about
I make creative sound projects grounded in narrative. My preferred labels oscillate from sound artist to composer, from mentor to teacher, from dreamer to maker. I am passionate about creating work that is never mine alone: work that is collaborative, exploratory, constantly evolving and rooted in dialogue – in exchange. Narrative Environment Scores [triggered multimedia and live performer(s)] function as evolving aural/visual spaces in which performers speak, sing, play, and move. Fully staged and choreographed productions (like those created with Mark Dechiazza and Spektral Quartet, as well as the International Contemporary Ensemble) integrate physical and sounding gestures into thematic and developing materials. My sounding sculptures require percussionists to listen and engage playfully through movement to perform the compositions. The installations I create are meant to be enveloping, with participants moving throughout to find their own story, tempo, resonance, space. And my works for headphones (sound walks and works for wandering souls) are intended to speak openly and directly to listener-participants.
I am fortunate to work with amazing artists who challenge, inspire, and enrich both my process and my art. These artist have included the International Contemporary Ensemble, Spectral Quartet, Mark DeChiazza, The American Composers Orchestra, Ensemble Dal Niente, Collect/Project, Chris Graham, Shanna Pranaitis, Iktus Percussion Quartet, Dither Electric Guitar Quartet, Illinois Modern Ensemble, Eric KM Clark, the New England Guitar Quartet, Hannah Addario-Berry, the NODES Project, Coalescence Percussion Duo, Violin Futura, Navitas, the Machine Project for the Hammer Museum of Los Angeles and the California E.A.R. Unit. My works for headphones have been commissioned by Caramoor Festival (permanent collection) and supported by the Computer Music Center at Columbia University, and my installations have been exhibited at Ravinia Festival (permanent collection) as well as the Center for New Music in San Francisco. I have been fortunate to learn and grow with fellowships and residencies from Hartt School, MacDowell Colony, Yaddo, and the Other Minds Festival. But there is more beyond these wonderful artists and environments that inform my creative life…
Teaching also informs my creative research, as I listen to and learn from the student artists I mentor. They keep me researching and learning, they keep me open, they challenge me to occupy different perspectives, and they inspire me through the sharing of their voices. As a Professor of Composition at Western Michigan University, I am fortunate to work with students at various levels of their artistic development, with widely varying voices and goals. This work keeps me questioning, learning, growing, and expanding my vocabularies (both those for creative expression and those for mentoring).
This is what I love, what I make, where I find inspiration and what I do right now..*
*Please note that all above is subject to change.
I am fortunate to work with amazing artists who challenge, inspire, and enrich both my process and my art. These artist have included the International Contemporary Ensemble, Spectral Quartet, Mark DeChiazza, The American Composers Orchestra, Ensemble Dal Niente, Collect/Project, Chris Graham, Shanna Pranaitis, Iktus Percussion Quartet, Dither Electric Guitar Quartet, Illinois Modern Ensemble, Eric KM Clark, the New England Guitar Quartet, Hannah Addario-Berry, the NODES Project, Coalescence Percussion Duo, Violin Futura, Navitas, the Machine Project for the Hammer Museum of Los Angeles and the California E.A.R. Unit. My works for headphones have been commissioned by Caramoor Festival (permanent collection) and supported by the Computer Music Center at Columbia University, and my installations have been exhibited at Ravinia Festival (permanent collection) as well as the Center for New Music in San Francisco. I have been fortunate to learn and grow with fellowships and residencies from Hartt School, MacDowell Colony, Yaddo, and the Other Minds Festival. But there is more beyond these wonderful artists and environments that inform my creative life…
Teaching also informs my creative research, as I listen to and learn from the student artists I mentor. They keep me researching and learning, they keep me open, they challenge me to occupy different perspectives, and they inspire me through the sharing of their voices. As a Professor of Composition at Western Michigan University, I am fortunate to work with students at various levels of their artistic development, with widely varying voices and goals. This work keeps me questioning, learning, growing, and expanding my vocabularies (both those for creative expression and those for mentoring).
This is what I love, what I make, where I find inspiration and what I do right now..*
*Please note that all above is subject to change.
reviews and publications
SEAMUS 2023 Album - "Chimera's Garden" performed by Shanna Pranaitis will be featured on this year's peer-reviewed SEAMUS 2023 Album, published by SEAMUS. upcoming
New York Times review by Vivien Schweitzer of "Vera's Ghosts" performed by the American Composers Orchestra at Zankel in Carnegie Hall on Feb 20, 2014. Descents into Sounds of Dementia and War.
San Francisco Examiner review by Stephen Smoliar of "Isolation" performed by the Magik*Magik Orchestra and conducted by John Kennedy as part of the Old First Concerts Series in San Francisco, CA on Feb 8, 2014. The Magik*Magik Orchestra Showcases The Collected at Old First Church.
New York Times review by Steve Smith of "Cythére (a trauma ballet in two parts)" performed by the Calder Quartet at the MATA Festival. Music with and without Musicians.
New York Times review by Steve Smith of "Cross-Sections: Four Pieces for Electric Guitar Quartet" from Dither, the 2010 album from Dither Quartet on the Henceforth Record Label. Go Electric.
Civic Center Blog review by Michael Strickland of the premiere of "Music Painted from Memory" by the Navitas Ensemble at Other Minds 16. Civic Center.
Point of Departure Magazine review by Stuart Boomer of "Cross-Sections: Four Pieces for Electric Guitar Quartet" from Dither. Moment's Notice.
New York Times review by Vivien Schweitzer of "Vera's Ghosts" performed by the American Composers Orchestra at Zankel in Carnegie Hall on Feb 20, 2014. Descents into Sounds of Dementia and War.
San Francisco Examiner review by Stephen Smoliar of "Isolation" performed by the Magik*Magik Orchestra and conducted by John Kennedy as part of the Old First Concerts Series in San Francisco, CA on Feb 8, 2014. The Magik*Magik Orchestra Showcases The Collected at Old First Church.
New York Times review by Steve Smith of "Cythére (a trauma ballet in two parts)" performed by the Calder Quartet at the MATA Festival. Music with and without Musicians.
New York Times review by Steve Smith of "Cross-Sections: Four Pieces for Electric Guitar Quartet" from Dither, the 2010 album from Dither Quartet on the Henceforth Record Label. Go Electric.
Civic Center Blog review by Michael Strickland of the premiere of "Music Painted from Memory" by the Navitas Ensemble at Other Minds 16. Civic Center.
Point of Departure Magazine review by Stuart Boomer of "Cross-Sections: Four Pieces for Electric Guitar Quartet" from Dither. Moment's Notice.