James Harley (born 1959) is a Canadian composer, author, and professor of music born in Vernon, British Columbia. His creative output consists of orchestral, chamber, solo, electroacoustic, and vocal music.
Harley is also the author of the book Xenakis: His Life in Music. His areas of expertise and specialization include digital music, composition, contemporary music analysis, and history of electronic/computer music. Music and research by James Harley is represented by Art Music Promotion.[1]
The Tail of Pinky Oozgreen and the Mossbrains (1983) 20 min. jazz ensemble (5 saxophones, 5 trumpets, 4 trombones, electric guitar, electric bass, piano, drums)
one winter after(a flower)noon (1987) 8 min. (text by e.e. cummings). soprano, bass clarinet, cello, piano
Cantico delle Creature (1993) 23 min. (text by St. Francis of Assisi) mezzo-soprano, choir (SSAATTBB), chamber orchestra (2222/2220/3 perc/piano, celeste/22222), soundfiles
Mashup: Derome vs Oliveros (2005) 7 min. stereo electroacoustic
Wild Fruits 2: like a ragged flock, like pulverized jade (2006) 11 min. amplified alto flute, live electronics, 8-channel electracoustic
blueBob (Dylan Remix) (2006) 5 min. stereo electroacoustic
Ariel Fragments (2007) 17 min. SSSAAA choir, 8-channel electroacoustic
pLayer8b (2008) 5 min. 8-channel electroacoustic
re:Nude (2008) 4.5 min. stereo electroacoustic
re:Nude:ty (2008) 1 min. stereo electroacoustic
Wild Fruits 3: Chestnuts (2008) 13 min. 8-channel electroacoustic
re:Reckoner (2009) 4.5 min. stereo electroacoustic
Duol (2009) 7 min. violin, guitar, soundfiles
Raindown (MegMix) (2009) 4.5 min. stereo electroacoustic
Educational music
Dance Set (2009) 8 min. two cellos, Grade 4 level
Music theatre
Scenes From a Theatre on Mars (1984) 15 min. (Text: James Harley, adapted from The Last Days of Mankind by Karl Kraus) 2 speaking/acting roles (1 male, 1 female), 2 cl (2nd doubles sax), tp/flugel, vn/vl, vc.
Affiliations
James Harley is an Associate Composer of the Canadian Music Centre, and a board member of the Canadian League of Composers. He is also a member of the American Composers Forum, the Canadian Electroacoustic Community, and the International Computer Music Association.
Selected performers
Arraymusic, Codes d'Accès, Composers' Orchestra,[3] Continuum, Corey Hamm [4] Marc Couroux, ECM, Hammerhead Consort, Kappa, Kore,[5] Kovalis Duo, Duo Vira, Groundswell, Hammerhead Consort, Lafayette String Quartet, McGill Contemporary Music Ensemble,[6] McGill Symphony Orchestra, Elizabeth McNutt, New Music Concerts, Patricia O'Callahan, Oshawa-Durham Symphony, Open Ears Festival, Penderecki String Quartet, Polish Society for New Music, Brigitte Poulin, Prince George Symphony, Ben Reimer, SMCQ,[7] Transmission,[8] Trio Phoenix, Trio Fibonacci, Alain Trudel, University of Guelph Women's Chamber Choir, Vancouver Bach Choir, Ellen Waterman.[9]
Further reading
Steenhuisen, Paul. 2009. "Interview with James Harley." In Sonic Mosaics: Conversations with Composers. Edmonton: University of Alberta Press. ISBN978-0-88864-474-9
Couroux, Marc. Daring the Wilderness. The Music of James Harley.
Couroux, Marc. Daring the Wilderness: The Music of James Harley. Musicworks 69 (1997), 42–50.
Couroux, Marc: James Harley. Circuit, Vol. 8/1 (Spring 1999).
Homma, Martina: James Harley. In Komponisten der Gegenwart, Gesamtverzeichnis. Munich: Edition text-kritik.
Various writings on Xenakis by James Harley.
Harley, James. "The Hills Are Alive…: Wild Fruits Creative Soundscapes Project." eContact! 10.3 – Symposium Électroacoustique de Toronto 2007 Toronto Electroacoustic Symposium (May 2008). Montréal: CEC.
Harley, James. Does the Music Make the Technology Better: The Case of The Residents. In Music, Arts and Technologies: Toward a Critical Approach. Paris: l'Harmattan, 2004.
Harley, James. The Continuous Now: Peter Hatch's Musical Vision and Community Presence. Musicworks[10] 86, 2003.
Harley, James. Considerations of Lutoslawski's Conception of Symphonic Form. Lutoslawski Studies, ed. Z. Skowron, Oxford University Press, 2001.
Harley, James. The New Nihilism: L'objet sonore and the music of Richard Barrett. Musicworks 72, 1998.
Harley, James. Generative Processes in Algorithmic Composition: Music and Chaos. Leonardo 28/3, 1995.
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