From the Cambridge (UK) Times: Dan Trueman's Delphica Gaedhlica, mostly written in Irish, provides an Irish mystic version of the Sibyl of Delphi. The music, quite unlike anything one had heard before, had a jarring, otherworldly and powerful effect on the spellbound audience, as did Dmitri Tymoczko's version of Prophetae Sibyllarum, which followed. This work, punishingly difficult to sing and based on verses by American poet Jeff Dolven, attributes a new Sibyl to six US industrial cities each of whom, in describing grim aspects of life for the children of these cities, focuses on child mortality, homelessness, the incidence of asthma and diabetes etc, basing its version of prophecy on actual statistical figures. Gallicantus' presentation of the work, described by Gabriel Crouch as "the hardest piece of music I've ever heard in my life", was a remarkable tour de force earning prolonged applause from an audience simply amazed by what it revealed to be achievable with the human voice.

Discussion of some of my work in Hacker News. I am not brave enough to read the comments, anyone want to summarize for me?

Upcoming performances of Prophetiae Sibyllarum by Gallicantus in Cambridge (UK) and Switzerland this summer.

Just got back from Kitchener/Waterloo, where the symphony played a big orchestra piece, The Ten Thousand Faces of Form, based on geometry of music ideas, with live visuals by Nathan Selikoff. A truly amazing experience!

Thrilled to be back teaching at the highSCORE festival in Pavia, Italy, for my fifth year. With Derek Bermel, Amy Beth Kirsten, and Julia Wolfe.

TedX talk on Martha's Vineyard (August 2014), then hard at work on a series of pieces: brass quintet and prepared piano (Proemium Metals), string quartet, piano, and electronics (Amernet), something for Flexible Music, and finishing up my pseudo-madrigals for Gallicantus. Talks upcoming in Belgium and the US, mostly focusing on the origins of tonality. Still contemplating a second book. A third album should come out within the year, featuring SHEILA63, my science-fiction cantata with Dexter Palmer ...

Also, here's a podcast that I did last year, but never linked to.

I am headed to Italy to teach at the highSCORE festival, and then to Holland to hear Quartet Quinetique play my new string quartet, Strawberry Field Theory.  This piece blends the languages of Crackpot Hymnal and Beat Therapy, using extensive improvisation in a more classical environment.  (This includes a movement where the players improvise on histograms, ala Chapter 5 of A Geometry of Music.)  Then I buckle down to work on a science-fiction cantata/oratorio for the Illinois Modern Ensemble at UIUC, with text by the amazing Dexter Palmer, conducted by the equally amazing Steve Taylor.  This will again involve indeterminacy and histograms. 

Theory-wise I am taking a bit of a break to focus on composing ... though I am thinking a lot about functional tonality, and doing some music21/Python programming to try to figure out how tonality developed.  Perhaps there is a second book there.  In all honesty I am a little depressed about the theory world these days.

My next CD will blend classical instruments and feature more of a rock vibe than either of the first two.  (If Beat Therapy was jazz, and Crackpot Hymnal was classical, then its time for rock.)  I'm thinking that it will contain Four Dreams, Let the Bodies Hit the Floor, Fools and Angels, and Röckdöts (which Third Coast Percussion plays beautifully).

Here is a very nice podcast about me, by Charlie McCarron. 

After much work, and several unintended delays, my second CD is coming out on Bridge records, any day nowfeaturing four pieces for classical ensembles: The Eggman Variations, for string quartet and piano, Typecase Treasury, for string quartet and double bass, This Picture Seems To Move, for string quartet, and Another Fantastic Voyage, for chamber orchestra and piano. It's quite a change from Beat Therapy, though I think you can hear the same mind at work.