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Doornbusch, Paul (b. 1959, Melbourne). Australian composer, now resident in New Zealand, of chamber, choral, piano, electroacoustic, and multimedia works that have been performed in Asia and Europe; he is also active as a scholar.
Mr. Doornbusch studied composition with Barry Conyngham and Peter Tahourdin at the University of Melbourne from 1980–83, where he also studied guitar. He then studied electronic composition and performance with Paul Berg at the Institute of Sonology of the Royal Conservatory in Den Haag from 1992–94 and there also encountered Richard Barrett.
His music has been performed in Argentina, Australia, Belgium, Canada, France, Germany, Ireland, Italy, Japan, Lithuania, The Netherlands, New Zealand, Poland, Switzerland, the UK, and the USA.
As a scholar, he has written articles on algorithmic composition, computer music, mapping, and virtual reality for publications in Australia, the UK and the USA and has given presentations in Australia, China, France, and Sweden. In addition, he has written the book The Music of CSIRAC (2005, Common Ground Publishing, Melbourne [with CD Common Ground]) and two chapters about the history of computer music for The Oxford Handbook of Computer Music (due in 2009, Oxford University Press).
Mr. Doornbusch is also active in other positions. As a performer, his specialty is contemporary music, including his own. As a researcher, he worked at the Institute of Sonology of the Royal Conservatory in Den Haag from 1994–99 and served as chair of a research project to reconstruct the music of the computer CSIRAC at the University of Melbourne in 2000. He later worked as a researcher of music, sound and virtual-reality technologies at RMIT University in Melbourne from 2001–05 and has collaborated with Jeffrey Shaw on the cultural-engagement project PLACE-Hempi since 2005.
He has taught advanced digital-synthesis techniques, algorithmic composition, analog-studio techniques, electronic-music history and analysis, electronic-music performance, hardware hacking, and recording technology at the New Zealand School of Music since 2007.
CONTACT INFORMATION
E-mail address: pauldoornbusch@gmail.com
COMPLETE LIST OF WORKS
CHAMBER MUSIC: M1, any homophonic instrument, 2-track tape, 1995; M2, any homophonic instrument, 2-track tape, 1995; Structured Luck, amplified bassoon, 2-track tape, 1996; On the Fence, flute, 2-track tape, 1997; Assifxiation, amplified flute, 2-track tape, 1997; ACT 5 (percussion instruments are hanging, are triggered by the bassoonist, fall from the ceiling, and hit the floor), amplified bassoon (+ glockenspiel, pots, pans, timpani), 1998; Continuity 2, 4 bass recorders, 2-track tape, 1999; Continuity 3, percussion, computer, 2000
CHORAL: Preludes (text by T.S. Eliot), 4 mixed voices, 1994; Strepidus Somnus (text by the composer), 4 mixed voices, 2-/4-track tape, live electronics, 1997
PIANO: Lorenz, 2005
ELECTROACOUSTIC: MFPG, 2-track tape, 1994; Iceberg, 2-track tape, 1995; g4, 2-track tape, 1997; Dialogus, 2-track tape, 2000; Continuity 1W, live electronics (with ambisonic spatialization), 2007
MULTIMEDIA: Place Hampi (media installation: stereoscopic panoramas of the Hampi temple complex and of archeological sites with ambisonically-spatialized 3D field recordings and music), 2006 (collaboration with Jeffrey Shaw, L. Subramaniam)
DISCOGRAPHY
Iceberg. (Frog Peak Music: FP007, 1997)
Continuity 3; Continuity 2; ACT 5; g4; Strepidus Somnus. Randi Pontoppidan, soprano; Stephie Büttrich, alto; Richard Prada, tenor; Wim-Hein Voorsluis, baritone; Hamish McKiech, amplified bassoon; Timothy Philips, percussion; Malle Symen Quartet; Paul Doornbusch, computer, live electronics (Electronic Music Foundation: EMF CD 043, 2002)
(Last updated on October 6, 2008)
