composer / performer
e-mail: mark@glyphic.com

Mark Lentczner is a composer and performer of electronic and computer music. His musical practice spans algorithmic composition, digital audio manipulation, creation of improvisatory frameworks, and live performance.

Since 2016 Mark has led the musical project electric.kitchen. The project performs both solo and with collaborators. It has released three albums to date. His prior musical work is primarily on Serge Modular synthesizer and computers, for both tape and live performance.

Mark also has an extensive software background and creates music tools for both his own work, and other musicians. Recent releases include software for Elektron instruments, SuperCollider, and Ableton Live.

Education & Studies

1978-1979
studied at Public Access Synthesizer Studio, New York City
1980-1984
Harvard University, BA; studied with composer Ivan Tcherepnin
1983
CCRMA, Stanford University, fellowship; studied with composers John Chowning, Bill Schottstaedt, & Chris Chafe
1983
Serge Synthesizers; worked with Serge Tcherepnin
1986-1988
studied Congolese drumming with Arthur Hull
1987-1988
studied Chapman Stick with Bob Culbertson

Selected Work Experience

1985-1989
Apple Computer, founder and manager of Sound & Music Research Group; designed and produced system software for audio, music, and MIDI for Macintosh; composed and produced the start up chime for the Mac II series
1990-1991
Go Corporation, application framework software
1992-2002
Glyphic Technology, founder and CEO; programming language design, and software architecture
2005-2010
Linden Lab, software architect working on the virtual world Second Life
2010-2018
Google, security research, networking research and development

Selected Papers

1985
Sound Kit: A Sound Manipulator, M. Lentczner
11th International Computer Music Conference, Vancouver, Canada
1987
Music Workstations on a Personal Scale, M. Lentcznerv
AES 5th International Conference: Music and Digital Technology, Los Angeles, U.S.A.
1988
The Sound Manager: A Software Architecture for Device Independent Sound, M. Lentczner, J. Worthington
14th International Computer Music Conference, Cologne, Germany
1990
A Real-time Implementation of Physical Models, F. Malouf, M. Lentczner, C. Chafe
16th International Computer Music Conference, Glasgow, Scotland

For full list of papers, see: DBLP.

Short Compositions

Mechanism — 2018, 1:28, work in progress
This sketch started as a short work based on a project for Abelton’s Loop conference. It is being expanded into fuller work, planned for performance in 2019.

Ritual of Recycling — 2018, 2:30
A work based on percussive samples of instruments built by the composer Nathan Moody. The work is mostly in 9/8 time, with a deliberately fractured beat.

Bagatelle — 2017, 2:01
Mixture of traditional instruments (piano, oboe, bass) and field recording.


Longer Works

The Meditations of Discarded Robots — 2018, 11:00
Ambient work based sampled sounds: clay bells and electrostatic fields. Most of the recordings were sculpted into primarily percussive sounds, but then composed into very long form rhythmic structures overlaid to create an ambient texture.

Plain Changes 230 — 2013, 9:05
Composed for Tesla coil and robotic electric bass guitar. The piece uses the processes of Changing Ringing of church bells, but played much faster, at unusual lengths and notes - and simultaneously on multiple voices. The work is an example computer assisted composition, and integration of both mathematical and musical processes.


Live Performance

Infinite Set 4: Marked Line — 2018, 14:27
Infinite Set 4 was performed live at Resonant Frequencies 10, Oakland on October 7th, 2018. It is the 4th in a continuous series of live sets that each start from where the last ended. The work is improvisation with sampled percussion, synthesizer, and custom digital processing in SuperCollider.

Metal Biped 001.3 — 2017, 6:33
Live performance collaboration with Josh Bailey. Josh is playing a MIDI controlled Tesla Coil, and I’m playing percussion, pitched tone, and speech samples. The performance was in an extraordinarily huge concrete warehouse (able to house three airplanes), with incredible natural reverb, used in the performance, and heard in the recording.