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Glitch noise set sampling music by Sally Daley and 100 Gecs. This instrument is driven by concatenative and diffusion synthesis using Data Knot in Max MSP as well as Stable Audio Open, which is perfoming some experimental corpus-augmentation ideas I've been working on.

This is from a performance for the undergraduate students in UC Irvine's Conputer Music Gen Ed course.

#experimentalmusic #maxmsp #stableaudio

Screen Time (2026) for 5 musicians with smartphones.

Come experience this piece on Saturday May 16th at 8pm at UC Irvine's Showcase Concert. Free admission. Link in bio.

Performed by @alwixson @shadowwink_ @rlarkincreative @rjlarkin @lisa_yoshida_violin and myself

UCI grad students (including me) will be presenting new works NEXT SATURDAY! Free to attend. Swipe for a sneak peak of my piece "Screen Time"

Location:
xMPL at UC Irvine

University of California, Irvine, Contemporary Arts Center, Loading Area, Irvine, CA 92617

UCI grad students (including me) will be presenting new works NEXT SATURDAY! Free to attend. Swipe for a sneak peak of my piece "Screen Time"

Location:
xMPL at UC Irvine

University of California, Irvine, Contemporary Arts Center, Loading Area, Irvine, CA 92617

This past weekend I presented my igneous tambula rocks at the Pacific Southwest chapter of the American Musicological Association

(i didn't actually present about igneous rocks.) But rather about Simon Steen-Anderson's work TRIO, and a reflection on the multiple meanings and interests of the New Music subgenre today.

Feeling thankful and inspired to meet many thoughtful and brilliant researchers this weekend, giving attention and value to many important musics and histories. And so close to home!

First photo from Simon Steen-Andersen's website
Last photo from What's Up Doc (1972) (@luxa_m_schuettler i'm remembering a certain film night we all shared 😉)

This past weekend I presented my igneous tambula rocks at the Pacific Southwest chapter of the American Musicological Association

(i didn't actually present about igneous rocks.) But rather about Simon Steen-Anderson's work TRIO, and a reflection on the multiple meanings and interests of the New Music subgenre today.

Feeling thankful and inspired to meet many thoughtful and brilliant researchers this weekend, giving attention and value to many important musics and histories. And so close to home!

First photo from Simon Steen-Andersen's website
Last photo from What's Up Doc (1972) (@luxa_m_schuettler i'm remembering a certain film night we all shared 😉)

This past weekend I presented my igneous tambula rocks at the Pacific Southwest chapter of the American Musicological Association

(i didn't actually present about igneous rocks.) But rather about Simon Steen-Anderson's work TRIO, and a reflection on the multiple meanings and interests of the New Music subgenre today.

Feeling thankful and inspired to meet many thoughtful and brilliant researchers this weekend, giving attention and value to many important musics and histories. And so close to home!

First photo from Simon Steen-Andersen's website
Last photo from What's Up Doc (1972) (@luxa_m_schuettler i'm remembering a certain film night we all shared 😉)

This past weekend I presented my igneous tambula rocks at the Pacific Southwest chapter of the American Musicological Association

(i didn't actually present about igneous rocks.) But rather about Simon Steen-Anderson's work TRIO, and a reflection on the multiple meanings and interests of the New Music subgenre today.

Feeling thankful and inspired to meet many thoughtful and brilliant researchers this weekend, giving attention and value to many important musics and histories. And so close to home!

First photo from Simon Steen-Andersen's website
Last photo from What's Up Doc (1972) (@luxa_m_schuettler i'm remembering a certain film night we all shared 😉)

I had the privilege to present my research at the Music Sustainability Initiative's forum on Music and AI. My talk "Incorporating Tool Usage in Music Authorship" proposed a framework for authorship that better reflects the creative, social, and economic relationships between humans and tools. This was with the aim that such ways can lead to better disclosure around AI usage in music, and imagine more equitable systems for musicking that might involve AI or AI training data.

The forum brought in several provocative perspectives, and I felt challenged and refined by the comments of several researchers I admire 🩵 Really glad about the people that MSI brought in to this conversation.

aND I ENCOUNTERED BEcky brown and obSERVED A CLOK SHE BUILT FOR NPR 🕦🕕🕐🕰️🕰️🕰️

I had the privilege to present my research at the Music Sustainability Initiative's forum on Music and AI. My talk "Incorporating Tool Usage in Music Authorship" proposed a framework for authorship that better reflects the creative, social, and economic relationships between humans and tools. This was with the aim that such ways can lead to better disclosure around AI usage in music, and imagine more equitable systems for musicking that might involve AI or AI training data.

The forum brought in several provocative perspectives, and I felt challenged and refined by the comments of several researchers I admire 🩵 Really glad about the people that MSI brought in to this conversation.

aND I ENCOUNTERED BEcky brown and obSERVED A CLOK SHE BUILT FOR NPR 🕦🕕🕐🕰️🕰️🕰️

I had the privilege to present my research at the Music Sustainability Initiative's forum on Music and AI. My talk "Incorporating Tool Usage in Music Authorship" proposed a framework for authorship that better reflects the creative, social, and economic relationships between humans and tools. This was with the aim that such ways can lead to better disclosure around AI usage in music, and imagine more equitable systems for musicking that might involve AI or AI training data.

The forum brought in several provocative perspectives, and I felt challenged and refined by the comments of several researchers I admire 🩵 Really glad about the people that MSI brought in to this conversation.

aND I ENCOUNTERED BEcky brown and obSERVED A CLOK SHE BUILT FOR NPR 🕦🕕🕐🕰️🕰️🕰️

I had the privilege to present my research at the Music Sustainability Initiative's forum on Music and AI. My talk "Incorporating Tool Usage in Music Authorship" proposed a framework for authorship that better reflects the creative, social, and economic relationships between humans and tools. This was with the aim that such ways can lead to better disclosure around AI usage in music, and imagine more equitable systems for musicking that might involve AI or AI training data.

The forum brought in several provocative perspectives, and I felt challenged and refined by the comments of several researchers I admire 🩵 Really glad about the people that MSI brought in to this conversation.

aND I ENCOUNTERED BEcky brown and obSERVED A CLOK SHE BUILT FOR NPR 🕦🕕🕐🕰️🕰️🕰️

EXCITING SHOW COMING UP. I'm playing with with Jeonghyeon Joo and Xuanqi Liu.

Ian Power is playing(!)

Daniel Richardson, Nolan Miranda, Spencer Pepke, and Brian Shank are playing(!)

The Sanctuary Studio on April 24th. Doors at 7:15pm

Poster by @soupimprov

Ticket link in bio

Yesterday "Winter Ceremony" premiered at @sxsw ! Very grateful to have made music for this sensitive, thoughtful short film by @sidi_wang

Poster by @l_o_boood

Yesterday "Winter Ceremony" premiered at @sxsw ! Very grateful to have made music for this sensitive, thoughtful short film by @sidi_wang

Poster by @l_o_boood

Yesterday "Winter Ceremony" premiered at @sxsw ! Very grateful to have made music for this sensitive, thoughtful short film by @sidi_wang

Poster by @l_o_boood

Listen to "brrrr" online everywhere. Tamara and I have really enjoyed developing and performing this piece over the past 5 years. This studio performance was the result of an invitation from Lena Meinhardt to record at the studio she was working at, and it became a great opportunity to create a special documentation of this work.

In 'brrrr', Tamara repeatedly plays a simple 6-stroke roll, and controls a simple delay-effect using an expression pedal. By controlling the delay-time and feedback, the pitch and tempo of the snare drum signal is altered, created explosive gestures out of the simple dry snare roll. After introducing a simple time-pitch relationship between snare drum and delay-effect in the first half, the percussion erratically expands and over-saturates that relationship; manifesting the dry snare drum as a quasi-supernatural timpani, glissando-ing down to bellowing low booms as well as up to blazing fast, tight strikes.

#experimentalmusic #composition #percussions

Very soon I’ll play one of my favorites from my repertoire again: Brandon’s “brrrr”, this time as part of my solo program “I48.9”!

📍 26.02 | 20:00 | Theaterhaus Stuttgart (P1)

On the same day, the audio + video recording of “brrrr” will be released on streaming platforms.

Video & audio recorded by Lena Meinhardt @lenalalarose
Recorded at the Hochschule für Musik und Darstellende Kunst Tonstudio

#snare #snaredrum #snaredrumpiece #delaypedal #brrrrr

The 'vacuum coda' for my composition "Sea Fret". (One of my favorite ways to end a composition. The strings play a thick texture of different overpressured tones. The electronics that enter here are a large chord of 32 sine tones, derived from an analysis of the string musicians' sound. @shadowwink_ had this great observation of this final section of the piece, that it is like a vacuum, sucking out all the moisture and air and space that was present for the 8 minutes of music that preceded it. Entropy-core??

@lisa_yoshida_violin - violin
@fabriciowatanay - viola
@hayleyyy.qin - cello
@shadowwink_ - electronics
@thesanctuarysantaana - venue

Electronic instrument built on Rodrigo Costanzo's Data Knot @c74connect

the center section of my composition "Sea Fret", a spectral-ish love letter to the gulls and fog around the coasts of Southern California. Pictured here is the score the musicians are reading off of. Structurally, the notation of the piece shifts between traditional 5-line staves and more open text instructions. The intention was to create processes of "opening" and "closing" in respect to how the musicians' attentions are oriented (towards each other, as well as towards themselves, and the score).

The full performance is on YouTube!!
@lisa_yoshida_violin on violin
@fabriciowatanay on viola
@hayleyyy.qin on cello
@shadowwink_ on electronics
Performed at @thesanctuarysantaana

I'm also putting the score and electronics on my gumroad store (link in bio). I'm not looking to make any significant money off of this music. But I get some requests to see my scores and even perform the work. If the prices are prohibitive, just dm me and i'd be happy to send you the performance materials.

A little about my composition "Sea Fret".

Featuring @lisa_yoshida_violin @hayleyyy.qin @fabriciowatanay and @shadowwink_ on violin, cello, viola, and electronics

Live electronics built using Rodrigo Costanzo's Data Knot in Max MSP @c74connect

Performed at @thesanctuarysantaana

I'll be posting the full performance of this piece next week on YouTube!

#experimentalmusic #composition #electronicmusic #contemporaryclassical #spectralism