Kyle Gann (b.1955, Dallas) has achieved success as both composer and music critic for decades. He studied composition with Ben Johnston, Morton Feldman and Peter Gena, and his music is often microtonal, using up to 37 pitches per octave. His rhythmic language, based on differing successive and simultaneous tempos, was developed from his study of Hopi, Zuni, and Pueblo Indian musics. His major works, including a piano concerto, music theater, choral works, microtonal chamber operas and solo piano compositions, have been performed by prominent ensembles worldwide. He was new music critic for the Village Voice for 20 years and is the author of The Music of Conlon Nancarrow, American Music in the 20th Century, No Such Thing as Silence: John Cage's 4'33", and Robert Ashley. Since 1997 he has taught music theory, history and composition at Bard College and has also lectured at Columbia University, the School of the Art Institute of Chicago, and Bucknell University. For his music criticism, he has received the Peabody Award (2003), the Stagebill Award (1999) and the Deems- Taylor Award. His music is available on the New Albion, New World, Cold Blue, Lovely Music, Mode, Meyer Media, New Tone, and Monroe Street labels.
Kyle Gann (b.1955, Dallas) has achieved success as both composer and music critic for decades. He studied composition with Ben Johnston, Morton Feldman and Peter Gena, and his music is often microtonal, using up to 37 pitches per octave. His rhythmic language, based on differing successive and simultaneous tempos, was developed from his study of Hopi, Zuni, and Pueblo Indian musics. His major works, including a piano concerto, music theater, choral works, microtonal chamber operas and solo piano compositions, have been performed by prominent ensembles worldwide. He was new music critic for the Village Voice for 20 years and is the author of The Music of Conlon Nancarrow, American Music in the 20th Century, No Such Thing as Silence: John Cage's 4'33", and Robert Ashley. Since 1997 he has taught music theory, history and composition at Bard College and has also lectured at Columbia University, the School of the Art Institute of Chicago, and Bucknell University. For his music criticism, he has received the Peabody Award (2003), the Stagebill Award (1999) and the Deems- Taylor Award. His music is available on the New Albion, New World, Cold Blue, Lovely Music, Mode, Meyer Media, New Tone, and Monroe Street labels.