| Dissolution Studies | 2020 |
for overlapping fixed media/audio streams |
| between the smell of dust and moonlight | 2016/20 |
for chamber ensemble, fixed media, and sound installation. Premiered by the Metropolis Ensemble at the Phillips Collection (D.C.) |
| on the tender gravity of kindness | 2020 |
for live-electronics. Commissioned by Metropolis Ensemble for House Music. |
| Umbrella Etudes | 2020 |
for any number of players, alone or together. |
| Hold (or, the gift of patterns) | 2020 |
for chamber ensemble. Commissioned by the Grossman Ensemble. |
| such is now the necessity | 2020 |
for baritone, trumpet, bass clarinet, trombone, and string orchestra. Premiered by Loadbang and Chatter. |
| within the magnification of transience and light | 2020 |
for feedback and miniature electronics |
| For these things that can be told / until mystery becomes elegy | 2019 |
for vibraphone, live-electronics, and multi-channel audio. Premiered and commissioned by Al Cerulo. |
| Gravity Studies | 2019 |
for percussion trio and electronics. Premiered and commissioned by Tigue. |
| Chunky in Heat [scene selections] | 2019 |
opera scene selections with chamber ensemble. Premiered by Experiments in Opera. |
| Invitation | 2019 |
for flute and fixed media |
| Mysteries, Yes | 2019 |
for mezzo-soprano, viola, and fixed media. Premiered by SpacePants. |
| by the inexplicabilities we call coincidence | 2018 |
for prepared piano and miniature electronics. Premiered by Kathleen Supové. |
| Antenna Studies | 2018 |
for reed quintet, live-electronics, fixed media, and radio broadcast. Premiered by Splinter Reeds. |
| or say the day is jeweled and burning | 2018 |
for gamelan instruments and live-electronics and feedback. |
| woven by air | 2018 |
sound installation for transducers, underwater speaker, and electronically modulated lightbulb. Premiered at the Caramoor Festival (Katonah, NY) |
| The old language is the old language, with its lance and greaves, broken shields and hammered vowels | 2017 |
for cymbals, microphones, feedback, and live-electronics. Premiered by Bonnie Whiting and Jennifer Torrence |
| a condensation of space into light | 2017 |
for soprano and fixed media. Premiered by Jaimie Jordan. |
| pursuing invariably the same Object evinces a design | 2017 |
for violin, cello, bass, fixed-media, and cell phone electronics. Premiered by the Forty/sixty Trio at the Hartford Festival of Women Composers (CT). |
| within the fricative light of intention | 2017 |
for vocal ensemble. Premiered by Vocal Constructivists. |
| glass meets water | 2017 |
for fixed media |
| within the social history of saltpeter | 2017 |
for 8-channel fixed media |
| eden’s arch of promise bending, mvt. 2 | rv. 2017 |
for two percussionists, water-based feedback, and live-electronics |
| Stations and Resonances | 2016 |
with Matthew Welch, for bagpipes and video. Premiered at the PLATFORM Series by Metro Transit Museum of New York (NYC). |
| the old language continues its dialogues in ordinary dust | 2016 |
for instruments and live-electronics |
| lullaby for dead horse bay | 2016 |
for violin and fixed media. Premiered and commissioned by Michi Wiancko. |
| songs of fuel and insomnia (V) | 2016 |
for violin and fixed media |
| on the analogical understandings of space | 2016 |
for chamber ensemble and fixed media. Premiered by the GVSU New Music Ensemble at Wind Cave National Park (Wind Cave, SD). |
| old fires catch old buildings | 2016 |
for trumpet, baritone, bass clarinet, trombone, cassette recorders, and fixed media. Premiered by Loadbang Ensemble. |
| between charm and the constant laws of motion | 2016 |
for piano, percussion, and miniature electronics |
| of culpable trajectories and transformations | 2015 |
for strings, percussion, and fixed media |
| on the comparative lightness of water | 2015 |
for live-electronics |
| showing and hiding/showing and vanishing | 2015 |
for percussion sextet, electric guitar quartet, reel-to-reel players, live-electronics, and fixed media. Premiered by Mantra Percussion, Dither Electric Guitar Quartet, and Philip White at the Avant Music Festival (NYC). |
| of an implacable subtraction | 2015 |
for bassoon and fixed media. Premiered by Dana Jessen at the Avant Music Festival (NYC). |
| on the imagined relation of night sounds (and silent darkness) | 2015 |
for trumpet and fixed media. Premiered by Andy Kozar. |
| on the attraction for felicitous amplitude | 2015 |
for string quartet and electronics. Premiered by Brooklyn Rider at the American Academy in Rome (Italy). |
| collaborating objects | 2014 |
for electric guitar, radio, and fm transmitter. Premiered by Alessandra Novaga at Spectrum (NYC). |
| all lengths in between perhaps | 2013-14 |
for reel-to-reel and live-electronics. |
| protected by a world of dry leaves and furtive paths | 2013 |
for double bass, prepared tam-tams, live-electronics, and fixed media. Premiered by Nina de Heney at the Sounds of Stockholm Festival (Sweden). |
| lullaby | 2013 |
for fixed media |
| the days are nouns | 2013 |
for soprano, two vibraphones, and electronics. Premiered by Jamie Jordan and Mantra Percussion at Music at First (NYC). |
| of whole movements and migrations | 2013 |
for flute, clarinet, piano, percussion, and miniature electronics. Premiered by Glass Farm Ensemble at Symphony Space. |
| ontology of an echo | 2013 |
for clarinet, percussion, electric guitar, piano, cello, contrabass, and fixed media, commissioned through the People’s Commissioning Fund at Bang On A Can. Premiered at Merkin Concert Hall by the Bang On A Can All-Stars. |
| so much of any year is flammable | 2013 |
for percussion sextet. Premiered by Mantra Percussion at Music at First (NYC). |
| in words of one syllable | 2012 |
for vocal ensemble and 4 metronomes. Premiered by the Vocal Constructivists at the V22 Summer Club (London). |
| of architecture and accumulation | 2012 |
for organ and crystal glasses. Premiered by Wil Smith at Music at First (NYC). |
| eden’s arch of promise bending, movements 1 & 2 | 2012 |
for fixed media, featuring field recordings of the Old Croton Aqueduct. |
| let us say yes | 2012 |
for live-electronics (quadraphonic sound). Premiered at Issue Project Room as part of the John Cage Centennial Celebration. |
| AEG | 2011 |
for fixed media, commissioned by the Estonian Ballet for original choreography by Tiit Helimets. Featuring piano recordings of Kathleen Supové and Yvonne Troxler, and original text by Abi Basch, performed by Molly Shaiken, and Tiit Helimets. Premiered at the Estonian National Ballet in Talinn. |
| sparrows in supermarkets | 2011 |
for recorder and electronics. Premiered by Terri Hron. |
| before the weather changes | 2010 |
for tárogató and electronics. Premiered by Nicole Canham |
| hommage à salon bruit | 2010 |
for live-electronics and audio-driven video |
| navigable | 2010 |
for fixed media, featuring field recordings of the Atlantic Avenue Tunnel. |
| forgiveness anthems | 2010 |
for flute and electronics. Premiered by Margaret Lancaster. |
| corpo/Cage | 2009 |
for two flutes, clarinet, soprano saxophone, alto saxophone, french horn, two trombones, tuba, electric guitar, bass, guitar, percussion. Premiered by the Ensemble de Ereprijs in Arnhem (NL). |
| recessional march | 2009 |
for four french horns, three trumpets, three trombones, tuba, and two percussionists. Premiered by the FIU Wind Ensemble for the inauguration of the University President Mark Rosenberg (FL). |
| here in our ordinariness | 2009 |
for piano, percussion, violin, and electric guitar. Premiered by the Glass Farm Ensemble. |
| the end of an orange (formerly: if i am i or what actually occurred) | 2009 |
for violin and live-electronics, written for Todd Reynolds, through the Van Lier Fellowship. Premiered at Roulette (NYC). |
| but because without this | 2009/06 |
for electric guitar quartet (additionally scored for bluegrass quartet). Premiered by Dither Electric Guitar Quartet at Roulette (NYC). |
| nacht nach nacht nach nacht nach nacht | 2008 |
for three music boxes and 4 matchstick performers. |
| limerence | 2008 |
for banjo and electronics. Premiered by James Moore. |
| in absentia | 2008 |
for violin, piano, glasses, and miniature electronics. |
| lathyrus | 2007 |
for laptop ensemble. |
| the art of disappearing | 2006 |
for two flutes, clarinet, soprano saxophone, alto saxophone, french horn, two trombones, tuba, electric guitar, bass guitar, percussion. Premiered by Ensemble de Ereprijs (Apeldoorn, NL). |
| luxury of superstition | 2006 |
for voice, oboe, violin, viola, cello, and percussion. |
| rosenthaler | 2006 |
for fixed media. |
| of memory and minutiae | 2006 |
for cello, voice, and electronics. Premiered by Jody Redhage. |
| ...because it opens a path, because it does not close... | 2005 |
for two flutes, clarinet, soprano saxophone, alto saxophone, french horn, two trombones, tuba, electric guitar, bass guitar, percussion, two sopranos. Premiered by Ensemble de Ereprijs (Apeldoorn, NL). |
| hopscotch 34 | 2005 |
for flute, three clarinets, horn, two percussionists, violin, cello, and electronics. Premiered at the Bang On A Can Summer Institute of Music. |
| anthracite | 2005 |
for fixed media. |
| continuity of parks | 2004 |
for chamber orchestra. Premiered by Alarm Will Sound at NYU Skirball Center. |
| the distances | 2004 |
for flute, prepared piano, percussion, and harp. |
| ...and, believing in... | 2004 |
for solo performer and live electronics |
| communications from the lab | 2004 |
for 12-channel audio and dance. Premiered by Ballett Frankfurt (Germany) |
| ...of one sinuous spreading... | 2003 |
for prepared piano and live electronics. Premiered by Kathryn Woodard at the International Festival on Spectral Music (Istanbul, Turkey). |
| run on sentence of the pavement | 2002 |
for prepared piano and electronics. Premiered by Kathryn Woodard. |
| work divided by time | 2012 |
sound installation for sine-tones, resonators, and convection-driven switching mechanisms |
| pendulum studies | 2012 |
sound installation for piano frame, resonators, microphones, and metronomes |
| portable | 2008/09 |
sound installation and performance piece for for hand-built radio transmitters and receivers lodged in suitcases |
| Filling Vessels | 2007/06 |
for eight speakers, LEDs, feedback, four performers, and live-electronics |
| circadia | 2007/06 |
for eight glass mini-speakers, LEDs, pulsating feedback, and synchronization algorithm |
| rail run | 2020/15 |
collaboration with James Moore, for electric guitar and live-electronics |
| kite choir (weather permitting) | 2018-ongoing |
collaboration with architect Firat Erdim for kite choir |
| Restagings No. 2: Of Serra (to movement) | 2018 |
collaboration with Abigail Levine for dance and radio feedback |
| outline untitled | 2018 |
live-electronics collaboration with Philip White |
| Rising Divergence | 2016-17 |
film by Tom Snelgrove with live sound diffusion |
| Two: Related Parts | 2017 |
collaboration with Abigail Levine for dance and radio feedback |
| Between Systems and Grounds | 2016-ongoing |
collaboration with visual artist Olivia Valentine |