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Barry Truax (born 1947) is a Canadiancomposer who specializes inreal-time implementations ofgranular synthesis, often ofsampled sounds, andsoundscapes.^[1]

He is credited with developing the first ever implementation of real-time granular synthesis in 1986, with being the first composer to explore the range between synchronic and asynchronic granular synthesis inRiverrun (1986), and being the first to use a sample as the source of a granular^[2] composition inWings of Nike (1987).^[3]

Truax is Professor Emeritus ofSimon Fraser University, where he taught bothelectroacoustic music and acoustic communication. He was one of the original members of theWorld Soundscape Project.^[4]

• The Blind Man (1979)
• Riverrun (1986,Wergo WER 2017–50)
• Wings of Nike (1987, Cambridge Street Records CSR CD-9401 andPerspectives of New Music CD PNM 28)
• Tongues of Angels (1988, Centrediscs CMC CD-4793)
• Beauty and the Beast (1989, Cambridge Street Records CSR-CD 9601)
• Pacific (1990, Cambridge Street Records CSR CD-9101)
• Pacific Fanfare (1996)
• Wings of Fire for female cellist and two digital soundtracks including the Joy Kirstin poem "Wings of Fire" read by Ellie Epp (1996)
• Androgyne, Mon Amour for amplified male double bass player and two digital soundtracks including text fromTennessee Williams' 1977 book of the same title read by Douglas Huffman (1997)

• Interview with Truax by Toru Iwatake (online version). Accessed 4 February 2010 Print version:Computer Music Journal, 18(3), 1994, pp. 17–24.
• InterviewAsymmetry Music Magazine. Accessed 4 February 2010.

• "Barry Truax: Electroacoustic Composer & Acoustic Communication Researcher",Simon Fraser University, British Columbia

• 21st-century Canadian classical composers
• Living people
• 1947 births
• 20th-century Canadian classical composers
• Canadian electronic musicians
• Electroacoustic music composers
• Canadian male classical composers
• 20th-century Canadian male musicians
• 21st-century Canadian male musicians

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