For In-Between Times 
Digital Download Album
Séquence et Vitesse 
for interactive electronics and visuals
Séquence et Vitesse is part of a series of works that seeks to challenge the distinctions listeners make between instrumental and electronic sound. Unlike instrumental sound, electronic sound, when listeners recognise it as such, is incapable of conjuring images of its producer. For many listeners, the sound of a violin, for example, might conjure up images of a stringed instrument. This of course differs from electronic sound, which is made by something artificial; produced by analog or digital electronics. A listener might imagine a big computer or an alien as responsible for making the “electronic” sound, but this image is contingent on their imagination, which differs among listeners. Given this idea, I seek to introduce noise and perturb the images strongly associated with instrumental sound through various algorithmic and processing techniques. Séquence et Vitesse was commissioned by the Laboratoire Musique et Informatique de Marseille.
Performances: Cité de la Musique, Marseille, France (Dec. 2016)
Piano Roll 
Piano Roll takes inspiration from Conlon Nancarrow and his studies for the player piano. While composing the work, I was interested in convergent and divergent distributions and different ontological problems that emerge when visualising and sonifying them. While the eye can be used to survey histories of consequence, the ear is only concerned with the immediate. Thus, I wanted to draw attention to the ear via the eye. To do so, I generated different distributions from a statistical feedback model and used them to sequence material, playing with ideas of ratio and space. Piano Roll was commissioned by the Laboratoire Musique et Informatique de Marseille.
Perfromances: Diffrazioni Multimedia Festival, Florence, Italy (Nov. 2016) * Festival Ecos Urbanos, Mexico City (Nov. 2016) * Arcade, Aix-en-Provence, France (May-Jul. 2016) * Cité de la Musique, Marseille, France (Apr. 2016)
For Borges 
for solo performer
For Borges is a work inspired by Jorge Luis Borges’ Del rigor en la ciencia (“On the exactitude of science”), which among other things, offers perspective on the map-territory relation. In addition to suggesting themes related to Del rigor, I wanted to bring sound and mathematics into the conversation. Many would agree that a measurement is only valuable if one understands the units being used. While acoustically measuring a sound offers spectral information, it says nothing about perception. Moreover, the sonic characteristics one listener may associate with a given sound may differ widely from the associations of other listeners. For Borges is about making maps and relying on mathematically sound, but absurd, processes of navigation to inspire listening.
Performances: DADA Lives! exhibition, University of Cincinnati (Apr.-Jun. 2016).
embed (live) 
for electric guitar & interactive electronics
embed (live) is a recorded improvisation for electric guitar and interactive electronics. When faced with a new electric guitar sound, some audience listeners might brush it off as just another effect. However, it is the effect itself that is the focus of their attention, which, in turn, minimizes the electric guitar and its role as a sound producer. Thus, in a sense, the effect supersedes its source. One way to get listeners to distinguish the instrument from that which is being processed is to invite them to confront the discrepancies between live and recorded sound. While recorded sound is a fixed representation or history of some sonic event, live sound is (sometimes) heard for the first and only time. In embed (live) the electric guitar acts as both an instrument that produces sound and a controller of another. While one sound is a live product of electromagnetism, the other, although composed in real-time, is a fabrication of fixed recordings contingent on the electric guitar input.
Performances: Data, Marseille, France (Sep. 2016) * Radical dB Festival, Zaragoza, Spain (Sep. 2015)
along the eaves 
for fixed media
along the eaves is part of a series that focuses on my interest in translational procedures and machine listening. It takes its name from the following line in Franz Kafka’s “A Crossbreed [A Sport]” (1931, trans. 1933): “On the moonlight nights its favorite promenade is along the eaves.” To compose the work, I developed custom software written in the programming languages of C and SuperCollider. I used these programs in different ways to process and sequence my source materials, which, in this case, included audio recordings of water, babies, and string instruments. Like other works in the series, I am interested in fabricating sonic regions of coincidence, where my coordinated mix of carefully selected sounds suggests relationships between the sounds and the illusions they foster.
Performances: Festival Ecos Urbanos, Mexico City (Nov. 2016) * Malaysia Music Technology Festival, Kuala Lumpur, Malaysia (Oct. 2016) * Sonic Environments, Brisbane, Australia (Jul. 2016) * Arts and Science Days, Bourges, France (Jun. 2016) * Muestra Internacional de Música Electroacústica, Mexico City, Mexico (Dec. 2015) * Electroacoustic Music Festival, Rome, Italy (Oct. 2015) * International Computer Music Conference, University of North Texas (Oct. 2015) * Root Signals Electronic Music Festival, Jacksonville University (Sep. 2015) * L’Autre Musique Laboratoire, Paris, France (Mar. 2015)
for fixed media
OSCines focuses on the process of translating melodies found in birdsongs. The nightingale belongs to the clade Passeri also commonly known as Oscine, from the Latin root oscen meaning “a songbird.” Its birdsong is composed of a wide range of whistles, trills, and gurgles, which create a rich and vibrant melodic contour. Nightingale and clarinet samples serve as source and target materials (interchangeably) for spectral information collected via signal-processing detection systems. OSCines explores the alignment and collisions of distinct timbre features and melodic topologies within the virtual aviary of the stereophonic speaker space.
Performances: Electroacoustic Music Festival, Rome, Italy (Oct. 2016) * EviMus Festival, Saarbrücken, Germany (Nov. 2015) * Brooklyn Acoustic Ecology Festival (Apr. 2015) * New Horizons Music Festival, Trueman State University (Oct. 2014) * Sweet Thunder Festival of Electro-Acoustic Music, San Francisco, CA (Apr. 2014) * Slingshot Athens Music and Arts Festival, Athens, GA (Mar. 2014) * SEAMUS National Conference, Wesleyan University (Mar. 2014) * Workshop on Computer Music and Audio Technology, Taoyuan, Taiwan (Dec. 2013) * FEaST Festival, Florida International University (Nov. 2013) * Symposium on Acoustic Ecology, University of Kent, UK (Nov. 2013) * Toronto International Electroacoustic Symposium, Toronto, Canada (Aug. 2013)
for fixed media
BabyBirdBeat is an étude inspired by a quote from artist Bruce Nauman: “And sometimes the question that you pose or the project that you start yourself turns into something else, you know, but at least it gets you started.” (Art21, 2001)
Performances: Arts and Science Days, Bourges, France (May 2014) * Festival Música Viva, Lisbon, Portugal (Dec. 2013)
Bevel Gear 
for ‘cello trio
Bevel Gear takes its name from two early compositional interests of mine: 12-tone music & minimalism. A bevel gear is unique as it is a pair of gears such that their teeth line up to adjoin unparalleled gear shafts. In spite of this connection, the circumference of each gear is not always the same, so the rate of rotation for each differs. Bevel Gear explores this shifting nature in rotating the two musical practices. The work is dedicated to Christina Chen, Elise Jimenez, & Will Teagarden.
La Langue Maternelle 
for voice & fixed media
Written in the audio software languages of SuperCollider and Paul Koonce’s PVC, La Langue Maternelle is an exercise in semantic discourse between the notions of ‘translation’ and ‘transformation.’ A self-designed algorithm, akin to the sestina form, generated a fixed syllabic/vocal score based on a common English expression and its French translation. Onset detection, impulse response convolution, and various signal-processing procedures were then utilized to interrupt or reposition a recorded realization. The stream of aligning syllables reflects an erratic fluctuation between translations, as well as an obstruction of textual meaning. La Langue Maternelle is dedicated to Justin, Muriel, and Albert.
Performances: Festival Silence, Lecce, Italy (May 2013) * SuperCollider Symposium, University of Colorado (May 2013) * SEAMUS Conference, McNally Smith College of Music (Apr. 2013) * SCI Student National Conference, Lewis College (Oct. 2012)
for fixed media
Densité was written in the audio software languages of SuperCollider and Paul Koonce’s PVC. Densité documents the interactions between the density of samples being selected and the dimensions of the space in which they are realized. Depending on particular sets of heuristics, different exponential models and soundscape audio files determine percussion sample playback parameters which are, in turn, recorded. These audio segments are then convolved with varying types of impulses responses, resulting in different sonic spaces. Densité focuses on subverting the inherent sonic qualities of percussion instruments as a result of temporal sequence and their individual placement within particular spaces.
Performances: Undæ #116, Madrid, Spain (Mar. 2016) * SuperCollider Symposium, University of Colorado (May 2013) * New York City Electroacoustic Music Festival (Apr. 2013) * BulldogBytes Concert series, South Carolina State University (Mar. 2013) * Audiograft, Oxford Brookes University, UK (Feb. 2013) * SCI National Conference, The Ohio State University (Feb. 2013) * Workshop on Computer Music and Audio Technology, National Taiwan University (Dec. 2012) * XIX Colloqui di Informatica Musicale, Udine, Italy (Nov. 2012) * Electroacoustic Barn Dance, Mary Washington University (Nov. 2012) * International Computer Music Conference, Ljublijana, Slovenia (Sep. 2012)
for flute octet
Remoras is for flute octet: piccolo (1), flute (4), alto flute (2), and bass flute (1). When composing the work, I was inspired by the remora, which is a phoretic fish whose relationship with its host is considered commensalistic. By looking at a spectrogram of a recorded SuperCollider improvisation, I mapped what I considered were the significant spectral elements (pitch, noise density, amplitude) in the recording to different flutes in the ensemble. While developing my process for mapping these elements, I found myself thinking like a translator, who determines the semantic meaning of a linguistic message encoded in the sender’s language and communicates it in the language of the receiver.
Vauban [2011 / 2013]
for solo piano
Vauban is for solo piano. The work is named after a neighborhood in Marseille, France, which is where I wrote the piece in 2011. Vauban is located on a steep hill just below the Basilica of Notre-Dame de la Garde, a major local landmark and the highest point in Marseille. I spent days wandering the old stone streets, enjoying a pastis al fresco down at the old port, strolling the fisherman’s markets — always with a different viewpoint of the Basilica. My daily journeys influenced the development of rhythm and pitch cells, where inversional and transformational processes replicated subtle travel discrepancies, eg. direction en-route, time of day. Variations in dynamics and articulation personify street density or sidewalk missteps. Harmonic materials announce the arrival of particular destinations, as well as offer a new perspective on the overlooking landmark. Vauban depicts my experience of becoming familiar with Marseille through my language of transformational procedures.
for multiples of two identical, pitched percussion
cadenceStudie is for multiples of two identically pitched percussion instruments. Each performer cycles through the pitches of a B minor triad or an F# dominant seventh chord given a fixed pitch registration. Due to horizontal and/or vertical shifting of two basic six beat rhythmical cells (and their aggregates), particular pitches and harmonies ebb and flow throughout the work.
Performances: Midwest Graduate Music Consortium, University of Wisconsin – Madison (Apr. 2014)
secondOrderConstellation for ‘cello 
for violoncello, interactive electronics
secondOrderConstellation for ‘cello was written in the computer music language SuperCollider. While the cellist follows a traditionally notated score, the electronic component of secondOrderConstellation for ‘cello is the product of the unique proximities and affinities of twelve zodiac signs as mapped to second-order Markov chains. Each node in the Markov chain determines the position and length of ‘cello samples. However, the electronic component is only audible if the cellist reaches pre-determined amplitude and frequency thresholds. secondOrderConstellation for ‘cello documents these chance interactions, weaving a unique sonic texture.
for alto/baritone saxophone, interactive electronics
By definition Amalgam is the alloy formed by a reaction of mercury with another metal. In this work, the saxophonist channels Mercury – or Hermes – by performing quick zig- zag passages through the metallic saxophone. A Max/MSP patch monitors pitch and amplitude input by the saxophonist, resulting in a rapidly erratic and often harmonically related electronics. Though the DSP in Amalgam remains consistent throughout the work, the indeterminate output of the computer performer, directly dependent on the saxophonist, influences the latter to pursue particular musical ventures. The multiple ratios between fixed and determinate parameters in Amalgam creates a unifying musical space. Amalgam is a companion work to all two clarinet.
all two clarinet 
for clarinet, interactive electronics
all two clarinet traces the relationship between a clarinetist and a static computer performer. While the clarinetist understands that a specific amplitude range and pitches in a sounding whole-tone scale will be analyzed and digitally processed, s/he does not have control over the computer’s selection of whole-tone pitch output or the synthesis and spatialization processes. Though the DSP in all two clarinet remains consistent throughout the work, the indeterminate output of the computer performer, directly dependent on the clarinetist, influences the latter to pursue particular musical ventures. all two clarinet is a companion work to Amalgam.
Performances: International Computer Music Conference, University of Huddersfield (Sep. 2011) * Electronic Music Studies Network Conference, New York, NY (Jun. 2011) * CDMC-Liem Concert series, Universitat Pompeu Fabra, Barcelona, Spain (Nov. 2010)
for fixed media
Diptiq is a documented solo improvisation with instruments written in the computer music language SuperCollider. The audio output signal of a variety of synthesizers is directed to specific audio busses to be read and shared by selected synthesizers. While these selections are unique to the human performer’s musical aesthetic, the fluctuating frequency and amplitude values influence synthesis parameters, creating sonic instability. Diptiq explores how the unpredictability of common audio signals combined with human intention can yield moments of chaos and cohesion.
Presentations: International Symposium on Electronic Art, Sydney, Australia (Jun. 2013) * NoiseFloor Festival, Staffordshire, UK (May 2013) * SCI Region VI Conference, West Texas A \& M University (Oct. 2012) * Linux Audio Conference, Stanford University (Apr. 2012) * BYTE Gallery, Transylvania University (Jun. 2011) * SEAMUS Conference, University of Miami (Jan. 2011)
for flute, alto saxophone, trumpet, percussion, vibraphone, electric guitar, piano, voice, and contrabass
By juxtaposing strictly notated music and indeterminate musical structures, i.v. challenges listeners to distinguish whether the performers are improvising or following a conventional score. The piece is composed of four movements — alternating between strictly notated and through-composed movements — that are performed attaca. Each movement elaborates on previous musical materials by developing variations in pitch, timbre, dynamics, and rhythm. Knowing each ensemble member, I integrated specific performer musical idiosyncrasies into the strictly notated sections as a way of establishing a thread that unravels throughout the sections.
Akiko Hatakeyama (fl.), Jacob Zimmerman (sax.), Alex Vittum (perc.), Jordan Glenn (vib.), Karl Evangelista (gui.), Paul Naughton (pno.), Zeina Nasr (voi.), Jason Hoopes (cb.), Steed Cowart (cond.).
Performances: Signal Flow, Mills College, Oakland, CA (Mar. 2009).