Now I Love You Best
Sonnet 115 / Many Have Asked How We Stay Together (Roxanne Hoffman)
Computer
|| About || Albums || Projects || Performances || Works ||
Summer
Sonnet 18 / In a Hot Country (Anne Cammon Fiero)
Crystalline Continuance
This is an evening-length dance project created in collaboration with choreographer Jessica Tupa.
Excavations
Excavations was created in collaboration with choreographer Emily Lawrence while she was teaching at Kenyon College. This piece uses video cameras to track dancers' motion and generate sound in reaction to the action.
Not About the War
Not About the War was composed for a performance by choreographer Boris Willis.
Artificial Intimacy
Artificial Intimacy is the result of a collaboration with Anna Sullivan for a performance in Columbus, Ohio.
Beta Version
Beta Version is an interactive dance performance piece that I created for a performance at OSU in collaboration with Shawn Hove and Brent Haley.
Flute Club
Flute Club comes from the tradition of composers working with popular dance forms. From the minuet and the gigue, to the waltz and the foxtrot, to the bolero and the tango, there is a rich history of music written in these forms. Now, one of our modern forms—the dance club—is explored as the basis for a new work. The thumping “four-on-the-floor” bass pounding out every beat, the droning, looping synth lines, the harmonic stasis, and the seemingly boundless energy of this style come to the fore here.
Sunshine & Dirt
This is my second soundscore for Ashley A Friend, composed for her performance at the Joyce SoHo Theater in NYC. We explored a lot of concepts for this project, including geography, communication, nature, and our relationship with our respective art forms. The soundscore weaves sampled sounds into ambient and minimalist textures that question what it means to compose.
a/break: 1
An early version of Transformation exists, called simply a/break: 1. I composed this quickly in the summer of 2006 as part of a collaboration with choreographer Amiti Perry. Eventually it was substantially revised as I began work on the a/break machinations album.
Pages
