His early work can be identified with Julio Estrada's Techniques and the Xenakian school and includes the use of Cartesian graphics representing sonic trajectories and its evolutions, multi parametrics (utilizing several simultaneous performance and compositional resources in a single line or stave) as well as internal sonic imagination analysis.
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He also assisted and took part in private sessions with a number of composers, including Brian Ferneyhough, Joji Yuasa, Peter Garland, Lorenc Barber, Leo Brouwer, François Bernard Mâche, James Tenney, Stefano Scodanibio and Iannis Xenakis.
Malec's approach to composition which in ways is similar to that of Denis Dufour or Xenakis is the emphasis on all aspects of sound including texture, density, movement, timbre and notably sonic character and form and the use of sound objects.
CCMIX (Center for the Composition of Music Iannis Xenakis, 2000), formerly Les Ateliers UPIC UPIC workshops, CEMAMu (Centre d'Etudes de Mathématique et Automatique Musicales, 1972), and EMAMu (Equipe de Mathématique et Automatique Musicales), is a center established by Iannis Xenakis in 1966 to encourage interdisciplinary research between arts and sciences.
World premières he presided over included works by Bussotti, Ferneyhough, Górecki, Ligeti, Rihm, Stockhausen and Xenakis, and he gave the French premières of Hindemith's Symphony Mathis der Maler and Stravinsky's The Rake's Progress and the European premiere of Susman's Trailing Vortices.
His wide-ranging repertoire, which spans Bach to Xenakis, has enabled him to lead such accomplished groups as the American Composers Orchestra, the New York New Music Ensemble, the Chamber Music Society of Lincoln Center, Columbia Sinfonietta, Speculum Musicae, Cygnus Ensemble, the Fromm Players at Harvard University, the Composers' Ensemble at Princeton University, and the New York Philharmonic chamber music series.
He went on to receive his B.A. in music from Vassar College, and did further study at the Accademia Musicale Chigiana (with Xenakis and Donatoni), Westminster Choir College, and The Juilliard School, as well as numerous professional workshops with ASCAP, The American Music Center, and Carnegie Hall (including contemporary conducting techniques with Boulez).
In the UK, particularly at the instigation of ensembles Suoraan and later Ensemble Exposé (the latter begun by composers Roger Redgate and Richard Barrett), works by "New Complexity" composers were for some time frequently programmed together with then unfashionable non-UK composers including Xenakis and Feldman, but also such diverse figures as Clarence Barlow, Hans-Joachim Hespos and Heinz Holliger.
Wallin’s music combines an intuitive freedom with a rigorous mathematical approach, such as use of fractal algorithms to construct melody and harmony, resulting in a music that often hints at the influence of Ligeti, Xenakis and Berio.
It is dedicated to Swedish trombonist Christian Lindberg, to whom Xenakis also dedicated his previous work for solo trombone, Keren.