Thomas DeLio


Thomas DeLio is an American experimental music composer, music theorist and author. He is currently Professor of Music in theory and composition at the University of Maryland in College Park.

Biography

DeLio received bachelor of music degree from the New England Conservatory of Music where he studied with Robert Cogan. He received a Ph.D. from Brown University in a Special Interdisciplinary Studies program that allowed him to combine advanced studies in music, visual arts, and mathematics.
DeLio's works are published by Editore Semar, Silent Editions and Sonic Art Editions and are recorded on such labels as Wergo, 3D Classics, Neuma, Centaur, Capstone, and Spectrum. He has published over thirty scholarly papers in such journals and periodicals as Perspectives of New Music, Journal of Music Theory, Indiana Theory Review, In Theory Only, Interface, Contemporary Music Review, Artforum, Computer Music Journal, Revue d’Esthetique, and Percussive Notes.
DeLio has also written books, including one analyzing the work of Morton Feldman and another offering analysis of several “open form” works. His book "The Amores of John Cage" was published by Pendragon Press in 2010. A book about DeLio's work entitled Thomas DeLio: Composer and Scholar edited by Dr. Thomas Licata appeared in summer of 2007 from the Mellen Press. This book contains essays by Wesley Fuller, Agostino Di Scipio, Christopher Shultis, Hermann Sabbe, Morris Palter, Steven Johnson, Robert Morris, Tracy Wiggins, Linda Dusman, Thomas Goldstein and Michael Boyd .

Influences

DeLio's approach to composition is largely influenced by Morton Feldman, John Cage, and Iannis Xenakis. The influence of Xenakis, however, is often more philosophical than musical. Describing the influence of Xenakis and Feldman, DeLio explains:

Xenakis and Feldman are influences in the general sense that they each tap into very personal and unique sensibilities; in this sense they should be role models for all composers. Also, for these composers, sound is the source of the compositional process. Sound, in all its richness and complexity, is the essence of that process for both – not system of method or gesture, as is the case for so many composers. This is true for me as well. First and foremost I think about sound when I start a piece.

The primary area where Xenakis and DeLio differ is in the use of mathematics, which is integral in Xenakis's compositions. DeLio states, “My music is not really mathematical at all!”
The influence of Cage is evident in DeLio's use of sounds outside of the standard dodecaphonic system. “Prior to the 20th century,” DeLio notes, “the sonic materials of Western music were restricted to a set of twelve pitch classes. Over the course of the past hundred years, this restriction has virtually disappeared.” Elsewhere, DeLio describes his attraction to percussion instruments, explaining, “Percussion allows a composer to deal with sounds drawn from the entire pitch/noise continuum. Thus, pitch is one manifestation of all sound ranging from pure tones to noise bands.” Cage was a pioneer in this area, writing for a wide variety of percussion instruments, electronic devices, and even household objects to produce new sounds. Composers like DeLio are heavily indebted to his work.
Another area where the influences of Cage and Feldman are strongly felt is in DeLio's extensive use of silence as a compositional device. On the surface, in fact, DeLio's music bears a strong resemblance to the music of Cage and Feldman, both of whom made extensive use of sparse textures and were not afraid to use silence as a key part of their compositions. Upon further examination, however, one finds that the function of silence in music varies significantly among the three composers. Feldman, for example used silence to separate sounds and give them space to fade into silence. DeLio notes, “Feldman once said that one of the most beautiful things a sound does is decay. He could have added that in order for this decay to be felt, it must be attached to silence.” Cage, on the other hand, used silence as a compositional tool for incorporating unintentional, atmospheric sounds into the context of a musical composition. DeLio explains, “Cage, of course, is the real source of all consideration of silence in music. But even his approach to silence is not like mine – though I deeply admire his work. For Cage silence is the space in which all unintended sounds come into play.” DeLio's use of silence is different in that it is used to isolate sounds and events. He explains:
While this may sound similar to Feldman's use of silence, DeLio's approach is more radical, using large units of silence to not only isolate the events sonically, but also to isolate them mentally, leaving so much space that the memory will often forget one gesture before the next is presented, essentially forcing the listener to evaluate them as separate, unrelated musical entities. DeLio explains:

Compositional style

The most striking aspect of DeLio's music is his use of silence. His pieces include large sections of silence, sometimes a full minute. In fact, in many of his compositions the time devoted to silence is greater than the time devoted to sonic events. By isolating events and frustrating the memory, DeLio attempts to draw the listener into more intently listening to the brief sonic events. “I argue for wiping the slate clean,” DeLio explains, “Rediscovering sound beneath all of the rhetoric and dated mannerisms which have accumulated over so many years and, in the process, really coming to grips with the nature of our own experience.”
Another important aspect is his sense of time. In a majority of his pieces, he uses the same tempo, 60 beats per minute. Within this tempo, however, he uses a wide variety of subdivisions, including division of the beat into 5 or 7, and the pulse is rarely, if ever, clearly defined. 60 beats per minute is essentially the same as one beat per second, and DeLio thinks of time in his instrumental works as one would in tape composition: All events are measured against a temporal grid of minutes and seconds. DeLio's tempo is static, merely a reference for the performer. Instead of altering tempo, DeLio uses rhythmic devices to create effect within a constant pulse.

Compositions

Smith = Smith Publications/Sonic Art Editions
Semar = Semar Editore
1970
1971
1972
1973
1974
1977
1978
  • installation; Brown University, Providence, RI.
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007 Transpaent Wave VII ; ca. 1 ¾’.
Transparent Wave VIII ; ca. 1 ¼’.
...zwischen den Worten , texts – Paul Celan; ca. 8 ½’.
- en / l’espace de… ; ca. 2 ¼’.
XXIII-XXVII ; ca. 3’17”.
2008 ylm, n ; ca. 3’.
cs, s ; ca. 1 ¾’.
sc, s ; ca. 1 ¾’.
lymn ; ca. 1 ½’.
XXXII- XXXVI ; ca. 1 ½’.
Sakuteiki ; ca. 6’
2009 Five Pieces for Piano : ca. 4’.
for string orchestra : ca. 1 ¾’.
folium ; ca. 5’.
that light ; ca. 6’.
Five Pieces for Clarinet and Percussion ; ca 4’.
2010 "sam", opera/installation for tape and video, text by
P. Inman; plays continuously over several days.
"sam", version for single widescreen hdtv, stereo; ca. 17'.
jeu de timbres ; ca. 6'.
transients / interferences ; ca. 5'.
2011 Quatre Petites Mélodies, Erik Satie ; 3'.
transients / refractions ; 5 1/2'.
et avant / image ; ca. 7'.
et avant / image / aussi ; ca. 7'.
et avant / image/ l'autre ; ca. 7'.
2012 ...that light... ; ca. 6’
...á l’autre, ainsi ; ca. 6 ¾’
2013 sound / shivering /silence ; ca. 9’.
anti-paysage II ; ca. 7 ¾’.
“aengus”, opera/installation for tape, text by P. Inman; plays
continuously over several days. Also versions in surround sound and
stereo.
Song: “aengus”, text P. Inman; ca. 5 ¼’.
2014 sound / shivering / silence II ; ca. 12’.
après Belle-Isle ; ca. 2’.
Hörreste ; ca. 4 ½’.
In Prag ; ca. 6 ¾’.
Sakuteiki ; ca. 6’.
Schaufäden ; ca. 3’.
Sichtbar ; ca. 5’.
Vorflut ; ca. 1 ½’.
Weissgrau ; ca. 4 ½’.
2015 inents ; various durations.
sound / shivering / silence III ; ca. 14'
Three Songs ; ca 6'
2016 Spüren ca. 3.5'
et absence ; ca. 7'
Trois Visage - three compositions for soloist and percussion ensemble; ca. 20'
.

Recordings

- space / image / word / sound II', a DVD of computer music in 5.0 surround sound including five versions of the com-position inents, Hörreste, In Prag, Schaufäden, Sichtbar, Vorflut, Weissgrau, and Sakuteiki.
- Thomas DeLio: Selected Compositions II 1972-2015, including inents, computer music; anti-paysage, flute, piano, percussion; anti-paysage II, computer music; - en / l’espace de..., soprano and orchestra; x,e, inc,e, m,nce, and n,c, computer music; Text and Serenade, piano solos; not, piano, percussion; and, A Draft of Shadows, soprano and percussion ensemble.
- space / image / word / sound, a DVD of eight of composi-tions in 5.0 surround sound including Song: Foxrock near Dublin, computer music; et avant / image, flute, percussion ensemble;...zwischen den Worten, computer music; qu’un espace / sépare, soprano, percussion ensemble; amounts. to., computer music; “sam”, computer music and video; “aengus”, computer music.
- Thomas DeLio: Selected Compositions 1991-2013, include-ing Belle-Isle I-IV, computer music; transients / images, percussion, piano;...transients, computer music; Though, piano solo; XXXIII – XXVII, computer music; as though, percussion solo; as though / of, computer music; between, flute, piano, 3 percussionists; z,rb, computer music; Center, solo voice; Center / s, computer music; Than, orchestra;,c,el,f, computer music; that light, solo soprano; Song: “aengus”, computer music; Zilahn, computer music.
- Selected Compositions of Thomas DeLio, a CD accompanying the book Essays on the Music and Theoretical Writ-ings of Thomas DeLio, Contemporary American Composer, The Edwin Mellen Press : ce, lf, computer music; between, flute and percussion ensemble; Pine, Bamboo, Plum, computer music; Though, piano solo;“because the…, computer music; as though, percussion solo; z,rb, computer music; as though, again, chamber ensemble; Zilahn, computer music; think on parch, computer music; Belle-Isle, computer music; …zwischen den Worten, computer music; XXIII-XXVII, computer music.
“en l’espace de…”, soprano and orchestra ; part of the Masterworks of the New Era series.
...zwischen den Worten, two songs on texts by Paul Celan ; released on DVD in 5.1 surround sound.
Song: Foxrock near Dublin, song on text by P. Inman ;
released on DVD in 5.1 surround sound.
part of the Masterworks of the New Era series.