Gregory Lee Newsome

Gregory Lee Newsome


Gregory Lee Newsome (1969) is Lecturer, Digital Composition in the Music Technology & Digital Media program of the Faculty of Music at the University of Toronto.

His music has been described as “beautifully wrought” and “an incredibly intricate and hypnotic web of sound, texture, and rhythm.” Drawing from spectralism, his work is rooted in structure but tempered by intuition.

Computation is a core aspect of his artistic practice, from computer-assisted composition to interactive performance to reactive video.

After receiving his Master of Music in Composition from the University of British Columbia, he continued his studies with the late Russian-Canadian master Nikolai Korndorf before travelling to Paris to hone his artistic voice with the iconic Finnish composer Kaija Saariaho.

He has written music at the request of Arraymusic, Aventa, Daniel Cooper, Ian Hampton, Rachel Kiyo Iwaasa, Mark Takeshi McGregor, Phoenix Chamber Choir, Redshift Music Society, Standing Wave, Tiresias Duo, Vancouver New Music Society, and Vancouver Pro Musica, and his music has been performed and broadcast in North America and Europe.

He has been a resident of the Leighton Artists’ Colony at The Banff Centre (2012, 2014, 2015) and the Media and Graphics Interdisciplinary Centre (MAGIC) at the University of British Columbia (2010).

His work Avarice appears on flutist Mark Takeshi McGregor’s CD Sins & Fantasies, which was nominated for ‘Classical Recording of the Year’ by the 2015 Western Canadian Music Awards.

Gregory Lee Newsome has been a committed advocate for contemporary music, serving as a director of Aventa, The Music Gallery, and Vancouver New Music, as host of the radio programme Are You Serious? Music, and as Artistic Advisor for ensemble1534.

From 1998 to 2012, he was a staff member of the Canadian Music Centre, first in Vancouver and then in Toronto.



  • Kintsukuroi — 17’ — 3 pianos, 3 harps, 3 percussion — Aventa
  • harpsichord, piano — rockeys duo
  • cello — Dobrochna Zubek
  • accordion — Olivia Steimel
  • malletKAT — Rick Sacks


  • Ambitus (2015) — 10’ — alto flute, Max/MSP
  • Ouroboros (2013) — 12’ — piano, Max/MSP
  • Avarice (2011) — 7’ — flute
  • Ocean of Storms (2004) — 8’ — bass guitar, coin, fixed media


  • The Sacrifice of Infinity (2000) — 4’ — harp, percussion


  • in arc’s umbra (2009) — 7’ — flute, piano, percussion
  • CaVU (2006) — 5’ — violin, cello, piano
  • in medias res (2005) — 10’ — bass clarinet, piano, percussion, violin, cello
  • non-art (1999) — 8’ — alto saxophone (or clarinet/bass clarinet), piano, percussion, cello
  • There is a Tide (2017) — 8’ — flute, piano, accordion, violin

Large Ensemble

  • coruscating (2008) — 7’ — 3 piccolos, 5 flutes, 2 alto flutes
  • kittymuzzle (2002) — 10’ — 4 trumpets, 2 trombones, bass trombone, 5 percussion, fixed media


  • Capsule (2016) — 10’ — soprano, clarinet, percussion, violin, contrabass



  • Calepin (2017) — 8’ — Max/MSP, JavaScript
  • Panacea’s Scar (2000) — 6’ — Csound
  • Purity (1999) — 7’ — Csound
  • Chroma (1999) — 9’ — Csound


MIDIFlower — lightweight MIDI input framework for ChucK
orcheil — web app for the visualization of orchestration



  • Music Technology & Digital Media Major Project
    Graduate student advising.

  • Max/MSP
    Max/MSP is a visual programming language for music and media, and the preeminent environment for developing interactive performance software. The course will provide instruction on how to use Max/MSP to create engaging and effective stand-alone software for live performance, culminating in a final project.

  • Video for Intermedia Performance
    Video is an integral aspect of intermedia performance, pairing with other temporal media such as music, theatre, and dance. This course will provide instruction on developing performance software for video creation and manipulation, exploring 3D modelling, chroma key, compositing, effect processing, interactive control, and matrix transformation. There will be an ongoing review of major work in the discipline, and the course will culminate in a final project and performance.


  • Live Coding: Digital Audio in Real Time
    Live coding is an emergent creative practice at the intersection of composition, improvisation, performance, and computer programming. Using the highly approachable ChucK programming language, students will learn to create and manipulate digital audio in real time, culminating in a final project and performance.