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Barry Truax

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Barry Truax (born 1947) is a Canadian composer who specializes in real-time implementations of granular synthesis, often of sampled sounds, and soundscapes.[1]

He is credited with developing the first ever implementation of real-time granular synthesis in 1986, with being the first composer to explore the range between synchronic and asynchronic granular synthesis in Riverrun (1986), and being the first to use a sample as the source of a granular composition in Wings of Nike (1987).[citation needed][clarification needed]

Truax is Professor Emeritus of Simon Fraser University, where he taught both electroacoustic music and acoustic communication. He was one of the original members of the World Soundscape Project.[citation needed]

Selected compositions[edit]

  • The Blind Man (1979)
  • Riverrun (1986, Wergo WER 2017–50)
  • Wings of Nike (1987, Cambridge Street Records CSR CD-9401 and Perspectives of New Music CD PNM 28)
  • Tongues of Angels (1988, Centrediscs CMC CD-4793)
  • Beauty and the Beast (1989, Cambridge Street Records CSR-CD 9601)
  • Pacific (1990, Cambridge Street Records CSR CD-9101)
  • Pacific Fanfare (1996)
  • Wings of Fire for female cellist and two digital soundtracks including the Joy Kirstin poem "Wings of Fire" read by Ellie Epp (1996)
  • Androgyne, Mon Amour for amplified male double bass player and two digital soundtracks including text from Tennessee Williams' 1977 book of the same title read by Douglas Huffman (1997)


  1. ^ Barry Truax (1992). "Electroacoustic music and the soundscape: the inner and the outer world". In Paynter, John (ed.). Companion to Contemporary Musical Thought. Routledge. pp. 374–398. ISBN 9780415086950.

Further reading[edit]

External links[edit]