Jeff Morris

“Because of [his] manipulations of samples, electronically produced sounds don’t come across as like something alien in combination with a violin but serve as complicated contra point.” — The Improvisor, reviewing the International Society of Improvised Music (ISIM) conference

“The sensuality of sound and its behaviour is celebrated here” … “Convincing work that foregrounds first- principles in a manner that is creative and engaging (simple systems/complex music)” — New Interfaces in Musical Expression international conference

“Jeff Morris’s improvisation, while more firmly rooted in academic electronic music, was… evocative with its wide variety of sound sources and quick pace.” — Array (International Computer Music Association), reviewing the Bellingham Electronic Arts Festival (BEAF)

“Quite interesting and, dare I say, entertaining” — Conference on Computation, Communication, Aesthetics & X (xCoAx)

“Jeff Morris’s piece was one of the most intriguing we received, and Tim was keen to spend some time looking at the issues it raised… a delight to play and very well written… His interest in the piece was clear by the extraordinary amount of homework he had done…” — Composition Today

“…brought an august, almost tomb-like research library to life in sound, video, and performance.” — World Architecture.

“…visitors heard music shaped by their own movements.” — Sculpture Magazine

“His work is fascinating

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“Because of [his] manipulations of samples, electronically produced sounds don’t come across as like something alien in combination with a violin but serve as complicated contra point.” — The Improvisor, reviewing the International Society of Improvised Music (ISIM) conference

“The sensuality of sound and its behaviour is celebrated here” … “Convincing work that foregrounds first- principles in a manner that is creative and engaging (simple systems/complex music)” — New Interfaces in Musical Expression international conference

“Jeff Morris’s improvisation, while more firmly rooted in academic electronic music, was… evocative with its wide variety of sound sources and quick pace.” — Array (International Computer Music Association), reviewing the Bellingham Electronic Arts Festival (BEAF)

“Quite interesting and, dare I say, entertaining” — Conference on Computation, Communication, Aesthetics & X (xCoAx)

“Jeff Morris’s piece was one of the most intriguing we received, and Tim was keen to spend some time looking at the issues it raised… a delight to play and very well written… His interest in the piece was clear by the extraordinary amount of homework he had done…” — Composition Today

“…brought an august, almost tomb-like research library to life in sound, video, and performance.” — World Architecture.

“…visitors heard music shaped by their own movements.” — Sculpture Magazine

“His work is fascinating. His music responds to my painting movement and we create a ‘loop’ of sound and color together.” — April Zanne Johnson, interviewed by Faburry Gallery

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Primary Instrument

Electronics

Location

Houston

Willing to teach

Intermediate to advanced

Clinic/Workshop Information

Jeff Morris creates experiences that engage audiences’ minds with their surroundings. His performances, installations, lectures, and writings appear in international venues known for cutting-edge arts and deep questions in the arts. He has won awards for making art emerge from unusual situations: music tailored to architecture and cityscapes, performance art for the radio, and serious concert music for toy piano, robot, Sudoku puzzles, and paranormal electronic voice phenomena. He has presented work in the Onassis Cultural Center (Athens), Triennale Museum (Milan), D–22 (Beijing’s avant-garde music scene), the International Symposium on Electronic Art (Vancouver, Canada), the Lyndon B

Read more

Primary Instrument

Electronics

Location

Houston

Willing to teach

Intermediate to advanced

Clinic/Workshop Information

Jeff Morris creates experiences that engage audiences’ minds with their surroundings. His performances, installations, lectures, and writings appear in international venues known for cutting-edge arts and deep questions in the arts. He has won awards for making art emerge from unusual situations: music tailored to architecture and cityscapes, performance art for the radio, and serious concert music for toy piano, robot, Sudoku puzzles, and paranormal electronic voice phenomena. He has presented work in the Onassis Cultural Center (Athens), Triennale Museum (Milan), D–22 (Beijing’s avant-garde music scene), the International Symposium on Electronic Art (Vancouver, Canada), the Lyndon B. Johnson Presidential Library and Museum (Austin), and the Chicago Architecture Foundation’s “Open House Chicago.” His work has won awards in the Concours de Bourges (France), Viseu Rural (Portugal), “Music in Architecture” International Competition (Austin), the Un“Cage”d Toy Piano Competition (NYC), and the “Radio Killed the Video Star” Competition (NYC). He has two albums of live sampling improvisations forthcoming from PARMA Recordings (distributed internationally and online via Naxos). Writings about his works and their aesthetics have been presented at the International Computer Music Conference, Generative Art International Conference, and Computer Art Congress and are published by Leonardo Music Journal, Springer, and IGI Global. He serves as Editor-in-Chief of the International Journal of Art, Culture and Design Technologies, and created the Performance Technology (PerfTech) program at Texas A&M University (a Carnegie Tier One Research University and member of the elite Association of American Universities) and created the Fresh Minds Festival of audiovisual art from all over the world.

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