English composer based in York and is widely acknowledged for his contributions in the domain of composing with digital audio media, both fixed and interactive. Not only has he composed many significant pieces, but he has also written extensively on the topic of what he terms, “sonic art,” and contributed to the design and implementation of many software tools used in the creation of digital music. He was educated at Oxford (BA 1968), the University of Nottingham (MA 1969), and the University of York (PhD 1973). He holds an honorary position at the University of York, and in 2006 was appointed as composer-in-residence at the University of Durham, but is mainly a freelance composer.Wishart's compositional interests deal mainly with the human voice. This is most evident in his VOX Cycle, Tongues of Fire, Globalalia, Two Women, and American Triptych. He is also well known as an improvisor of extended vocal techniques. Accessed 5.11.06 from http://en.wikipedia.org/wiki/Trevor_Wishart. In the past, the quality or nature of sounds used in music was set by the technology of instrument design, and conventions about performance and musical 'expression'. In the 19th century, european composers became increasingly concerned with 'sonority', through development of new orchestration techniques, and new instruments. However, a systematic approach to sound itself had to wait for the invention of sound recording and the accurate computer analysis of sounds. Studios, and then computers, also provided powerful new tools for musicians to work directly with sound. Audible Design In the book On Sonic Art, Trevor Wishart discussed new musical possibilities offered by these tools, and developed notion of a sophisticated art of sound, or Sonic Art. In particular, put forward the ideas of sound landscape (handling sound images and representation using sound), and sound transformation as a unifying principle for composing, traditionally or with sounds. The book Audible Design, provides detailed description of the craft of sound transformation using new software instruments, with non-mathematical explanations and recorded music examples of all processes. Many of these processes (e.g. sound morphing, spectral stretching, waveset distortion, sound shredding, grain manipulation, moving harmonic field filters) were first developed by Trevor Wishart, either at IRCAM, or as part of the Composers Desktop Project. Virtually all processes described in Audible Design are available on the Sound Loom.