His principal composition teachers were Earle Brown, Mel Powell, Morton Subotnick, Robert Ward and Paul Martin Zonn. He attended seminars on computer music at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University working with composers John Chowning and Leland Smith.
Evans is also an educator having designed and implemented a program on electroacoustic music at the Blair School of Music at Vanderbilt University. He taught courses in the history and practice of electronic and computer music. Evans currently lives in Tuscaloosa, Alabama and pursues his visual art and music composition work full time.
Some of Brian Evans work achievements:
"Hearing the Mandelbrot Set," Making Music with Csound, ed. R. Boulanger .1999. MIT Press: Boston.
"Morphing with Chowning FM: from a drum to a trumpet," Making Music with Csound, ed. R. Boulanger .1999. MIT Press: Boston.
"Own Your Own Digital Printer," Art Calendar, Vol. 12, No. 4, February, 1998.
"Dynamic Tuning with MIDI," Proceedings of the Sixth Symposium on the Arts and Technology, 1997, Connecticut College: New London.
"Computer Music Across Disciplines in an Undergraduate Curriculum," Proceedings of the 1995 International Computer Music Conference, 1995. ICMA: Banff, Alberta.
"The Catalytic Algorithm," ISEA '94 Art Catalogue, 1994, ISEA: Helsinki, Finland.
"Number as Form and Content (A Composer's Path of Inquiry)," The Visual Mind, Ed. Michele Emmer, 1993, MIT Press, Cambridge, MA.
"Temporal Design in acacia mosaics." Proceedings of the Fourth Symposium on the Arts and Technology. 1993. Connecticut College: New London.
"Elemental Counterpoint with Digital Imagery," LEONARDO Music Journal, Volume 25, No. 4, 1992, Pergamon Press: London.
Supercomputing Review, April 1991, (Images featured on issue cover and in Showcase Section), Supercomputing Review: San Diego.
"Sound and Color by the Numbers," Supercomputing Review, October, 1990, Supercomputing Review: San Diego.
"Temporal Coherence with Digital Color," LEONARDO, SIGGRAPH '90, Digital Image - Digital Cinema. 1990, Pergamon Press: London.
"Correlating Sonic and Visual Materials in Scientific Visualization," Proceedings of the SPIE/SPSE Symposium on Electronic Imaging for Science and Technology, The International Society for Optical Engineering: Santa Clara.
"Enhancing Scientific Animations with Sonic Maps," Proceedings of the 1989 International Computer Music Conference, 1989, CMA: Columbus.
"Correlation in Computational Art: Hearing and Seeing the Numbers," The Eye of Horus, Michele Emmer ed. (Italian tran), 1989, Encyclopedia di Italia:Rome.
World Graphic Design Now, Computer Graphics, Volume 6. 1989, (Images showcased), Kodansha Ltd.: Tokyo.
"The Composer's Role in The Black Box Paradigm," Proceedings of the Eighth Symposium on Small Computers in the Arts, 1988, SCAN: Philadelphia.
"Establishing a Tonic Space with Digital Color," LEONARDO, Electronic Art Supplemental Issue, 1988, Pergamon Press: London.
"Fractal Arts: Combining Music, Math and Art," The Futurist, May-June 1988, Vol. XXII, No. 3, World Future Society: Bethesda.
"Integration of Music and Graphics Through Algorithmic Congruence," Proceedings of the 1987 International Computer Music Conference, Computer Music Association: San Francisco.