“Ikaro” 24-channel sound. Performed at SMAC/SMA, Stockholm, Sweden 2013; Morelia and Guadalajara, Mexico,
University Belfast, 2009; Northwestern
University, 2009. Revised 2010. Audio & more.
Also, read the 2011 paper "Bridging A Shamanic
Worldview and Electroacoustic
“Five-Leaf Rose / Redux 2008” Eight-channel sound. Originally premiered
at the 1980 International Computer Music Conference. The new version is an
of the original now in 8 channels. Audio
& more. Also, read the 1982 Computer Music Journal article, "Composing
from a Geometric Model: Five-Leaf Rose."
“Qosqo” Eight-channel sound. Presented at AIMaako’11
Music Festival, Santiago, Chile, 2011; Performed at Queen's University, 2008; the
Florida Electroacoustic Music Festival 2008, SPARK
2006 (Eugene, OR) and UC Santa Barbara. Audio
& More. Also, read the paper: "Qosqo:
Spirituality, Process and Structure."
“The Singing Brook” (Alternatively titled "Unu: Spirit of Water")
Eight-channel sound installation. Presented at the SEAMUS 2007 (Amies, IA), 2004
Music Conference (Miami, FL). Audio & More.
“Wayda” Eight-channel sound installation. Presented at the Center
for Art and Technology Second Annual Symposium: Art, Technology and Spirituality,
Northwestern University. Audio
“August 15, 2056” for Chorus, Piano and Amplified Voices.
"Sex/Window" Sound installation utilizing 3D sound over personal loudspeakers.
Presented at the 1995 International Computer Music Conference, Banff, Canada.
" Angel's Diary" for Chorus, Piano and Amplified Voices.
Kendall began composing in his early teens under the spell
of his love for Stravinsky's music. He studied composition
at the University of Texas at Austin where he worked with Hunter
Karl Korte. His composition quickly shifted to studies
of electronic music with Tom Wells. During his undergraduate
he wrote his first software package for sound synthesis. While
he studied music theory for his doctorate, he continued to
compose music and write software.
1976, he joined the faculty of Northwestern and established
the Northwestern University Computer Music Studio. He both
composed with an emphasis on spatiality and did research in
spatial hearing. His compositional career was interrupted by
an extended period of involvement in research and business
He returned to composition in the 1990s producing both choral
music and sound installations with an emphasis on spatiality.
1985, Gary Kendall collaborated
with Mickey Hart, percussionist of the Grateful Dead, and the
staff of the Computer Music Studio in creating the
first use of three-dimensional sound in television: opening music
of the "Twilight Zone" television series. The original
version of the music was performed by the Grateful Dead. He went
on to digitally process sound effects to create spatial illusions
in the first
nine episodes of the "Twilight Zone" television series.