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Publications and Music


  • Experiencing Music Technology (4th Ed.). New York: Oxford University Press, in process). With P.R. Webster
  • Forward to Oxford Handbook of Technology and Music Education (S. Alex Ruthmann and Mantie, Roger, Eds.).  New York: Oxford University Press, xiii—xx, 2017.  With P.R. Webster.
  • The Technology-Music Dance: Reflections on Making Sense of Our Tools. Chapter in Music Education: Navigating the Future (Clint Randles, Ed.), New York: Routledge, 139–154, 2013.
  • Technology Strategies for Music Education. TI-ME: Wyncote, PA, 1997. With D. Mash, F. Richmond, and T. Rudolph
  • Opportunity-to-Learn Standards for Music Technology (Ed.), NAfME, 1999
  • Programming style and design for computer-based instruction in the arts. Bellevue, Washington: Temporal Acuity Press, 1986. With D. Bowers.


  • Heritage Band of the Midwest Digital Audio Archives: 40-Plus Years of Volunteer Dedication to International Wind Band Music. The College Music Society Symposium, Online 28 April 2017.
  • If we build it, they will come: Using music technology to reach the Other-80% in secondary school programs. Kansas Music Review, Spring Issue 2013-14), 2014. With Richard Dammers. [Also reprinted in several other state music education association publications.]
  • The non-traditional music student in secondary schools of the United States: Engaging non-participant students in creative music activities through technology.  Journal of Music, Technology, and Education, 4 (2 & 3). 2012.
  • Psychomusicology: A program, a journal, and divergent paths. Psychomusicology: Music, Mind & Brain, 20 (1 & 2), 2009.  With James C. Carlsen and Jack A. Taylor.
  • Reaching the “Other 80%”: Using technology to engage “non-traditional music students” in creative activities.  Prepared for the Proceedings of the Tanglewood II Technology and Music Education Symposium, University of Minnesota, April 2007.  Incorporated into an article by Scott Lipscomb for the Journal of Technology in Music Learning (Volume 4, 2007): The Role of Technology in Music Education: A Pre-conference Satellite Symposium for Tanglewood II.
  • What do faculty want? Educause Quarterly, Number 1, 2001. With John F. Chizmar.
  • Altering time and space through network technologies to enhance learning. CAUSE/EFFECT, 1996, 19(3), 14-21. With John F. Chizmar.
  • Effects of selected factors on second- and fifth-grade children’s perception of melodic motion. Psychomusicology, 1990, 9(1), 59-78.
  • Auditory cognition: A study of the similarities in memory processing for music tones and spoken words. Bulletin of the Council for Research in Music Education, Spring, 1982, 71, 33-44.
  • Music information processing and memory. In Proceedings of the Ann Arbor Symposium on the Applications of Psychology to the Teaching and Learning of Music. Reston, VA: Music Educators National Conference, 1981, 87-93.
  • The development of a computer simulation model for the investigation of music concept formation. Psychology of Music, 1975, 3(2), 37-54. With P.D. Peckham.
  • Short term retention of pitch sequence. Journal of Research in Music Education, 1975, 23(1), 53-66.


  • Grassroots 2008 and 2012.  A performance piece co-composed with Tayloe Harding based on imagery and music from the 2008 Presidential Campaign with music influenced by real-time opinion polling of the audience using Turning Technology response clickers.  Revised for the 2012 Presidential Campaign.  Performed in Snellville GA for Brookwood High School students, The College Music Society Conference (Atlanta), as part of the Computer Music Ensemble concert at the University of Alabama Birmingham (October and November 2008), Huntsville Alabama New Music Festival (February 2011), The College Music Society Conference (Richmond, October 2011, Illinois Wesleyan University (Bloomington, 2011).
  • Dialogues for Winds (2013) based on earlier work, Two Movements for Band (1965) performed by the Guam Wind Ensemble, 1968
  • Chamber Sonata (1969 rev 2013) for woodwind quintet
  • Sangamon River Waltzes (2011) for wind band.  Edited and arranged score from an undated manuscript by Henry W. Cary (composer unknown). Performances with the Bloomington-Normal Community Band and with the Prairie Winds.
  • Fanciful Fractured Fugue (2011), based on earlier work, Fugue on a Tone (1971). Selected and performed for the Huntsville New Music Festival, 2011
  • Make Haste O God (Psalm 70) for SATB choir; performed by the Illinois State University Men’s Glee Choir in two performances, Spring 2010.
  • Extroception (1970) for string and wind sextet
  • An Offering for Choir and Brass (SATB Choir) Commissioned for the 1967 Easter Sunrise Service of the combined choirs  of the U.S. Naval Forces, Marianas and Anderson Air Force Base, and the COMNAVMAR Navy Band at the Nimitz Hill Ampitheater, Guam
  • Two Songs for solo voice and piano on poems by Edward J. Humphreys:  White Shadows and Nonsensities.  Written and performed while Ed and I were on the faculty of the University of Guam in the late 1960s. Performed most recently by Michelle Voight, soprano, in recital at Illinois State University, Spring 2011, and at the Red Note New Music Festival, Normal IL, 2011.
  • Likeweake (1970). A one-act opera based on Guamanian (Chamarro) folklore. Commissioned by the National Endowment for the Arts and the Insular Arts Councils of Guam. Performances given May, 1970, at the University of Guam.

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