Tenney's notable students include John Luther Adams, Larry Polansky, and Peter Garland. He performed with John Cage, as well as with the ensembles of Harry Partch, Steve Reich, and Philip Glass. Tenney's work deals simply and artfully with perception (For Ann (rising), see Shepard tone), just intonation (Clang, see gestalt), stochastic elements (Music for Player Piano), information theory (Ergodos, see Ergodic theory), and with what he calls 'swell' (Koan: Having Never Written A Note For Percussion for John Bergamo), which is basically arch form. His pieces are most often tributes and subtitled as such. As his friend Philip Corner says, For Ann (rising), "must be optimistic! (Imagine the depressing effectiveness of it — he could never be so cruel — downward)..." Tenney wrote the in-depth liner notes to Wergo's edition of Conlon Nancarrow's Studies for Player Piano (Nancarrow, as a favor, punched the roll for Tenney's Spectral Canon for Conlon Nancarrow), the seminal Meta (+) Hodos (one of, if not the, earliest applications of gestalt theory and cognitive science to music), the later Hierarchical temporal gestalt perception in music : a metric space model with Larry Polansky, and other works.
An entire issue of the academic journal Perspectives of New Music was devoted to Tenney's music. He taught at the Polytechnic Institute of Brooklyn, the California Institute of the Arts, the University of California, and York University in Toronto. He died on 24 August 2006 of lung cancer in Valencia, California. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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|Spectral Canon for Conlon Nancarrow (1976 version; piano roll punched by Nancarrow)|
|Analog #1 (Noise Study)|
|Collage #1 ("Blue Suede")|