Complete Résumé

DENNIS BÁTHORY-KITSZ

176 Cox Brook Road, Northfield, Vermont 05663

Home & Office: 802-659-4223 (answering machine only) - Email contact my name (dennis or bathory) at my domain (maltedmedia.com)

Dennis Báthory-Kitsz is a composer, author, editor, teacher, and technologist. He is engaged in the advancement of arts and technology from both a humanist and experimental perspective. Dennis is available for commissions, master classes, writing and editing, teaching and presentations, seminars and performances, music engraving, and website evaluation. His current presentations include contemporary music and website design for accessibility.

• Summary Résumé
• Selected Past and Present Activities
• Descriptive
• Selected Musical Compositions
• Writings on Music
• Books and Photographs
• Periodicals
• Recordings, Broadcast, and Internet Media
• Performances and Installations
• Grants, Commissions, and Awards
• Selected Speaking Engagements
• Pseudonyms

Selected Past and Present Activities

Current

• Composition and Audio Engineering Faculty, Northern Vermont University at Johnson Music Department (Independent Study Instructor, 1994-1998, 2009-; Adjunct Faculty 2010-)
• Board of Directors, Vermont Contemporary Music Ensemble (1994-)
• Partner and Senior Editor, The Transitive Empire writers/editors (1993-)
• Member of the American Society of Composers, Authors, and Publishers (1988-)
• Founder and Music Director, Il Gruppo Nuke Jitters (1984-)
• Independent consultant/author in computer technology (1979-)
• Founder and Director, Malted/Media Arts Publications (1978-)
• Publisher, Westleaf Edition Music Publications (1973-)
• Independent instructor in music composition, theory and history (1970-)

Current Occasional

• Guest conductor, Capital City Band
• Rehearsal conductor, Green Mountain Youth Symphonies and Montpelier Chamber Orchestra
• Guest instructor in music theory, Norwich University

Past

• Composer in Residence, Back Cove Contemporary Music Festival, Portland, Maine (2014)
• Co-Host/Producer, Kalvos & Damian's New Music Bazaar radio/cyber show and website (1995-2011)
• Co-Founder and Board of Directors, Vermont Composers Consortium (1988-2011)
• Executive Director, Vermont Alliance of Independent Country Stores (2001-2010)
• Partner, OrbitAccess consultancy in web accessibility (1999-2009)
• Independent Study Instructor, Twinfield Union School (2009)
• Technology/Marketing Facilitator, Trans-Video.Net (2000-02, 2006-07)
• Juror, Jeu de Temps / Times Play, (2001-2003)
• Founder, The NonPop International Network (2001-)
• Project Director, Ought-One Festival (2001)
• Northfield Community Advisory Board, TDS Telecom (1997-99)
• Organizer and Choreographer, Roxbury July 4th Fireworks (1984-98)
• Co-Founder and Trustee, Peer Associates, Inc. (1988-98)
• Faculty, Making Connections Summer Residential Arts Institute (1997)
• Charter Member, Electronic Music Foundation (1996-)
• Independent Study Faculty, Montpelier High School (1995-96)
• Co-Organizer, Vermont Composers Festivals (1991,1992,1996)
• Faculty, Vermont Governor's Institute on the Arts (1991-92)
• Fellow, Northeast Regional Laboratory for Educational Improvement (1991-92)
• Member, Vermont Artists Advisory Committee (1988-91; Chair, 1990-91)
• Co-Chair, Roxbury Historical Society (1988-91)
• Treasurer, Vermont Composers Consortium (1988-91)
• Music Teacher, Roxbury Village Elementary School (1985-91)
• Charter Member, Vermont Musical Instrument Builders' Cooperative (1982-1990)
• Music Director, Roxbury Union Congregational Church Choir (1985-90)
• Co-Founder and Member, Loch Duck Radio Players (1975-89)
• Faculty, Community College of Vermont (1982-87)
• Founder/President, Green Mountain Micro, Inc. (1980-86)
• Technology Consultant, Oxbow (now Riverbend) Vocational Center (1984-86)
• Technology Consultant, Randolph Area Vocational Center (1983-85)
• Member & Secretary, Village School Board, Roxbury, Vermont (1982-84)
• Founder and Director, Dashuki Music Theatre (1975-83)
• Organizer, First Annual Invisible Arts Festival (1979)
• Project Director, Delaware Valley Festival of the Avant-Garde (1974,1976,1978)
• Senior Graphic Designer, New Jersey State Museum (1976-78)
• Founder and Project Director, Trans/Media, Inc. (1974-78)
• Faculty, New Jersey Artist/Teacher Institute (1977)
• Co-Producer, Alternatives Performance Series, New Jersey State Museum (1977)
• Trustee, Friends of the New Jersey State Museum (1975-76)
• Co-Director, Kaxpiksu State Performing Arts Festival (1975)

Go to top

Descriptive

Details of musical work can be found on the composer's home page at http://maltedmedia.com/bathory/

• Independent composer with 1,100 compositions, 200 commissions, and over 300 North American, European, Australian and Asian premieres and installations. Composition styles range from cabaret and vaudeville through classical ensembles to experimental/avant-garde, extended voice, multimedia, sound environment/soundscape, performance art, and computer and tape works. A selection of representative compositions is listed below and there is a full on-line catalog and life list of works. His work is published by Westleaf Edition and distributed worldwide by Frog Peak Music.
• Arts Administrative Experience (excludes founding, administering, and directing musical ensembles):
• North Country Electronic Music Festival, 2016-17, Co-Producer
• Kalvos & Damian 20th Anniversary Festival, 2015, Co-Producer
• Year of the Vermont Composer 2011, Organizer
• Komposer Kombat Competiton, 2005, Co-Producer
• Ought-One Festival of NonPop, 2001, Project Director
• Amsterdramm (Two Continent Web/Radio Festival), 1998, Co-Producer
• Vermont Contemporary Music Ensemble, 1994-, Board Member
• Vermont Composers Festival, 1991, 1992, 1996, 2005, Co-Organizer
• Vermont Artists Advisory Committee, 1988-91, Member; 1990-91, Chair
• Vermont Composers Consortium, 1988-2011, Co-Founder; 1988-91, Treasurer, Editor
• Invisible Arts Festival, 1979, Project Director
• Alternatives (NJ State Museum) Summer Arts Series, 1977, Co-Producer
• Friends of the NJ State Museum, 1975-76, Trustee
• Trans/Media Fall Festival, 1975, Project Director
• Kaxpiksu (NJ) State Performing Arts Festival, 1975, Co-Producer/Director
• Delaware Valley Festivals of the Avant-Garde, 1974, 1976, 1978, Project Director
• Trans/Media Minifest, 1973, Project Director
• Designer and builder of original electronic instruments and functional electronic jewelry for music and multimedia events, including electronic jewelry for composer David Van Tieghem. Other electronic/musical work encompasses computer software and hardware, and composition-specific electronic music devices, including unnamed synthesizers and boxes, and the Rhythmatron.
• Designer and builder of original acoustic instruments for compositions: Bellzebub, Chimes I & II, Glass Chimes I & II, Brass Chimes, Hharp, Uncello, Gong, Exlophon, Ovarian Xylophone, Candle Harp, Buzzophone, Organism, Triangulum, Monofilament, Wind Harp, Defrocked Autoharp, Forkklang, Diskklang, and other acoustic instruments of unique design and tuning. Some photos and descriptions of the instruments are found here.
• Author on topics in technology, business technology, music and the arts for several decades, with 600 articles and eight books since 1979. Details on writing and editing topics are found below and on The Transitive Empire website at http://maltedmedia.com/empire/. Authorship includes the groundbreaking Kalvos & Damian's New Music Bazaar website, with early streaming audio and cybercasts dating from 1995, and a thousand-hour archive of composer interviews.
• Teacher and consultant in private and public settings in music and technology, including individual students in composition, programming and electronics; elementary through high school teaching in music; adjunct college faculty in computer technology and music; and consultation in vocational technology.
• Creator of computer technology that includes hardware and software design, writing, teaching, speaking and special applications in the arts.
• Multimedia artist with photographs exhibited in juried shows; designs of posters and graphics for museum events; two short films and film documentation of other events. Major multimedia events: Trans/Media Minifest, Caution: Merging Environments, Echo, In Bocca al Lupo, Traveler's Rest and Wolf5, Circular Screaming, Detritus of Mating, and Zonule Glaes II.
• Formal education included Rutgers University 1966-70 (Edmond Strainchamps, F. Austin Walter, Scott Whitener, Robert Moevs), additional course work at other institutions, private study; PhD in Border Studies (Dissertation on the Bathory opera Erzsébet), Paideia Institute (Stichting Paideia), Amsterdam, January 2006.
• Personal: Born 14 March 1949. Married. Speaks French and some Dutch; reads French and Dutch and field-specific German, Italian and Portuguese. Previously licensed in K-12 Music Education; renewable if required.

Go to top

Selected Musical Compositions

Many works can be found in score, audio and Midi at http://maltedmedia.com/people/bathory/cat-index.html, and a life list of works with availability is found at http://maltedmedia.com/people/bathory/biglist.html. All work is published by Westleaf Edition (ASCAP) and distributed worldwide by Frog Peak Music.

• Upon Further Reflection (2019), violin, sax, piano. Premiere: Plattsburgh, New York, 2019. Commissioned by Metamusic Trio.
• Goat Songs of the Regime of Monsters (2019), oratorio for chorus, piano, and drum kit. Premiere: Sharon, Vermont, 2019.
• Fugue States (2019), voice, flute and percussion. Premiere: Beverly, Massachusetts, 2019. Commissioned by the Vermont Music Teachers Association.
• DEX II and DEX II 3d (2018-9), graphical score for deck of cards. Premieres: Johnson, Vermont, and Reykjavík, 2019. Commissioned by Justin Rito and Duo Harpverk.
• Bring Me a Dream (2017), ballet for large orchestra. Premiere: Burlington, Vermont, 2018. Commissioned by the VanDenCross Dance Company.
• Requiem (2017), for chorus, string orchestra and timpani.
• Three Elastic Experiences (2016), for two sopranos, alto, bass clarinet, cello and harp. Premiere: Montpelier, Vermont, 2016. Commissioned by the Vermont Contemporary Music Ensemble.
• O Magnum Mysterium (2016), for chorus SATB. Premiere: Boston, 2022
• Encircled by You (2016), for flute, clarinet, bassoon and piano. Premiere: Colchester, Vermont, 2016. Commissioned by Vermont Virtuosi.
• Wonder and Astonishment (2015), for two Midi-controlled pipe organs. Intent Records, 2015. Commissioned by Josh Perschbacher.
• The Lake Isle of Innisfree (2014), for voice, flute and piano. Premiere: Johnson, Vermont, 2014. Commissioned by Meghan McCormack.
• Thread Count (2014), for string orchestra. Premiere: Chicago, 2014. Commissioned by the Chicago Modern Orchestra Project.
• Aveaux Gadreaux (2014), for cello and bass clarinet. Premiere: Burlington and Montpelier, Vermont, 2014. Commissioned by the Vermont Contemporary Music Ensemble.
• Ave Verum Corpus: In Memoriam John Tavener (2013), for chorus. Premiere: Colchester and Middlebury, Vermont, 2014.
• I think of thee (2013), voice, alto flute, guitar. Premiere: Montpelier and Burlington, Vermont, 2013. Commissioned by Vermont Virtuosi.
• The Forest at the South Field (2013), for percussionist. Premiere: Johnson, Vermont, 2013. Commissioned by Jane Boxall.
• Five Hungarian Folk Songs (2013), string orchestra. Premiere: Wauwatosa, Wisconsin, 2014. Commissioned by Charles Mayhood.
• Chelsea Moods (2012), bass clarinet and band. Premiere: Hyde Park, Vermont, 2014.
• Evil Pony (2012), sax quartet. Premiere: Plattsburgh, New York, 2013. Commissioned by Don Gordon and the Frontier Sax quartet.
• Air (2012), harp and percussion. Premiere: Reykjavík, 2012. Commissioned by Duo Harpverk.
• O: Eleven Songs (2011), chorus SATB. Premiere: Montpelier, Burlington and Manchester, Vermont, 2013. Written and published in collaboration with poet Gary Barwin. Score available from Lulu.com
• Giè (2011), small ensemble. Premiere: Burlington, Vermont, 2011. Commissioned by the Vermont Contemporary Music Ensemble.
• Erzsébet (2010), chamber opera in 3 acts, and film score. Premiere: Hyde Park, Plainfield and Burlington, Vermont, 2011. Scene broadcast on The Discovery Channel, 2005. Details at The Erzsébet Bathory Opera Site. Score available from Lulu.com
• Crosscut (2009) for piano and large wind band. Commissioned by the Banda Música de Grau Gandía.
• Autumn Dig (2008) for intermediate orchestra. Premiere: Barre, Vermont, 2008. Commissioned by the Green Mountain Youth Symphony.
• Framing the Sum of Three (2007) for piano. Premiere: De Rode Pomp, Ghent, 2008. Commissioned by Michael Arnowitt.
• Adeste Hedecasyllabi (2007) for voice and piano. Premiere: Goethe Institute, Dublin, 2008. Commissioned by David Remner.
• O Vox Pop (2007) for bass clarinet and bassoon. Premiere: Montpelier, Vermont, 2008. Commissioned by Steven Klimowski.
• She Who Saves (2007) for two natural horns and soprano. Premiere: Sydney, 2008. Commissioned by Michael Dixon.
• Scalar Rainbows (2007) for piano. Premiere: Portland, Maine, 2014. Commissioned by Rode Pomp/Leonard Duna.
• Morning in Nodar (2007) for double bass. Premiere: Pasadena, 2007. Commissioned by Tom Peters.
• Fanfare:Heat (2007) for orchestra. Premiere: Burlington, Vermont, 2008. Commissioned by the Vermont Youth Orchestra.
• For the Beauty of the Earth (2007) for violin. Premiere: Waterbury, Vermont, 2007. Commissioned by Wen Li.
• New Granite (2007) for flute, bass clarinet, violin, cello & piano. Premiere: Colchester, Vermont, 2007. Commissioned by the Vermont Contemporary Music Ensemble.
• Turn Around, Bustle and Blaze (2007) for viola, horn, cello & piano. Premiere: Burlington, Vermont, 2007. Commissioned by the New Leaf Ensemble.
• Compound Refractions (2007) for flute. Premiere: New York, 2007. Commissioned by John McMurtery.
• Mountains of Spices (2007) for mezzo-soprano, violin, viola & piano. Premiere: Tulsa, 2007. Commissioned by the Eleva Chamber Players.
• Lunar Cascade in Serial Time (2007) for tenor guitar, in 13 parts. Commissioned by Seth Gordon.
• I lift my heavy heart (2007) for voice, flute and guitar. Premiere: Roulette, New York, 2008. Commissioned by Beth Griffith.
• One hundred "We Are All Mozart" compositions, each one commissioned. Scores and audio available on line.
• Eventide (2006) for piccolo, small clarinet and contrabassoon. Premiere: St. Michael's College, Colchester, Vermont, 2006. Commissioned by the Vermont Contemporary Music Ensemble.
• Clouds of Endless Summer (2006) for piano trio. Commissioned by the Bartholdy Ensemble.
• Yer Attention, Please (2006) for organ. Premiere scheduled 2014. Commissioned by Carson Cooman.
• L'Estampie du Chevalier (2005) for string quartet. Premiere: De Rode Pomp, Ghent, 2005. Commissioned by De Rode Pomp.
• Sweet Ovals (2005) for solo horn. Premiere: Montpelier, Vermont, 2005. Commissioned by Lydia Busler-Blais.
• Jameo y el Delfin Mareado (2005) for orchestra. Premiere: Burlington, Vermont, 2013. Commissioned by Orquesta Sinfónica de Tenerife.
• Rose Quartz Crystal Radio (2005) for sax and percussion. Commissioned by Brian Sacawa.
• By Still Waters (2004) for solo voice and drone. Premiere: Valley Falls and New York, New York. Commissioned by Beth Griffith.
• Icecut (2004) for orchestra. Premiere Tour: 10 Vermont locations, 2004. Commissioned by The Vermont Symphony Orchestra.
• Shahmat (2004) for solo flute. Premiere: Plainfield, Vermont, 2004. Commissioned by Su Lian Tan.
• Northsea Balletic Spicebush (2003) for double bass. Premiere Tour: Virginia, North Carolina, Indiana, Illinois, 2004. Commissioned by P. Kellach Waddle.
• LiquidBirds (2003), for 3 Theremins, video, and playback. Premiere: FlynnSpace, Burlington, Vermont, 2003.
• Spammung (2003), for extended voice and playback. Premiere: Electric Rainbow Festival, Dartmouth College, 2003.
• Bales, Barrels, & Cones: Antebellum/Antibellum (2002), for drumkit and playback. Commissioned by Michael Manion.
• Tïrkíinistrá: 25 Landscape Preludes (2002), for piano. Premiere Tour: FlynnSpace, Burlington, Vermont; Bethanienklooster, Amsterdam; Stichting Nieuwe Muziek, Middelburg; and De Rode Pomp, Gent. Written for Michael Arnowitt.
• Mirrored Birds (2001), a flute concerto. Premiere: Montpelier/Randolph, Vermont, 2002. Commissioned by the Montpelier Chamber Orchestra Society.
• Fuliginous Quadrant (2001), for chamber ensemble. Premiere: De Rode Pomp, Ghent, 2005. Commissioned by the Vermont Contemporary Music Ensemble.
• The Key of Locust (2001), for chamber trio. Written for NonSequitur.
• HighBirds (Prime) (2001), for two electric guitars and playback. Premiere: Ought-One Festival, Montpelier, Vermont, 2001. Commissioned by Larry Polansky.
• RatGeyser (2000), for MalletKat and playback. Premiere: Ought-One Festival, Montpelier, Vermont, 2001. Commissioned by Michael Manion.
• Mountain Dawn Fanfare (2000), for orchestra. Premiere: City Hall Auditorium, Montpelier, Vermont, 2000. Commissioned by the Montpelier Chamber Orchestra Society.
• Quince & Fog Falls (2000), for chamber ensemble. Commissioned by Essential Music.
• The Sub-Aether Bande (2000), for flute and percussion. Jointly commissioned by the Three-Two Ensemble and Karen Kevra.
• Sourian Slide (1999), for string orchestra. Premiere: City Hall Auditorium, Montpelier, Vermont, 2000. Commissioned by the Montpelier Chamber Orchestra Society.
• LowBirds (1999), for small ensemble. Premiere: Greenwich Music House, New York City, 1999. Commissioned by The Downtown Ensemble.
• Zonule Glaes II (1999), electroacoustic work with string quartet. Premiere: Mánes Museum, Prague, 1999. Commissioned by Pavel Kraus, Gema Art, and the Mánes Museum. Available on limited-edition CD
• Into the Morning Rain (1998), for small ensemble. Premiere: Flynn Theatre, Burlington, Vermont, 1999. Commissioned by the Vermont Contemporary Music Ensemble.
• Detritus of Mating (1997), electroacoustic work. Installation: Exquisite Corpse Gallery, Burlington, Vermont, 1997. Commissioned by Pavel Kraus and the Gallery. On Malted/Media CD.
• zéyu, quânh & sweeh (1996), for playback. Premiere: The Reflective Space, Melbourne, 1996. On Frog Peak Music CD.
• Gardens (1996), for English horn and string quartet. Premiere: De Rode Pomp, Ghent, 2005.
• xirx (1996), a peformance work for electronic tape, ice and aromas. Premiere: Lost Nation Theatre, Montpelier, Vermont, 1996.
• Hypertunes, Baby (1994), for voice and tape. Premiere: SEAMUS Festival, Middlebury College, Middlebury, Vermont, 1994.
• Build, Make, Do (1994), for small ensemble. Premiere: Pyralisk Gallery, Montpelier, Vermont, 1994.
• Llama Butter (1993), for tuba and tape. Premiere: Millikin University, Urbana, Illinois, 1995. Commissioned by Mark Nelson.
• Emerald Canticles, Below (1993), for small ensemble. Premiere: 49th Parallel Festival, Toronto, Ontario, 1995.
• Binky Plays Marbles (1992), for double bass and viola. Commissioned by Pieter Smithuysen.
• The Pretty Songs (1991), for saxophone and voice. Commissioned by Steven Stusek. (This score is not yet available for download.)
• Softening Cries (1991), for orchestra. Premiere: Bennington, Vermont, 1992. Commissioned by the Sage City Symphony.
• A Time Machine (1990), for voice, small ensemble, dance and computers. Premiere: Burlington, Vermont, 1991. Commissioned by the Vermont Contemporary Music Ensemble. (This score is not yet available for download.)
• Traveler's Rest and Wolf5 (1991), sound environments. Installation: Randolph, Vermont, 1991. Photographs and narrative available on line.
• The Lily and the Thorn (1990), for orchestra. Premiere: Independence Day Celebration, Montpelier, Vermont, 1991. Commissioned by the Vermont Philharmonic Orchestra. (This score is not yet available for download.)
• Yçuré (1990), for two chamber orchestras. Premiere: Silver Anniversary Concert, Guilford, Vermont, 1990. Commissioned by Guilford Friends of Music, 25th Anniversary Season. (This score is not yet available for download.)
• Csárdás (1989), for piano. Premiere: Vermont Composers Festival, Putney, Vermont, 1989. Commissioned by Michael Arnowitt. (This score is not yet available for download.)
• Variations on Amanda (1989), for three strings and harpsichord. Premiere: Braintree, Vermont, 1989. Commissioned by the Braintree Historical Society.
• Winter, Three Songs on the Nature of Armageddon (1987), for mezzo-soprano and orchestra.
• Rough Edges (1987), for piano. Premiere: Barre, Vermont, 1987. Commissioned by Michael Arnowitt.
• Beepers (1986), a high-tech cabaret. Premiere: The Garage, Montpelier, Vermont, 1987. (This score is not yet available for download.)
• In Bocca al Lupo (1986), environmental sound design. Installation: Yellowstone Art Center, Billings, Montana, 1986. Narrative and photographs available on line.
• Mantra Canon (1986), for large ensemble. Premiere: The Garage, Montpelier, Vermont, 1986.
• Echo, A Performance Ritual in Four Parts (1985). Premiere: The Garage, Montpelier, Vermont, 1985. Narrative and photographs available on line.
• Rando's Poetic License (1978), for electronics, microcomputer, voices, instruments. Premiere: Washington Project for the Arts, Washington, D.C., 1978.
• Mass (1978), for small ensemble. Premieres: Cambridge River Festival, Cambridge, Massachusetts, 1978, and Delaware Valley Festival of the Avant-Garde, 1978. (This score is not yet available for download.)
• Plasm over ocean (1977), a chamber opera for small ensemble. Premieres: New York Avant-Garde Festival, World Trade Center, New York, 1977, and New Jersey State Museum, 1977. Commissioned by the Museum.Narrative and photographs available on line.
• Somnambula (1975), for recorder and electronic sound. Premieres: Kaxpiksu State Performing Arts Festival, Trenton, N.J., 1975, and New York Avant-Garde Festival, Floyd Bennett Field, 1975. Commissioned by John Burkhalter. (This score is not yet available for download.)
• Construction "on nix rest... in china" (1972), for trombones and tape. Premiere: Zaal 100, Amsterdam, 2003.

Go to top

Writings on Music

Additional writings on other topics are found at http://maltedmedia.com/books/papers/

• Colonial Notation is a Problem (2017). Academia.edu,, 2017. Brief commentary on western notation and its inherent colonialism.
• The Rural Composer (2013). Nynade, 2013. Detailed view of life and work as a composer in rural northeast America.
• Get Offa My Lawn! Painful Self-Discovery and the Renaissance of Angst in an Aging Composer (2011). substitute magazine. As the subtitle suggests.
• Dog-on-Bone: Making an Opera in 24 Years of Easy Steps (2011). Sequenza21, November 7, 2011. About the creation of the opera Erzsébet.
• Making 2011 the Year of the Composer (2011). New Music Box, March 2, 2011, How the Year of the Vermont Composer came about.
• 49 States to Go (2011). Sequenza21, February 25, 2011. How the Year of the Vermont Composer came about.
• To Anticipate the Forgetfulness of the Future: Reflections as Composer and Copyist. (2008), Notations 21, edited by Theresa Sauer. Mark Batty Publisher, 2009.
• There is No Future Until We Get to It (2008), eContact! issue 10.x, detailed article on archiving and restoration.
• A Language We Already Understand: Noah Creshevsky's Hyperrealism (2007), New Music Box, June 2007, analysis of the music of Noah Creshevsky.
• Composers & Productivity: The Embodiment of Discomfort (2006), New Music Box, September 2006, article on a composer productivity survey.
• If We Could Write for the Symphony, or, We Are All Mozart (2006), Greywolf Performing Arts Institute, March 2006.
• A "We Are All Mozart" Blog (2006-2008), commentaries on music, the arts, technology, and rural living.
• The Illusive Surface (2005), thoughts about the music of Noah Creshevsky. Institute for Studies in American Music, Fall 2005 Newsletter
• The Creative Meaning of Laziness and Its Manifestation in Digital Technology, or, How Slug-Boy Found His Groove, paper published in The Idea #7, 2003-2004, CD-Gazette of the Electronic Arts. New Delhi: Imadjinn! (2004)
• Thoughts on the Small Form (2004), sidebar on brief sounds for a VoxNovus article.
• Imagination and Exploitation: Some History of Digital Technology in My Music-Making (2004), paper presented at Dartmouth College.
• Everybody's Gotta Trust ... But Verify? (2003), commentary about and solutions to software copy protection.
• What are the pros & woes of being a self-taught composer? (2002), interview about autodidacticism and its struggle, New Music Box.
• Preserving the Future's Past: EA Artists Must Take Care of Their Own Archives (2002), paper about the perils of preservation in the digital age.
• Riding the Cheap Electron (2002), paper presented at Dartmouth College about a three-decade budget struggle.
• Xenakis: The Continuing Composer (2001), in The Alberta New Music & Arts Review, Vol. III/IV, No. 4/5 Double issue: Fall 1999/Fall 2002
• No Denial of the Bête Familiale (2001), paper presented at Dartmouth College about the role of the computer musician.
• The Curse of Love (2000), paper presented at Dartmouth College about eclecticism, copyright, and interactivity.
• How to Get Here from There (Stomach Music to Sourian Slide) or Is There a Reason You've Canceled My Premiere Yet Again? (2000), paper presented at Goddard College about the composer's life and work.
• The Patron Saint of Mediocrities (1999), paper presented at Bregman Studios of Dartmouth College about the composer's life and work.
• A Challege for Richard Branson (1998), a letter suggesting Branson transform the landscape of contemporary music.
• If Only I Could Sing: Ann Southam in Conversation with Kalvos & Damian. Musicworks 101 (1998). Conversation and commentary with composer Ann Southam.
• The Churchill Society Debate: A Futile Correspondence (1998), an exchange with the Churchill Society on the state of new music.
• Your Music on the Web: Ways, Means, Rights, and the Old West: New Concepts, Paradigms and Fears (1997), article outlining techniques for presentation and protection on the Web.
• I Don't Know How -- or Why: Night Thoughts on the Process of Composition (1995), including a link to an audio version.
• It's Time to Bury the Dead (1992), intense article calling for the end of performances of older concert music and a revision in thinking and sensibility.
• Composing a New Language (1992), proposal presented at MedArt International by Barbara S.J. Balch and Dennis Báthory-Kitsz to replace lost language skills with musical language developed through interaction and virtual reality.
• Construal of Music Process Architecture (1992), paper presenting personal views and reports on musical composition in Europe.

Go to top

Books and Photographs

Additional details about writing and editing are found at The Transitive Empire, http://maltedmedia.com/empire/

Authorship/Co-Authorship

• The Spoons We Use: Reflections on Life as a Rural Composer. In progress, 2021.
• Cupolas of Vermont. In progress, 2021.
• I Don't Get Music Technology: A Self-Help Desperation Guide. Whaaaaaaaaat!? Series #2. Westleaf Edition, 2019. x,162pp., illus.
• I Don't Get Classical Music: A Self-Help Desperation Guide. Whaaaaaaaaat!? Series #1. Westleaf Edition, 2016. viii,117pp., illus.
• Country Stores of Vermont: A History and Guide. New edition. Charleston, London: The History Press, 2013. 192pp., illus.
• Underside. Lulu.com, 2013. 56pp., illus.
• Country Stores of Vermont: A History and Guide. Charleston, London: The History Press, 2008. 256 pp., illus.
• The Middle-Aged Hiker. With David Gunn. 1993, 1995. 320 pp., illus. Published on-line; print publication being prepared.
• Learning the 6809. Roxbury, Vermont: Green Mountain Micro, Inc., 1984. paper; viii, 336 pp., illus. [loose-leaf in binder; includes 12 cassettes]. Reissued in a special edition in 1999 on CD-ROM.
• Kenneth Sawyer Goodman, A Chronology and Annotated Bibliography. Chicago: Newberry Library, 1984. 110 pp., illus.
• The Custom TRS-80, and Other Mysteries. Upland, California: IJG, 1982. paper; 340 pp., illus.
• The Karmora Papers. With David Gunn. Roxbury, Vermont: The Laszlo Toth School of Art, 1982; New edition, [n.p.]: Laszlo Toth School of Art/Westleaf Edition, 1993. paper; 104 pp.
• A Random Selection from the Marvin Hodge Archive (3 vols.). Roxbury, Vermont: The Laszlo Toth School of Art, 1979,1982,1993. paper; unpaged. [v,106 pp., illus.; v,88 pp., illus.; and v,130pp., illus.]. Limited editions.
• jkl; Trenton, New Jersey: [privately published], 1977. Unpaged [xx,262 pp]., illus. Edition limited to 15 hand-bound and numbered copies. Now available from Frog Peak Music.
• Contributing Author: HTML 4 Unleashed. New York: Sams.net (Macmillan), 1997. paper; xxxvii,1030pp., illus.; incl. CD-ROM.
• Author of manuals for ACTV, New York; Graphire Music Press, Vermont; and Green Mountain Micro, Vermont.
• Author of program and liner notes, including Jerry Gerber's Moon Festival and The Art of MIDI Sequencing (Ottava) and David Gunn's Somewhere East of Topeka (Albany).

Editing

• Marching On! John Brown and the Struggle Against Slavery. By Robert Willis Allen. Northfield News & Printery, 2000. paper; xix,338pp., illus.
• CPFR Pilot Studies. Voluntary Interindustry Commerce Standards Committee, 1999. paper; [pp], illus.
• My Little Life: A Girl Growing Up in the Forties. By Jane Bryant. Northfield News & Printery, 1997. paper; [vi],568pp., illus.
• Teaching Composition on the Web: A Teacher Handbook. By Fern Tavalin, Sandi McLeod, et al. Montpelier, Vermont: WebProject, 1998. paper; Unpaged, illus.
• Makoro Solutions Enhancements. White Plains, New York: IBM Corporation. CD-ROM, 1998.
• Category Management Systems: The Power of Information in Retailing. By Jerry Singh, et al. Cincinnati: CMS, Inc., 1997. paper; [pp.], illus.

Published Photographs (excluding technical publications)

• Vormgeving in Hout (Stichting Vormgeving in Hout, Brummen [NL], 2008) (photos of instruments by Lies Muller)
• A Vision of Hills (CD cover) (Centaur Records, 2007).
• "Vampire Secrets" (Travel Channel, [US], October 29, 2006).
• "The Secret Life of Vampires" (Biography Channel [US], October 28, 2005).
• Five Quarts: A Personal and Natural History of Blood (Bill Hayes, Ballantine Books [US], 2005).
• "Deadly Women" (TV Mag, London [UK], October 15, 2005)
• Vampires: From Vlad Drakul to the Vampire Lestat (Anna Szigethy, Key Porter Books, Toronto [CA], 2004)
• "A Taste for Horror: Real-life Vampires and Cannibals" (Globe [US], September 6, 2004).
• "A History of Recording Technology" (CNN.com [US], August 2004)
• Romantic Ghost Stories (Julie Burtinshaw, Lone Pine Publishing [CA], 2003)
• "Erzsebet Bathory" (The Bloodcult, Athens [GR], December 2002)
• The Most Evil Men and Women in History (Miranda Twiss, Michael O'Mara Books [UK], 2002).
• "Meet Countess Dracula" (Kate McClare, Weekly World News [US], July 9, 2002)
• Siete Lunas de Sangre (Carlos D. Pérez, TopiA Editorial [AR], 1999)
• "Portfolio" (Requiem, Montpellier [FR], April-June 1998)
• Big Bad Women Through History (Lawrance Binda, Big Bad Books [US], 1998)

Go to top

Periodicals

• Contributing Editor: Assistive Technology Industry Association (2006-07)
• Contributing Editor: Hot Expresso Public Relations (2006-07)
• Contributing Writer: RFID Update (2006)
• Editor: Vermont Composers Consortium Consorting Newsletter (1988-91, 1993-97, 2005-11)
• Contributing Editor: RFID News and Solutions (2004-05)
• Contributing Writer: Supply Chain E-Business (2001-02)
• Correspondent: Frontline Solutions (2001-02)
• Editor: Vermont Alliance of Independent Country Stores News (2001-10)
• Contributing Writer: TSI Communications (1999-2000)
• Contributing Editor: Ellsworth Kaye Public Relations (1997-2006)
• Contributing Writer: Convenience Store News (1997)
• Editor: The Northfield Common (1994)
• Contributing Editor: Consumer Goods Manufacturer (1993-99)
• Contributing Editor: Retail Systems Reseller (1992-99)
• Contributing Writer: Retail Info Systems News (1992-99)
• Contributing Editor: Data Capture Systems Reseller (1992-93)
• Guest Editor: Music Arts Supplement, ARTSletter (March/April 1990)
• Contributing Editor: ID Systems (1987-89)
• Contributing Editor: The Rainbow (1985)
• Publisher/Technical Editor/Columnist ("Custom Color"): UnderColor (1984-85)
• Contributing Editor/Columnist ("Custom Color"): The Color Computer Magazine (1983-84)
• Contributing Editor/Columnist ("Micro/Sonics"): Programmer (1981-82)
• Guest Editor: Kilobaud Microcomputing Electronic Music Issue, December 1980)
• Contributing Editor: The Alternate Source (1980-82)
• Technical, Submissions and Contributing Editor/Columnist ("80 Applications", "The Exclusive ORacle"): 80 Micro (1980-82)
• Editor/Publisher: Updates (1979-80)
• Editor/Publisher: A Medium Rare (1974-76)
• Editor (under pseudonym 'Randy Johnson'): Mercer County Almanac (1973)
• Editor/Publisher: SCRAP Paper (1970-71)
• Editor: Union List of Serials for Maine, New Hampshire and Vermont (1967-68)

Other:

• Rosa Spier, Harpist. Assistant subtitles translator (Dutch-English).
• Technical articles published in Byte, 80 Micro, Kilobaud, Desktop Computing, The Alternate Source, The Color Computer Magazine, Programmer, Opinion-80, Software Critique, Dynamic Color News, The Rainbow, UnderColor, ID Systems, Data Capture Systems Reseller, Consumer Goods Manufacturer, Retail Systems Reseller, Retail Info Systems News, RFID Update, Slashdot, Convenience Store News. Special supplements, white papers and web texts written for IBM, Microsoft, Digital Equipment, Sensormatic, JD Edwards, VI&A, Dun & Bradstreet/DataQuest, RFCode, and other corporations.
• Book reviews, music articles, opinion pieces, and feature stories published since 1964 in various newspapers and magazines, including The Idea, The Northfield Common, Burlington Free Press, Barre-Montpelier Times-Argus, Consorting, ARTSletter, Northfield News, Trentonian, Trenton Magazine, others. Numerous publications with Internet media.
• Letters to the editor have appeared in many publications including Time, the New York Times, and Salon.
• Articles and interviews on Erzsébet Báthory have appeared in Requiem: archives du vampirisme and The Bloodcult: The Magazine for Dark Souls and Vampire Lovers, and other publications (see photographs, above).
• Annual Retailer of the Year video for the Vermont Retail and Grocers Association (2002-2016)

Some Featured Interviews and Reviews (email for list of 70 earlier stories, or see source markup for this page):

• Poetry, music fuse memorably in ensemble program in the Rutland Daily Herald, April 17, 2016 (review of Three Elastic Experiences)
• Unique and Challenging: Vermont Composer Dennis Bathory-Kitsz in the Times-Argus, April 7, 2016.
• Vermont Composers, Musicians Triumph in the Times-Argus, March 13, 2016 (review of Encircled by You)
• Bathory-Kitsz & Piano: Maine Pianist Champions Composer in the Times-Argus, May 28, 2015
• Eleva Showcases Local Composers in the Times-Argus, November 6, 2014 (review of Five Hungarian Folksongs)
• Music meets Ellen Bryant Voigt in the Times-Argus, April 7, 2014 (review of Aveaux Gadreaux)
• New Music Celebrating New Poetry in the Times-Argus, April 3, 2014
• A New Take on Elizabeth Barrett Browning in the Times-Argus, November 17, 2013 (review of I think of thee)
• Breaking Boundaries: The Frontier Quartet Performs Works by Dennis Bathory-Kitsz and David Gunn in the Lake Champlain Weekly, October 9, 2013
• American Composer: Dennis Bathory-Kitsz in Chamber Music, November/December 2011
• New work can be blood-curdling in the Times-Argus, November 2, 2011 (review of Erzsébet)

Go to top

Recordings, Broadcast, and Internet Media

• Wonder and Astonishment (Intent Records compact disc, 2015)
• Willey Hey Toccata and Fugue on "Bombasia" (Intent Records compact disc, 2012)
• Bolt (four CDs), retrospective collection of electroacoustic music, 1970-2010 (Malted/Media compact discs, 2012)
• O Vox Pop, Honey & Hops, Elusive Parallels (in Time), Shahmat, Construction ... on nix rest... in china, Compound Refractions and Eventide on "Trade Winds of Vermont" (limited edition Malted/Media compact disc, 2009)
• Icecut transcribed for organ by Josh Perschbacher on "Sinfonietta" (Intent Records compact disc, 2009)
• krikisque on "60x60 2005" (Capstone Records compact disc, 2007)
• Music for "Little Lost Star", a film by Akanit Nakoneczny (2007)
• The Warbler's Garden on "60x60" (Capstone Records compact disc, 2004)
• iskajtbrz on "UnLimit" (Three's Film Works compact disc, Tokyo, 2003)
• Snare:Wilding on "Free Speech For Sale" (pressthebutton compact disc, 2003)
• Music of English Literature, CD part of The Longman Anthology of British Literature, containing Sumer Is Icumen In conducted by Báthory-Kitsz (2002).
• Killer Sings! (limited edition, Malted/Media Records compact disc, 2000)
• Chamber Bowling I, Chamber Bowling II, Voices Past, Cold Stones, Etronalia, Symphons, Overstuffed, Sublime (MP3.com DAM CDs, 1999-2001)
• Zonule Glaes II (signed limited edition, Malted/Media compact disc, 1999, re-released 2012)
• zéyu, quânh, and sweeh on "The Frog Peak Collaboration Project" (Frog Peak Music compact disc, 1998)
• Detritus of Mating (Sistrum Records compact disc, 1997)
• Lucid Nightmares (limited edition cassette, Malted/Media, 1995)
• Invisible Performers, four-cassette retrospective collection (limited edition, Malted/Media, 1994)
• The Nightmare Continues (limited edition cassette, Malted/Media, 1992)
• Csárdás on "Alive and Well: Music of Vermont Composers" (Ursa Minor cassette, 1990)
• Dentist's Nightmare (limited edition cassette, Malted/Media, 1988)
• Recording engineer for more than 300 artists and ensembles (1973-)

• Feature segment on ITV (U.K.), ("Martina Cole's Ladykillers") (2008)
• Feature segment on The Discovery Channel ("Deadly Women") (2005)
• Feature segment on The Travel Channel ("World's Bloodiest Dungeons") (2004)
• Interviewed with performance of Tïrkíinistrá, plus sound editing, in the film Beyond 88 Keys (2004).
• Producer, Kalvos & Damian's New Music Bazaar, WGDR-FM (1995-2005) and online (1995-2010)
• Producer, Marching On!, CD for Hardtack & Homespun (1999)
• Producer, Speaking Personal, computer information series, Vermont Public Radio (1983-4)
• Feature segment on New Jersey Public Television ("Plasm over ocean") (1977)
• Interviewed by Terry Gross on Fresh Air, WUHY-FM (now WHYY) (1974 and 1977)
• Other interviews and features on About.com, WXPN, WPRB, WOR, WGDR/WGDH, WCVT, WDEV, CKUT, WSNO, WKDR, WCAX, WFFY, WFLI, Hall Communications Stations (WJOY, WOKO, WKOL, WIZN, and WBTZ), and Vermont Public Radio.

• Guest Curator, illegal art mp3 compilation (2003)
• Creator/Designer, Malted/Media, website at http://maltedmedia.com/ (1996-)
• Creator/Designer, Kalvos & Damian's New Music Bazaar, website at http://kalvos.org/ (1995-)
• Creator/Designer, Erzsébet the Vampire, website at http://bathory.org/ (1996-)
• Designer of arts websites including Thomas L. Read, Dream.Bot, Vermont Contemporary Music Ensemble, Vermont Composers Consortium, Madtrax Productions, The Middle-Aged Hiker, Ursa Minor Records, The Karmora Papers, Hardtack & Homespun, Leisure WeaselWorld, etc.
• Designer of commercial/educational websites including Trans-Video.Net, Vermont Alliance of Independent Country Stores, Argentum Fugit Farm, The Romulus Project, The Transitive Empire, etc.

Go to top

Performances and Installations

Selected performances as composer/performer/conductor:

• ArtsRiot, Burlington, Vermont (Spammung, as soloist), 2017
• Unitarian Church, Montpelier, Vermont (Emerald Trio Concert, as soloist), 2016
• Spectrum, New York City (Composers Concordance Festival, as soloist), 2015
• Capital City Band, Montpelier, Vermont (classic band music, as conductor), 2015
• Back Cove Festival of New Music, Portland, Maine (Memento Mori and The Moon, as soloist), 2014
• Burlington Civic Symphony, Colchester/Stowe, Vermont (orchestral suite, as narrator), 2013
• The Long Roll, Montpelier, Vermont (percussion compositions by Manion, Gryc, Lyon, Gunn and Spivak, as conductor), 2007
• Lotus Music & Dance, New York (Spammung, i cried in the sun aïda, as soloist and performer), 2006
• Re:Soundings, Valley Falls, New York (Memento Mori, Spammung, The Moon, Call Me, as soloist), 2006
• Brooklyn College Noah Creshevsky Birthday Celebration (Memento Mori, as soloist), 2005
• Zaal 100 "Maximum Clarity" series, Amsterdam (Permutrance VII, LiquidBirds, as soloist and performer), 2005
• Mellotone Studios, Amsterdam (Memento Mori, Spammung, Hypertunes Baby, as soloist), 2005
• Karnatic Labs, Amsterdam (Spammung, Permutrance VI, as soloist and performer), 2005
• Feedback Studios, Cologne. (Memento Mori, as soloist), 2005
• Vermont Composers Festival, Montpelier (Spammung, Memento Mori, as soloist), 2005
• FlynnSpace, Burlington, Vermont (LiquidBirds and other works, as performer with Eric Ross and David Gunn), 2003
• Electric Rainbow Festival of Electroacoustic Music, Dartmouth College (Spammung, as soloist), 2003
• Vaughan Recital Series, Dartmouth College ("Closing the Book on the Avant-Garde" vol 3, as soloist and conductor), 2002
• Mánes Museum, Prague (Zonule Glaes II as conductor of Styx-Q String Quartet), 1999
• Lost Nation Theatre, Montpelier, Vermont ("Circular Screaming" as conductor of Il Gruppo Nuke Jitters), 1997
• SEAMUS Festival, Middlebury College, Middlebury, Vermont (Hypertunes, Baby as performance artist/soloist), 1994
• Pyralisk Gallery, Montpelier ("Clusters" as conductor of Il Gruppo Nuke Jitters), 1994
• University of Vermont, Burlington, Vermont ("Clusters" as conductor of Il Gruppo Nuke Jitters), 1994
• Governor's Institute for the Arts, Johnson/Castleton, Vermont (The Moon, The Galley, A Little Shade Music, etc., as performance artist, soloist and conductor), 1991-2
• Vermont Composers Festivals, Burlington/Montpelier/Woodstock/Putney (Exequy, Lithuanian Liniment, etc., as soloist and conductor), 1988-1996
• Vermont College, Montpelier, Vermont (Bernstein Kaddish, as percussionist), 1988
• FredFest, Roxbury, Vermont (Car Horn Symphony No. 2 as conductor of automobiles), 1988
• Roxbury Union Congregational Church (Psalm 84, Jubilate Deo, etc., as conductor), 1985-89
• The Garage, Montpelier (Echo, "Closing the Book on the Avant-Garde" vols 1 & 2, "2Cabarets2", as performance artist, soloist and conductor), 1985-86
• Washington Project for the Arts, Washington DC (Rando's Poetic License as performance artist), 1978
• New Jersey State Museum, Trenton, New Jersey (Plasm over ocean, Stoneworld/Grey, etc., as performance artist, soloist and conductor), 1975-78
• Grace Baptist Church, Trenton (as vocal soloist), 1975-78
• New York Avant-Garde Festivals, New York/Cambridge, Massachusetts (as performance artist and conductor), 1975-78
• Delaware Valley Festival of the Avant-Garde, Trenton (as performance artist and conductor), 1974-78
• Trans/Media Festivals and Performance Series, Trenton (as performance artist, soloist and conductor), 1973-77
• Trenton State College (Lysistrata, as conductor and recorder performer), 1970-71

Selected Installations:

• Project:Artspace, "Pompeii A.D.79" (Pavel Kraus), New York, 2017 (Requiem)
• RadioPlateaux Public and Private Gallery, Athens, 2010 (Contraflow Symphony)
• Friends of Alewife Reservation, Cambridge, Mass., 2006 (Detritus of Mating)
• Bond Gallery, "Levitation" (Pavel Kraus), New York, 2005 (Detritus of Mating)
• Mánes Museum, "Manes Monument" (Pavel Kraus), Prague, 1999 (Zonule Glaes II)
• The Exquisite Corpse, "Sex and Death" (Pavel Kraus), Burlington, Vermont, 1997 (Detritus of Mating)
• Rest Area near Randoph, Vermont, 1991-2 (Wolf5 at "Traveler's Rest")
• Yellowstone Art Center, Billings, Montana, 1985 (In Bocca al Lupo)
• Wood Art Gallery, Montpelier, Vermont, 1984 (Nighthawk)
• New Jersey State Museum Planetarium, Trenton, New Jersey, 1975 (Untitled installation)
• Kaxpiksu, New Jersey State Museum, Trenton, New Jersey, 1975 (Untitled "Death Environment" installation)
• Trans/Media Minifest, Trenton, New Jersey, 1973 (Untitled installation)

Go to top

Grants, Commissions, and Awards

Grants:

• Consortium of Vermont Composers, for Erzsébet (operatic monodrama) (2011)
• Binaural Media, for a residency with Stevie Balch for the Birth Song Project (2007)
• American Music Center Composer Assistance Program, for Icecut (orchestra) (2004)
• Vermont Council on the Arts, for Travelers Rest (environmental sound/cross-media) (1991)
• Montana State Arts Council, for In Bocca al Lupo (environmental sound/cross-media) (1986)
• New Jersey State Council on the Arts, for Plasm over ocean (chamber opera) (1977)
• National Endowment for the Arts, for Stoneworld/Grey (dance/cross-media) (1977)

Commissions:

In progress

• Reed, Rosin & Pedal, for a work in progress (violin, clarinet, piano)
• Duo Harpverk, for a work in progress (harp, percussion, pipe organ)
• Camilla Hoitenga, for a memorial work in progress for Michal Manion (flute)
• Panayiotis Demopoulos, for a work in progress (piano)
• Anonymous, for a work in progress (chamber opera)
• Rob Voisey, for a work in progress (cello and electronics)
• Gonçalo Lourenço, for a work in progress (chorus and four guitars)
• Anton Lukoszievieze, for a work in progress (cello and computer)
• Su Lian Tan, for a work in progress (flute, cello, and piano)
• Ondrej Adamek, for a work in progress (world percussion)
• Martin Cikanek, for a work in progress (small ensemble)
• Daniel Bruce, for a work in progress (two pianos and percussion)

Completed

• Vermont Music Teachers Association, for Fugue States (voice, percussion, flute)
• Vermont Virtuosi, for Erzsébet Suite (flute and piano)
• Katie Buckley, for Dreamless (harp)
• Duo Harpverk, for DEX II (performance work)
• Duo Harpverk, for The Ice Winds (harp and percussion)
• Justin Rito, for DEX (performance work)
• Duo Harpverk, for Shrutverk (harp and percussion)
• Vermont Virtuosi, for Erzsébet Suite (flute and piano)
• VanDenCross Dance Company, for Bring Me a Dream (large orchestra)
• Vermont Virtuosi, for I Come With My Face Burnt (seven flutes)
• Ericka Salter, for Night Thoughts of Light (oboe, English horn, 2 French horns, violin, cello, timpani)
• Emerald Trio, for Centered Again (flute, viola, piano)
• Vermont Contemporary Music Ensemble, for Three Elastic Experiences (2 sopranos, alto, bass clarinet, cello, harp)
• Vermont Virtuosi, for Encircled by You (flute, clarinet, bassoon, piano)
• Erika Salter, for Absynthe (string quartet)
• Josh Perschbacher, for Wonder and Astonishment (two organs)
• Meghan McCormack, for The Lake Isle of Innisfree (voice, flute, piano)
• Vermont Virtuosi, for I think of thee
• Ensamble Fractus, for Noitça (Byrd's Ghost) (small ensemble)
• Chicago Modern Orchestra Project, for Thread Count (string orchestra)
• Vermont Contemporary Music Ensemble, for Aveaux Gadreaux (bass clarinet and cello)
• Jane Boxall Allen, for The Forest at the South Field (found percussion)
• Sphaera Rock Orchestra, for Dance of the Fénix (electric violin and small orchestra)
• Charles Mayhood, for Five Hungarian Folksongs (brass quintet)
• Dan Gordon, for Evil Pony (sax quartet)
• Duo Harpverk, for Air (harp and percussion)
• Heritage Brass, for Near Greensboro Bend (brass quintet)
• Third Coast Percussion Ensemble, for ScRolls (four percussionists)
• Carson Cooman, for eliasion (trumpet and organ)
• Carson Cooman, for indigretion (trumpet and organ)
• Carson Cooman, for King's Highway (organ)
• Carson Cooman, for Peter's Burrow (organ)
• Johnson State College Theatre Department for Ye Spotted Snakes (voices, strings)
• Vermont Contemporary Music Ensemble for Giè (low winds, guitar, djembe)
• La Banda Música de Grau Gandía, for Crosscut (piano concerto with large wind ensemble)
• Green Mountain Youth Symphony, for Autumn Dig (intermediate orchestra)
• Janet Brand, for A Spiral Lullaby (vocalise, flute, cello and piano)
• Janet Brand, for A Spiky Lullaby (vocalise, flute, cello and piano)
• WAAM commissions
  • Noah Creshevsky, for Voices in My Night (playback)
  • Randy Hostetler Living Room Foundation, for 99 Events fo rthe Found, the Made and the Natural (performance pieces)
  • Alex Shapiro, for Incanta (bass clarinet)
  • Jeremiah Reilly, for To the Secretary of Good Fortune (cello and guitar)
  • Eleanor Fisher, for Strong to Save (piano)
  • David Mahler, for It's Mine, I Tell You! (piano)
  • Lydia Busler-Blais, for Counting Myself (cello duo)
  • Christopher Smith, for Curious Crimson Glow (bass trombone)
  • Michael Arnowitt, for Framing the Sum of Three (piano)
  • Elizabeth Reid, for In Search of the Lightness of Horizon (viola)
  • Rob Voisey, for Morning Steps (to Parnassus) (playback)
  • Dante Oei, for Vexation Blues (piano)
  • David Bremner, for XLII: Adeste Hendecasyllabi (voice and piano)
  • Peter Hamlin, for Walking the Flat (alto sax)
  • Steven Klimowski, for O Vox Pop (bassoon and bass clarinet)
  • Carson Cooman, for Thirteen Triple X (piano)
  • Frances Richard and ASCAP, for Events and Horizons (clarinet and string quartet)
  • Barbara S. J. Balch, for Horizon (Ocean) (wind quartet, string quartet and piano)
  • Ed Epstein, for Toccata & Tryptophan (tenor pan)
  • Samuel Vriezen, for Chthara-Cantus Cantoris (jew's harp)
  • Reena Esmail, for In Search of an Exit (piano)
  • Michael H. Dixon, for She Who Saves (two natural horns and soprano)
  • Bill Sallak, for Aisle Five (voice and percussion)
  • Robert Bonotto, for In Search of the Seven Blue Stars (viola)
  • André Posman and De Rode Pomp, for Scalar Rainbows (piano)
  • Amy Beal, for In My Room (guitars)
  • Richard Fredette, for UpReach Over DownSlide (clarinet and string quartet)
  • Bill Sallak, for Time's Arrow (clarinet)
  • Lydia Busler-Blais, for Lowing in Coventry (three horns)
  • Patricia Goodson, for Toccata: The Tides of Wales (organ)
  • Carson Cooman, for Loss of Innocence (organ)
  • Eric Somers, for Tangents (two clavichords)
  • David Mahler, for Candied Sweet Potatoes (three voices)
  • Patricia Goodson, for Low Clouds and Evening Wind (piano)
  • Thomas Peters, for Morning in Nodar (double-bass)
  • Doug McIlroy, for The Imagined Moons of August (flute and piano)
  • Christopher Smith, for Evidently Skittles (young flute and piano)
  • Thomas L. Read, for Meta-Dream Twice (violin)
  • Thomas L. Read, for Meta-Dream Once (violin)
  • Paul and Melissa Perley, for A Partial Summer (cello duo)
  • Nati Plasencia, for The Nine Rabbits of Valladolid (cello duo)
  • Nicholas A. Maggio, for Anticipation & Stormtide (accordion)
  • Vermont Youth Orchestra, for Fanfare:Heat (full orchestra)
  • David Goodman, for At the Edge of Forever (clarinet and string quartet)
  • Carson Cooman, for Six Senses of Twilight (organ and electronics)
  • Larry Polansky, for Nine Lessons from "Flatland" (round book)
  • Lydia Busler-Blais, for Sequenza Nova (horn and piano overtones)
  • Barbara Touburg, for The Anvil of Clytemnestra (voice, piano, anvil)
  • Vermont Chess Camp, for Vermont Chess Camp! (round in 5 parts)
  • Larry Polansky, for Romance: Mondo-Mando (mandocello)
  • Pam DeSimone, for À Bout de Souffle (3 oboes)
  • Larry Polansky, for An Fold-In Round (round in 14 parts)
  • Ed Epstein, for We're Running Out of Time (tenor pan and cello)
  • Carson Cooman, for Détente (organ)
  • Robert Bolyard, for The Itch is Internal (cello duo)
  • Dartmouth College, for A Village on the Wind (playback)
  • Robert Voisey, for Future Remembrance (playback)
  • Wen Li, for For the Beauty of the Earth (violin)
  • Emily Doolittle, for Fortune in Her Eyes (piano 4-hands)
  • Robert Blais, for Hermit of the Furies (cello)
  • Tulsa Trio, for Full House Reset (piano trio)
  • Vermont Contemporary Music Ensemble, for New Granite (flute, bass clarinet, violin, cello, piano)
  • Larry Polansky, for Three Tiny Prevarications (ukulele)
  • Green Mountain Youth Symphony, for Tuba Marcato (brass and percussion)
  • Dov Schiller, for Diese Welt ist so Schön (soprano, clarinet, vibraphone)
  • Nate Freeman, for An Offering Borne Again (piano)
  • Lydia Busler-Blais, for Turn Around, Bustle and Blaze (viola, horn, cello, piano)
  • Nora Tombalakian, for The Ideal (voice and piano)
  • James McMurtery, for Compound Refractions (flute)
  • Carson Cooman, for Soundings (organ)
  • Lisa Jablow and the Johnson State College Choir, for Centering (chorus SATB)
  • Taylam Susam, for Return to Nineveh (extended voice)
  • Luke Hubley, for What to Do, Farmer Gray? (4-mallet marimba)
  • P. Kellach Waddle, for Running the Traction Line (cello and contrabass)
  • Patricia Goodson, for Starry Night (piano)
  • Jason Armstrong, for Delivery (piano 4-hands)
  • Willie Docto and the Eleva Ensemble, for Mountains of Spices (mezzo-soprano, violin, viola, piano)
  • Canary Burton, for Earth, Air, Water, Sleep (cello/vocalise and piano)
  • Michael Straus, for Coarse Salt (soprano sax)
  • Matthew Guerrieri and the Sudbury Presbyterian Church, for Come, come! (chorus SATB)
  • Monique Buzzarté, for Moving to Lullaby (trombone)
  • Patrick and Chris May, for Pivot: The House of Cloves (4-track Midi)
  • Darkwood Ensemble, for In het Donkere Bos (viola and bass clarinet)
  • Seth Gordon, for Lunar Cascade in Serial Time (in 12 parts) (tenor guitar)
  • Carson Cooman, for coalescence (trumpet and organ)
  • Beth Griffith, for I lift my heavy heart (voice, flute and guitar)
  • Ann Cantelow, for Candles of Red Sky (theremin)
  • Marianna Rosett, for Toccata: Delle Montagne Verdi (piano)
  • Noah Creshevsky, for Graffiti (A New Year's Celebration for Noah) (playback)
• Melissa Perley, for Winter's Stealth (cello and strings)
• Drusilla Macy/The Bartholdy Ensemble, for Clouds of Endless Summer (piano trio)
• Petr Cigler, for Cígleránia (solo horn)
• Carson Cooman, for Yer Attention, Please (organ)
• De Rode Pomp, for L'Estampie du Chevalier (string quartet)
• Michael Arnowitt, for Syrens of the Collective Unconscious (one to three pianos)
• Vermont Contemporary Music Ensemble, for Elusive Parallels (in Time) (flute, bass clarinet, and playback)
• Lydia Busler-Blais, for Sweet Ovals (solo horn)
• Orquesta Sinfónica de Tenerife, for Jameo y el Delfin Mareado (orchestra with video by Javier Ruiz)
• Brian Sacawa, for Rose Quartz Crystal Radio (sax and percussion)
• Brian Sacawa, for Like to a Rose (sax and percussion)
• Beth Griffith, for By Still Waters (voice and drone)
• Vermont Symphony Orchestra for Icecut (orchestra)
• Jiri van der Kaay, for Phylum Euphoria (euphonium and playback)
• Su Lian Tan, for Shahmat (flute)
• P. Kellach Waddle, for Northsea Balletic Spicebush (string bass)
• Michael Manion for Bales, Barrels, & Cones: Antebellum/Antibellum (drum kit and playback)
• Lies Muller, for Zeven Mergpijpjes (string duets)
• Vermont Contemporary Music Ensemble, for VoxN (small ensemble and reader)
• Vermont Contemporary Music Ensemble, for Fuliginous Quadrant (small ensemble)
• Catherine Broucek Orr/Montpelier Chamber Orchestra Society, for Mirrored Birds (flute and orchestra)
• Michael Manion, for RatGeyser (MalletKat and playback).
• John Kennedy/Essential Music, for Quince & Fog Falls (small ensemble)
• Village Harmony, for Warebrook (Chorus SATB)
• Keith Moore/ThreeTwo Festival and Karen Kevra, for The Sub-Aether Bande (flute and percussion)
• Catherine Broucek Orr/Montpelier Chamber Orchestra Society, for Sourian Slide (string orchestra)
• Catherine Broucek Orr/Montpelier Chamber Orchestra Society, for Mountain Dawn Fanfare (orchestra)
• Eric Kobb, Stratham Middle School Band, for Mountain Millennium Dawn
• Pavel Kraus/Mánes Museum, for Zonule Glaes II (string quartet and electroacoustics)
• Daniel Goode/The Downtown Ensemble, for LowBirds (small ensemble)
• Daniel Goode/The Downtown Ensemble, for Y2K-Compliant Music (small ensemble)
• Vermont Contemporary Music Ensemble, for Into the Morning Rain (small ensemble)
• Pavel Kraus/Exquisite Corpse Gallery, for Detritus of Mating (electroacoustic installation)
• Vermont Contemporary Music Ensemble, for Descent of the Particles (small ensemble)
• Crossroads String Quartet, for Hoots & Honks
• Allie Vest, for Hang Time (timpani and orchestra)
• Peter Brand, for Brand 9 from Outer Space (alto sax, bassoon & piano)
• The Brass Menagerie, for Dancing Despite Despair (brass quintet)
• Sandy Mond, for Melisma (voice & small ensemble)
• Bill Black, for McFwang's Allstep & Swag (trumpet, clarinet, percussion & bass)
• Alcedo Coenen, for Party Musik I (electronic tape)
• Steven Klimowski, for 8 Pooners (performance work for solo clarinet)
• Fred Carlson and Susie Norris, for MixMaster's Revenge (suzalyne & sympitar)
• Mark Nelson, for Llama Butter (tuba & tape)
• Pieter Smithuysen, for Binky Plays Marbles (double bass & viola)
• Steven Stusek, for The Pretty Songs (voice & alto sax)
• Sage City Symphony, for Softening Cries (orchestra)
• Vermont Philharmonic Orchestra, for The Lily and the Thorn (orchestra)
• Claudia Friedlander and Andrea Warnke, for Grand Mirliton (bass clarinet & horn)
• Friends of Music at Guilford, for Yçuré (orchestra)
• Vermont Contemporary Music Ensemble, for A Time Machine (voice & small ensemble)
• Michael Arnowitt, for Csárdás and Rough Edges (solo piano)
• Braintree Historical Society, for Amanda Variations (violin, two cellos & harpsichord)
• Sara Huff Krohn, for Pianaroll (piano & tape)
• Eugene Fodor, for Fugue for Violin (solo violin)
• Michael Billingsley/Montpelier Cable TV, for Angels... Avenging... (tape collage)
• Thurmond Knight, for Windows on the Moon (solo cello)
• Edward Pincus, for Wedding Changes (three flutes)
• The Vermont Symphony Orchestra 251 Project, for The Two-Minute Sneeze (wind trio)
• Sydney Allrud, for A Glass Clown (voice & piano)
• The Phantom Theatre, for music to On the Verge (recorder, flute, two guitars, percussion)
• Paul Connett/Vermont Public Radio, for Ash Wednesday (small ensemble)
• New Jersey State Museum, for Plasm over ocean (chamber opera)
• New Jersey State Museum, for Stoneworld/Grey (dance/cross-media)
• Marjorie Goodman Graff, for Triple Quartet (three string quartets)
• Marjorie Goodman Graff, for At the Edge of the Wood (early winds)
• Reuben James Christman Edinger, for Invocation, Dance & Lament for Twandano (electronics)
• John Burkhalter, for Somnambula (recorder & tape)
• Trenton Tuba Ensemble, for Wormholmusik (tuba quintet)
• Trenton State College (now College of New Jersey) Theatre Department, for Incidental Music to Lysistrata (recorder quintet)

Awards & Honors:

• Vermont Music Teachers Association Biennial Composer Award, 2018
• ASCAP Standard Panel Awards, 1992-2020
• WGDR Excellence in Broadcasting Award, 2004 (for Kalvos & Damian's New Music Bazaar)
• ASCAP-Deems Taylor Internet Award, 2000 (personally and for Kalvos & Damian's New Music Bazaar)
• Regional Laboratory for Educational Improvement Outstanding Practices Award, 1992
• New Jersey Monthly, one of the state's "Top 40" Musicians, 1978

Go to top

Selected Speaking Engagements and Seminars

The texts of some presentations, along with numerous web-only essays, are available on line at http://maltedmedia.com/books/papers/

• Wesleyan University, Middletown, Connecticut (History of Kalvos & Damian; The Orchestral Composer)
• Johnson State College, Johnson, Vermont (The Self-Promoting Artist)
• Back Cove Festival of New Music, Portland, Maine (Beyond Audience Zero)
• Bregman Studios, Dartmouth College (Beyond Audience Zero)
• Stowe Free Library, Inn at Baldwin Creek, Briggs Carriage Bookstore, and other locations (Talks on Country Stores of Vermont).
• Hartt School of Music, Hartford, Connecticut (We Are All Mozart project)
• Binaural Media, Nodar, Portugal (Birth Song project)
• Seia Conservatory, Seia, Portugal (We Are All Mozart and Birth Song projects)
• McCarthy Arts Center, St. Michael's College, Colchester, Vermont (Pre-concert talk, "Winds of Change," also presented previous night)
• Faulkner Hall, Dartmouth College (Imagination and Exploitation: Some History of Digital Technology in My Music-Making and Riding the Cheap Electron)
• Lower Buck, Dartmouth College (The Curse of Love and No Denial of the Bête Familiale)
• Art of Noise, Goddard Collage (How to Get Here from There (Stomach Music to Sourian Slide) or Is There a Reason You've Canceled My Premiere Yet Again?)
• Studio N, Music Academy (HAMU), Prague (The Composition of Zonule Glaes II)
• Bregman Studios, Dartmouth College (The Patron Saint of Mediocrities; We Are All Mozart project; Graduate Composition Seminar on primary and secondary audiences).
• Accessibility Project, Barre, Vermont (Web Accessibility)
• Vermont Folklife Center, Middlebury, Vermont (Web-Based Audio Design)
• Making Connections Institute, Montpelier, Vermont (Composing with Sequencers)
• Sixth Last Annual Last CoCoFest, Chicago (History of the Color Computer)
• WebProject, Montpelier, Vermont (Building a Website)
• MedArt International, New York (Composing a New Language)
• ID Expo, Boston (Touch Screens and Light Pens)
• PCM/Rainbowfest, Princeton (Microcomputers as Revolutionary Tools)
• Community College of Vermont, Montpelier, Vermont (Introduction to Basic)
• Vermont Conference on High Technology, Norwich University (Process Control)
• Color Expo, Pasadena (Microcomputers & Electronic Music)
• IEEE, Norwich University (Bubble Memory)
• IEEE, Norwich University (Data Acquisition and Control with Microprocessors)
• IEEE, Burlington, Vermont (Microcomputers and the Arts)
• ACM, Rensselaer Polytech (The Politics of Microcomputers)
• DuBois & King, Inc., Randolph, Vermont (Process Control)

Go to top

Pseudonyms

Pseudonyms have been used over the years for numerous work and activities, in some cases at the request of clients, in others to separate the kinds of work being done.

• Dennis Báthory-Kitsz: Public name and most musical work
• Dennis Bathory: Media appearances regarding opera
• Dennis Kitsz, Dennis J. Kitsz, Dennis Bathory Kitsz: Early musical compositions
• Kalvos Gesamte, Rotely Durr, Mizzouline Infernaux: Humorous music & writing, some collaborative
• Heinrich Ochslein, Hancock Bathor, Groc Mute-Wexnote: Imitative early & new music
• Grey Shadé: Extended vocal performances
• D.B. Cowell: Artwork, photography and film
• Brady Kynans: Popular and show music, arrangements of popular music
• Kalvos Zondrios: Theatrical works and video production/editing
• Báthory Dénes: Occasional writings
• Orra Maussade: Musical compositions with female persona
• Don Johnson: Commercial writing and graphics design
• Kerry Merritt, Calvin Dion, Enimtu Bemanyna: Technical industry writing, some collaborative

Go to top

References Available on Request
Updated December 7, 2021