the 'free' improvisations. Nonetheless, I want there to be an index of all my audio play/work & this will do for the moment.
1974? "Dead Man with a Horn"
1974.11.07? Self-Portrait 7 11 21
1974? "d composition"
1975? man smoking cigar profile
1975.09.09 the piece itself 9/9/21/22
1976 "Listening Score"
1977 "Computer Score"
1977 "Audience Participation Reading"
1978 "Publicity Stunts"
1978 "ATTEMPT TO SCORE SUM ACTION 4 DAILY LIVING"
1978 "REINTEGRATED EXPERIMENTS IN DISINTEGRATING LANGUAGE"
1979 "OVER & UNDERCURRENTS A LA ID ENTITY"
1979 "Side 1"
1979 "Side 2"
1979 "Infinity O'Clock"
1979 "Crab Feast"
1979 nameless wandering street ensemble
1980 "Usic - 1"
1980 "CAR TRIDGE"
1980 Maryland Biennial sound sculpture
1983 "Sound Along w/ t he Bounding Ball(s)"
1984.01.24 booed usic at t he Telectropheremoanin'quinquennial (excerpt)
try pasting this URL in: https://www.youtube.com/watch?v=qMOYy_W-Kkg&t=10m4s or try going to 10:04 for the relevant booed usic excerpt
1985 "It's Not As Easy As You Might Think To Be A Pseudo-Virtuoso"
1985 "Chinese for Celli"
1988.08.13 Murraygate Busking with VEX, LAW, & Trueseal
1994-1997 Triple-S Variety Shows
1997 "Interspatiality" with Michael Pestel
2003 "Harps & Angles" with Michael Pestel
2005.11.19 History in the Making with Daniel Higgs & Michael Evans
2010 "Po, Li, Ou"
2011.07.25 "Reductionism 6 + Interpretive Duncing + Artifacts"
2011.11.10 "Spectral Evidence" trailer
2012 "Skeletal Remains"
2012.11.25 "J from A to Z"
2012.11.30 "Ben Opie"
2013.01 "Pi(ano Fort)e"
2015.01.24 "A Catamaran Animist Vigor" at Babyland
tENTATIVELY, a cONVENIENCE
idioideo at verizon dot net
to the tENTATIVELY, a cONVENIENCE Audiography page
to the tENTATIVELY, a cONVENIENCE as Interviewee page
to the tENTATIVELY, a cONVENIENCE as Interviewer index
to the tENTATIVELY, a cONVENIENCE movie-making "Press: Criticism, Interviews, Reviews" home-page
to the "tENTATIVELY, a cONVENIENCE - Sprocket Scientist" home-page
to the "FLICKER" home-page for the alternative cinematic experience
to find out more about why the S.P.C.S.M.E.F. (Society for the Prevention of Cruelty to Sea Monkeys by Experimental Filmmakers) is so important
for A Mere Outline for One Aspect of a Book on Mystery Catalysts, Guerrilla Playfare, booed usic, Mad Scientist Didactions, Acts of As-Beenism, So-Called Whatevers, Psychopathfinding, Uncerts, Air Dressing, Practicing Promotextuality, Imp Activism, etc..
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to see an underdeveloped site re the N.A.A.M.C.P. (National Association for the Advancement of Multi-Colored Peoples)