40-grit (2013, percussion quartet)
Ambit (1994, large chamber ensemble)
assemblage, montage...icon image (2001, piano and vibraphone)
Balance (2009, guitar ensemble: 9 classical guitars)
engaging Causey (1996, computer-generated sound)
for six percussionists (1993, percussion ensemble: 6 players)
Frieze (2011, 16 or more guitarists of any experience level)
In Circles of Blue (2008, orchestra)
lemon; birch (2002, computer-generated sound)
Now's the Hour of My Waiting (2007, tenor and piano)
On bright leaves... (2005, SATB chorus and piano)
Outside Edge (1991, 4 or more performers of any discipline)
Push to Hush (2010, rev. 2014, solo guitar)
Room Tone (2012, oboe, Bb bass clarinet, violin, cello, percussion)
Simply, Gently, Falling (2007, rev. 2012, solo guitar [originally for jazz guitar])
Taste of your Water (2007, SATB a cappella chorus)
veneer/semblance, extremities, verities (1992, 2 violins, 2 violas)
JERRY TABOR'S MUSIC APPEARS ON THE FOLLOWING NEUMA RECORDINGS:
Electro Acoustic Music VI Neuma 450-99
New Music Series, Volume 4 Neuma 450-102
Electro Acoustic Music VII Neuma 450-105
Jerry Tabor composes experimental acoustic and electroacoustic music. Perhaps one of the most enduring aspects of his compositions is his use of open structures that highlight unique performer, instrumental, and computer system characteristics. The composer holds that by designing structures in which non-intention is unrelenting, the music reveals sound as an authentic extension of whatever is acting within the structure. Such structures often control every nuance of a composition, from the articulation of individual sounds to the unfolding of form through ensemble interaction.
As a guest composer, Tabor’s music has been featured at the John Donald Robb International Composers Symposium (twice), the Western Illinois University New Music Festival, the Electroacoustic Music: The Continuing Tradition conference (MD), the Holy Cross College New Music Festival (MA), George Mason University (VA), SUNY Buffalo, Catholic University of America (DC), and Hartwick College (NY), and more recently, Conservatorio Alfredo Casella in L’Aquila, Italy, among others. Tabor’s music has also been presented at such festivals as the International Computer Music Conference, the Percussive Arts Society International Conference, the American Society for Cybernetics Conference, the Electronic Music Midwest Festival, and Society of Composers conferences. Several of his compositions are recorded on the Neuma Records label and many of his scores are published by Neuma Publications.
Tabor’s research is focused in the areas of composition theory and composition pedagogy. His important book on a pioneering theorist and cognitive musicologist, entitled, Otto Laske: Navigating New Musical Horizons, is published by Greenwood Press (1999). He played an important role in the organization of a significant Mellen Press volume on the work of Thomas DeLio, Essays on the Music and Theoretical Writings of Thomas DeLio, Contemporary American Composer, for which he coauthored the introduction (2008). He also published several essays in the Computer Music Journal and wrote the Instructors Manual for the 2nd edition of the popular jazz text, Jazz: The First 100 Years.
Tabor holds Doctor of Musical Arts and Master of Music degrees in composition from the University of Maryland at College Park, where he studied with esteemed composer and theorist, Thomas DeLio. He earned a Bachelor of Music degree in theory and composition at the University of New Mexico under the guidance of Scott Wilkinson, William Wood, and Christopher Shultis. While at UNM, Tabor took master classes with such composers as Milton Babbitt and Michael Colgrass.
Tabor has taught at the University of Maryland, University of Maryland Baltimore County, and Trinity College in Washington, D.C. As Professor of Music at Salisbury University in Maryland, where he has taught since 1997, Tabor teaches in and coordinates the theory and composition programs. He also directs the jazz ensembles.