Music

Child’s Play 

(2015)
10’30”
for any instrumentalist(s)
Erica Dicker, violin, Allen Otte, percussion – Constellation, Chicago, March 5, 2017

Erica Dicker, violin, Allen Otte, percussion – Spectrum, NYC, Dec 12, 2016

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Erica Dicker, violin – U Arts, March 15, 2016

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View a sample of the score: Child’s Play

Puzzle Pieces

(2015)
13’00”
a piano solo with live electronics
commissioned by Brianna Matzke for The Stockhausen Response Project

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View a sample of the score: Puzzle Pieces.pdf

sliced attractor

(2014)
12’30”
a drum set solo for Zach Larabee

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View a sample of the score: sliced attractor.pdf

Space-time Julienne: Part 2

(2013)
10′
for percussion trio, commissioned by Percussion Group Cincinnati, premiered March 15,

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View a sample of the score: Spacetime Julienne II.pdf


Vaster than Empires (excerpt)

(2013)
45′
for Allen Otte (prepared yang-chin), Erica Dicker (violin) and live electronics

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Space-time Julienne: Part 1

(2013)
for 4.1 channel audio

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Look to Third 

(2011)
for alto flute, bass clarinet, percussion, piano, viola, cello and live electronics
18′
MOVEMENT I

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MOVEMENT II

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MOVEMENT III

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View a sample of the score: Look to Third.pdf

Oscillator Etudes 

(2012)
15′
performed by Lauren Fink, Shane Jones, Zach Larabee, and Tyler Niemeyer
GRAPHIC

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DRONES

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COUNTERPOINT

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POLYRHYTHMIC

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HETEROPHONY

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View a sample of the score: Oscillator Etudes – Part #1.pdf

Improvisation with Erica Dicker

Recorded live at the Emery Theatre, Cincinnati, OH on Nov. 17, 2012

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smudge

(2012)
for tuba and live electronics
7″
Genevieve Clarkson’s performance from Sonic Explorations in the Cohen Family Studio Theatre, CCM

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Matthew Gray’s performance on Nov. 17, 2012 at The Emery Theatre

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Complete Fragments

(2010)
for pipe organ
12′

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View a sample of the score: Complete Fragments.pdf

Everything Must Come From Something

(2009)
7′ 30″
4 channel audio + video

diptych

(2008)
17′
a DUET for harpsichord, electronic piano, and live electronics

View a pdf of the score – diptych.pdf

feedback required

(2008)
for a handmade electronic instrument and audio feedback
8′
feedback required uses a computer controlled string instrument of my own construction.  The performer generates sound from the instrument by creating electrical feedback from a set of speakers which is understood and processed by the computer.  The performers input into the system is variable and random while the computers output is based on completely objective observations of that incoming data.  The piece, in this sense, is about the struggle of the performer against the system, for the performer deprived of any exact control is forced to make subjective and conceptual decisions – highlighting the difference between the two.

 . . . no news is good news

(2006)
for string quartet
20′
The score is based on the front pages of the New York Times from the week of April 5-10, 2006.  While these are graphic scores, in some respects they demand inhumane exactness.  This contradiction is meant to be an analog to the title which contains its own inherent paradox, for it can be interpreted as a cliche or quite literally. The form of the music is based on the distance between randomly chosen words. When performers encounter the words, they speak them out loud. While the score itself is quite literally fixed in time, as the years go on it’s sobering to observe how little has changed.
I. Monday, April 5, 2006

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II. Tuesday, April 6, 2006

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III. Wednesday, April 7, 2006

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IV. Thursday, April 8, 2006

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V. Friday, April 9, 2006

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View the scores –


Using a recording of the piece by the Frequency String Quartet from my Fringe Festival show, Music for Newspapers and Radios, I turned the piece into an installation for my exhibit COMPOSITIONS.

disconnected

(2006)
for full orchestra
7′

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View the score – disconnected.pdf
This piece opens with a fully orchestrated transcription of a now severely outdated technology – the dial-up internet modem. As the piece progresses, more organic materials contrast with this mechanical music. Eventually, as the modem music is passed between the various choirs of the orchestra, the original transcription becomes elongated beyond recognition.

Tomorrow?

(2003)
for 2 female voices and 2 male voices
10′

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View the score – tomorrow?.pdf
The score for Tomorrow? is essentially a set of instructions for how to read from a newspaper. The idea being that the newspaper used in performance is from that day – making this a living piece about time and place. The performers are given instructions about what sections of the paper to read from and dramatic indications about how to read from those sections. The resulting sound is a cacophony of topical information that shifts from the serious to the sublime.

 Media Counterpoint

(2003)
for piano, electric guitar, percussion, radios and sine tone generator
8′
DePaul University Concert Hall – Dec. 2003

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Cincinnati Fringe Festival, Media Bridges – June 2011

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View the score – Media Counterpoint.pdf