Robert Morris, born in Cheltenham, England in 1943, received his musical education at the Eastman School of Music (B.M. in composition with distinction) and the University of Michigan (M.M. and D.M.A. in composition and ethnomusicology), where he studied composition with John La Montaigne, Leslie Bassett, Ross Lee Finney, and Eugene Kurtz. At Tanglewood, as a Margret Lee Crofts Fellow, he worked with Gunther Schuller. Morris has taught composition, electronic music, and music theory at the University of Hawaii and at Yale University, where he was Chairman of the Composition Department and Director of the Yale Electronic Music Studio. He was also Director of the Computer and Electronic Studio, Director of Graduate (music) Studies, and Associate Professor of Music at the University of Pittsburgh. In 1980 Morris joined the faculty of the Eastman School of Music where he presently teaches as Professor of Composition. (He was chair of the Composition Department from 1999-2005 and before that a member of both the composition and music theory departments.) Other teaching posts have included positions at the Philadelphia College of the Performing Arts, the Governor's School for the Arts held at Bucknell University, the University of Pittsburgh Computer Music Workshop, and the Berkshire Music Center at Tanglewood.
Morris is the recipient of grants from the National Endowment for the Arts, the A. Whitney Griswald Foundation, the American Music Center, the Hanson Institute of American Music, and the American Council of Learned Societies. In 1975 he was a MacDowell Colony fellow. He has been guest composer at many festivals and series of new music including: the ISCM Festival of Contemporary Music (Paris, 1975; Boston, 1991); the International Conferences of Computer Music (Rochester, 1984; Urbana, 1987); "Composer to Composer" (Telluride, 1990); Composer's Symposium (Albuquerque, 1991); Contemporary Music Festival (Santa Barbara, 1992); The 1993 Kobe International Modern Music Festival in Japan; The Heidelberg Contemporary Music Festival (Heidelberg College, 2005). He has received numerous awards and commissions including those from the Pittsburgh Symphony, Rochester Philharmonic Orchestra, Yale University, Speculum Musicae, Alienor Harpsichord Society, Hartt College Festival of Contemporary Organ Music, National Flute Association. His many compositions have been performed in North America, Europe, Australia, and Japan. Morris's music is recorded on CRI, New World, Music Gallery Editions, Neuma, Music and Arts, Fanfare, Centaur, Open Space, Albany, and Attacca.
Morris has written music for a wide diversity of musical forms and media. He has composed over 160 works including computer and improvisational music. Much of his output from the 1970s is influenced by non-Western music and uses structural principles from Arabic, Indian, Indonesian, Japanese, and early Western musics. While such influences are less noticeable in his more recent works, the temporal and ornamental qualities of Eastern music have permanently affected Morris's style. Moreover, Morris has found much resonance among his musical aesthetics, his experiences in hiking (especially in the Southwestern United States), his study and appreciation of Carnatic Music of South India, and his reading of ancient Indian, Chinese, and Japanese Buddhist texts. Among his present compositional projects is a series of the works to be played outdoors in a natural setting. Four of these works are complete and have been performed: Playing Outside (2000), Coming Down to Earth (2002), Oracle (2005), and SOUND/PATH/FIELD (2006).
In addition to his music, Morris has written three books and over 50 articles and reviews which have appeared in the Journal of Music Theory, In Theory Only, Music Theory Specteum, Journal of the American Musicology Society, and Perspectives of New Music contributing to theories of musical analysis and aesthetics, compositional design, and electronic and computer music. Morris was the recipient of the "Outstanding Publication Award" of the Society for Music Theory in 1988 for his book, Composition with Pitch-Classes: A Theory of Compositional Design, published by Yale University Press, and in 2001 for his article "Voice Leading Spaces" in Music Theory Spectrum 20/2. His most recent book, Advanced Class Notes for Atonal Theory, is available from Frog Peak Music. Morris presently Co-editor of Perspectives of New Music and Contributing Editor of The Open Space Magazine.