Laurie Spiegel

[2] Spiegel's musical interpretation of Johannes Kepler's Harmonices Mundi appeared on "Sounds of Earth" section of the Voyager Golden Record.

[5] Spiegel's early musical experiences were largely self-directed, beginning with the mandolin, guitar, and banjo she had as a child, which she learned to play by ear.

[10][11] After receiving her bachelor's degree in sociology from Shimer in 1967,[12] she stayed in Oxford for an additional year,[10] commuting to London to study guitar, music theory, and composition with John W.

[12] After moving to Manhattan, where she briefly worked in social sciences research and documentary film, she studied composition under Jacob Druckman, Vincent Persichetti, and Hall Overton at the Juilliard School from 1969 to 1972 and privately with Emmanuel Ghent.

[7] She subsequently became Druckman's assistant and followed him to Brooklyn College, completing her master's degree in composition there in 1975 and pursuing research in early American music under the direction of H. Wiley Hitchcock.

[16][17][18][19] In addition to improvisations using this software, Spiegel composed several works using Music Mouse including "Cavis muris" in 1986, "Three Sonic Spaces" in 1989, and "Sound Zones" in 1990.

[17] In addition to electronics and computer-based music, Spiegel has composed works for piano, guitar and other solo instruments and small orchestra, as well as drawings, photography, video art, numerous writings and computer software.

[16] In the visual domain, Spiegel wrote one of the first drawing or painting programs at Bell Labs, which she expanded to include interactive video and synchronous audio output in the mid-1970s.

[21] She composed series music for the TV Lab's weekly "VTR—Video and Television Review" and audio special effects for its 2-hour science fiction film The Lathe of Heaven, both under the direction of David Loxton.