selected work of varying shapes and sizes

Orchestral/Large Ensemble
Music for Fiddles and more
Participatory, Open Form
Small Ensemble

Artistic Statement (always in progress)

For me, making music is about curiosity and discovery. Whether that is composing, building a new instrument, improvising, practicing, playing with others, coding, revising, writing, collaborating, and so on. Developing “my sound” or “my voice,” creating “unity,” working “rigorously,” having my music played by as many people in the world as possible, composing for posterity, tracing and extending an artistic lineage, and other common motivators or ambitions for composers, have not been priorities for me (though I totally respect them as priorities for other composers, make no mistake!). I like to discover new sounds and structures, new ways of people playing together, new ways for people to be together, new ways of thinking about music, new instruments (in the broadest sense of the word), and I like to discover things about myself, about other people, and about our relationships. Music is one of the most multifaceted activities that humans do, engaging the ears, the body, the mind, the emotions, the community, everything about us, in complex and impossible to understand ways. I love this! And want to learn more about it, and to make and discover new ways to do it. What I discover is most apparent in the things I make, or sometimes in what I write about, but I confess to not fully understanding any of it, which is, I have decided, a Good Thing. I understand that this can be cause for confusion, in that my work is unpredictable and inconsistent, and while I a suspect that some of my own sensibility — perhaps even “my sound” — comes through in what I make, it may be hard to identify: indeed, for me, this is all part of the joy and challenge of discovery!

Orchestral / Large Ensemble Works

Midden FindHardanger d’Amore and sinfonietta
made with Caoimhín Ó Raghallaigh
Cumha na Cuimhnífor voice and orchestra
with Iarla Ó Lionáird
A Palimpsestfor saxophone and percussion ensemble
Marbles — Ways of the Underworld — Whilst Wakingsinfonietta (11+ players)
Silicon Carbonlaptop ensemble and orchestra
Traps Relaxedstrings, percussion, electronics
Three Piecesfor Hardanger fiddle and orchestra

Music for Fiddles and more

Fifty Fivetunes for Hardanger d’Amore
The Fate of Boneswith Caoimhín Ó Raghallaigh
Laghdúwith Caoimhín Ó Raghallaigh
CrissCrosswith Brittany Haas
QQQwith Monica Mugan, Beth Meyers, and Jason Treuting
Trollstiltwith Monica Mugan

Participatory, Open Form Works

Machines for Listeningfor bitKlavier and active listeners
There Might Be Othersmusic for dance (with Rebecca Lazier)
Waveguide Model Ifor saxophone quartet (with Mark DeChiazza)
Waveguide Model IIfor open instrumentation
Clapping Machine Music Variationsfor 2+ bitKlavier and open instrumentation
eToobsinstallation / instrument

Small Ensemble Works

Trioviolin, cello, bitKlavier
Songs That Are Hard To Singstring quartet and percussion quartet
Waveguide Model Isaxophone quartet (with Mark DeChiazza)
Waveguide Model IIopen instrumentation
neither Anvil nor Pulleypercussion quartet (with So Percussion)
Clapping Machine Music Variationsfor 2+ bitKlavier and open instrumentation
Four Squared for Ligetifor piano, 2 bitKlavier, and open instrumentation
Triptickfor piano trio
Five (and-a-half) Gardensfor fiddle, guitar, percussion quartet, and projections (with Judy Trueman)
Stillviolin, cello, and 6-string electric violin/electronics
A Cappellacello octet
Trapsstring quartet and 6-string electric violin (or viola)/electronics
Counterfeit Curioviolin, cello, flute/picc, clarinet/bass clarinet, piano, percussion, and 6-string electric violin (or viola)/electronics
Machine Languageviolin, cello, percussion, and 6-string electric violin (or viola)
Spring Rhythmstring quartet

Theater, Dance, and Video Works

Rhythm Botsmusic/sound for sensitive robotic environment, by Naomi Leonard
Two Person Operating System Type 2music for performance-installation by Susan Marshall and Martha Friedman
Rhythm Bathperformance-installation by Susan Marshall, music co-composed with Jason Treuting
Olagónan opera, with Iarla Ó Lionáird, Paul Muldoon, Gelsey Bell, and Mark DeChiazza
There Might Be Othersfor dance, with Rebecca Lazier
Waveguide Model Ifor saxophone and interactive video, with Mark DeChiazza
Transposed (Transparent Body Revisited)with Rebecca Lazier
Transparent Bodywith Rebecca Lazier
Five (and-a-half) Gardensfiddle, guitar, percussion quartet, and “animated gardens” projections (by Judy Trueman)

Improvisational Work

Recording Field, Hwith Curtis Bahn, Tomie Hahn, and Pauline Oliveros
./swankwith Curtis Bahn

Instruments / Tools of Various Sorts

bitKlavierthe prepared digital piano
the Hardanger d’Amorea cross between the Hardanger fiddle and the viola d’Amore, but Salve Håkedal
neither Anvil nor Pulleyinstruments for the piece
The Bowed Sensor Speaker Array (BoSSA)the deconstructed violin reconstructed, with Perry Cook
Spherical Speakerswith Perry Cook
eToobsamplified stamping / feedback tubes
ChucKcontributions to the audio programming language, by Ge Wang
PeRColateobjects for Max/MSP, with R. Luke Dubois

Vocal Works

Olagónan opera, with Iarla Ó Lionáird, Paul Muldoon, Gelsey Bell, and Mark DeChiazza
We Live In Each Other’s ShadowsSSAATTBB
Delphica GaedhicaCTTBarB or SSATTB
Motet for Medhbh (from Olagón)CTTBarB or SATBarB
Cumha na Cuimhnífor voice and orchestra
with Iarla Ó Lionáird

Solo Works

12 Preludesfor bitKlavier
Rinkfor steel pans, kick, and hi-hat
Nostalgic Synchronicsix etudes for bitKlavier
In Grain and Shadowfor 6-string electric violin and electronics
Four6-string electric violin