Kyle Gann, born 1955 in Dallas, Texas, is a composer and was new-music critic for the Village Voice from 1986 to 2005. Since 1997 he has taught music theory, history, and composition at Bard College. His books include The Music of Conlon Nancarrow, American Music in the 20th Century, Music Downtown: Writings from the Village Voice, No Such Thing as Silence: John Cage’s 4’33”, Robert Ashley, Charles Ives’s Concord: Essays After a Sonata, and The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician (forthcoming). Gann studied composition with Ben Johnston, Morton Feldman, and Peter Gena, and about a fourth of his music is microtonal, using up to 58 pitches per octave. His major works include Sunken City, a piano concerto commissioned by the Orkest de Volharding in Amsterdam; Transcendental Sonnets, a 35-minute work for choir and orchestra commissioned by the Indianapolis Symphonic Choir; Custer and Sitting Bull, a microtonal, one-man music theater work he’s performed more than 30 times from Brisbane to Moscow; The Planets, commissioned by the Relache ensemble; and Hyperchromatica for three retuned, computer-driven pianos. In 2007, choreographer Mark Morris made a large-ensemble dance, Looky, from five of Gann’s works for Disklavier (computerized player piano). His writings include more than 3000 articles for more than 45 publications, including scholarly articles on La Monte Young, Henry Cowell, John Cage, Edgard Varese, Ben Johnston, Mikel Rouse, John Luther Adams, Dennis Johnson, and other American composers. He was awarded the Peabody Award (2003), the Stagebill Award (1999) and the Deems-Taylor Award (2003) for his writings. His music is available on the New Albion, New World, Cold Blue, Lovely Music, Mode, Other Minds, Innova, Meyer Media, New Tone, Microfest, Vous Ne Revez Pas Encore, Brilliant Classics, and Monroe Street labels. In 2003, the American Music Center awarded Gann its Letter of Distinction, along with Steve Reich, Wayne Shorter, and George Crumb.