Hubert Howe was born in Portland, Oregon and grew up in Los Angeles, California, where he began his musical studies as an oboist. He was educated at Princeton University, where he studied with J. K. Randall, Godfrey Winham and Milton Babbitt, and from which he received the A.B., M.F.A. and Ph.D. degrees. He was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College of the City University of New York. He also taught at the Juilliard School from 1974 through 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama in Tuscaloosa. From 1989 to 1998, 2001 to 2002, and Fall 2007, he was Director of the Aaron Copland School of Music at Queens College.

He has been a member of the Society of Composers, Inc. since its founding in 1965 and served on the Executive Committee from 1967 to 1971. He served as President of the U.S. section of the League of Composers/International Society for Contemporary Music from 1970 until 1979, in which capacity he directed the first ISCM World Music Days in 1976 in Boston, the first time that festival was ever held in the United States. In 1980, he received a commission from the CSC at the University of Padua, Italy, for his composition Astrazioni (Abstractions), which was presented at the Biennale of Venice.

He is a member of the International Computer Music Association and directed the International Computer Music Conference at Queens College in 1980. In 1994, he was the composer-in-residence at the Third Annual Florida Electroacoustic Music Festival at the University of Florida in Gainesville. He is also a member of SEAMUS. He has been a member of BMI and the American Composers Alliance since 1974 and served as President from 2002 to 2011. He is a member of the New York Composers Circle and has served as Executive Director since 2013. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director.

Recordings of his computer music have been released by Capstone Records (Overtone Music, CPS-8678, Filtered Music, CPS-8719, and T emperamental Music and Created Sounds, CPS- 8771) and Ravello Records (Clusters, RR 7817), ABLAZE Records (Electronic Music Masters Vol. 2, ar-00013), and Centaur Records (Harmonic and Inharmonic Fantasies, CRC 3579).

Albums

Mind & Machine, Volume Three

Release Date: December 11, 2020
Catalog Number: RR8043
21st Century
Avant-Garde
Electroacoustic
Electronic
MIND & MACHINE VOL THREE offers a new look into the Ravello Records series of electro-acoustic and electronic music lauded by critics as “interesting and captivating” (Cinemusical). This latest edition features an array of composers and sound-artists who offer his or her own striking exploration into the means by which technology can be used to alter time and form to create entirely new musical experiences.
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Vanguards 1

Release Date: July 8, 2014
Catalog Number: RR7892
20th Century
21st Century
Chamber
Solo Instrumental
Electronic
Percussion
Piano
Ravello Records is pleased to announce the first installment of its compilation series, VANGUARDS VOL. 1, presenting a deep cross-section of the label's contemporary and eclectic catalog. The album features performances by the London Symphony Orchestra, pianist Kate Boyd, the McCormick Percussion Group, the New Hudson Saxophone Quartet, pianist Amy Briggs, the Grammy-nominated Strung Out Trio, and many more in works by contemporary composers such as Alan Beeler, Stefan Poetzsch, Michael Veloso, Lisa Miles, Hubert Howe, Scott Brickman, Alan Schmitz, and others.
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Clusters

Release Date: August 30, 2011
Catalog Number: RR7817
21st Century
Chamber
Cello
Viola
Violin
CLUSTERS features the computer synthesis-based compositions of New York-based Hubert Howe. Howe, who was one of the first researchers in computer music, uses his vast knowledge of the subject and his studies in sound to create sprawling, atmospheric works that help expose the world of inharmonic partials and nonconventional instruments. Each of his compositions uses the properties of sound in unique ways, leading to carefully crafted and planned soundscapes. Howe’s expertise is reinforced by his accompanying text, which offers detailed explanations of the composition and implementation of each piece.
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