Elliott Sharp
| Elliott Sharp | |
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| Background information | |
| Birth name | Elliott Sharp |
| Born |
March 1, 1951 Cleveland, Ohio, United States |
| Genres | Contemporary classical, Experimental, Free improvisation, Jazz, Avant garde |
| Occupation(s) | Composer, musician, producer |
| Instruments | Guitar, Tenor Saxophone, Bass Clarinet |
| Years active | 1980s–present |
| Labels | SST, Tzadik, Clean Feed, Intuition, Homestead, Atavistic, Intakt, Extreme, Knitting Factory, zOaR |
| Associated acts | Terraplane, Carbon, Orchestra Carbon |
| Website | www.elliottsharp.com |
Elliott Sharp (born March 1, 1951 in Cleveland, Ohio) is an American contemporary classical composer, multi-instrumentalist, and performer.
A central figure in the avant-garde and experimental music scene in New York City since the late 1970s, Sharp has released over eighty-five recordings ranging from contemporary classical, avant-garde, free improvisation, jazz, experimental, and orchestral music to noise, no wave, and electronic music. He pioneered the use of personal computers in live performance with his Virtual Stance project of the 1980s. He has used algorithms and fibonacci numbers in experimental composition since the 1970s. He has cited literature as an inspiration for his music and often favors improvisation. He is an inveterate performer, playing mainly guitar, saxophone and bass clarinet. Sharp has led many ensembles over the years, including the blues-oriented Terraplane and Orchestra Carbon.
Sharp was classically trained in piano from an early age, taking up clarinet and guitar as a teen. He attended Cornell University from 1969 to 1971, studying anthropology, music, and electronics. He completed his B.A. degree at Bard College in 1973, where he studied composition with Benjamin Boretz and Elie Yarden; jazz composition, improvisation, and ethnomusicology with trombonist Roswell Rudd; and physics and electronics with Burton Brody. In 1977 he received an M.A. from the University at Buffalo, where he studied composition with Morton Feldman and Lejaren Hiller, and ethnomusicology with Charles Keil.
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