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Draft:Peter McKenzie Armstrong

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  • Comment: I fear you are spending an inordinate amount of time editing “Compositions Overview” “Precompositional Algorithms” and “Catalogue of Works” none of which is helpful towards establishing any notability notability is derived from what independent sources have written about you, there are NONE in your draft yet. Theroadislong (talk) 16:44, 25 January 2025 (UTC)
  • Comment: This content would be fine on your own website but is totally inappropriate here, please read WP:YFA this is nowhere near acceptable, start with three reliable, independent sources that cover you indepth and précis what they say, we don't need hundreds of links to pdfs and your work. Theroadislong (talk) 17:40, 21 January 2025 (UTC)
  • Comment: This draft has hundreds of external links and you are adding more... PLEASE note Wikipedia doesn't use ANY external links in the body of an article unless they are part of a reference. Theroadislong (talk) 15:52, 21 January 2025 (UTC)
  • Comment: You have reverted a VERY useful edit by another editor, that wasn't helpful this draft requires a complete re-write it's layout and content are incorrect, we create articles by reporting on what reliable independent sources say, you have NONE of those here. Theroadislong (talk) 18:04, 19 January 2025 (UTC)
  • Comment: Please note we don't use external links in the body of an article and please read WP:REFB for help with formatting sources correctly. Articles merely report what reliable sources have said, This reads like a personal CV. Theroadislong (talk) 14:51, 18 January 2025 (UTC)


Peter McKenzie Armstrong

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Peter McKenzie Armstrong (born March 12, 1940) is an American composer and pianist. His works have drawn most strongly from sources not primarily associated with music -- integer sequences, polar geometry, tessellation structures, chemical element properties, et al -- with the goal to convey their characteristics and proportions persuasively in sound.  Most pieces are scored for piano, either solo or in one of several duo combinations; others are scored for various solo instruments, mixed duo, digital ensemble or Csound.   Armstrong's earlier career as pianist, ultimately focusing on the later works of Ferruccio Busoni, culminated in national venue tours and accolades in New York and Washington DC critical reviews.

Essential Biography

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Education:  Harvard College, attended (1959-61);  Longy School of Music, Diploma in Performance (1967);  Emerson College, BM (1968);  Yale School of Music , MMA in Performance (1972), DMA on the Late Works of Ferruccio Busoni (1980);  University of North Texas, post-doctoral residency in Composition and Computer Music (1984-85).

Studies:  Composition with Nicholas Van Slyck, Alexander Goehr, Thomas Clark, Phil Winsor, Larry Austin; Theory with Randall Thompson, Luise Vosgerchian, Robert Moevs, Hall Overton, Kevin Korsyn;  History with William Klenz;  Piano with Gregory Tucker, Ernst Lévy, Kyriena Siloti, John Kirkpatrick;  Ensemble with Artur Balsam and Joseph Fuchs;  Conducting with Gustav Meier.

Honors:  New York Music Education League Steinway Hall Piano Competition first prize (1952); Harvard - Dean's List (1960);  Longy School of Music- scholarships;  Emerson College - state scholarship (1967-68); Yale School of Music - Martha Curtis Miles and Ellsworth Grumman scholarships, Junior Fellowship, Graduate Assistant Instructorship in Piano, Graduate Assist. to Curator of the Charles E. Ives Collection (1969-72).

Teaching (posts in reverse order):  Midwestern State University (TX), Assoc. Prof. as first occupant of the Bolin Distinguished Piano Chair - studio, masterclass (1981-85); Trinity College (CT) as Lecturer/Artist in Residence - ear training, tonal harmony, modal counterpoint (1973-79);  Wesleyan University (CT) as Visiting Instructor, Instrumental Teacher (1970-79); earlier posts in piano, ensemble or theory at the Hartford Conservatory, Neighborhood Music School (New Haven), Ethel Walker School, Miss Porter's School, Choate Rosemary Hall, and the Longy School of Music (Cambridge, MA).

Computer Programming Employment:  At Ibid, Inc. (Forth-language shop in West Hartford CT) wrote the intercommunications test suite for Coleco's Talking Cabbage Patch Kids ('86). At the Federal Judiciary served as Linux Systems Administrator - servers maintenance, website construction, scripting in Bash, PERL, HTML (1995-2011).  (Music programming is referenced separately below under Compositions and Algorithms.)

Affiliations (past & present): ACMA, AMC, AGNULA, College Music Society, Csound, EMF, ICMA, IMSLP, Internet Archive, NMUSA, SEAMUS, SIGAPL, SMCM, SoundCloud; served as season president of the Studio of Electronic Music Inc. (SEMI), Simsbury CT.

Compositions, Algorithms, Performance:  See separate sections below.

Compositions Overview

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Grouping by Materials & Process                      Opus        

Generation  Most of Armstrong's compositions have been generated algorithmically (via coding in Forth, APL or J) with output then fed to LilyPond for PDF scoring. Composer-edits to LilyPond's MIDI output yield the finished audio.  Results for solo piano are then realized on one of Pianoteq's "Bösendorfer" instruments.  Others are scored for instrumental solos, mixed duos, digital ensembles, or Csound.

Access  Scores, published by Edition Ottaviano Petrucci, may be accessed and downloaded at IMSLP[1]; Audio is online at SoundCloud; Video (score, page-turn-synced with audio) is available at the Internet Archive.[2]

Catalogue of Works

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Piano Solo:

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  • 12 Variations in S-Mode, Op. 1 (1971)
  • Black & White: Voicing/Articulation/Pedal Study, Op. 2 (197_)
  • Mini-Studies on my Surname, Op. 3 (1983)
  • Katikaze: Study in Single Notes, Op. 4 (1984)
  • Krikos: Circular Variations on the Opening of Schoenberg's Opus 33a [Epilogue], Op. 7 (1991)
  • Variations on "Rule, Brittania", Op. 11 (2007)
  • Syzygies: Two-Part Takes on Wythoff's Matrix, Volume I, Op. 16a (2014)
  • Syzygies: Two-Part Takes on Wythoff's Matrix, Volume II, Op. 16b (2014)
  • Takeoffs on "Katikaze": Interval Expansion Study, Revised, Op. 17 (2022)
  • No!: A Trifle, Op. 21 (2016)
  • Patterns from the Game of Life, Part I: Eighth Notes for Toy Piano, Op. 27 (2018)
  • JE: A Mural -- after John Elliot's Yesteryear on the Hudson, Op. 29 (2019)
  • Patterns from the Game of Life, Part III: Pairs & Singles, Op. 30b (2019)
  • Trends from the Periodic Table of Elements, Op. 31 (2020)
  • Bunny Victoria Watson, a Chihuahua Triptych [orig. for Music Box], Op. 32 (2021)
  • Triptych: Riddle, Dance, Echo, Op. 33 (2021) 
  • In Modulo, Part 1: Cycles from the Perfect Squared Square, Op. 34a (2022)
  • In Modulo, Part II: Cycles from the P. S. Square Absentees, Op. 34b (2022)
  • Whirly: Ostinato on a Subprime Fib, Op. 35 (2023) 
  • Circular Variations on a Name, Revised, Op. 36 (2023) 
  • Circular Variations on "F. J. E.", Op. 38 (2024)

Piano 4 Hands:

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  • Flipidodes: All-interval 12-tone Chord Voicing Study, Op. 18 (2015) 
  • Last Breath: Hexachordal Articulation Study, Op. 19 (2015) 
  • Flitter, Dither & Rant: Assorted Chordal Confusion, Op. 20 (2015) 
  • Thin Rake c/o "The Game of Life", Op. 22 (2016)
  • 'Tis to Waft, Op. 26 (2017)
  • Patterns from the Game of Life, Part II: Rondo Infernale, Op. 30a (2019) 
  • Patterns from the Game of Life, Part IV: Ostinato Polemico, Op. 30c (2019)

Piano 6 Hands:

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  • Chord for Mr. Woodshed, Op. 25 (20__)

2 Pianos:

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  • Krikos 1: Circular Variations on the Opening of Schoenberg's Opus 33a, Op. 6 (1991)

Autopiano:

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  • Dapper '1' and Dreadful '0', Op. 12 (2011)
  • Refractions: 12-Tone Chords on an All-Interval Row, Op. 13 (2012) 
  • Phigits: One-Part Takes on the Digits of Phi, Op. 23 (2016) 
  • 11/8, 2nd Edition, Op. 24 (2016)

_____________________________________________________

Flute Solo:

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  • Partita Traverse for Flute Solo, after J. S. Bach, Op. 8 (1993) 

Flute & Guitar:

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  • Stuckle 1: Takeoffs on a Bar Each from Schoenberg and French Folksong, Op. 9 (2012)

Flute & Mandolin:

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  • Circular Variations on "M. C. J. A. F. P.", Op. 37 (2024) 

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Digital Ensemble:

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  • Cycles for Synclavier (1984)
  • CTT-95: Bus Ride over a Bach Bass [digital quartette: steel drum, 2 xylophones, cello pizzicato], Op. 14 (2012)
  • Ostomachion: Wind Chimes from Archimedes' Box [12 MIDI instruments], Op. 15 (2013)

Csound:

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  • Noitnevni Trap-2 (1984)
  • Krikoi on the Opening of Schoenberg's Opus 33a, Op. 6a-6d (1992)

      1: Circular Variations        
      2: Time^Space Vortex      
      3: Prelude & Centrifugue  
      4: Helix                      

  • Additudes!: Fibonacci/Lucas Mod Cycles set in the Order-21 Perfect Square, Op. 10 (2005)

  Note: These works are scored in C-language code.

Precompositional Algorithms

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This section summarizes Armstrong's code documentations, written before 2002. Later algorithms are referenced instead within the "NOTES" for individual scores.

IntLens - A Quasi-Prismatic Pitch-Class Series Registrator (1986-2001)

This program octave-complements &/or compounds the intervals of an input pitch-class series in all combinations of selection by interval class. There are several versions:

Ver. 1 (Pascal, 1986)
The selection cycle iterates for each of six ranges of expansion, defined as (all ICs' starting level)-to-(selected ICs' target level): class to complement, class to compound, class to both, complement to compound, complement to both, and compound to both.

Ver. 2 (Forth, 1988)
Registrations are here examined as simultaneities, i.e., chromatic saturation chords. Generation specifies all expansions within a range of nine octaves. A separate user-sort details relationships among these otherwise arbitrarily sequenced registrations. Up to sixteen criteria keys may be applied, independently ascending or descending and in user-specified priority:

                    1) ExpLevel    5) Frame           9) MinInt         13) MinFreq
                    2) RowNum    6) Gaps>OD   10) MaxInt        14) MaxFreq
                    3) Factor        7) NumClust    11) IntSpread   15) FrqSpread
                    4) Range        8) MaxClust    12) IntsUsed     16) FrqsUsed

Version 2 and its workbook were included with Krikos (below) among curricular materials at National Chiao Tung University, Taiwan.

Ver. 3 (APL, 1989)
Expands the filing of intermediate data for retrieval by independent compositional software.

Ver. 4 (J, 2001)
In APL's superset and successor, includes Csound-score building with facilities from Krikos.

Krikos - Permutation of a Metered Pitch Series via Incremental X/Y Dot-graph Rotation (APL, 1989-91)

Suppose that serial forms were derived, not from horizontal &/or vertical mirroring, but from rotation in the plane. As a rotating graph of point coordinates (X=order/Y=pitch-class), sequence evolves whenever closely neighboring values swap relative positions. For other than severely symmetrical starting series, the result yields many more than the four PIRRI forms, integrating symultaneity as well (at X/Y swap points). Full output requires two rotations, each from a different initial form: Prime, yielding Retrograde-inversion at 180 degrees; Inversion, yielding the Retrograde. Krikos is an APL workspace embodying this process. Given initial point coordinates, it generates all possible alignments, converts their specifications to musical parameter arrays, and formats scores for Csound. It provided the data for Krikoi on the opening of Schoenberg's Opus 33a (1992).

Markov - Generation of Pitch/Duration Cycles via Modular Additive Sequences (C, 1986)

Given a Markov-order number of seeds (maximally 6), the program proceeds to generate each next number by summing as many just-previous terms. Each generation, constrained by an input modulus, ends when the modular cycle is complete. There are two moduli: initially 12, yielding pitch-class values; then 6 against the result, giving values for corresponding octave-registrations. Each resulting pair is tallied, with its total's reciprocol then assigned as that pitch's constant duration value. Consequently within any cycle, the collective duration for all instances of any given pitch is exactly 1. This program generated the data underlying Cycles for Synclavier (1984). It is quoted with sample output in Winsor & Delisa, Computer Music in C [3] , Windcrest, 1991.

SetTrans_P - Generalized Multiplicative Transform via Prime-Only Octave Dimensions (1985)

If a tone series' octave dimension is prime, all multiplicative-transform factors (not just 5 or its 12-complement) yield the full chromatic. Free of its dodecaphonic substatus as a special case, this transform now becomes a generative principle. Given prime-tone series input, SetTrans_P specifies the data for all transform levels, outputting to Csound for pitch specification.

AIR - All-Interval Row Generator (Forth, 1984)

Generates a permutation of the integers modulo-N (pitch classes) such that all possible unique successive differences (interval classes) are represented in absolute value twice each. If the modulus is even, signs modifying the instances of a given IC are opposite; if it is odd, they are the same, with a final value redundancy. The number of array positions separating member instances of each IC are unique for odd moduli and nearly so (one exception) for even.

Solo Piano Performance

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Peter Armstrong performed at Town Hall, New York, as 11-year-old winner of the Music Education League's Steinway Hall Piano Competition and at fifteen was guest soloist with the Philadelphia Orchestra at the Worcester Festival.  He performed numerous times at Boston's Isabella Stewart Gardner Museum, the Wadsworth Atheneum, New England Conservatory's Jordan Hall, and over area radio stations WCRB and WEEI.  Studying with Kyriena Siloti, Ernst Lévy, and John Kirkpatrick, he received a Diploma from the Longy School of Music, a BM from Emerson College, and the MMA/DMA in Performance from the Yale School of Music with honors and named scholarships in piano, composition and theory.

His subsequent study of the late works of Ferruccio Busoni received the guidance of Edward Weiss and Otto Luening, Busoni pupils in piano and composition, respectively.  Armstrong's all-Busoni solo recital -- Elegien, 6 Sonatinas, Toccata -- was presented at Alice Tully Hall, Lincoln Center, and at some thirty East and West Coast campuses and community arts venues (1977-79).  His work as specialist included lectures, WGMS radio broadcast, an article in The Piano Quarterly[4] , and a Carnegie Recital Hall performance of Busoni's Fantasia Contrapuntistica (2-piano version) with Busoni pupil Edward Weiss.

Other performances have explored the wider 20C repertory, featuring works such as Ross Lee Finney's Variations on a Theme by Alban Berg (1952) and Ernst Lévy's Cinq Pièces Pour Piano (1955), both in a Short Piano Series recital at the National Gallery of Art, Washington (1983).

Concert Reviews

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The New York Times (1979) [5]
Aufbau (1979) [6]
The Washington Times (1983) [7]

Recordings

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Analog tapes digitized and archived at the International Music Score Library Project (IMSLP)[8]

Music of Ferruccio Busoni (1866-1924)

  Elegien - from Busoni recital at Alice Tully Hall, Lincoln Center, NYC (1979).

  • Nach der Wendung (Recueillement)
  • All' Italia! (In modo napolitano)
  • Meine Seele bangt und hofft zu Dir (Choralvorspiel)
  • Turandots Frauengemach (Intermezzo)
  • Die Nächtlichen (Walzer)
  • Erscheinung (Notturno)

  6 Sonatinas - studio recording engineered by David Hancock, NYC (1978).

  • (Untitled)
  • seconda
  • ad usum infantis Madeline M.* Americanae
  • in Diem Nativitatis Christi MCMXVII
  • brevis in Signo Joannis Sebastiani Magni
  • Kammer-Fantasie über Bizets "Carmen"

  Toccata - from performance at the University of Oregon, Eugene (1978).

  • Preludio - Fantasia - Ciaccona


Music of Ernst Lévy (1895-1981)

  Cinq Pièces - from recital at Wesleyan University, Middletown, CT (1983).  
  Its tape was released to Novello & Co..

  • Un poco rubato, cantabile
  • Leggiero
  • Sempre legato
  • Rudo - lamentoso
  • Con impetù e sempre cantando

References

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  1. ^ IMSLP: Armstrong, Peter McKenzie (Compositions)
  2. ^ Internet Archive: Peter McKenzie Armstrong
  3. ^ Winsor & DeLisa, Computer Music in C, Windcrest, 1991, pp. 129-132: Armstrong, "Markov".
  4. ^ The Piano Quarterly, Winter 1979-80, pp. 28-31: Peter Armstrong, "Why Play and Teach Busoni?".
  5. ^ The New York Times: Donal Henahan, "Peter Armstrong Features Program of Busoni", 5/20/79.
    Copyright © 1979 by The New York
    Times Co.  Reprinted with permission.
  6. ^ Aufbau: Robert Breuer, "Die Hinfälligkeit von Voraussagen", 5/25/79.
    Copyright © 1979 by Aufbau. Reprinted with permission.
  7. ^ The Washington Times: Jerry Floyd, "Taut, atonal environment created by Armstrong", 6/07/83.
    Copyright © 1983 News World Communications, Inc. Reprinted with permission of The Washington Times. This reprint does not constitute or imply any endorsement or sponsorship of any product, service, company or organization.
  8. ^ IMSLP: Armstrong, Peter McKenzie (Performaces)

Further Reading

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