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My performance practice with voice and electronics considers improvisation across so-called live and recorded moments. I am interested in the hidden noise potentials of voice, and in the effects of human-computer collaboration on the pacing of performative utterance. In my dissertation concert (University of Virginia, May 2017), I improvise with the novel microphone-mounted instrument I built, the Abacus. In other performances, I improvise with a Bela receiving control input from breadboarded components.

In for ami, manual control gestures for the Abacus are notated in an animated screen score, while intervening vocal sections are improvised.

Eight Paces

2017. video, audio. 8'

One metric of good visual art is its ability to inspire viewers to move around in space and interact with the work from different angles. Eight Paces (2017) reflexively uses video and audio to capture this experience of moving through space in dialogue with visual art. Fractured, discontinuous moments as well as smooth and synchronous moments convey the temporal character of engaging with art. This piece contains many similar reflections, but no exact repetitions, emulating one's ever-changing perception of visual media. Can art meaningfully convey the experience of interacting with itself? Eight Paces uses the notion of embodied motion through space to suggest this self-aware dialogue.

Performed:
NODUS Ensemble Fall 2017 Concert Series
BOS Mise-En
ISSTA 2017 (audio version)

[I] n q u i r y

2016. dance, video, audio. 30'

Collaborative multimedia work with Kim Brooks Mata (choreography) and Mona Kasra (video), exploring themes of human-computer interaction, self, authenticity, and social media. Supported by UVA Arts Endowment Grant. Audio excerpts at left; more info at project site.

Performed:
Virginia -> Beijing 2016
UVA Spring Dance Show 2016

the chance that time takes

2015. string quartet. 7'

the chance that time takes consists of eight phrases, each repeated a few times and aligned individually with the performers' breath. Fingerboard notation, rather than staff notation, encourages players to think gesturally about pitch space. Crisp balzando sounds predominate at first, but players gradually transition to sul ponticello over the course of the piece. Quiet and sparse throughout with hints at binary form, the chance that time takes aims for something akin to Feldman's notion of crippled symmetry.

Performed:
Mise-En Festival 2017
JACK Quartet at UVa

Pogpo

2012. electric guitar quartet. 5'

Pogpo (Korean, "waterfall") is inspired by Korean p'ansori, a traditional musical style in which a singer delivers hours-long vernacular epic poems, accompanied by a percussionist. This piece uses a system of colors to signify pitch choice, along with a free amount of pitch bending. Pogpo attempts to emulate p'ansori's nuanced intonation and timbre as well as its flexibility of key and register.

Performed:
Dither at UVa

Choose

2014. percussion quartet. (arr. percussion duo 2016) 10'

In Choose, the players think interrelatedly about local and architectural time scales. Players work with two kinds of rhythmic notation - traditional, and a strip of changing color as proportional notation - and create loops from fragments of read rhythms. Superimposed over this largely free approach to rhythm, players occasionally choose how to inflect their looped rhythms, for instance by assuming the rhythmic character of another player's material. Choose was commissioned by the 2014 American Composers Forum National Composition Contest.

Performed:
UVa Percussion Ensemble
Robert Lopez, Nava Dunkelman at Mills Music Now
Sō Percussion at ACF National Composition Contest 2014

Stainless Steel

2014. fixed media. 4'

This piece is the sound of light playing around an intricate sculpture of stainless steel, a great serpent at once ominously armored and extravagantly plumed. I am grateful to artist Sarah Goetz for her outstanding sculpture which inspired this piece.

Performed:
Performing Arts Technology recital 2014
ICMC 2014
UVa Composer Showcase at UMW

For soloist and any number of musicians

2014. vocal soloist, indeterminate ensemble. 9'

FSANM is a text score that asks a vocal soloist and accompanying ensemble to respond to several verbal conditions. These phrases range from literal and sonic on the one hand ("getting twangier") to abstract and imaginative on the other ("arm being underneath the quiet"). The goal is for players to consider, in a free but guided way, when to play and when to lay out, what sorts of sounds to make, and how to respond to sounds that others make.

Performed:
Video: Kristina Warren, Angela Morris (saxophone), Edward Ratliff (accordion) at Atlantic Center for the Arts
Paul Botelho and UVa New Music Ensemble at Bucknell Univ and UVa

al lado

2014. two drum sets. 6'

al lado asks the percussionists to explore that which is rhythmically "next door" to them. By stretching and compressing rhythmic phrases to fit specific time points, the players find a call and response groove.

Performed:
Third Coast Percussion at NUNC! 2
Meehan/Perkins Duo at UVa

Why Does It Stream Right in the Fall My Old Plateau?

2014. bass clarinet, trumpet, trombone, baritone voice. 6'

Why does it... asks the players to make music from a colored, mosaic-like score. I like to imagine that the score is a snapshot of the bustling lives of pixels. Thus, the players' extrapolation from visual to sonic involves seeing and sounding the shapes, patterns, and quirks of pixel society.

Performed:
loadbang at UVa




© 2017