Brian Belet - Composer/Performer

Brian Belet lives in Hawaii (island of Oahu), with his partner and wife Marianne Bickett.

His music is recorded on the Centaur, Capstone, Frog Peak Music, IMG Media, Innova, New Ariel Recording, PARMA (Navona and Ravello imprint labels), SWR Music/Hänssler Classic, and the University of Illinois CD labels; with research published in Contemporary Music Review, Organised Sound, Perspectives of New Music, Proceedings of the International Computer Music Conference, and Proceedings of the International Web Audio Conference. Belet retired from San Jose State University in 2020 as Emeritus Professor of Music, where he was named President's Scholar in 2017.


All compositions licensed through Broadcast Music, Inc. [BMI]

Composition "in progress:" electro-acoustic work that will have both fixed and live interactive concert versions.

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, Atlanta, GA, 2016.

"Birds of a Feather (Les Oiseaux de Meme 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., Paris, France, 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!

Technical Editor (with Stephen Ruppenthal) for reprint of Electronic Music: Systems, Techniques, and Controls, 2nd edition, Allen Strange, 1983. (Toronto: Responsive Ecologies Lab, Toronto Metropolitan University, 2022), 2021-22. Released June 2023.

Name Droppings, for computer-processed voices, was performed at the MOXsonic Festival at the University of Central Missouri, March 16-18, 2023.

Janis Mercer performed my (Disturbed) Radiance, for piano and Kyma, at the Convergence 2022 conference in Leicester, UK, on September 24, 2022. We also presented our paper "Composition and Performance as a Collaborative Process" exploring the collaborative and technical aspects of the composition on September 23.

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Summer Phantoms: Nocturne
System of Shadows
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.