Editing Jon Appleton (section)

==Career==
===1960s===
From 1957 to 1961 Appleton was a student at [[Reed College]] in [[Portland, Oregon]]. These years shaped his future life: he composed for his fellow students who performed everything he composed, he decided to become a college professor and in 1959 he married his first wife, a fellow student, Georganna Towne. Following his graduation from Reed College, Appleton moved to [[San Francisco, California]], where his first child was born (Jennifer Appleton). Simultaneously he studied composition with [[Andrew Imbrie]] at the [[University of California, Berkeley]], collaborated with writer [[Willard S. Bain]] (1938–2000) writing musical comedies and was employed at the [[Macy's]] department store as an assistant buyer.

In 1962–1963 Appleton was the music teacher at the [[Verde Valley School]] in [[Sedona, Arizona]], where he conducted the [[choir]] and [[orchestra]], taught [[music theory]], [[history]] and [[piano]] lessons.

From 1963 to 1966 Appleton was a graduate student at the [[University of Oregon]] in [[Eugene, Oregon]], where he studied with [[Homer Keller]], [[Henri Lazarof]], [[Felix Salzer]] and [[Robert Trotter]]. It was there that he assembled a primitive [[electronic music]] studio and composed his first works in this genre. His thesis was an orchestral work, ''After "Nude Descending a Staircase"''. Most of the instrumental and vocal music he composed at this time used [[serial technique]] that he loved to compose. During his years in Eugene he became a lifelong friend of the pianist [[Gabriel Chodos]].

In 1966, on the basis of his early electronic music, he was invited by [[Vladimir Ussachevsky]] at [[Columbia University]] to study in the [[Columbia-Princeton Electronic Music Center]]. He became an advocate for electronic music and became friends with fellow composers [[Charles Dodge (composer)|Charles Dodge]], [[Emmanuel Ghent]] and [[Richard Taruskin]].

During 1966–1968 he was hired by [[Oakland University]] in [[Rochester, Michigan]], to establish an electronic music studio. When the university officials reneged on their promise, he resigned and accepted a position at [[Dartmouth College]]. It was during this year that his son, [[Jon Jason Appleton]] was born ({{italics correction|''a.k.a.''}} JJ Appleton; born April 19, 1967).

===1970s===
At [[Dartmouth College]] Appleton's work in electronic music was generously encouraged by the administration of President [[John G. Kemeny]] and by a generous donation from Gerald Bregman '54. The Bregman Electronic Music studio was one of the pioneering studios at American universities and became a center for many visiting composers. Two of these, [[Lars-Gunnar Bodin]] (1935, [[Stockholm, Sweden]] – 2021) and [[Jean-Claude Risset]] (born 1938, LePuy, [[France]]) became important colleagues throughout Appleton's life. In 1970 Appleton also was influenced by the work of  the "father" of computer music, [[Max Mathews|Max V. Mathews]] and by French composers [[François Bayle]], Beatriz Ferreyra and Michel Redolfi.

It was at this time that he initiated the first competition for electronic music that was held for three years at Dartmouth College.

In 1969 Appleton's first recordings were published ([[Appleton Syntonic Menagerie|Syntonic Menagerie]] and Human Music – the latter in collaboration with jazz musician [[Don Cherry (jazz)|Don Cherry]] – on the [[Flying Dutchman Records|Flying Dutchman]] label,{{Sfn|''Discogs''}} produced by [[Bob Thiele]].

In 1973 Appleton began his collaboration with engineers Sydney Alonso and Cameron Jones, which led to the creation of the [[New England Digital|Dartmouth Digital Synthesizer]] and ultimately the [[Synclavier]].{{Sfn|"Synclavier Early History" ||p=}} However, it was not until the 1980s that Appleton composed his best works for this [[Digital data|digital]] [[synthesizer]] and on which he gave concerts of his own music for the following decade.

His love of [[Sweden]] led Appleton to leave [[Dartmouth College]] in 1976–1977 and become the director of Elektronmusikstudion, Sweden's national center for electronic music. His difficulty with the Swedish bureaucracy led to his resignation and he returned to [[Norwich, Vermont]], as a partner, for one year, in the newly formed firm [[New England Digital|New England Digital Corporation]] that had begun to manufacture the [[Synclavier]]. The following year he returned to the faculty of Dartmouth College.

It was also during this time in his life that Appleton developed a serious interest in the music of [[Polynesia]] and [[Micronesia]]. He led a group of Dartmouth students to the Kingdom of [[Tonga]] and later received a grant from the [[National Endowment for the Arts]] to train radio personnel on the Micronesian islands of [[Chuuk State|Chuuk]] and [[Pohnpei]] to record and broadcast their own music.

===1980s===
It was during this period that Appleton began to compose his best computer music and live-electronic music. Many of his works for this genre were first premiered at the annual festival held by the [http://www.imeb.net Groupe de Musique Experimentale de Bourges] ([[France]]) and at [[Fylkingen]] in [[Stockholm, Sweden]].

During his time in [[Bourges]], Appleton became a founding member of the [[International Confederation for Electro-Acoustic Music]] ([http://www.cime-icem.net/]). His stimulating interaction with composers from many nations led him to believe that a similar organization in the United States might help raise the profile of electro-acoustic music in his own country. In 1984, together with a small group of like-minded composers, Appleton helped establish the [[Society for Electro-Acoustic Music in the United States]] (SEAMUS). He ultimately served for a time as president of the society.

In the summer of 1984 Appleton helped [[Moses Asch]], founder of [[Folkways Records]], release its first recordings of [[electro-acoustic music]]. According to Asch's wishes, these recordings have remained in print under the Smithsonian/Folkways auspices.

===1990s===
The decade of the 1990s saw Appleton spending increasing amount of time abroad: teaching at [[Keio University]] (Mita) in [[Tokyo, Japan]], for three years and frequently visiting [[Moscow, Russia]], where he was inspired by the enthusiasm of young composers. He encouraged the composer/engineer Andre Smirnov to establish the [[Theremin Center]] at the [[Moscow Conservatory of Music]]. Appleton was first introduced to Russian musicians and artists by the choral conductor/ethnologist [[Dmitri Pokrovsky]] (1944–1996) and this began his compositional return to instrumental and choral music, much of it composed for the pianist [[Julia Turkina]] and cellist [[Alexander Zagorinsky]]. In an essay entitled "How I Became a Russian Composer" (2009) Appleton explains his love of Russian music and culture that he believes his stepfather, Alexander Walden, instilled in him.{{Sfn|Appleton, |2009|p=}}

Also in this decade Appleton composed two full-length [[operas]] for a choir of 1500 children and professional orchestra. The works, ''HOPI: La naissance de Desert'' and ''Le Dernier Voyage de Jean-Gallup de la Perouse'', were conducted by [[Alain Joutard]] and commissioned by the Delegation Departmental à la Musique et à la Danse of the Conseil General des Alpes-Maritimes in [[Nice, France]].