As a composer, I am most interested in how intertextuality and metaphor converge in pitch, rhythmic, and gestural schemata. My included pieces showcase this focus—either rendering strange otherwise familiar schemata or developing new schemata inspired by physical phenonema.
Notes:In “Glimmer, Glisten, Glow,” a work that showcases my orchestrational skill, I atomize the common 1-4-5-1 bass line and develop it across eight movements. Performed by the Ludovico Ensemble, Jeffrey Means, cond., April 12, 2019.
An Integrity of Clouds (2016/2017)
for flute, clarinet, piano, percussion, violin, and cello
Notes: In “An Integrity of Clouds,” I develop cellular melodies (à la Stravinsky or Torke) within a structure akin to a persuasive essay, laying out a musical thesis and supporting points, then elaborating them. Performed by Ensemble Dal Niente, Michael Lewanski, cond., February 18, 2018.
Notes: In “Motion Lines,” I create and set in motion musical equivalents for the lines behind objects in cartoons that show movement. Performed by the PRISM Quartet, January 29, 2017. Included on their forthcoming album Surfaces and Essences.
Brain Siphon (2012)
for pre-recorded electronics
Notes: My doctoral focus on schemata-based acoustic composition grew out of my secondary area of compositional expertise: algorithmically composed electronic music. “Brain Siphon” demonstrates this part of my creative practice. The piece was written using RTCmix and mixed in Logic Pro. It was also accepted to the 2014 SEAMUS National Conference.
The following are a selection of blog posts that display the diversity of examples I use in my theory teaching.