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.
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
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
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.
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.
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
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.
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.
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.
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.