the following work is a very detailed account (2018) of actions in time for five musicians with electronics. The composition is a documentation of meaningful aural and gestural memory from my life. I wish not to disclose the personal significance of these sounds, rather hope to generate an evolving relationship between an observer of this work and its performance environment. I am interested in musical practices that necessitate performance and experience in real-time.

This work was developed in collaboration with Nunc, led by Miranda Cuckson. The foundational material for the first movement is derived from physical action. The goal of these actions is to aurally activate the space, establish a perceived unity of time, and build a relationship between the acoustic ensemble and the electronic elements of the composition. The second movement is rooted in a fixed aural loop passed through different layers of time. Instruments enter the texture in an attempt to stabilize the “soundfield.”

waves (2018) for sanjo ajaeng

This work is built around expressions of sorrow, such as weeping, sighing, and screaming. The physical gestures are foundational to the work in an effort to illuminate the diverse palate of color this instrument can express. A traditional music performer once referred to their temporal experience in performance as “following a wave,” noting the floating alignment of musical elements in larger ensemble performances. In aspects of life, waves often serve as an analogy for sadness.

Fixed Objects on a Moving Plane (2017) is an acousmatic composition for quadraphonic fixed media. The work focuses primarily on gesture and environment, primarily the manipulation of fixed recordings in an attempt to create perceived dimensional alterations of objects, and the augmentation/diminution of acoustic space the listener is subjected to. I am most drawn to the idea of moving objects through different layers of time and space, and these objects bringing the listener through alternate planes of experience. 

a meditation on turrell (2018) is a site-specific work for the James Turrell Skyspace at Rice University.

The physical location of the Skyspace in the middle of Houston lends its sound environment to be active and indeterminate. At times, nature seems to take over with buzzing cicadas and heavy rainfall that obscures the proximity of the bustling Medical Center. Other times, human-generated sound dominates the environment with athletic events in the surrounding sports complex, roadways surrounding the campus, helicopters hovering toward the medical center, and general pedestrian traffic around Rice. Interactions between consciously created sound, consequential sound, functional/action based sound, and organic/environmental sound serves as critical foundations for the composition.

dis.integrations (2018) was written for New Art/New Music at Moody Center for the Arts, Rice University.

I am interested in the idea of a music that explores different layers of space and time. A constantly emerging, seemingly continuous stream of activity is explored at different levels; from afar, where intense energy, color, and light blur the object into a unified whole, and from up close, where particles swirl past the observer in a pointillistic flutter of activity.

This composition takes into consideration the resonant acoustics of the Brown Foundation Inc.'s Gallery in Moody Center for the Arts, and the unique technologies surrounding the saxophone. The work relies on the performer’s perception of space; their visual perception of the notation and their aural perception of space.

A Limitless Room (2017) for 2-channel fixed media, created for the 2017 LATEX Electroacoustic Music Festival.

This work explores manufactured sound environments and begun a larger trajectory of incorporating external references within my creative work. This composition includes an excerpt from the song "Siren" by Westley Banks. Wes was a collaborator of mine who passed away right before I finished studies at University of Illinois. In the time following, I analyzed his work to cope with the loss, in a search for answers to unanswered questions. The text for this work is from his SoundCloud page which reads,

 In a small room, every quiet word is loud. In a large room, every short word long.

transduction studies (2018) was written for the Etchings Festival in Auvillar, France. This work is rooted in sound and noise, while focusing on aural and physical gesture among the musicians. It is inspired by the music and sound practices found in traditional Japanese music and theatre, especially in Kabuki theatre. 

Instrumentalists have described the temporal music making experience in traditional Japanese theatre practices as, “riding a wave.” This concept is fascinating to me because it accommodates a multiplicity of time and instrumentalists with diverse experiences of it. Time is graphically restructured to emphasize experiential relationships of the material. 

postludes (2018) for violin with electronics was developed in collaboration with Giancarlo Latta. This work extends my experimentation with temporal fragmentation and dissonance. With the addition of electronics, I was able to create a hybrid type performer. I was interest in the conscious