Compositional Interests

I am interested in various forms of graphic notation, from invented ones (Study for Cymbals) to ones that play with traditional notation (the paper ones; prussian blue), as well as text scores (chimusicae).  Additionally, I work with electronics as wholly electronic works (tin birds), and as electroacoustic works (prussian blue) incorporating acoustic instruments in various manners.  Much of the structure and content of my music comes from working with self-imposed constraints (for example, requiring every sonic material to transition to every other sonic material over the course of a composition, or only working with high frequencies).  I find that these constraints inspire creative solutions that would otherwise be undiscovered without such techniques.

List of Works

a reading (2017) for oboe and performer
remnant // residue (2017) eight-channel generative audio installation
notes on progression (2017) for four thundersheets
extension, reaching (2016) for piano, inside piano, and two performers
Place in Exhaustion (2016) for furniture mover
some contingencies (2016) for percussion quartet
small world (2016) for two performers
sunlight synth (2016) six-channel sound sculpture using sunlight
pi of thirteen (2015) (7′) for percussion sextet
prussian blue (2015) (70′) for voice, bassoon, bass trombone, piano, and electronics
hushers (2015) (5′) for female vocal quintet
Study for Cymbals (2014) (8-10′) for five cymbals
tin birds (2014) four-channel generative audio installation
keen (2013) (15′) for piano
chimusicae (2013) (indeterminate length) for any number of performers
the paper ones (2013) (5-15′) for wooden instruments in various ensembles
for light (2012) (3′) sextet for bassoons and contra