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YOU CAN ONLY (2017) for cello and synthesizer​

performed by members of Retro Disco at CCRMA stage 

Write a letter...


In (de)attachment, players interact with melodies like memory, tracing the emotional geography between love and loss.

A pilot study (2016) showed that melodies can retain verbal content using Speech-to-Song Illusion (Deutsch, 1995). In this EEG/two-alternative forced choice task, verbal phrase segments were repeated to participants in order to create a Speech-to-Song Illusion through repetition. Afterwards, excerpts of the phrase were played back, 

followed by piano contours that

These three etudes on displacement feature a light bulb "singer" and other relocated voices.


TRANSPARENTUDES (Can't ____ You) (2017) for percussion trio 

​premiered by Line Upon Line @ CCRMA Stage 


A physical realization of memory, modeled from David Appelbaum's book, The Voice. While the words are barely audible, speech inflection shapes the musical material. Pitches emerge as speech slows. Words stretch lugubriously into tones and, eventually, song. 

either matched or mismatched the verbal segments. Participants correctly matched the melodies with the phrase segments 80% of the time, suggesting a successful translation from speech to melody.
            This piece begins with a melody stated as a sort of prime. It is then stripped to its intervallic relationships, transposed, and, finally, silenced. To what extent is its verbal content sensed through these transformations?

 HERE

(DE)ATTACHMENT (2015) for saxophone quartet​ 

​Signal Flow Festival, 2015

Accepting:

      taking it for what it is,

      but twisting,

               interpreting,

               interpolating it. 

HOME ON THE FRONTIER 

(2015) installation @Megapolis Audio Art Festival



Music boxes are tiny containers of nostalgia, referencing music and memories far greater than themselves. For this project, I modified about 70 of these little instruments with grit from sidewalks and mounted them on light posts, benches, and bike racks in downtown Oakland. Collaborator Dan Gottwald built a corresponding multi-player thumb harp. 

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Recent Work

I CAN TAKE (2018) octet for flute, oboe, clarinet, bassoon, harp, piano, violin, cello, and light bulb conductor 

​premiered by Ensemble Proton Bern 



FEAR AND FLYING

(2015) for clarinet, cello, and double bass

@soundSCAPE new music festival

TO SPEAK (2018) for string quartet

​premiered by JACK Quartet @ CCRMA Stage