B.Belet performing his composition Still Harmless [BASS]ically, for electric bass and Kyma system.

Brian Belet lives in Campbell, California, with his partner and wife Marianne Bickett (www.mariannarts.biz).

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, 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.


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

Three by Five, for brass quintet (2016). Composition in three movements. Total duration: 14 minutes.

Textures, soundscape for film by Madison McClintock (2015.) Trumpet, violin, viola, and Kyma processing. Premiered by SoundProof at KISS 2015, August 2015. (See "Current News" panel. -->)

Language is (slithering) in no particular order, co-composed with Stephen Ruppenthal), two voices and Kyma (2014).
Performance installation within 'Digital Poetry Exhibition' (part of 'Studio 300 Exhibition'), BYTE Gallery, Transylvania University, Lexington, KY. Exhibition active: 2015-16.

Summer Phantoms: Nocturne, piano and fixed electronics, 2011
Performed at ICMC 2014, Athens, Greece (Sept. 2014).

Sea Lion Mix
Computer processed sea lion & human sounds, 2009
Performed at New Horizons Music Festival, Truman State University, MO (Oct. 2014).

System of Shadows
Trumpet & Flugelhorn and Kyma processing, 2007
Performed at SCI Region VIII Conference, Tacoma, WA (March 2014).

More details and updates: www.BeletMusic.com


1) Real-time computer systems for composition and performance.
Published articles:
“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.

“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.

“Using Kyma as a live interactive performance environment”
Bay Area Computer Music Technology Group at the Center for New Music and Audio Technologies [CNMAT], UC Berkeley, CA, November 2007.

2) Contemporary theories of formal design and microtonal pitch space.
Published article: “Theoretical and formal continuity in James Tenney’s music”
Contemporary Music Review, Vol. 27, No. 1, Routledge, February 2008, pp. 23-45.

3) Emerging technology and its impact on society. Lecture-demonstration presented at Re-Imagine Media Conference, Modesto, CA, March 2008. “Emerging Media Implications in Music: Cool Tech. vs. Artistic Relevance”

Current News!

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

Stephen Ruppenthal and I will perform our composition Tessallation Rag, for two voices and Kyma processing, at this year's New York City Electroacoustic Music Festival, June 2017.

Pianist/Composer Keith Kirchoff performed my composition Summer Phantoms: Nocturne on his February 14 concert ("The Electroacoustic Piano") at San Jose State University.

My CD Sufficient Trouble is currently in post-production with PARMA Records for a mid-2017 release. 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.

I participated in the Kyma International Sound Symposium [KISS 2016], hosted by De Montfort University in Leicester, UK in September. I presented a lecture/demo using electric bass as a generic controller for live sound processing, performed with the Emergent Ensemble using my elec. bass and live Kyma processing, and premiered a collaborative work (Carla’s Carousel) with Virginie Viel.

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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.