Assistant Professor, Composition/Electronic & Computer Music/Music Theory, Kansas State University (2002–)
Visiting Assistant Professor, Theory/Composition, Western Illinois University (2001/2002)
Assistant Professor, Theory/Composition/Electronic & Computer Music, Iowa State University (1994–2001)
Lecturer (part time), Theory/Composition,
Pre-Doctoral Lecturer (full time),
Associate Managing Editor, Perspectives of New Music (September, 1990–September, 1991)
Graduate Teaching Assistant, University of Washington. (June–Dec., 1989, and 1986–1988)
Assistant to the Editor/Subscription Manager, Perspectives of New Music (June–July 1990; May, 1988–January, 1989)
University of Washington:
D.M.A. (Composition) 1992. Dissertation: Inversion, Subversion and Metaphor: Music and Text in Elliott Carter’s A Mirror On Which to Dwell. (Dissertation advisor: John Rahn)
M.M. (Composition) 1988. Thesis: Seeds, Sparks, Dreams, Visions (for string quartet and two pianos).
Studied with: John Rahn, Jonathan Bernard, James Beale, Diane Thome, William O. Smith, Richard Karpen, Pieter van den Toorn
Course Work: Composition, Theory, Computer Music, Counterpoint, History/Literature, Saxophone Performance
Central Michigan University: B.M. (Theory/Composition) 1986
Professional Recognition: Awards, Presentations,
Future or in-progress commissioned works: Kansas State University Trumpet Ensemble; Trombone and Percussion, Bruce and Brian Tychinski
If Just for Once (Choir): Hobart and William Smith Colleges Cantori Commission
Aix (chamber ens.) commissioned by Peoria Lunaire (the Bradley University New Music Ensemble)
Recent performances selected by national calls for scores: Unbroken Lines at 2001 Society of Composers. Inc. (SCI) Region V conference; Archaic Torso of Apollo at 2001 SCI national conference; Texture Study no. 1 at 1999 SCI region V conference; …into all crevices of my world… at 1999 College Music Society national conference.
Texture Study no. 1 (computer-generated sounds), commissioned by the Brunnier Museum, Iowa State University, 1998.
Featured Guest Composer (residency), Bradley University, November 1997.
Featured Guest Composer (residency), St. Cloud State University (MN), October 1997.
Archaic Torso of Apollo (chamber choir), commissioned by the Central Michigan University School of Music, 1997.
…into all crevices of my world… (piano + computer tape), included in American Composers Forum “Sonic Circuits V” Series (a juried slate of electroacoustic pieces for international performance), 97/98.
…into all crevices of my world… (piano + computer tape), commissioned by the Iowa Music Teachers Association.
…is to…, (two percussion + computer tape version) premiered at University of Missouri New Music Festival. (March/April 1995)
Horn Concerto, commissioned by the Seattle Arts Commission’s Seattle Artists program.
Avatars, winner of 1992 Norwalk Symphony Quinto Maganini Award (cash award and premier performance).
Avatars, winner in 1991 ASCAP Young Composers Competition.
Avatars, read by the Cincinnati Symphony Orchestra, as semifinalist in the 1991 Cincinnati Symphony Orchestra Young Composers’ Competition.
Two Microtonal Studies for Bassoon and Controlled Sonic Environment, Performed at 1988 Annual Conference of the Society for Electro-Acoustic Music in the United States (SEAMUS).
Associate Editor, Perspectives of New Music. (This is an unpaid editorial position—items listed under “experience” are paid production-staff positions.)
“Selling It—Re-thinking Some Pedagogical Issues in the Introduction of Atonal Music.” (Paper) Presented at 1999 Annual Conference of the Society for Music Theory (SMT).
“Musical Phenomenology: What Has Been and What Might Be.” (Paper) Presented at 1990 Annual Conference of SMT.
“Text and Conceptual Modeling in ‘Anaphora’ from Elliott Carter's A Mirror on Which to Dwell.” (Paper) Presented at 1989 Annual Conference of SMT.
Gary Don and Craig Weston, “Review of Music and Power Conference (University of Washington, 4–5 May 1991),” Computer Music Journal 15/4 (Winter 1991): 96–98.
Craig Weston, “NoteWriter: A Unique Approach to Music Printing Software.” Musicus 2/i & ii (June/December 1990): 121–32.
Craig Weston, “Learning to Compose: a Review.” (review of Larry Austin and Thomas Clark, Learning to Compose: Modes, Materials and Models of Invention) Perspectives of New Music 28/1 (Winter 1990): 344–51.
John Rahn, Richard Karpen, Craig Weston, Charles Hiestand, “Using the ‘LISP Kernel’ Musical Environment.” Musicus 1/ii (December 1989): 144–65.
Iowa Composers Forum Sampler. (released 2000), includes …into all crevices of my world (piano solo + computer sounds). Included by competitive call for works.
If Just for Once (2002) Choir
Aix (2002): Chamber Orchestra
Credo (2001): Choir, Piano, String Quartet
The Peace of Wild Things (in progress; three of four movements finished): Orchestra and Chorus
The River Bridged and Forgot , Orchestra (1999) (premiere 2/25/00)
Unbroken Lines (revised and expanded) (1999), Flute and Clarinet
Texture Study no. 1 (1998), Computer-generated sounds
Archaic Torso of Apollo (1997): Chamber Choir
Unbroken Lines (1997), Flute and Clarinet
…into all crevices of my world (1997), Piano Solo + Computer-generated sounds
…is to… (1996), Revised versions for Computer-generated sounds alone and for and 1 Percussionist + Computer-generated sounds
Horn Concerto (1995), Horn and Orchestra
Nightsongs and Glacial Runes (1993–94), String Quartet
…is to… (1991–92), Computer Tape and 2 Percussionists
Avatars (1990), Orchestra
Soliloquy (1989), Solo Guitar
Essential Departures (1989), Solo Viola
Labyrinth of Proteus (1989), T. Saxophone, Guitar, 1 Percussionist, String Bass
Fanfares and Furies (1988), Large Wind Ensemble
Two Microtonal Studies for Bassoon and Controlled Sonic Environment (1988), Bassoon and computer-generated sounds
Seeds, Sparks, Dreams, Visions (1987), String Quartet + 2 Pianos
Modi Operandi (1987), solo piano
Computer Music/Music Technology
Contemporary Music (History/Literature, Performance, etc.)
University Courses Taught:
Music Theory, Freshman level
Music Theory, Sophomore level
Counterpoint, Junior level
Advanced Analysis, Senior Level
20th Century Theory/Compositional Techniques, Senior level
Orchestration, Senior/Graduate level
Electronic/Computer Music/Music Technology, introductory level
Electronic/Computer Music, advanced level
Private Composition, all levels
Group Composition, all levels
Organizations and Other Professional Activities:
Member; ASCAP, Society of Composers Incorporated, Society for Music Theory, International Computer Music Association, American Composer Forum, Iowa Composers Forum (secretary, member of board of directors), College Music Society.
Co-founder; ProConArt Ensemble (Seattle).