Andrew May

Previous Scheduled Teaching

Published Intellectual Contributions

Abstracts and Proceedings

• Andrew May. (2007). Studio Report: Center for Experimental Music and Intermedia.

Book Chapter

• May, A. (2005). Philippe Manoury's 'Jupiter' in Mary Simoni, Analytical Methods of Electroacoustic Music.

Book Review

• May, A. (2022). Frederic Rzewski: Non Sequiturs. The Anarchist Review of Books. 1 (3) New York, NY, https://www.anarchistreviewofbooks.org/
• May, A. (2005). Third Practice Festival 2004.
• May, A. (2004). 3rd October Afternoon.
• May, A. (2002). David Rosenboom: Invisible Gold.
• May, A. (1999). Philippe Manoury: Jupiter.

CD Recording - Chamber

• McNutt, E.B., May, A. (2015). The Tornado Project.

CD Recording - Ensemble

• May, A. (2017). Ada. SEAMUS Interactions 2016.
• Andrew May. (2012). Edgewise for 2 violins. Dedications 2.
• Andrew May. (2012). Still Angry for flute, clarinet, and computer. CDCM Volume 39: Music from the University of North Texas Center for Experimental Music and Intermedia.

CD Recording - Solo

• May, A. (2018). Diatoms. Christian Verspay (electric guitar), Blood Moon.
• Andrew May. (2012). Imaginary Friends: seven works for instruments and computer.
• Andrew May. (2006). "Chant/Songe" on SEAMUS CD recording (peer reviewed selection.

Journal Article

• Andrew May and Margaret Schedel. (2006). Sustainability in Electroacoustic Music.

Personal Essay

• May, A. (2019). The Score Is an Affordance. DAMN.. https://newmusicpioneer.com/guest-post-the-score-is-an-affordance-damn/
• May, A. (2015). Subtlety, Intricacy, and Hidden Complexity: Not a Manifesto. https://newmusicpioneer.com/guest-post-subtlety-intricacy-and-hidden-complexity-not-a-manifesto/

Popular Press Article

• May, A. (2005). Chant/Songe for clarinet and computer discussed in F. Gerard Errante, "The Electric Clarinet, Part II".
• May, A. (2005). Chant/Songe reviewed in Douglas Geers, "International Computer Music Conference 2004".
• May, A. (2005). Chant/Songe reviewed in Peter Swendsen, "SEAMUS National Conference 2005".
• May, A. (2004). Retake reviewed in Bonnie Miksch, "1st October Afternoon".
• May, A. (2004). Ripped-Up Maps discussed in Jeremy Baguyos, "Interactive Computer Music for Double Bass" .
• May, A. (2004). The Twittering Machine and Retake previewed in Wes Blomster, "Artists bring 'Wild Wired West' to BMOCA".
• May, A. (2004). The Twittering Machine and Retake reviewed in Sabine Kortals, "McNutt tests exotic musical terrain".
• May, A. (2004). The Twittering Machine reviewed in Robert Denham, "Elizabeth McNutt: Pipe Wrench".
• May, A. (2003). The Twittering Machine reviewed in Waterman, Ellen, "Pipe Wrench: Music for Flute and Computer" (review).
• May, A. (2003). The Twittering Machine, Retake discussed in Elizabeth McNutt, "Performing electroacoustic music: a wider view of interactivity".
• May, A. (2001). The Twittering Machine reviewed in James Harley, "Elizabeth McNutt: Pipe Wrench".
• May, A. (2000). Shimmer reviewed in "Summer Institute for Contemporary Piano Performance".
• May, A. (1997). Altered in Transmission discussed in Pam Dixon, "Charting the future: computers usher composers to a whole new plane".
• May, A. (1997). The Twittering Machine reviewed in Larry Fritts, "Friday afternoon concert".
• May, A. (1996). Chicago: Ten and Six to Eight previewed in "Konzert: Vom Reinen und Schönen,".
• May, A. (1996). Marginalia  reviewed in Herman Trotter, "Short, random ideas".
• May, A. (1996). The Twittering Machine reviewed in Josef Woodard, "SONOR offers colorful, contemporary program".
• May, A. (1996). The Twittering Machine  reviewed in Herman Trotter, "June in Buffalo Festival Opens with interactive computer music".
• May, A. (1991). Singing Boxes reviewed in Courtenay Cauble, "Composers infuse Sprague Hall concert with new ideas".

Software

• May, A. (2020). MaxScript. http://andrewmaymusic.com/Software/
• May, A. (2008). Synth-o-rama: software modeling of voltage controlled analog synthesizer modules, for pedagogy and performance.
• May, A. (2007). max_regress (revision): five external objects to the Max/MSP  computer music environment (written in c language).
• May, A. (2007). pd_regress: a set of seven external objects to the pure data computer music environment (written in c language).
• May, A. (2007). SoftSoundSpace system for live 3-dimensional audio diffusion: alpha version (unreleased).
• May, A. (2005). Scrumpy: a script-based real-time environment for theater sound and music production (in collaboration with sound designer Gary Grundei).
• May, A. (2005). Speaker Test Kit: software tools for measuring speaker and room response.
• May, A. (2004). PeakGraph application for visualization of audio data, development versions.

Contracts, Grants and Sponsored Research

Fellowship

• May, A., "Seeking Refuge: artist residency, Kimmel Harding Nelson Center for the Arts," sponsored by Kimmel Harding Nelson Center for the Arts, National, $600 Funded. (2021 - 2021).
• May, A., "Institute for Advancement of the Arts Fellowship," sponsored by IAA, University of North Texas, $9000 Funded. (2017 - 2018).
• May, A., "At Night in My City: Augmented-Reality Chamber Opera," sponsored by MacDowell Colony, International, Funded. (2018 - 2018).
• May, A., "At Night in My City: Augmented-Reality Chamber Opera," sponsored by MacDowell Colony, International, Funded. (2018 - 2018).

Grant - Research

• May, A., McNutt, E.B., "Sounds Modern performs Feldman and Brown," sponsored by Earle Brown Foundation, Private, $2000 Funded. (2016 - 2017).
• May, A., "Scholarly and Creative Activity Grant: Vanishing revision," University of North Texas, $4700 Funded. ( - 2017).
• May, A., "Emergency Grant: unset," sponsored by Foundation for Contemporary Arts, Private, $2000 Funded. (2015 - 2015).
• May, A., "ORED Small Grant: Tornado Project post production," University of North Texas, $825 Funded. ( - 2015).
• May, A., McNutt, E., "Sounds Modern performs Feldman and Brown," sponsored by Earle Brown Foundation, Private, Funded. (2016 - 2017).
• May, A., "Emergency Grant: unset," sponsored by Foundation for Contemporary Arts, Private, Funded. (2015 - 2015).