2016 Review of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording, by David Grubbs. In caa.reviews, January 4, 2017.
2013 Being There: Time and Memory in the Geoglyphs of Andrew Rogers. In Time and space: Cappadocia, Turkey: 2007-2011, by Andrew Rogers. Victoria (Ausralia), South Yarra: 2013.
2011 Apropos Sonification: A Broad View of Data as Music and Sound. AI & Society. Journal of Knowledge, Culture and Communication. Heidelberg: Springer-Verlag GmbH, Vol. 27/2:197-205 (2012).
2006 H.C.E. (Here Comes Everybody): Morton Feldman in Conversation with
Peter Gena. Reprinted with annotations by Chris Villars. Morton Feldman Says: Selected Interviews and Lectures 1964-1987. Chris Villars, ed. London: Hyphen New Series, Hyphen Press, 2006: 115-132.
2001 A Physiological Approach to DNA Music, (with Charles Strom, M.D., Ph.D.). Shaw, Robin and John McKay, eds. The Proceedings of CADE 2, the 4th Computers in Art and Design Education Conference, Glasgow: Glasgow School of Art Press, 2001: 129-134.
1999 A Physiological approach to DNA Music (excerpt, with Charles Strom, M.D, Ph.D.). YLEM (Sept/Oct. 99): 3-5.
1998 Liner Notes for the compact disc Celestial Voices, Music of Orlando Giacinto Garcia. oodiscs, number oo42, 1998.
1995 Musical Synthesis of DNA Sequences (with Charles Strom, M.D., Ph.D.). XI Colloquio di Informatica Musicale, Univeristà di Bologna, 1995: 203-204.
Musical Synthesis of DNA Sequences (with Charles Strom, M.D., Ph.D.). Sixth International Symposium on Electronic Art, Montreal,1995: 83-85.
1993 John Cage and the New York School: A Hyperlecture/Conversation. Warsaw Museum of Contemporary Art.
1992 Cage and Rauschenberg: Purposeful Purposelessness Meets Found Order. For the exhibit John Cage: Scores from the Early 1950s. Chicago, Museum of Contemporary Art.
John Cage 1912-1992. The New Art Examiner (October, 1992): 9.
1988 Putting New Music into Old Models. Chicago Times Magazine (March/April, 1988): 82.
1987 Mother Jones. For voice and piano published by Edition V, Dortmund, Germany.
1986 John Henry. A piano composition published by Edition V, Dortmund, Germany.
1985 Everything is Opera, Robert Ashley in Conversation with Peter Gena. Formations, No. 4 (Spring, 1985). Madison, WI: University of Wisconsin Press.
1982 John Cage the Composer. A John Cage Reader. New York: C.F. Peters Corp. (expanded cloth edition, 1983); and TriQuarterly 54. Evanston, IL: NU Press (paper, 1982).
H.C.E. (Here Comes Everybody): Morton Feldman in Conversation with Peter Gena. A John Cage Reader. C.F. Peters, etc. (as above).
Foreword in the Catalog of Mayor Byrne's New Music America '82 Festival, Jonathan Brent (ed.). Chicago: The Museum of Contemporary Art, 1982.
After Antiquity: John Cage in Conversation with Peter Gena. Catalog of New Music America '82 Festival (as above); and A John Cage Reader. C.F. Peters (as above).
Before Venice, for piano solo published in The Buffalo Piano Collection, 1982.
After Antiquity: John Cage i samtale med Peter Gena. Dansk Musik Tidsskrift, 1982/83, No. 2, p. 56.
1981 Artists Statement: Peter Gena, in the Catalog of New Music America '81 Festival, Marina LaPalma (ed.). San Francisco: New Music Alliance/New Music America, 1981.
Freedom in Experimental Music: The New York Revolution. TriQuarterly 52 (Fall, 1981). Evanston, IL: Northwestern University Press, 1981.
1979 In Divisions, A Journal for the Art and Practice of Early Music, March 1979: A description of the computer synthesis of the Balbastre Romance, and an enclosed record disk.
1978 Valse. A piano composition published in Waltzes by 25 Contemporary Composers, by C.F. Peters Corp., New York, 1978.
1977 MUSICOL: Musical Instruction Composition-Oriented Language. Computing in the Humanities, J.S. North (ed.). Waterloo, Ontario: University of Waterloo Press, 1977. Glasgow: University of Glasgow Press, 1977.
1975 Closed Subroutines for Musical Composition. Technical Report No. 9 (NSF Project No. GK-14191), August, 1975. SUNY at Buffalo, New York.
1974 Programming Balbastre's Romance. The Musical Box Society International, Vol. XX, No. 5 (Summer, 1974).
1973 MUSICOL Manual, Version 1. Technical Report No.
7 (NSF Project No. GK-14191), May, 1973. SUNY at Buffalo, New York.
1991 Mother Jones(1983) on Lovely Music, Ltd., New York, #LCD 3021.
1981 Valse(1977) Included on The Waltz Project, Nonesuch Records Co., NYC, #D79011.
PAPERS, LECTURES, INTERVIEWS, PANELS, ETC. (top)
2013 Numbers - Sounds - Images: Sonification in Art, a lecture given at the École Nationale Supérieure de Création Industrielle Paris, October 23, 2013.
2012 Numbers - Sounds - Images, a lecture given at the Ecole Nationale Supérieure d'Art Bourges, January 23, 2012.
2010 Sonification (what, where, how and why), invited participant: a symposium sponsored by Locus Sonus, LAMES, CRISAP (LCC UAL) & Second Nature, Aix-en-Provence, March 4 & 5, 2010.
2009 École Regionale des Beaux-Arts de Nantes, France, March 25, 2009.
Presentation at Séminaire Franco-Américain sur les Coopérations Universitaires et Scientifiques, Rectorat de Paris - Sorbonne, March 23, 2009
École Nationale Supérieure de Création Industrielle, Paris, March 20, 2009.
2008 Panelist in Art, Design and Sound for the Ohio Board of Regents.
2007 Visiting Artist at the Art Students League of New York, NYC, October 20, 2007.
Visiting artist at the École Supérieure d'Art d'Aix-en-Provence, March 19 to 25, 2007, Aix en Provence, France.
2006 École Nationale Supérieure d'Art, Villa Arson, Nice, October 30 - Nov. 2, 2006.
Decorated by the French government at the rank of Chevalier dans l'Ordre des Palmes Académiques (2006).
Visiting artist at the École Supérieure d'Art d'Aix-en-Provence, March 29 to April 3, 2006, Aix en Provence, France.
2005 In residence at the Villa Serbelloni: Rockefeller Study and Conference Center, Bellagio, Italy.
Lecture/presentation: DNA Music, Recent Work, on April 28, 2005 at the Villa Serbelloni, Bellagio, Italy.
Visiting Artist at the École Supérieure d'Art d'Aix-en-Provençe, Aix-en-Provençe, France.
Editorial Board of the College Music Symposium, Volume 44 (Fall, 2005).
2003 Panelist: Multidisciplinary, FY 2004 Grants. National Endowment for the Arts, Washington D. C.2002 Visiting Artist at the School of Music, Carnegie Mellon University.
Visiting Artist at SCAN (studio création arts numériques), at the École Nationale Supérieure d'Art, Villa Arson, Nice.
Panelist: Multidisciplinary, FY 2003 Grants. National Endowment for the Arts, Washington D. C.
2001 Visiting Artist at the School of Music, University of Wisconsin Milwaukee.
A Physiological Approach to DNA Music, at Tsinghua University (Beijing) for the Art and Science Global Symposium.
A Physiological Approach to DNA Music, at CADE 2001: the 4th Computers in Art and Design Education Conference, Glasgow.
Computer Synthesis of DNA Sequences into Music, at the Art and Sound series, Cleveland Institute of Art.
2000 interview was included in the 83 minute broadcast, Eine musikalische Überfahrt in Raum und Zeit: 20 Komponisten in drei Kontinenten (A Musical Crossing in Space and Time: 20 Composers in Three Continents) by the West Deutsche Rundfunk (WDR), in August. In addition, several segments of recorded DNA works were played.
Guest panelist on The Music Industry, a show on the radio program Odyssey, WBEZ-FM, Feb. 15, 2000.
1996 The Music Around Mark Rothko, Smart Gallery, University of Chicago.
Interviewed on the Studs Terkel Show, WFMT-FM, Chicago.
Music at the Cusp of the Millennium. Moderator of a NEMO Panel Discussion with visiting European Composers and Chicago Composers, Roosevelt University, Chicago.
"la sintesi musicale dalle sequence del DNA," Incontro con il Prof. Peter Gena. Sala Consiliare (Gioventù Musicale d�Italia "L. Petrini," Istituto Musicale "A. Vivaldi," Comune Di San Benedetto Del Tronto). San Benedetto del Tronto.
1995 Musical Synthesis of DNA Sequences (with Charles Strom, M.D., Ph.D.). XI Colloquio di Informatica Musicale, Univeristà di Bologna.
Musical Synthesis of DNA Sequences(with Charles Strom, M.D., Ph.D.). Sixth International Symposium on Electronic Art, Montreal.
1994 John Cage and the New York School: A Hyperlecture/Conversation,Musicology Symposium, School of Music, Columbia University, New York, New York.
1993 Interviewed by John Shaefer during a live concert over WNYC (NPR radio) on the New Sounds program, Merkin Concert Hall, NYC.
John Cage and the New York School: A Hyperlecture/Conversation,Days of Silence Symposium, Warsaw, Poland.
Is Beethoven Relevant to Society Today? A Beethoven Festival, (Piano Sonatas series performed by Richard Goode) Performing Arts Chicago, Pick-Staiger Concert Hall, Evanston, IL.
1992 Panelist for the John Cage Now Festival, Northwestern University, Panel Discussion.
Composer�s Forum: Peter Gena,Internationale Ferienkurse für Neue Musik, Darmstadt.
Computer Music in and Around Chicago,Internationale Ferienkurse für Neue Musik.
1989 Attitudes Towards the Arts: Predispositions, etc.,National College of Education, Evanston, IL.
1988 Speaking of Music. Interviewed live (and for future broadcast) for KPFA-FM at The Exploratorium, San Francisco.
The Composer and his Music. Lecture/presentation, California State University at Fresno.
Interviewed on the Studs Terkel Show (with John Cage), WFMT-FM, Chicago.
1985 The Composer and his Music. Lecture/presentation, University of Redlands, Redlands, California.
1983 Interviewed on the Studs Terkel Show, WFMT-FM, Chicago.
1981 Understanding New Music. Lectures given in a series entitled American Experimental Music. The Museum of Contemporary Art, Chicago.
Live interview with Charles Amirkhanian on KPFA-FM, San Francisco, and some twenty stations nationwide.
Guest commentator on the 69th Birthday Celebration Show for John Cage. Carl Stone, producer, KPFK-FM.
An Interdisciplinary Approach to the Analysis of Experimental Music. A paper presented at the National Meeting of the Society for Music Theory, University of Southern California, Los Angeles,.
Respondent in the music series Postmodernism: Has the Renaissance Ended? University of Illinois at Chicago.
The Composer and his Music. Lecture/presentation, University of Redlands, Redlands, California.
1980 Future Directions in Beethoven Piano Sonatas. A lecture presented during the Beethoven Weekend, with the Borodin Trio, Northwestern University.
Interviewed by Charles Amirkhanian on KPFA-FM, San Francisco.
1979 Computer Music Composition. A presentation at Indiana University, Bloomington, Indiana.
1977 MUSICOL: Musical Instruction Composition-Oriented Language. A paper presented at the Third International Conference on Computing in the Humanities. Waterloo, Ontario (Canada).
1976 Biomusic II. A paper presented at the Seventh Annual Meeting of the Biofeedback Research Society. Colorado Springs, Colorado.
1975 Biomusic. A paper presented at the Sixth Annual Meeting of the Biofeedback Research Society. Monterey, CA. Abstract published in the proceedings by the Biofeedback Research Society, University of Colorado Medical Center, Denver, Colorado.
ELMUS: ELectronic MUSic, a Synthesis Program Which Realizes Three-Dimensional Graphs into Electronic Music. A paper presented at the Second International Conference on Computers in the Humanities. University of Southern California, Los Angeles, California.
Biomusic. A paper presented at the Western Regional Conference IV of the American Society of University Composers. CSU at Fresno, California.
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