“Blue” Gene Tyranny is really a composer and pianist of avant-garde music. He has generated over 50 functions for various digital and acoustic equipment and voices, which analysis mysterious organic and public phenomena. Blessed in San Antonio, TX, in 1945 (adoptive name, Robert Sheff), he provides lived in each one of the four sides of mainland U.S. Through the past due ’50s, he examined with pianists Meta Hertwig and Rodney Hoare, composers Otto Wick and Frank Hughes, and arranged new music occasions in Tx with composer Philip Krumm, including many festivals on the McNay Artwork Institute — premiering functions by Cage, Part, Maxfield, Ono among others. After making a BMI College student Composers Honor in 1961, he shifted to Ann Arbor, MI. He performed there in his function and in lots of other events in the famous ONCE concerts, while also operating like a waiter, product sales clerk, and figures coder. Through the ’60s and ’70s, he toured with jazz and rock and roll organizations (Carla Bley Music group, Iggy Pop, the Primary Movers Blues Music group, etc.). From 1971 to 1982, like a Lecturer and Trainer in Music, he taught “Documenting Studio Methods”, “Tranquility and Counterpoint” (three amounts),” “Jazz Improvisation and Books,” and offered on graduate committees within the Music Division of Mills University in Oakland, CA. He also worked well as a specialist at the guts for Modern Music, a nonprofit, community-access service located at Mills University. He shifted to NY in 1983, and presently lives in Brooklyn, where he’s a self-employed composer/performer of single and group concerts, audio consultancy, film/video/CD-R soundtracks, and commissioned function. He offers performed thoroughly in a huge selection of concerts through the entire US, Canada, and European countries, and in addition in Mexico, Brazil, and Japan. “Blue” offers produced, documented, and performed on many albums of additional composers’ music (Laurie Anderson’s Unusual Angels, David Behrman’s On the Additional Sea, John Cage’s Inexpensive Imitation and Bare Phrases, etc.), and he made up the harmonies and piano improvisations for Robert Ashley’s opera-for-television Ideal Lives (Route Four, London). He has generated over 40 soundtracks for film and video, collaborating on tasks with video performers Kenn Beckman and Package Fitzgerald. His theatre and dance collaborations consist of pieces using the Speaking Band, performance designer Pat Oleszko (Nora’s Artwork, ten film ratings), ratings for Timothy Buckley’s dances Barn Fever (1983), Breakneck Resort (1984), The Visitor Capture (1985), Proximology (1986), his video clips Endance (1988, for PBSTV), DO THAT (1985), Guy with a concept (1985), The Sleeping Guy (1996), his theatre works A Jump at night (1987) and Prisoner of Gravity (1996), etc., Rocky Bornstein’s dances Labor of Like (1988), Two times Your Pleasure (1989), Unsung Music (1991), etc., the Expenses T. Jones/Arnie Zane Dance Company’s THE ANNALS of Collage (1988), the Creach/Koester Dance Company’s I See (1995), Trisha Dark brown and Steve Paxton’s Very long and Fantasy (1996), live digital music for Stefa Zawerucha’s The Dark Package (1993), Curve Forward (1994), Piano Dance (1996), Legal While Shifting (1998) and several from the Otrabanda Company’s has including Re Area (1985), Human brain Café (1987), Quasi-Kinetics (1989), Green Eye Are Great (1991), Simpatico (1993), The Alien Task (1995), etc.. He received a Composer Prize on the Bessies (NY Dance and Functionality Honours) in 1988, a Composer Fellowship in the NY Base for the Arts in 1989, along with a offer from the brand new York Condition Council over the Arts in 1998. He was an Artist-in-Residence at Bucknell School in 1992. His content on modern music consist of “Music Beyond the Limitations” with Tag Slobin (“Era,” Univ. of Michigan, 1965) as well as the “20th Hundred years Avant-Garde” portion of the All Music Instruction (Miller Freeman Pub., 1993, 1995, 1997, 1998). His function is the subject matter of chapters in Cole Gagne’s Sonic Transports (DeFalco Books, 1990), Soundpieces 2: Interviews With American Composers (Scarecrow Press, 1993), William Duckworth’s Speaking Music (Schirmer Press, 1995) and Kyle Gann’s American Music within the Twentieth Hundred years (Schirmer Press, 1997). His music in examined in Kevin Adam Holm-Hudson’s “Music, Text message and Picture in Robert Ashley’s Video Opera ‘Ideal Lives” (unpublished doctoral thesis, U. of Illinois at Urbana-Champaign). Tyranny translated documentary materials (German to British) for Kevin Lally’s Wilder Instances: THE LIFE SPAN of Billy Wilder (Henry Holt & Co., 1996), was interviewed for Paul Trynka’s Lust forever: The Iggy Pop Tale (Package Tree, London, 1996), and shows up as a personality in Kathy Acker’s “I Dreamt I HAD BEEN a Nyphomaniac: Imagining” (in Family portrait of an Attention, Pantheon Books, 1995) and in Mary Ashley’s Pickup truck (a dance) (1964, pub. like a Wolgamot – ONCE publication by Burning up Deck Press, 1972). Latest recordings of his music consist of Country Boy Nation Dog/How to find Music within the Sounds of the LIFESTYLE, a 25-calendar year project for consumer electronics, orchestra, and environmental noises (Lovely Music Compact disc), Nocturne with and Without Storage performed by pianist Lois Svard (Lovely Music Compact disc), The De-Certified Highway of Dreams performed with the piano duo Increase Advantage (in U.S. Choice, CRI Information), Someplace in Az 1970 for baritone and consumer electronics (in “Imaginary Scenery,” Elektra/Nonesuch), and an array of his live key pad concerts beneath the name Free of charge Delivery (Lovely Music Compact disc). Other latest works are the Driver’s Kid (1989-1998), an audio-storyboard for voices and orchestra commissioned with the Electrical Matter and performed in 1991 within a work-in-progress edition for the Benjamin Franklin bicentennial special event, His Modulation of voice at 37 (Empathy) (1995, 1998) commissioned and documented by vocalist Tom Buckner, The Drifter (1994) commissioned by pianist Joseph Kubera, Heart for muted piano and computer-edited piano (artificial harmonics) (1996) commissioned by Bay Region Pianists for the Henry Cowell special event, Keeping Hands (function happening) for hands actions and infra-red receptors, and The Tips: Keyboard Computation Etudes for alternative and hypothetical keyboards (function happening). Other chosen compositions include 3 Begins for tone of voice and tape (1958), How ITEMS THAT Can’t Exist Might Exist (parts for alternative areas, 1958-present), Ballad (graph rating, 1960), Deep breathing (graph rating, 1961), Diotima for flute, home percussion and consumer electronics (1963), Simply Walk on In (movie theater piece, 1965), Closed Transmitting for IBM 7090 pc (1966), “The Bust” from Viet Rock and roll (1967), Archaeoacoustics (1973), A Notice from your home (1976) for voices and consumer electronics, PALS/Action far away (1977), Harvey Dairy/Family portrait (1978), The White colored Night time Riot (1979), The CBCD Variants for Soloist and Orchestra (1980, for the Arch Outfit), The Intermediary for piano and shadowing consumer electronics (1982), The Forecaster (1989) for dual orchestra, decoding chorus, and time-transposing pianist.