I compose in acoustic and computer-driven media. Many of my mixed music (computer +traditional instrument) works explore interactive dsp in which the computer is responsive to location and to the player’s idiosyncracies of timbre and tuning. These pieces are simultaneously instruments, compositions, and structures that allow delimited free responses and interplay between the computer performer, the computer, and the instrumentalist. I have composed a handful of works for high density loudspeaker arrays up to 136 channels – a new domain--arguably an interface even--in electroacoustic music in which the exponential expansion of spatial information enables a qualitative transformation of musical and sonic articulative possibilities. Writing music that changes listeners through the listening is a goal of mine. Compositional interests include micro-timbre, texture, tuning, and, spatialization.
I value collaborative work, and have created new music with/for NYC performers, and others, including Marilyn Nonken, Margaret Lancaster, Ivan Goff, Maja Cerar, String Noise, TimeTable Percussion, Sarah Plum, Abbie Conant, loadbang, Jane Rigler, and Marianne Gythfeldt.
I have also published theoretical work on electroacoustic and avant-garde musics that focus on the significance of contingent or indirectly perceived qualities in musics. Articles appear in The Computer Music Journal, Organized Sound, Array, and Perspectives of New Music. Topics include point of view in abstract and representational electronic musics; spatialization as interpretive practice and ontologically; and ethics of digital humanities’ archival practices. Teaching and research interests include the impact of the gendered world on women composing in general, and working with digital sound specifically.
My music appears on empreintes DIGITALes, NEUMA, Centaur, World-Edition, Capstone, Innova, and Everglade labels. Reviews cite my “visionary sound collages” (Chain DLK USA, Reviews).Prizes have come from the Bourges, Prix Ars, and Pierre Schaeffer competitions, the Seattle Arts Commission, ICMA, and the Jerome Foundation, MacDowell Foundation, and the NEA.