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Jon Howard Appleton (January 4, 1939 – January 30, 2022) was an American composer, an educator and a pioneer in electro-acoustic music. His earliest compositions in the medium, e.g. "Chef d'Oeuvre" and "Newark Airport Rock" (1967) attracted attention because they established a new tradition some have called programmatic electronic music. In 1970, he won Guggenheim,[1] Fulbright and American-Scandinavian Foundation fellowships. When he was twenty-eight years old, he joined the faculty of Dartmouth College where he established one of the first electronic music studios in the United States. He remained there intermittently for forty-two years. In the mid-1970s, he left Dartmouth to briefly become the head of Elektronmusikstudion (EMS) (sv) in Stockholm, Sweden. In the late 1970s, together with Sydney Alonso and Cameron Jones, he helped develop the first commercial digital synthesizer called the Synclavier.[2] For a decade he toured around the United States and Europe performing the compositions he composed for this instrument. In the early 1990s, he helped found the Theremin Center for Electronic Music at the Moscow Conservatory of Music. He also taught at Keio University (Mita) in Tokyo, Japan, CCRMA at Stanford University and the University of California Santa Cruz. In his later years, he devoted most of his time to the composition of instrumental and choral music in a quasi-Romantic vein which has largely been performed only in France, Russia and Japan.

Early life

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Appleton was born in Los Angeles, California, on January 4, 1939, to Jewish parents: Helen Jacobs Appleton (born in Philadelphia, 1908) and Charles Leonard Appleton (born Chaim Epelboim in Kishinev, Bessarabia, July 14, 1900). His mother was employed by Metro-Goldwyn-Mayer and his father by Twentieth Century Fox film studios. His father left his family the year Appleton was born and he spent his first years in Mrs. Bell's (an orphanage) and with his brother (Michael Charles Appleton, born 1932) at Palomar Military Academy. When he was six years old his mother married Alexander "Sasha" Walden (born in Ufa, Russia, in 1897), a double-bass player in the Los Angeles Philharmonic orchestra. He was the greatest musical influence in Appleton's young life seeing that he studied piano, encouraging him to compose music and taking him to multiple concerts. Appleton's parents were true believers in the Soviet Union and active members of the multiple left-wing organizations including the Communist party. In the 1950s both his parents were blacklisted by the House Un-American Activities Committee and lost their jobs. As a child Appleton studied piano with Jacob Gimpel and Theodore Saidenberg but preferred composing his own music rather than playing the works assigned to him (e.g. Chopin, Scarlatti, Prokofiev). However, he developed a deep, lifelong affection for Russian music.

Career

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1960s

[edit]

From 1957 to 1961 Appleton was a student at Reed College in Portland, Oregon. These years shaped his future life: he composed for his fellow students who performed everything he composed, he decided to become a college professor and in 1959 he married his first wife, a fellow student, Georganna Towne. Following his graduation from Reed College, Appleton moved to San Francisco, California, where his first child was born (Jennifer Appleton). Simultaneously he studied composition with Andrew Imbrie at the University of California, Berkeley, collaborated with writer Willard S. Bain (1938–2000) writing musical comedies and was employed at the Macy's department store as an assistant buyer.

In 1962–1963 Appleton was the music teacher at the Verde Valley School in Sedona, Arizona, where he conducted the choir and orchestra, taught music theory, history and piano lessons.

From 1963 to 1966 Appleton was a graduate student at the University of Oregon in Eugene, Oregon, where he studied with Homer Keller, Henri Lazarof, Felix Salzer and Robert Trotter. It was there that he assembled a primitive electronic music studio and composed his first works in this genre. His thesis was an orchestral work, After "Nude Descending a Staircase". Most of the instrumental and vocal music he composed at this time used serial technique that he loved to compose. During his years in Eugene he became a lifelong friend of the pianist Gabriel Chodos.

In 1966, on the basis of his early electronic music, he was invited by Vladimir Ussachevsky at Columbia University to study in the Columbia-Princeton Electronic Music Center. He became an advocate for electronic music and became friends with fellow composers Charles Dodge, Emmanuel Ghent and Richard Taruskin.

During 1966–1968 he was hired by Oakland University in Rochester, Michigan, to establish an electronic music studio. When the university officials reneged on their promise, he resigned and accepted a position at Dartmouth College. It was during this year that his son, Jon Jason Appleton was born (a.k.a. JJ Appleton; born April 19, 1967).

1970s

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At Dartmouth College Appleton's work in electronic music was generously encouraged by the administration of President John G. Kemeny and by a generous donation from Gerald Bregman '54. The Bregman Electronic Music studio was one of the pioneering studios at American universities and became a center for many visiting composers. Two of these, Lars-Gunnar Bodin (1935, Stockholm, Sweden – 2021) and Jean-Claude Risset (born 1938, LePuy, France) became important colleagues throughout Appleton's life. In 1970 Appleton also was influenced by the work of the "father" of computer music, Max V. Mathews and by French composers François Bayle, Beatriz Ferreyra and Michel Redolfi.

It was at this time that he initiated the first competition for electronic music that was held for three years at Dartmouth College.

In 1969 Appleton's first recordings were published (Syntonic Menagerie and Human Music – the latter in collaboration with jazz musician Don Cherry – on the Flying Dutchman label,[3] produced by Bob Thiele.

In 1973 Appleton began his collaboration with engineers Sydney Alonso and Cameron Jones, which led to the creation of the Dartmouth Digital Synthesizer and ultimately the Synclavier.[2] However, it was not until the 1980s that Appleton composed his best works for this digital synthesizer and on which he gave concerts of his own music for the following decade.

His love of Sweden led Appleton to leave Dartmouth College in 1976–1977 and become the director of Elektronmusikstudion, Sweden's national center for electronic music. His difficulty with the Swedish bureaucracy led to his resignation and he returned to Norwich, Vermont, as a partner, for one year, in the newly formed firm New England Digital Corporation that had begun to manufacture the Synclavier. The following year he returned to the faculty of Dartmouth College.

It was also during this time in his life that Appleton developed a serious interest in the music of Polynesia and Micronesia. He led a group of Dartmouth students to the Kingdom of Tonga and later received a grant from the National Endowment for the Arts to train radio personnel on the Micronesian islands of Chuuk and Pohnpei to record and broadcast their own music.

1980s

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It was during this period that Appleton began to compose his best computer music and live-electronic music. Many of his works for this genre were first premiered at the annual festival held by the Groupe de Musique Experimentale de Bourges (France) and at Fylkingen in Stockholm, Sweden.

During his time in Bourges, Appleton became a founding member of the International Confederation for Electro-Acoustic Music ([1]). His stimulating interaction with composers from many nations led him to believe that a similar organization in the United States might help raise the profile of electro-acoustic music in his own country. In 1984, together with a small group of like-minded composers, Appleton helped establish the Society for Electro-Acoustic Music in the United States (SEAMUS). He ultimately served for a time as president of the society.

In the summer of 1984 Appleton helped Moses Asch, founder of Folkways Records, release its first recordings of electro-acoustic music. According to Asch's wishes, these recordings have remained in print under the Smithsonian/Folkways auspices.

1990s

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The decade of the 1990s saw Appleton spending increasing amount of time abroad: teaching at Keio University (Mita) in Tokyo, Japan, for three years and frequently visiting Moscow, Russia, where he was inspired by the enthusiasm of young composers. He encouraged the composer/engineer Andre Smirnov to establish the Theremin Center at the Moscow Conservatory of Music. Appleton was first introduced to Russian musicians and artists by the choral conductor/ethnologist Dmitri Pokrovsky (1944–1996) and this began his compositional return to instrumental and choral music, much of it composed for the pianist Julia Turkina and cellist Alexander Zagorinsky. In an essay entitled "How I Became a Russian Composer" (2009) Appleton explains his love of Russian music and culture that he believes his stepfather, Alexander Walden, instilled in him.[4]

Also in this decade Appleton composed two full-length operas for a choir of 1500 children and professional orchestra. The works, HOPI: La naissance de Desert and Le Dernier Voyage de Jean-Gallup de la Perouse, were conducted by Alain Joutard and commissioned by the Delegation Departmental à la Musique et à la Danse of the Conseil General des Alpes-Maritimes in Nice, France.

Personal life and death

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Appleton died on January 30, 2022, at his home in Vermont, at the age of 83.[5]

Works

[edit]
  • "Apolliana" (1970)
  • "CCCP (In Memoriam: Anatoly Kuznetsov)" (1969)
  • "Ce que signifie la déclaration des droits de l'Homme et du citoyen de 1789 pour les hommes et les citoyens des îles Marquises" (1989)
  • "Chef d'œuvre" (1967)
  • "Degitaru Ongaku" (1983)
  • "Dima Dobralsa Domoy" (1996)
  • "Dr Quisling in Stockholm" (1971)
  • "Georganna's Fancy" (1966)
  • "Georganna's Farewell" (1975)
  • "Homage To Orpheus" (1969)
  • "Homenaje a Milanés" (1987)
  • "Human Music" (1969)
  • "In Deserto" (1977)
  • "In Medias Res" (1978)
  • "King's Road #8" (1970)
  • "Mussems Sång" (1976)
  • "Newark Airport Rock" (1969)
  • "Oskuldens Dröm" (1985)
  • "'Otahiti" (1973)
  • "San Francisco Airport Rock" (1996)
  • "Spuyten Duyvil" (1967)
  • "Stereopticon" (1972)
  • "The Sydsing Camklang" (1976)
  • "Syntrophia" (1977)
  • "Times Square Times Ten" (1969)
  • "'U ha'amata 'atou 'i te himene" (1996)
  • "Yamanotesen To Ko" (1997)
  • "Zoetrope" (1974)

Recordings

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"Sashasonjon"
From the album Four Fantasies for Synclavier (1984). Composed and performed by Jon Appleton on the Synclavier II.
Problems playing this file? See media help.
  1. "Georganna's Farewell" (audio via YouTube)
  1. "Brush Canyon"
  1. "Degitaru Ongaku"
Produced at The Bregman Electronic Music Studio, Dartmouth College.
Centaur CRC 2052.
Discogs release ID 376127.
AllMusic album ID mw0001367376.
OCLC 221038958, 23361266, 221715272, 1069306162, 912739571, 782901990, 220949766.
  • CDCM – Vol. 11: The Virtuoso in the Computer Age – II (1991)[6][7]
  1. "Homenaje a Milanes," Jon Appleton and Neil Rolnick, computer music systems.
Recorded and produced with support from The Bregman Electronic Music Studio at Dartmouth
Centaur CRC 2133.
Discogs release ID 623521.
AllMusic album ID mw0001826434.
OCLC 890729969.
  • CDCM – Vol. 15: The Virtuoso in the Computer Age – V: Music For the Matthews/Boie Radio Drum and Radio Baton (1994)
  1. "Pacific Rimbombo," Max Mathews (radio drum) (1992)
Centaur CRC 2190
Discogs release ID 1773079.
AllMusic album ID mw0001371262.

Bibliography

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Further reading

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[edit]

Grokipedia

Jon Appleton

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from Grokipedia
Jon Howard Appleton (January 4, 1939 – January 30, 2022) was an American composer, educator, and pioneer in electroacoustic music known for his innovative use of tape manipulation, field recordings, and digital technology in composition, as well as his instrumental role in developing the Synclavier, one of the earliest commercially available digital synthesizers. [1] [2] [3] He was also recognized for his decades-long teaching career at Dartmouth College, where he founded the Bregman Electronic Music Studio. [3] [4] Born in Hollywood, California, on January 4, 1939, Appleton overcame a difficult early childhood marked by family challenges and time in institutional care before pursuing his education at Reed College, the University of Oregon, and Columbia University, where he immersed himself in the emerging field of electroacoustic music during the late 1950s and early 1960s. [2] [3] [4] He began teaching at Dartmouth College in 1967, eventually holding the title of Arthur R. Virgin Professor of Music, and maintained a long affiliation with the institution while also serving in visiting or faculty roles at Stanford University, Keio University in Japan, the University of California Santa Cruz, and the Theremin Center at the Moscow Conservatory. [3] [4] Appleton's contributions extended beyond composition to the institutional development of electronic music; he was a founding member of the Society for Electro-Acoustic Music in the United States (SEAMUS) and the International Confederation for Electro-Acoustic Music, and he played a key part in establishing the Theremin Center in Moscow. [3] [4] His works often incorporated programmatic collages drawn from environmental sounds and cultural field recordings, as seen in pieces such as Times Square Times Ten, Newark Airport Rock, and Yamanotesen To Ko, alongside collaborations including the album Human Music with Don Cherry and early tape-based compositions like Chef d’Oeuvre. [2] Appleton's later career reflected a shift toward more emotionally expressive and tonally accessible music, influenced by his view that electronic techniques should extend the possibilities of acoustic expression rather than define a separate avant-garde style. [2] [1] He died on January 30, 2022, in White River Junction, Vermont. [1]

Early life and education

Family background and childhood

Jon Appleton was born on January 4, 1939, in Los Angeles, California, to Jewish parents Helen Florence Jacobs and Charles Leonard Appleton.[5] His father, a writer who contributed to films at Twentieth Century Fox, abandoned the family shortly after his birth, never to be seen again by Appleton.[5] Struggling to support her two sons while working, his mother placed the young Appleton in Mrs. Bell's orphanage in Los Angeles around age two, while his older brother Michael (born 1932) was sent to Palomar Military Academy; Appleton joined his brother there two years later.[5][6] In 1945, at age six, Appleton's mother remarried Alexander "Sasha" Walden (born Bomstein in Ufa, Russia), a double-bass player who had performed in orchestras including the Los Angeles Philharmonic and Universal Studio orchestra.[5][6] Walden, who had fled anti-Semitism and played under conductors like Toscanini, insisted on reuniting the family by removing the boys from the academy and became Appleton's primary musical influence, teaching him piano, providing access to recordings of composers like Scarlatti and Prokofiev, and encouraging his sensitivity to sound through daily exposure to classical music broadcasts.[5][7] Appleton's biological parents were active members of the Communist Party and involved in left-wing organizations in the 1930s and 1940s; his mother worked as a film editor at MGM, and his father as a writer at Fox.[5][2] Both were blacklisted by the House Un-American Activities Committee during the McCarthy era of the 1950s, resulting in job losses and career difficulties in the film industry.[5][2] From 1945 to 1955, Appleton studied piano privately in Los Angeles with Jacob Gimpel and Theodore Saidenberg.[8] Under Walden's guidance and through these lessons, he developed a strong preference for composing original music over performing existing classical repertoire and cultivated a lifelong affection for Russian music, particularly the works of Rachmaninoff, whom he regarded as his favorite composer.[2][5]

Education and early compositions

Jon Appleton earned a Bachelor of Arts in music and literature from Reed College, attending from 1957 to 1961. [4] During his time there, he composed for fellow students who performed his works, and in 1959 he married Georganna Towne. [4] After graduation, he studied composition with Andrew Imbrie, both privately and at the University of California, Berkeley, from 1961 to 1962. [8] From 1963 to 1965, Appleton pursued a Master of Arts in composition and music theory at the University of Oregon, studying with teachers including Homer Keller, Henri Lazarof, Felix Salzer, and Robert Trotter. [7] [9] Keller introduced him to electronic music, leading to early experiments using primitive tape techniques and equipment in the university's audio-visual department, where he assembled his first electronic works such as Study no. 1, Study no. 2, and the Primary Experience series based on recordings of children. [10] His M.A. thesis was the orchestral work After "Nude Descending a Staircase" (1965). [10] In the same year, he composed the score for the film Nobody Knows Everything, directed by Carol Burns. [8] Appleton continued his training in electronic music through postgraduate work at Columbia University from 1965 to 1966, working with Vladimir Ussachevsky and Mario Davidovsky at the Columbia-Princeton Electronic Music Center. [9]

Academic career

Dartmouth College faculty role

Appleton joined the faculty of Dartmouth College in 1967 at the age of twenty-eight and remained a member of the Music Department until his retirement in 2009.[11] He held the title of Arthur R. Virgin Professor of Music from 1992 to 2009.[8] During his tenure, he served as chair of the music department at various points.[8] Appleton also held visiting professor positions at other institutions, including Brooklyn College in 1988 and Keio University in Tokyo during 1995–1996 and 1998.[8] In his early years at Dartmouth, he founded the Bregman Electronic Music Studio in 1967.[11]

Founding and leadership of Bregman Electronic Music Studio

Jon Appleton founded the Bregman Electronic Music Studio at Dartmouth College in 1967, with support from College President John G. Kemeny and a donation from alumnus Gerald Bregman '54.[11] The studio was one of the first such facilities at an American university, establishing an early academic hub for electronic music composition and experimentation.[11] Under Appleton's leadership, the studio attracted many visiting composers from around the world who utilized its resources for creative work.[11] Notable among them was French composer Jean-Claude Risset, who was invited to collaborate with Appleton at the studio.[12] This international engagement helped position the studio as a pioneering center for electroacoustic music in higher education during its formative years.[11]

Graduate program in electroacoustic music

In 1989, Jon Appleton co-founded Dartmouth College's Master's Program in Electroacoustic Music with composer David Evan Jones.[11] The program, which combined composition, acoustics, computer science, and music cognition, was later renamed Digital Musics.[13][11] Appleton served as director of the graduate program in electroacoustic music.[8] Close to 100 students have graduated from the program since its founding.[11]

Innovations in electronic music

Co-development of the Synclavier

Jon Appleton collaborated with Sydney Alonso and Cameron Jones at Dartmouth College in the early 1970s to develop the Dartmouth Digital Synthesizer, an early digital music system created at the Thayer School of Engineering starting in 1972. [14] Appleton, as a composer and professor, provided musical direction and vision for the project, while Alonso handled hardware design and Jones focused on software programming. [15] This collaboration produced a prototype that became the foundation for the Synclavier, recognized as the first commercially available digital synthesizer and music workstation. [15] The New England Digital Corporation, founded by Alonso and Jones in Norwich, Vermont, commercialized the technology in the mid-1970s, bringing the Synclavier to market as a groundbreaking instrument incorporating digital synthesis and sampling capabilities. [15] Appleton served as a consultant to New England Digital Corporation for instrument design and educational programs from 1977 to 1991, contributing to its ongoing development and promotion. [8] [13] The Synclavier achieved significant impact in the 1980s through its adoption in pop recordings and film soundtracks, including notable use on Michael Jackson's Thriller album for distinctive synthesized sounds and in works by Frank Zappa, who employed it extensively for composition and orchestration. [16] [17]

Leadership in professional organizations

Appleton was a co-founder of the Society for Electro-Acoustic Music in the United States (SEAMUS) in 1984, having initiated the idea in 1983 as the U.S. representative to the International Confederation of Electroacoustic Music (ICEM) to establish a U.S. chapter of that organization.[18][13] He served as president of SEAMUS from 1987 to 1989, guiding the young society during its early years of development.[13][8] In the early 1990s, Appleton helped found the Theremin Center for Electronic Music at the Moscow Conservatory of Music, supporting Andrey Smirnov in establishing this pioneering institution for electroacoustic studies in Russia.[3][13] He remained involved with the center through periodic teaching engagements. Appleton also maintained involvement with the International Confederation for Electroacoustic Music (ICEM) and the International Computer Music Association (ICMA), including service as a board member-at-large of ICMA from 2002 to 2006.[13][8] These roles reflected his commitment to fostering international collaboration and institutional support for electronic and computer music.

Musical compositions and recordings

Early electro-acoustic works

Jon Appleton's early electro-acoustic works from the late 1960s were primarily tape-based compositions that incorporated manipulated recorded sounds and programmatic elements, marking his initial contributions to the medium as director of Dartmouth's electronic music studio. [19] These pieces often drew on environmental recordings and abstract processing to create evocative soundscapes. [11] Key programmatic electronic works from this period include "Chef d'Oeuvre" (1967), "Newark Airport Rock" (1969), "Times Square Times Ten" (1969), "Spuyten Duyvil" (1969), "Homage To Orpheus" (1969), and "CCCP (In Memoriam: Anatoly Kuznetsov)". [20] His debut album Syntonic Menagerie (1969) compiled several of these early tape pieces, showcasing his experimental approach to electronic sound organization. [20] In 1970, Appleton collaborated with jazz musician Don Cherry on the album Human Music, blending electro-acoustic techniques with improvisational elements. [11] Subsequent releases included The World Music Theatre of Jon Appleton (1974) and The Dartmouth Digital Synthesizer (1976), which further documented his studio-based explorations. [21] Appleton's achievements in this era were recognized with a Guggenheim Fellowship (1970–71) and NEA Composers Fellowships (1976, 1980). [2] These tape and analog works represented his foundational phase before transitioning to digital systems later in the 1970s. [1]

Synclavier and digital compositions

Jon Appleton pioneered the use of the Synclavier, a digital synthesizer he co-developed in the late 1970s, for expressive musical compositions that explored new timbres and performance possibilities. [22] [23] His 1978 album Music for Synclavier and Other Digital Systems presented works realized on the Synclavier alongside other early digital systems like the Dartmouth Digital Synthesizer and Sweden's MUSSE, including "In Deserto" (1977) and "Syntrophia" (1977), which demonstrated his focus on achieving evocative textures and expressive character through digital means. [23] [24] Earlier digital pieces such as "Georganna's Farewell" (1975) also appeared in related collections, reflecting his transition from analog to digital synthesis. [25] In 1982, Appleton released Four Fantasies for Synclavier, a collection of four compositions written specifically for the instrument, with "The Sweet Dreams of Miss Pamela Beach" layered in a multi-track studio setting and the others performed live using the Synclavier's digital memory for accompaniments. [26] [22] He continued composing for digital systems through the 1980s and 1990s, producing works such as "Degitaru Ongaku" (1983), "Oskuldens Dröm" (1985), and "Homenaje a Milanés" (1987). [27] [28] [29] Notable collaborations included "Pacific Rimbombo" with Max Mathews, composed in 1994 for Mathews' Radio Drum controller. [30] His 1996 album Contes de la mémoire, released on empreintes DIGITALes, featured the digital work "Dima Dobralsa Domoy" (1996) among other electroacoustic pieces that showcased his ongoing storytelling approach in computer music. [31] These compositions underscored Appleton's role in advancing live and recorded digital music techniques. [26]

Later instrumental and choral works

In his later years, Jon Appleton devoted most of his time to composing instrumental and choral music in a quasi-Romantic style, with performances largely concentrated in France, Russia, and Japan. [32] [33] This period marked a focus on chamber ensembles and choral groups, reflecting his engagement with acoustic traditions after decades of pioneering electronic work. Among his prominent large-scale commissions were two full-length operas for children's choir and orchestra: HOPI: La Naissance du Désert and Le Dernier Voyage de Jean-François de Galaup de La Pérouse, both commissioned by the Conseil Général des Alpes-Maritimes in Nice. [34] The latter work drew on historical exploration themes, with documentation of its creation highlighting the regional support for children's choral projects. [35] His 2009 release The Russian Music, a three-CD set encompassing piano music, chamber music, and concerti, exemplified this later orientation toward instrumental forms influenced by Russian musical culture. [36] [37] At the time of his death, Appleton was editing his autobiography, titled Human Music. [11]

Work in film, television, and media

Film and television credits

Jon Appleton composed music for a variety of short films, documentaries, and television projects, often blending his expertise in electroacoustic techniques with visual media. [8] [38] His contributions spanned several decades and included both commissioned works for institutions and collaborations with independent directors. Many of these were experimental or promotional shorts rather than feature-length productions. His early film scores include Anuszkiewicz (1968), created for Dartmouth College, Computer Graphics at 110 Baud (1969) for the Kiewitt Computation Center, Charlie Item and Double X (1970) for Robert Drew Associates, Glory! Glory! (1971), and Arriflex 16SR (1978) for Jon Fauer and the Arriflex Corporation. [8] [39] In the late 1980s and 1990s, Appleton scored Hay Fever (1988), which he also directed, and Rassias in China (1992), a television movie. [38] [8] He later collaborated frequently with director Matt Bucy on a series of films, providing scores for The Search for Boris Budsarovia (1996), Who Is Alexander Kalishnikov (1997), Meeting Misha Nijinsky (1997), Moscow Meat (1998), Tuxedo Gaijin (1999), and Bröllops natt (2001). [8] [39] For television, Appleton contributed music to the "Ciona" episode of the series Great Performances: Dance in America in 1977. [38] His piece "Petit Suite for Solo Cello" appeared on the soundtrack of the documentary The Sons of Tennessee Williams (2010). [38]

Dance and multimedia scores

Jon Appleton composed numerous scores for dance companies and multimedia performances, many of which integrated electroacoustic elements and the Synclavier digital synthesizer he co-developed. These works frequently arose from collaborations with choreographers, including his wife Elisabeth Appleton, and often drew on Polynesian and Micronesian musical influences. Many dance scores exist in parallel versions for fixed media or Synclavier performance.[8] His contributions to dance include Pilobolus (1971), created for the Pilobolus Dance Theater, for which the company performed to his music at a 1971 concert.[40] Ciona (1974, revised 1977) was composed as a score for Pilobolus Dance Theater and featured on the PBS series Great Performances: Dance in America.[41] Subsequent dance works include 'Otahiti (1978), choreographed by Lydia Shigekane; The Sydsing Camklang (1978) and Nukuoro (1980), both choreographed by Elisabeth Appleton; and The Tale of William Mariner (1980).[8] Appleton's multimedia works encompass Scene Unobserved (1969), a performance piece for instruments, fixed media, and film. The Lament of Kamuela (1983), scored for voices from Hawai'i and Japan, mixed chorus, rock band, fixed media, and film, was presented as an hourlong multimedia production at Dartmouth College's Hopkins Center.[8][42]

Personal life

Marriages and family

Jon Appleton married Georganna Towne in 1959 while attending Reed College. [4] Their daughter, Jennifer Appleton, was born in San Francisco after his graduation from Reed, and their son, Jon Jason (J.J.) Appleton, was born in 1967 while Appleton was working at Oakland University in Rochester, Michigan. [4] [43] The marriage ended in divorce in 1974. [4] After joining the Dartmouth College faculty, Appleton and Georganna Towne moved with their two children to Norwich, Vermont. [43] He remained a devoted father to Jennifer Appleton and Jon Jason Appleton, both of Brooklyn, New York, and a grandfather to Natasha Towne Ruscoll and Willem Jude Appleton. [43] In his later years, Appleton was happiest when spending time with family and friends, maintaining close relationships with his children and grandchildren as well as friendships with former students and colleagues. [43]

Residences and later activities

Appleton resided for many decades in Hartford, Vermont, specifically in White River Junction within the Upper Valley region near Dartmouth College. [19] [43] [8] In his later years, he continued composing, shifting focus toward works for chamber ensembles and choral groups. [1] [19] He also devoted time to editing his autobiography, titled Out of Hollywood: A Composer's Life, which remained in progress at the time of his death. [43] His papers, manuscripts, and recordings are archived at the Rauner Special Collections Library at Dartmouth College, along with related materials in the Jones Media Library. [11] [44] [43]

Death and legacy

Death

Jon Appleton died on January 30, 2022, at his home in White River Junction, Vermont, at the age of 83. [11] The cause of death was leukemia. [11] At the time of his death, he was editing his autobiography. [11]

Honors and posthumous recognition

Appleton received the Lifetime Achievement Award from the Society for Electro-Acoustic Music in the United States (SEAMUS) in 2003 in recognition of his contributions to the field of electroacoustic music. [45] He earned Second Prize at the Concours International de Musique Électroacoustique de Bourges in 1973. [13] In 1983, he received the Notable Children's Recording Award from the American Library Association. [13] Additional honors include the Distinguished Alumnus Award from the University of Oregon in 1998. [13] He held residencies at the Montalvo Arts Center in 1992 and the Rockefeller Foundation Bellagio Study and Conference Center in 1993. [8] Appleton was recognized as a pioneer in electro-acoustic music for founding one of the earliest university-based electronic music studios at Dartmouth College and for co-developing the Synclavier, an influential early digital synthesizer. [11] He mentored generations of composers through his teaching and institutional leadership. [11] His work influenced developments in digital music instruments and education programs. [11] His legacy continues through the Dartmouth College archives, where over 140 of his compositions from 1959 to 2006 are preserved and digitized for non-commercial access. [46]

References

  1. https://www.npr.org/2022/02/11/1080204936/jon-appleton-the-composer-who-helped-develop-the-digital-synthesizer-is-dead-at-
  2. https://econtact.ca/10_2/AppletonJo_KD.html
  3. https://archives-manuscripts.dartmouth.edu/agents/people/942
  4. https://www.reed.edu/reed-magazine/in-memoriam/obituaries/2022/jon-howard-appleton-1961.html
  5. https://kalvos.org/appleto.html
  6. https://vnews.com/2022/04/26/a-life-jon-appleton-45963039/
  7. https://direct.mit.edu/comj/article/45/2/5/111384/News
  8. https://www.composers21.com/compdocs/appletoj.htm
  9. https://folkways-media.si.edu/docs/folkways/artwork/FW33445.pdf
  10. https://www.dramonline.org/albums/jon-appleton-archive-vol-1-1959-1965/notes
  11. https://music.dartmouth.edu/news/2022/02/jon-appleton-jan-4-1939-jan-30-2022
  12. https://ressources.ircam.fr/en/jean-claude-risset
  13. https://ressources.ircam.fr/en/jon-appleton
  14. https://folkways.si.edu/the-dartmouth-digital-synthesizer/contemporary-electronic/music/album/smithsonian
  15. https://120years.net/the-synclavier-ii-new-england-digital-corporation-usa-1980/
  16. https://www.musicradar.com/news/thriller-synth-sounds
  17. https://midi.org/frank-zappa-and-the-synclavier
  18. https://seamusonline.org/history/
  19. https://www.vermontpublic.org/vpr-news/2022-02-14/electronic-music-pioneer-jon-appleton-dies-at-83
  20. https://www.discogs.com/release/382357-Jon-Appleton-Appleton-Syntonic-Menagerie
  21. https://open.spotify.com/artist/1PUkBhzcZBckwT6izzbXRp
  22. https://folkways.si.edu/jon-appleton/four-fantasies-for-synclavier/contemporary-electronic/music/album/smithsonian
  23. https://jonappleton.bandcamp.com/album/music-for-synclavier-and-other-digital-systems
  24. https://folkways.si.edu/jon-appleton/music-for-synclavier-and-other-digital-systems/contemporary-electronic/album/smithsonian
  25. https://www.amazon.com/Dartmouth-Digital-Synthesizer-Various-artists/dp/B000V8X6SO
  26. https://jonappleton.bandcamp.com/album/four-fantasies-for-synclavier
  27. https://www.discogs.com/release/6887721-Jon-Appleton-Brush-Canyon
  28. https://www.dramonline.org/albums/jon-appleton-archive-vol-11-1985
  29. https://soundcloud.com/jonappleton/homenaje-a-milan-s-1987
  30. https://seamusonline.org/work/pacific-rimbombo/
  31. https://empreintesdigitales.bandcamp.com/album/contes-de-la-m-moire
  32. https://musicbrainz.org/artist/6dac8b92-abaa-4794-811f-8b7368afd86f
  33. https://www.concertzender.nl/in-memoriam-jon-appleton-2/
  34. https://www.youtube.com/watch?v=dMBAjoBXenc
  35. https://music.apple.com/us/album/10-ans-de-rencontres-chorales-denfants-ep/1526967168
  36. http://www.phoeniciapublishing.com/jon-appleton-the-russian-music.html
  37. https://music.apple.com/us/album/the-russian-music/322530073
  38. https://www.imdb.com/name/nm3397033/
  39. https://ressources.ircam.fr/en/composer/jon-appleton/worksbydate
  40. https://archives-manuscripts.dartmouth.edu/agents/corporate_entities/410
  41. https://seamusonline.org/work/music-for-ciona/
  42. https://www.nytimes.com/1983/08/14/arts/music-lament-of-kamuela.html
  43. https://www.knightfuneralhomes.com/obituary/jon-appleton
  44. https://archives-manuscripts.dartmouth.edu/repositories/2/resources/2657
  45. https://seamusonline.org/seamus-award/
  46. https://www.library.dartmouth.edu/digital/digital-collections/jon-appleton-selected-compositions-1959-2006
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