Brian Belet lives in Campbell, California, with his partner and wife Marianne Bickett.

He performs with the ensemble SoundProof using Kyma, viola, and bass. His music is recorded on the Centaur, Capstone, Frog Peak Music, IMG Media, Innova, PARMA (Ravello), SWR Music/Hänssler Classic, and the University of Illinois CD labels; with research published in Contemporary Music Review, Organised Sound, Perspectives of New Music, and Proceedings of the International Computer Music Conference. To finance this real world Belet works as Professor of Music at San Jose State University, where he was named President's Scholar in 2017.


Recent Compositions and primary performances
All compositions licensed through Broadcast Music, Inc. [BMI]

A Strange Diversion, for Buchla analog and Kyma digital instruments (co-composed with Stephen Ruppenthal, 2017), was performed on the EM|3 Concert, Ball State University, February 6, 2018; SEAMUS 2018, Eugene, OR, March 2018; and the Kyma International Sound Symposium, Santa Cruz, CA, Sept. 2018.

Loose Canon, for any three instruments and Kyma, 2017.
Premiered by the SPLICE Ensemble at the SPLICE Festival 2018, January 27, 2018, in Kalamazoo, Mi. The SPLICE Ensemble performed the music again at the BEAMS Festival, Waltham, MA on March 16, 2018.

Three by Five, for brass quintet (2016), was premiered by the Brass Act Quintet, April 10, 2018, at the Hammer Theater, San Jose, CA.
On that same April 10 concert Stephen Ruppenthal (flugelhorn) and I (viola; joined by SJSU violinist Sarah Jones) performed Allen Strange's Misty Magic Land, for any number of instruments and electronics.

System of Shadows, for trumpet & flugelhorn and Kyma processing, 2007
"Andromeda's Dream" (2nd mov't.), performed by Stephen Ruppenthal at Menlo Church, Menlo Park, CA (March 2017).

Summer Phantoms: Nocturne, piano and fixed electronics, 2011
Performed by Keith Kirchoff at San Jose State University, San Jose, CA (Feb. 2017).

More details and updates:


"Musique Concrète Choir: An Interactive Performance Environment for Any Number of People" (co-authored with William Walker, PhD).
Proceedings of the 2016 Web Audio Conference. Georgia Institute of Technology, 2016.

"Birds of a Feather (Les Oiseaux de Même Plumage): Dynamic Soundscapes using Real-time Manipulation of Locally Relevant Birdsongs (co-authored with William Walker, PhD.
Proceedings of the 2015 Web Audio Conference. IRCAM/Mozilla Corp., 2015.

“System of Shadows, an interactive performance environment for trumpet/flugelhorn and Kyma.” (co-authored with Stephen Ruppenthal)
Proceedings of the 2010 International Computer Music Conference, pp. 34-40. International Computer Music Association, 2010.

“Theoretical and formal continuity in James Tenney’s music”
Contemporary Music Review, Vol. 27, No. 1, Routledge, February 2008, pp. 23-45.

“Live performance interaction for humans and machines in the early twenty-first century: one composer’s aesthetics for composition and performance practice.”
Organised Sound, Vol. 8, No. 3, December 2003. Cambridge University Press. pp. 305-312.

“Compositional and programming issues within Lyra, a fully interactive performance environment for violin and Kyma system.”
Proceedings of the 2003 International Computer Music Conference. International Computer Music Association, 2003. pp. 91-94.

Current News!

Two projects were presented at the Kyma International Sound Symposium [KISS 2018], Santa Cruz, CA.
1) A Strange Diversion, for Buchla analog and Kyma digital instrument systems, was performed in concert by Stephen Ruppenthal and me on September 9.
2) Earlier the same day, visual artist Marianne Bickett and I presented a paper/demo of our ongoing project "Drawing Sound: Using a Wacom tablet as an independent drawing surface while also controlling Kyma"

My CD Sufficient Trouble was released on the Ravello label (RR7969; PARMA Recordings) July 2017. This CD contains ten of my computer music compositions spanning the past twenty years, featuring wonderful performances by Patricia Strange, Stephen Ruppenthal, Keith Kirchoff, and Janis Mercer.

My composition System of Shadows is included on Stephen Ruppenthal's CD Flamethrower (Ravello Records, RR7954, March 2017). Subtitled "New Music for Trumpet, Flugelhorn & Interactive Electronics" the CD also includes music by Bruno Liberda, Elainie Lillios, and Allen Strange.

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Summer Phantoms: Nocturne

PDF score

Summer Phantoms: Nocturne was composed during 2010-11 for pianist Jeri-Mae Astolfi, and the work is dedicated to her.

Phantom -
• something apparent to sense but with no substantial existence; as an apparition
• representation of something abstract, ideal, or incorporeal

Referential archetypical symbols include: phantom (akin to shadow), representing the creativity that we don't realize we already have; night and the night journey as the search for self; and the summer season as a time of life and abundance.

The piano music was composed first (mostly on flights to music festivals and touring gigs, an environment that I find most relaxing and conducive for composing), with marginal annotations for the electronics. All of the electronics are processed piano sounds (string scrapes, hand dampened tones, soundboard strikes, and a few isolated tones - performed and recorded by the composer), and are constructed as a running commentary to the piano music. Analysis/resynthesis algorithms include Spectral Analysis, Sum of Sines (SOS), and Time Alignment Utility (Tau), plus additional stochastic algorithms using the composer’s COMP2 suite of tools, all operating within Kyma.

Summer Phantoms was recorded by Jeri-Mae Astolfi, June 2012, and published on the audio CD compilation Here (and there), Innova Recordings (Innova 846), 2013.

System of Shadows

PDF score

Individual Movement sub-Titles:
1. Aurora Borealis
2. Andromeda’s Dream
3. Zephyr Apparition

System of Shadows, (2007) for trumpets, flugelhorn, and Kyma, was composed in close collaboration with performer/sound poet/composer Stephen Ruppenthal, and the work is dedicated to him. The music environment is an interactive field for the live performer and Kyma. The trumpet music is fully notated through the three movements, with the invitation for the performer to improvise and otherwise comment on the music as the performance unfolds. All of the computer music is live processed trumpet within Kyma: various analysis/resynthesis, deconstruction/reconstruction, and filtered feedback algorithms generate a unique sonic layer with each performance. The collaborative composing process is therefore reflected and reinterpreted during each collaborative performance.

The ‘shadow’ imagery operates both as a systematic process between trumpet and computer (and between computer and trumpet) and as a symbolic metaphor. The two sound sources shadow each other in a variety of ways, including reflection, variation, anticipation, and commentary. I find that shadows, in their own way, illuminate what they otherwise obscure in unexpected and often revelatory ways. The subtleties of the northern aurora cannot be clearly seen straight on; yet glancing aside into the deeper shadows of the night sky reveal the shimmering curtains and colorful ionized trails. Dreams, apparitions, and phantoms also point to those shadowy premonitions and after images we experience during moments of insight.

Stephen Ruppenthal has recorded this work for a forthcoming CD of trumpet & electronics music composed for him.


PDF score

Lyra was composed in 2002 for violinist Patricia Strange, and the work is dedicated to her. The violin environment contains several groups of isolated notated gestures. The score indicates set introductory and concluding gestures, with interior groups each containing several related gestures. The gestures within a group can be performed in any order, including repetition and omission. The violinist is invited to modify or improvise within any gesture, and can also react and respond to the real-time computer music layers during the performance. The Kyma environment includes real-time modification and resynthesis of the violin music. Both environments relate to, are affected by, and respond to each other, resulting in a unique realization for each performance. Lyra is recorded on Ghost Strings, Patricia Strange (violin), IMG Media, CD-02-01, 2006.