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Mark GREY (USA)

Mark Grey (1967, Evanston, USA) – sound designer, composer, lingua-artist. Graduated from the San Jose State University (San Jose) in 1993, majoring in Musical Composition and Electro-Acoustic Music (В.А., М.А.) supervised by the President of the International Computer Music Association A. Strange. While studying, he emphasised complex approach in working with the sound environment, on the one hand, in the area of engineering and sound design, and, on the other hand – in the field of orchestra and electronic composition. He collaborated with the Keyboard Magazine (San Francisco): in 1991-96 he anchored the columns “Sounds” and “Internet Surfer”. For a number of years he worked as a sound engineer and sound designer with various famous composers, musicians and musical groups, including such as J. Adams, Kronos Quartet, The Paul Dresher Ensemble, also with the Boosey & Hawkes Music Publishers Ltd. As a sound engineer Grey participated in J. Adams’s projects and opera tours, including Festival De Theatre Des Ameriques (Montreal), Edinburgh Festival (Edinburgh), Helsinki Festival (Helsinki), MC93 Bobigny (Paris), Cal Performances (Berkeley) and in the Lincoln Center (New York), Chicago Orchestra Hall (Chicago), English National Opera (London), etc. As a sound designer and an engineer he worked with Kronos Quartet, participating in the group’s tours in various countries. He has actively collaborated as a technical consultant and sound designer with the Boosey & Hawkes Music Publishers Ltd (Berlin – London – New York), that focuses on releasing productions by J. Adams, B. Bartok, L. Bernstein, S. Reich, R. Strauss, I. Stravinsky, etc. Grey is the author of a number of musical compositions written both for the standard set of acoustic instruments, and for the mixed electronic-acoustic performance, including such as: This or DAT (1991, for bassoon and digital audio tape), Transformations (1992, for live electro-acoustic music ensemble), Improvisation #1-#10 (1993, for prepared piano, voice and live electronics), Percussion Overload (1997, for percussion, trumpet, and live electronics), Spadefoot (1999, for string quartet and live computer processing, first performance by Kronos Quartet), A Walk Through the Shadow (1999, A. Davis’s composition arranged for The Paul Dresher Ensemble) and many others. His productions were repeatedly performed at the California Institute of the Arts (Valencia, California), California State University (Fresno, San Jose), Dinkelspiel Auditorium (Stanford), Yerba Buena Center for the Arts (San Francisco), and also at the Faultlines New Music Festival (Los Angeles), 19th International Electro-acoustic Music Competition (Bourges), Opus 415 Festival (San Francisco) and others. He is a prize-winner of various contests, a holder of a number of rewards in the field of music, including Honourable mention at the 19th International Electro-acoustic Music Competition (Bourges, 1991), prizes at the competitions Eva Thompson Composition Competition (1991), College Music Society (West Coast Chapter, 1993). As a sound designer he worked at the Rockefeller Foundation Bellagio Study and Conference Center (Bellagio, 1999). Mark Grey lives and works in Fremont (California, USA).



“We were somewhere…”
(fragment, on CD-edition: 3’49”)

Composed by Mark Grey.
Recorded, mastered and produced
in Fremont, 1997.
Live digital signal processing
session recorded onto stereo DAT
at Dogjam Studios, Berkeley,
CA, July 4, 1998.
© 1998 Mark Grey, Fremont, CA.

Fragment, 1'00”:

MP3 version
Real Audio version






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