E Z R A S I M S
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| 1961- | 57+ 72-note microtonal orchestral, chamber, vocal. Performances in Boston, New York, San Francisco, Chicago,Tokyo, Darmstadt, Salzburg, Amsterdam, Haarlem, etc. |
| 4 quarter-tone chamber, vocal. Performances in San Francisco, New York, Salzburg, Boston, etc. | |
| 1959-77 | 29 tape pieces 25 dance (Boston, N.Y.), 3 concert (Boston), 1 TV (Tokyo) |
| 1951-75 | 35 12-note orchestra, theater music, vocal, chamber, piano. San Francisco, Boston, New York, etc. |
| ARIZONA FRIENDS of CHAMBER MUSIC | String Quartet #5 |
| KOTO TAKASHI | Kumo sudare |
| CHRISTINA ASCHER & CHRISTOPH von ERFFA | If I Told Him |
| INTERNATIONAL MICROTONE SOCIETY, BERN | Invocation |
| Theodore MOOK | Duo (1992) |
| AEDM in mem. | |
| Solo in Four Movements | |
| ANNE BLACK/ PRO ARTE ORCH. of BOSTON | Concert Piece |
| HANNEKE PROVILLY | Flight |
| IAN GREITZER | Quintet (1987) |
| ARIEL | The Conversions |
| NEWBAND | Brief Elegies |
| NEC JUNIOR YOUTH CHAMBER ORCHESTRA | Pictures for an Institution |
| KOUSSEVITZKY FOUNDATION | String Quartet #4 |
| DINOSAUR ANNEX | -- furthermore |
| Stanzas | |
| Night Piece | |
| Quartet (1982) | |
| This Way To the Egress | |
| JANET PACKER | All Done From Memory |
| AARON PICHT | and, as I was saying |
| KIJIMA MASATAKA | Midorigaoka |
| GOETHE INSTITUTE of BOSTON | Elegie nach Rilke |
| CAMBRIDGE ARTS COUNCIL | The Owl and the Pussycat |
| The Walrus and the Carpenter | |
| Longfellow Sparrow | |
| BOSTON MUSICA VIVA | String Quartet #2 (1962) |
| Phenomena | |
| Musing and Reminiscence | |
| Landscapes | |
| KEVIN DEWEY | including the |
| NEW ENGLAND DINOSAUR DANCE COMPANY | Where the Wild Things Are |
| CAROL BECKWITH | Museum Piece |
| ELINA MOONEY | Elinas Piece |
| CLIFF KEUTER | Warts & All |
| Real Toads | |
| INA HAHN | Cat's Cradle |
| TOBY ARMOUR | After Lyle |
| Ground Cover | |
| 5 Toby Minutes | |
| Interlope | |
| Clement Wenceslaus | |
| A Frank Overture | |
| McDowell's Fault | |
| Antimatter | |
| THE ENDICOTT FUND | Third quartet |
| CATHY BERBERIAN | Cantata III |
| NHK-TV | Music for Sakoku |
| THE ACTORS WORKSHOP (S.F.) | The Ticklish Acrobat |
| WELLAND LATHROP | Masque |
| ARCH LAUTERER | Music for The Trojan Women |
| born | 16 January 1928, Birmingham, Alabama |
| died | 30 January 2015, Cambridge, Massachusetts |
| studies | Mills College | MA 1956 |
| US Army Language School | Diploma (Chinese) 1953 | |
| Yale University School of Music | BMus 1952 | |
| Birmingham Conservatory of Music | 1945-48 | |
| Birmingham Southern College | BA 1947 |
| microtones | Since 1961, most of what that Ive done all my major pieces that havent been tape music has been microtonal. At first, it was ¼-tone, but from 1964 it has been 72-note, using at any moment one transposition or another of an asymmetrical mode of 18 or 24 pitches drawn from a 72-note division of the octave, much as Tonal music used a 7-note mode drawn from a 12-note chromatic. The mode consist of a 8 pitches of superior importance, the 8-15th harmonics of the tonic of the moment, plus 10 (or 16) chromatic pitches also drawn from its harmonic series. The 72-note division permits an all-but-exact description of the sequialteran succession of Just ratios making up the mode (25/24–30/24 [or in the alternate version: 33/32 –5/4] followed by 21/16–31/16), while retaining the conceptual and modulatory convenience of a closed cyclic notation. I trust the performers naturally to play as near Just perfection as their musicality permits, but sometimes it helps to remind them. |
| computers | In 1988, I began using David Rayna's RTMPII program and synthesizer to make demo tapes of new pieces and produce the electronic parts for the three pieces that have them. |
| I consulted with Stephen Smoliar on his EUTERPE system, developed in the AI Lab, MIT. The electronic parts of Elina's Piece were made using it, as well as a transcription of From an Oboe Quartet. | |
| As programmer for Harvard Music Library, I worked with Mary Lou Little and Helen Black in the development of the MARC format for music scores and recordings, since amended as published by the Library of Congress. |
| electronic music | 1988 - | Three electro-acoustic pieces using RTMP II. |
| 1959, 1968-1977 | Tape pieces, mainly for dance and theater, largely tape collage or musique concrete or a combination of the two (combine tapes.) | |
| 1962-63 | For several months observer and composer at the electronic music studio of NHK Tokyo Composed Music for Sakoku there. |