{"id":8077,"title":"Reynold Weidenaar","kind":"bio","url":"https://www.videohistoryproject.org/reynold-weidenaar","version":"7b3c3148026996f31676df2ddc11ceb08a0e81d4f554101e5d2e65d3e02989fa","modified":"2023-05-14T01:45:16+00:00","credits":[],"authorKeys":[],"subjects":["bio"],"metadata":[{"label":"First name","value":"Reynold","url":null},{"label":"Last name","value":"Weidenaar","url":null}],"citations":{"page":"\u0022Reynold Weidenaar.\u0022 Video History Project, Experimental Television Center, 2023. https://www.videohistoryproject.org/reynold-weidenaar.","publication":null,"risUrl":"https://www.videohistoryproject.org/citation/8077.ris"},"links":[{"label":"http://www.thesync.com/festival/winners.html","url":"http://www.thesync.com/festival/winners.html","relationship":"record body link","contentType":null},{"label":"https://www.thesync.com","url":"https://www.thesync.com","relationship":"record body link","contentType":null}],"sections":[{"name":"body","source":"VHP record body","generated":false,"characters":48252}],"content":{"section":"body","source":"VHP record body","generated":false,"text":"Composer and video producer Reynold Weidenaar was born in East Grand Rapids, Michigan, in 1945. He founded and edited Electronic Music Review in 1967, and later worked in Cleveland as a recording engineer, recording the weekly concerts of the Cleveland Orchestra under George Szell for broadcast syndication. He studied composition with Donald Erb and Brian Fennelly, and began creating works for moving visuals and music in 1978 on 16mm film. His film \u0022Wavelines II\u0022 received 15 awards. In 1980 he began to work with video at the Experimental Television Center in Owego, New York. His first concert video, \u0022Love of Line, of Light and Shadow: The Brooklyn Bridge,\u0022 for clarinet, color video, and electronic sound, received the Grand Prize at the Tokyo Video Festival and numerous other awards. Since then he has produced six more concert videos; these works have received nearly 100 honors, 400 live performances, and 4,000 screenings and broadcasts in their tape versions. He has received Guggenheim and Fulbright fellowships in video and a National Endowment for the Arts fellowship in composition. He received a B.Mus. from the Cleveland Institute of Music and an M.A. and Ph.D. from New York University. He taught at the Cleveland Institute of Music from 1972 to 1978, and at New York University from 1979 to 1993. He is presently Associate Professor of Communication at William Paterson University, Wayne, New Jersey. R\u00C9SUM\u00C9 Academic Degrees 1989 Ph.D. Composition, New York University. 1980 M.A. Composition, New York University. 1973 B.Mus. Composition, Valedictorian, Cleveland Institute of Music. Education 1989 New York University: Italian. 1980-1984 New York University: Computer Music, Microcomputers, Historiography, Composition. 1978-1979 New York University, New York, NY: Composition, Film/Video Production. 1978 Institute of Audio Research, New York, NY: Audio Recording. 1977-1978 Case Western Reserve University, Cleveland, OH: Computer Music, Film Production. 1976 Stanford University, Stanford, CA: Computer Music. 1971 Brigham Young University, Provo, UT: Recording Technology. 1969-1973 Cleveland Institute of Music, Cleveland, OH: Composition. 1966 University of Toronto, Toronto, Ont.: Electronic Music. 1964 National Music Camp, Interlochen, MI, extension of University of Michigan, Ann Arbor, MI: Composition. 1963-1965 Michigan State University, East Lansing, MI: Theory \u0026 Composition. Studied composition with Donald Erb and Brian Fennelly, Moog Synthesizer with Robert A. Moog. Worked with recording engineer Vladimir Maleckar. Employment History 1998- Associate Professor of Communication, School of the Arts and Communication, William Paterson University, Wayne, NJ. 1993-1998 Assistant Professor of Communication, School of the Arts and Communication, William Paterson University, Wayne, NJ. 1986-1993 Assistant Professor of Film and Television, Tisch School of the Arts, New York University. 1984-1985 Visiting Assistant Professor of Film and Television, Tisch School of the Arts, New York University. 1981-1984 Adjunct Instructor in Film and Television, Tisch School of the Arts, New York University. 1981 Media Studies Faculty, The New School for Social Research, New York, NY. 1979-1983 Adjunct Instructor in Music and Music Education, School of Education, New York University. 1978 Teacher of Electronic Music, Chautauqua Institution, Chautauqua, NY. 1972-1978 Conservatory Composition Faculty, Electronic Music Studios Coordinator/ Director, Audio Engineer, Cleveland Institute of Music. 1970-1972 Teaching Fellow, Cleveland Institute of Music. 1969-1970 Recording Engineer, Audio Recording Studios, Inc., Cleveland, OH. 1967-1969 Editor, Electronic Music Review, Independent Electronic Music Center, Trumansburg, NY. Experience in Electronic Music 1978- Installed, maintaining, and using personal studio, New York, NY. 1977-1978 Director, Electronic Music Studios, Cleveland Institute of Music. Same duties. 1972-1977 Coordinator, Electronic Music Studios, Cleveland Institute of Music. Responsible for studio administration and management. Selected and installed new equipment, optimized operational layout, instituted a preventive maintenance program, established technical support files, supervised budget and inventory. 1970-1972 Electronic Music Studio Assistant, Cleveland Institute of Music. 1967-1969 Editor, Electronic Music Review. 1965-1969 Established (with Robert A. Moog), and Director, Independent Electronic Music Center, Inc., Trumansburg, NY. 1965 Attended 3-week Seminar in Electronic Music, R. A. Moog Co., Trumansburg, NY. Experienced in operating synthesizers by Arp, Buchla, Korg, Moog, Serge, Synthi 100; in software including Basic, Mus10, Music 360, Score, Unix, Wylbur, SoundDesigner, Hyperprism, SoundHack, Deck, Peak, StudioVision, Time Bandit, Finale; in hardware including Apple II, Fairlight CMI, IBM 370, PDP 10, PDP 11/45, TRS-80, Macintosh IIci, PowerMac 8500, Sonic Station. Audio Recording Experience 2000 Supervised acquisition and installation of three ProTools digital audio workstations, William Paterson University. 1997 Supervised acquisition and installation of two Sonic Station digital audio workstations, William Paterson University. 1979- Location recording for 16mm film and various video formats. 1970-1978 Chief Audio Engineer, Cleveland Institute of Music. Supervised recordings of all concerts and recitals, public address and music sound systems, disk mastering sessions, and radio commercials. Responsible for equipment selection, installation, and maintenance. Responsible for purchase of equipment and supplies, and for inventory. 1969-1970 Recording Engineer, Audio Recording Studios, Inc., Cleveland, OH. Duties included recording Cleveland Orchestra concerts at Severance Hall and Blossom Music Center under George Szell for broadcast syndication (live 12 to 2 mix; intercutting between two performances), 16-track music sessions, commercial and slidefilm soundtracks, and remote recordings. Experienced in operation of: Sound Designer, Deck, Peak, ProTools, and Sonic Station software/hardware. Film Production Experience 1978-1988 Worked with 16mm cameras (Bolex, B\u0026H, Arriflex, CP-16), synchronizers, Moviolas, flatbed consoles, Nagra recorders, sound transfer, J-K optical printer, and video-film transfer. Video Production Experience 1999- Working with Sony DSR-PD100 digital DVCAM video camcorder and digital video editing workstation (Final Cut Pro, After Effects, Studio Artist, and Photoshop on Macintosh G4). 1996-1998 Worked with multimedia image-processing and animation programs Photoshop and Director on PowerMac 8500. 1984-1996 Worked with CMX-340X Editor, Grass Valley 300 Switcher/SEG, Ampex Digital Optics, NEC Digital Video Effects, and Ampex ESS-2 Still Store, Digital F/X 200, during post-production at Matrix Video, Broadway Video, DV8 Video, and Unitel Post 38, all of New York, NY. Worked with Fairlight CVI and Newtek Video Toaster at NYU. 1980-1994 Worked with image generating and processing equipment, including video sequencer, Paik-Abe video synthesizer, Jones voltage-controlled colorizer-keyer-mixer, Jones keyer, Jones-Sony SEG, raster scan processor, analog control synthesizer, Cromemco Z-2 computer with two CAT-100 frame buffers, and Amiga computer, during 25 artist residencies at the Experimental Television Center, Owego, NY. 1978-1979 Worked with half-inch portapaks, studio decks, related lighting and sound equipment, special effects generator, and editing console. Member Amer. Soc. of Composers, Authors, \u0026 Publishers; Assoc. of Indep. Video \u0026 Filmmakers; College Music Soc.; Experimental Television Center; Film-Makers\u0027 Cooperative; International Computer Music Assoc.; Media Alliance; Soc. for Electro-Acoustic Music in the U. S.; Soc. of Composers, Inc.; Phi Mu Alpha Sinfonia; Pi Kappa Lambda. Listed In Biographical Dictionaries ASCAP Biographical Dictionary, 4th Ed., 1980. Composers on Record, 1985. Dictionary of International Biography, Vol. 20, 1988. Dictionary of the Avant Gardes, 1993, 2nd Ed., 2000. International Who\u0027s Who in Music and Musicians\u0027 Directory, 7th Ed., 1975, 10th Ed., 1985, 12th Ed., 1990, 13th Ed., 1992, 14th Ed., 1994, 15th Ed., 1996, 16th Ed., 1998, 17th Ed., 2000. The New Grove Dictionary of American Music, Vol. 4, 1986. Who\u0027s Who in American Music: Classical, 1988. Who\u0027s Who in Entertainment, 1st Ed., 1988, 2nd Ed., 1992, 3rd Ed., 1999. Who\u0027s Who in the East, 21st Ed., 1986. Who\u0027s Who of Emerging Leaders in America, 1st Ed., 1987. Articles and Critiques on Creative and Scholarly Work 2000 Richard Kostelanetz, \u0022Weidenaar, Reynold\u0022 Dictionary of the Avant Gardes, 2nd edition, New York: Schirmer Books, 2000, 633. 2000 Gino Robair, \u0022New Audio and Recording Books,\u0022 Mix, May 2000, v24n5, 113. 2000 Barry L. Cohen, \u0022Videos,\u0022 New Music Connoisseur, Spring 2000, v8n1, 25. 1999 Martha Maas, \u0022Reynold Weidenaar: Magic Music from the Telharmonium,\u0022 Newsletter of the American Musical Instrument Society, October 1999, v28n3, 16-17. 1999 Phillip George, \u0022Book/Video Review: Widening Our View of Synthesizers,\u0022 20th-Century Music, July 1999, v6n7, 26. 1999 Rusty Banks, \u0022Who Is Thaddeus Cahill?,\u0022 Living Music, Summer 1999, v16n4, 7. 1999 Laura Romberg, \u0022Video Review: Magic Music from the Telharmonium,\u0022 SEAMUS Newsletter, Spring 1999, v8n3, 2. 1999 Jorge Munnshe, \u0022Reynold Weidenaar,\u0022 Amazing Sounds, February 28, 1999, n71. 1998 Rusty Banks, \u0022Concert Review,\u0022 Living Music, Summer 1998, v15n4, 1,4. 1997 Barry L. Cohen, \u0022Music Videos,\u0022 New Music Connoisseur, Year-end 1997, v5n4, 28, 30. 1997 David Bradfield, \u0022Concert Videos 1981-1995 by Reynold Weidenaar,\u0022 Journal SEAMUS, October 1997, v12n2, 11-12. 1996 Bart Hopkin, \u0022Magic Music from the Telharmonium by Reynold Weidenaar,\u0022 Notes: The Music Library Association Journal, March 1996, 821-822. 1995 Paul Hertz, \u0022Book Review: Magic Music from the Telharmonium,\u0022 Leonardo Electronic Almanac, November 1995, v3n11. 1995 Rodney Oakes, \u0022Magic Music from the Telharmonium by Reynold Weidenaar,\u0022 Journal SEAMUS, November 1995, v10n2, 9-10. 1993 Richard Kostelanetz, \u0022Weidenaar, Reynold (1945),\u0022 Dictionary of the Avant Gardes, Chicago: a cappella books, an imprint of Chicago Review Press, Inc., 1993, 233. 1989 David Neubert, \u0022Reviews,\u0022 International Society of Bassists, Winter 1989, v15n2, 23. 1988 Thomas L. Rhea, \u0022Reynold Weidenaar: The Telharmonium: A History of the First Music Synthesizer, 1893-1918,\u0022 Computer Music Journal, Fall 1988, v12n3, 59-63. 1988 Robert Russett and Cecile Starr, Experimental Animation, Revised Edition, New York: Da Capo Press, Inc., 1988, 29-30. 1988 Herman Trotter, \u0022Review: Concert,\u0022 Buffalo News, March 18, 1988. 1987 Marshall Taylor, \u0022The Stillness,\u0022 Saxophone Journal, Winter 1987, v11n4, 12-18, 20-21. 1986 F. Gerard Errante, \u0022Video: The New Medium,\u0022 ClariNetwork, Clar-Fest [Spring] 1986, v5n2, 25-28. 1984 Arthur J. Sabatini, \u0022A Place Where Creativity Has Time To Flower,\u0022 Philadelphia Inquirer, August 19, 1984, 1-I, 13-I. 1983 William Moylan, An Analytical System for Electronic Music, dissertation for the D.A., Ball State University, 1983. 1983 Terry Trucco, \u0022Japanese Video Moves from Documentary to Art,\u0022 Asian Wall Street Journal, December 2, 1983. 1983 Michael Boxall, \u0022Visitors in Town: Reynold Weidenaar,\u0022 Japan Times, December 1, 1983, 2. 1983 Karen Henry, \u0022Reynold Weidenaar,\u0022 Video Guide, Summer 1983, v5n3, 11. 1982 Peter J. Rabinowitz, \u0022Tape Music: Making It Accessible,\u0022 High Fidelity/Musical America, June 1982, v32n6, 32-33. 1982 Curtis Hammar, \u0022\u0027New\u0027 Electronic Music Innovative and Daring,\u0022 Worcester Telegram, February 7, 1982, 28A. 1981 Victor Ancona, \u0022Reynold Weidenaar: Visual Counterpoints to Music,\u0022 Videography, March 1981, v6n3, 66-71. 1978 Wilma Salisbury, \u0022Machine-Age Maestro,\u0022 Cleveland Plain Dealer, June 22, 1978, 1D, 3D. Writings \u0022Telharmonium,\u0022 The New Grove Dictionary of Music and Musicians, v4, London: Macmillan Publishers Ltd, 2001 [in publication]. \u0022Video Production of Magic Music from ","offset":0,"nextOffset":12000,"totalCharacters":48252,"complete":false},"rightsUrl":"https://www.videohistoryproject.org/terms-service"}