I'm a composer and instrumentalist based in New Haven, CT. I ran the Uncertainty Music Series from 2007-2017.

Krishna Das is one of the most popular singers of Indian devotional music in the world. Layering traditional Hindu kirtan with instantly accessible melodies and modern instrumentation, Krishna Das has been called yoga's "rock star." With a remarkably soulful voice that touches the deepest chord in even the most casual listener, Krishna Das – known to friends, family, and fans as simply KD – has taken the call-and-response chanting out of yoga centers and into concert halls, becoming a worldwide icon and the best-selling western chant artist of all time. His album ‘Live Ananda’ (released January 2012) was nominated for a Grammy in the Best New Age album category.  He released a string of well-received albums including "PILGRIM HEART", "BREATH OF THE HEART" and "DOOR OF FAITH," the former featuring the vocals of KD fan Sting, and the latter two both produced by Rick Rubin and utilizing, at the producer's request, a palette of traditional Indian instrumentation. KD is clear that he is first and foremost a devotee, with the sharing of his practice a profound act of his faith. Nevertheless, KD has become an iconic music presence, drawing in other artists, including Sting, Madonna, Mike D, Steely Dan’s Walter Becker, and Def Leppard drummer Rick Allen, some of whom are yoga devotees, while others are simply moved by the power of the music.

Adrian Peter Standaart was born in Richmond, Virginia, in 1948, and grew up in Asheville, North Carolina. He was of Dutch descent, and came from a musical family; his father was an organ builder and his mother an organist. He was educated at Duke University, the North Carolina School for the Arts, and Yale University. His principal teachers were Charles Delaney, Emil Medicus, and Thomas Nyfinger. Peter came to Wesleyan University in Middletown, CT, in 1975 and continued to teach flute until shortly before his death on September 16, 2018, at the age of 70. His knowledge of the flute literature was encyclopedic, and his influence as a pedagogue and a champion of music for the flute was enormous. He performed many times with the Wesleyan Orchestra; the Nielsen Concerto and the Griffes Poem (conducted by Roger Solie), the Mozart Concert for Flute and Harp, with Sally Perreten (conducted by Melvin Strauss), and most recently the Honegger Concerto da Camera for Flute, English Horn and String Orchestra, with Libby Van Cleve (conducted by Nadya Potemkina). 
 
He premiered many new works for flute, including compositions of his Wesleyan colleagues. He also performed contemporary works of extraordinary difficulty by Pierre Boulez and Henry Brant. Brant said that Peter Standaart was the finest flutist he had ever heard.
 
 In 1981 he was one of four finalists for the piccolo position of the San Francisco Symphony.
 
Peter was very deeply involved in the Middletown community and with many community organizations throughout Connecticut. In addition to his countless appearances at Wesleyan, he frequently performed at South Congregational Church, Russell Library, and St. Francis Church in New Haven. In recent years he was a member of two trios devoted to performing Baroque music; Burning Bush Baroque, and High Voltage Baroque. He was a founding member of the Connecticut Flute Orchestra. 
 
He had a deep spiritual perspective that combined elements of Christianity, Buddhism, Hinduism and astrology. He was also associated with the Radical Faeries. As long as his health permitted, he was an avid outdoorsman, swimming, sailing and camping.

Simply put, the music is slow and requires patience. Not much more explanation is needed. Published scores available from Edition Peters/Wise Music.

This account contains examples from a programming language for audio.
This language is still very experimental and is not available. 

WHAT

This programming language is called:

"A tool for the expression of sound as pure form."

It is an interpreter for a language for creating and transforming sound. The
language is mostly functional, stack based and uses postfix notation similar to
FORTH. It represents audio and control events using lazy, possibly infinite
sequences. It intends to do for lazy sequences what APL does for arrays: provide
very high level functions with pervasive automatic mapping, scanning, and
reduction operators. This makes for a language where short programs can achieve
results out of proportion to their size. Because nearly all of the programmer
accessible data types are immutable, the language can easily run multiple
threads without deadlock or corruption.

WHY

Other languages that inspired this one:
    APL, Joy[1], Haskell, Piccola[2], Nyquist[3], SuperCollider[4].

APL and FORTH (from which Joy derives) are both widely derided for being
write-only languages. Nevertheless, there has yet to be a language of such
concise expressive power as APL or its descendants. APL is powerful not because
of its bizarre symbols or syntax, but due to the way it automatically maps
operations over arrays and allows iterations at depth within arrays. This means
one almost never needs to write a loop or think about operations one-at-a-time.
Instead one can think about operations on whole structures.

Here is a great quote from Alan Perlis[5] on APL, which that also reflects my
interest in this way of programming :
"What attracted me, then, to APL was a feeling that perhaps through APL one
might begin to acquire some of the dimensions in programming that we revere in
natural language — some of the pleasures of composition; of saying things
elegantly; of being brief, poetic, artistic, that makes our natural languages
so precious to us."

The Joy language introduced concatenative functional programming. This generally
means a stack based virtual machine, and a program consisting of words which are
functions taking an input stack and returning an output stack. The natural
syntax that results is postfix. Over a very long time I have come to feel that
syntax gets in between me and the power in a language. Postfix is the least
syntax possible.

There are several reasons I like the concatenative style of programming:
    Function composition is concatenation. 
    Pipelining values through functions to get new values is the most natural
        idiom.
    Functions are applied from left to right instead of inside out. 
    Support for multiple return values comes for free. 
    No need for operator precedence. 
    Fewer delimiters are required: 
        Parentheses are not needed to control operator precedence.
        Semicolons are not needed to separate statements.
        Commas are not needed to separate arguments.


When I am programming interactively, I most often find myself in the situation
where I have a value and I want to transform it to something else. The thing to
do is apply a function with some parameters. With concatenative programming this
is very natural. You string along several words and get a new value.


REFERENCES    

1. http://www.kevinalbrecht.com/code/joy-mirror/joy.html

2. http://scg.unibe.ch/research/piccola

3. http://www.cs.cmu.edu/~music/nyquist/

4. http://supercollider.sourceforge.net

5. http://www.jsoftware.com/papers/perlis78.htm


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