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Al Noor (2007) – Explorations into the dismantling and re-composition of global song and melody

Nak Won (2002) – Real-time music for laptop computer

Resonator (2002) – Soundtrack for the works of sculptor Seiji Kunishima

Pict.soul (2000–2001) – Long-distance collaboration with Tetsu Inoue Monogatari: Amino Argot (1994) – Long-distance collaboration with Otomo Yoshihide Over-Ring-Under (1992) – Soundtrack to a videogame CD-ROM, with visual artist Teckon

Stone received a 1999 Foundation for Contemporary Arts Grants to Artists Award.

Exusiai (1998, released 1999) – Music for contemporary dancer Akira Kasai

Kamiya Bar (1995) – Excerpts from a sound collage assembled in 1992 from TV commercials and field recordings made in Tokyo in the late 1980s

Stone served as president of the American Music Center from 1992 to 1995, and was director of Meet the Composer/California from 1981 to 1997. He also served as music director of KPFK-FM in Los Angeles from 1978 to 1981.

Four Pieces (1989) – Playful explorations and transformations for Macintosh computer

His first residency in Japan, sponsored by the Asian Cultural Council, was from November 1988 to April 1989. While living in Tokyo he collected more than 50 hours of recordings of the city's urban soundscape, which he later used as the basis for his radio composition Kamiya Bar, sponsored by Tokyo FM radio, and released on a CD of the same name by the Italian label NewTone / Robi Droli.

Wave-Heat (1983) – Piece for digital delay/harmonizer and an LP record; released on audio cassette

Woo Lae Oak (1981, released 1983; re-issued 2008 as a single continuous track) – A concrete symphony for the tremolo of a rubbed string and the tone of a blown bottle

Prior to his settling on the laptop, in the 1980s, he created a number of electronic and collage works utilizing various electronic equipment as well as turntables. Prominent works from this period include Dong Il Jang (1982) and Shibucho (1984), both of which subjected a wide variety of appropriated musical materials (e.g. Okinawan folk song, European Renaissance music, 1960s Motown, etc.) to fragmentation and looping. In this way his work paralleled innovations being made in the early days of rap and hip hop (e.g. Grandmaster Flash, of whose work he was unaware at the time). It was during this period that he began naming many of his works after his favorite restaurants (often Asian ones).

Stone studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. As an undergrad at CalArts, he had a work-study job in the Music Library, which had many thousands of LP records in the circulating collection (this was 1973). The collection included a lot of western classical music of course but also a really comprehensive world music collection, avant-garde, electronic music, jazz and more. Because the librarians were concerned that the LPs, many of which were rare, would soon become unlistenable at the hands of the students and faculty, his job was to take every disc and record it onto cassette, a kind of back-up operation. He soon discovered that he could monitor the output of any of the recordings he was making and even mix them together without disturbing the recordings. So, he began to experiment, making musical collages, and started to develop habits of combining disparate musical materials. In addition to his composition and performance schedule, he is a faculty member in the Department of Information Media, School of Information Science and Technology at Chukyo University in Japan.

From 1966-9 he formed a band with Z'EV and James Stewart, performing jazz rock. After auditioning for Frank Zappa's Bizarre Records, the band ceased activities and both he and Z'EV went on to attend CalArts.

Carl Stone (born Carl Joseph Stone, February 10, 1953) is an American composer, primarily working in the field of live electronic music. His works have been performed in the United States, Canada, Europe, Asia, Australia, South America, and the Near East.

Beginning in the early years of the 21st century, Stone began to compose more frequently for acoustic instruments and ensembles, completing a new work for the San Francisco Bay Area-based American Baroque.