|
Home News Biography Compositions Games Audio Scores Images Press Contact Links |
|
I've written music in a variety of genres,
from a solo cello piece for my friend Eric Lenz back in 1995
to a string orchestra arrangement of some of my
Arcanum music that was
premiered in Leipzig in 2005,
via ecclesiastical choral and liturgical music,
performance art pieces for the Seattle School
composers' collective,
and a fair number of pop songs.
These days I'm mostly doing pieces for real-time electronics using
Max/MSP.
The main thread in most of the recent pieces is non-linearity. It's a critical issue for videogames that I've confronted daily for over a decade now; games are an inherently non-linear medium, as you never know what path a player will take to complete an objective. So the game audio designer has to find ways to structure sound that can handle any eventuality without driving players to insanity through repetition. I've found this a rich and rewarding puzzle to try to solve, and help comes from all sides: from composers deemed maverick like John Cage and Christian Wolff, from Indian ragas and West African drumming, from mobile sculptures, and from cognitive science. I've been fortunate enough to have my work performed in a variety of contexts in North America, Asia, Africa, and Europe. Sometimes the performer has been me; sometimes it's been such fine musicians as the Esoterics, the Northwest Girlchoir, the Ensemble Sorelle, or odeonquartet. Some of my sacred music has been published by Augsburg Fortress, in the Worship & Praise Hymnal (1999) and in several Renewing Worship resources (2004). If you're interested in performing any of these pieces, or just checking out scores, let me know, although I should say that I don't have all the scores with me here in China, and some of the pieces could probably do with a little revision before being performed again. Some scores and MP3's are also available on the pages of this very web site. Chamber Choral Vocal Liturgical Orchestral Soundtracks Electro-Acoustic: Statement of Purpose (2008) Lecturer/singer, computer-manipulated sound, computer-generated images; 6'40" Composed using Cycling '74's Max/MSP graphical programming environment. Premiered at Pecha-Kucha #11, the constraints of which (20 slides of 20 seconds each) suggested the structure for the piece, Shanghai, Sept. 26, 2008. I wrote six sets of aphorisms around the subjects of videogames, non-linear structure, and digital art, then wrote a program to shuffle them up, along with a textless vocalise. Images and pre-recorded accompaniment are also derived from the same material, shuffled algorithmically. The material can be generated afresh for subsequent performances. Photo and video documentation is available. Mobile 3 (2006) Computer-manipulated recordings of drums and guitars; varable duration Composed using Cycling '74's Max/MSP graphical programming environment. Written using the Mobile Framework, software I developed to deploy open form compositions in real-time. Premiered at the NOIShanghai VI concerts, Nov. 23 and 24, 2006, at Yu Yin Tang and China Live Bar in Shanghai, and performed again the next day at the fourth annual 2pi Festival in Hangzhou, Nov. 25, 2006. Study for Eventual World Domination (2006) Computer-manipulated sound (any sound, in fact); varable duration Composed using Cycling '74's Max/MSP graphical programming environment. Written as a response to an algorithmically chopped up version of a piece by Christopher DeLaurenti (chopped, I might add, by another Max program I wrote), which was itself a response to a description of an unfinished work by Mike Min as part of Mike's Bike Bin Project, a musical bicycle tour of Seattle. Premiered live at NOIShanghai VI, Nov. 23, 2006, at Yu Yin Tang in Shanghai. The piece represents one avenue of inqury into algorithmic rhythm generation. You can listen to it on the Bike Bin Project site. Psalmus (2005) Voice, bells, and real-time electronic processing; 13' Composed using Cycling '74's Max/MSP graphical programming environment. Premiered at the first Sound Currents concert in Shanghai, Nov. 19, 2005, at Harley's Bar in Xu Jia Hui. The vocal part is written in chant notation, so any text divisible into couplets may be used. At the premier, I sang Psalm 107:33-43 in Latin (Posit flumina), which fit nicely. Radiospace (2004, rev. 2005) Real time computer-manipulated sound; variable duration Composed using Cycling '74's Max/MSP graphical programming environment. Radiospace was conceived to function as the basis for a sound installation in which an incoming audio stream from a radio is fragmented and redistributed using granular synthesis techniques. First presented in a non-interactive version at the Seattle Art Museum in conjunction with the Ensemble Sorelle's premiere of Mobile 1. Revised version for live performance was premiered at Sound Currents in Shanghai on Nov. 19, 2005. Phantom Combo Mobile (2003) Pre-rendered computer-manipulated sound; 4' Composed using the Csound and Common Music (implemented in LISP) programming languages. The Story of Creation (1998) Amplified female speaker, synthesizer, and digital signal processing; 5' Les Cloches (1996) Text by Guillaume Apollinaire Soprano and pre-rendered computer-manipulated sound; 2'45" Composed using the Csound programming language. Premiered by Becky Lowe, May 5, 1996, St. Olaf College, Northfield, MN. Playground Lost (1995) Pre-rendered computer-manipulated sound; 2'35" Composed using the Csound programming language. Commissioned by the Gustavus Adolphus Department of Dance to accompany choreography by Anthony Roberts. Chamber: Method for the Direct Conversion of Visual Information into Sound (2006) Any combination of instruments; variable duration Premiered by me and UK artist Dominik (performing on synthesizer, accordion, voice, drums, radio, and gu zheng) in conjunction with the Germamy-based art collective Team 404's Lovely Shanghai Music exhibit at the Zendai Museum of Modern Art in Shanghai, China, Sunday, May 28, 2006. Mobile 2 (2005) Any combination of instruments (with optional bells); variable duration An open-form composition that incorporates the transcribed cries of Shanghai's itinerant vendors and solicitors into a sparse collage of sustained tones and bells. Mobile 1 (2003) Flute, piano, soprano, and cello; variable duration Premiered by the Ensemble Sorelle on June 20, 2004, 3pm, at the Seattle Art Museum. An open-form piece in three movements, which may be performed in any order. Each movement displays a different amount of linearity, ranging from interpenetrating, isolated pitches (constrained by scale) to complete, directed phrases. Textures move between sparse, pointillistic atmospheres and driving rhythms. Relay (2003) Four or more vocalists and radio operator; variable duration Premiered by Seattle School on November 20, 2003, as part of their Fear, Karaoke, Discipline, and Paintball performance at Polestar Music Gallery. Based on an idea by Mike Min, Relay is kind of musical relay race, in which vocalists sing sounds from a radio down a line to each other at decreasing intervals, resulting in a collage of overlapping sounds and requiring concentrated listening from the performers. The use of a radio ensures that the piece will be different each time. Study for Air Guitar (2003) One air guitarist; variable duration Premiered by Seattle School on November 20, 2003, as part of their Fear, Karaoke, Discipline, and Paintball performance at Polestar Music Gallery. This piece is an examination of ambient sound, audience attention and expectation, the choreography of musical performance, and the machismo of composition. A Reading from _____ (2003, electronic version 2006) Four readers; 6-9' Premiered by Seattle School live on KEXP's Sonarchy radio program, broadcast from the studios of Jack Straw, engineered by Doug Haire, May 24, 2003. Electronic version premiered at Noishanghai, May 7, 2006, Yu Yin Tang, Shanghai, China. The work consists of a scrambled and re-ordered reading from any found text, the name of which goes in the blank for a given performance. This piece is a study in form, systematically exploring the idea of musical non-linearity as theorized by composers like Earle Brown and implemented computer game soundtracks. Variations on _____ (2003) One or more performers on any instrument; variable duration Premiered by Seattle School live on KEXP's Sonarchy radio program, broadcast from the studios of Jack Straw, engineered by Doug Haire, May 24, 2003. This work imposes a non-linear structure onto snippets of music from an existing score. The duration of the work is determined by an external phenomenon or decided in advance. The piece may be performed simultaneously with A Reading from _____, in which case it continues until that piece is completed. Music from Arcanum (musica arcana) (1999-2000) String quartet; up to 45' All 18 pieces or any subset thereof may be performed in any order. Composed for the computer game Arcanum: Of Steamworks and Magick Obscura. Premiered in concert by odeonquartet at the first Sound Currents concert, February 25, 2003. The premiere performance was supported by a generous grant from Meet the Composer. (Sheet music is available for download.) Bells of Peace and Celebration (1999) Handbell choir; 3' Music for Institutions and Prisons (1996) 2 cl, 2 bsn, 4 perc (hi-hat, bd, chm, 2 mrb), synth, 2 vln, 2 vla, cb; 7'45" Premiered May 5, 1996, St. Olaf College, Northfield, MN. Impressions de Paris (1995) Cello solo; 4' Premiered by Eric Lenz, January 28, 1995, Paris, France. Choral: Laudate Dominum (2004) Traditional Latin text (Psalm 150) SMATRB chorus a cappella; indeterminate duration Commissioned by and dedicated to The Esoterics, Eric Banks, conductor. Premiered at the Laudabilis concerts in Seattle, Medina, and Tacoma, WA, on Dec. 4, 5, 11, and 12, 2004. The premiere performances were supported by a generous grant from Meet the Composer. Droplets (2004) Text by the composer SATB chorus a cappella; 3' Blossoms (2002) Text by Izumi Shikibu SSA chorus a cappella; 4'30" Composed for and dedicated to the Vivace choir of the Northwest Girlchoir, Beth Ann Bonnecroy, conductor. Premiered on May 31, 2003, Meany Hall, University of Washington, Seattle. Psalm Antiphons for the Easter Season (1997, 2001, 2002) According to cycles A, B, and C of the Revised Common Lectionary, NRSV SATB chorus a cappella; Psalm tone and 16 brief antiphons Commissioned by Holy Trinity Lutheran Church, Mercer Island, WA. Premiered in worship during the Easter seasons of 1997, 2001, and 2002. Alleluia (2001) SATB chorus, congregation, and organ; 3' Commissioned for the service of installation of Pastor Wm. Chris Boerger as bishop of the Northwest Washington Synod of the Evangelical Lutheran Church in America. Premiered November 3, 2001, by a massed choir conducted by Beth Bonnecroy at Salem Lutheran Church, Mount Vernon, WA. One Winter Night (2001, version with pipe organ accompaniment 2005) Text by the composer SATB chorus with string ensemble accompaniment; 2'50" Premiered Christmas Eve 2001 by the Cantorei Choir, Holy Trinity Lutheran Church, Mercer Island, WA. Service of Light: Three Pieces for Evening Prayer (2001, "Phos Hilaron" revised 2003) "Now the Day Has Drawn to a Close," text by the composer; "Joyous Light of Glory," traditional Greek text, adapted by the composer; "Blessed Are You, O Lord," text from the Book of Common Prayer. First two pieces arranged from Evening Prayer (1998). SATB chorus a cappella; 6'30" Premiered by the Cantorei Choir of Holy Trinity Lutheran Church, Mercer Island, WA, "Now the Day Has Drawn to a Close" and "Joyous Light of Glory" during evening Lenten services in 2001 at Holy Trinity, and "Blessed Are You, O Lord" during Evening Mass on February 2, 2002, at St. James Cathedral in Seattle, WA. O Lord, How Manifold Are Your Works (1997) Psalm 104:25-34, NRSV SATB chorus, organ, and synthesizer; 3'15" Premiered Pentecost 1997 by the Cantorei Choir, Holy Trinity Lutheran Church, Mercer Island, WA. Also performed as Psalm 104. Vocal: Libera me (2003) Traditional Latin text from the Requiem Mass Voice with piano accompaniment; 5' Composed for the computer game Homeworld 2. Premiered in concert by Beth Ann Bonnecroy, soprano, and Peter Mack, piano, at the second Sound Currents concert, October 21, 2003. (Sheet music is available for download.) Stranger Personals (1999, 2001-2002) Texts are personal ads from the weekly Seattle newspaper The Stranger Voice with piano accompaniment; 6'45" Premiered by Patricia Thompson, accompanied by Carl Gales, Bloomington, IN, April 27, 2002. (Sheet music is available for download.) "How Beautiful Upon the Mountains" (2001) Romans 10:14-15a, Isaiah 52:7, NRSV Mezzo-soprano with piano accompaniment; 1'40" Composed for the installation of Rev. Mart Thompson. Premiered by Patricia Thompson, Peveley, MO, January 7, 2001. "Two Are Better Than One" (2000) Ecclesiastes 4:9-12, NRSV Mezzo-soprano with piano accompaniment; 2'25" Composed for the wedding of Amy Weber and John Spencer. Premiered by Patricia Thompson, Cape Girardeau, MO, December 30, 2000. Liturgical: Four Acclamations (2003) Traditional liturgical texts Congregation with keyboard accompaniment and optional drone; 20"-30" each Commissioned by the Evangelical Lutheran Church in America as part of the Renewing Worship project. Certain of the phrases may be repeated over a drone indefinitely. Sanctus & Agnus Dei (2000) Traditional liturgical texts Congregation with piano or organ accompaniment; 3' Commissioned by Holy Trinity Lutheran Church, Mercer Island, WA. Premiered in worship during the Easter season 2000. Morning Prayer, Evening Prayer, and Eight Psalms (1998) Congregation with piano or organ accompaniment Except where noted, the texts written or adapted by the composer. Commissioned by the Evangelical Lutheran Church in America. Portions were premiered during services at the Alive in Christ conference in Orlando, FL, in November 1998. Three excerpts ("Now the Day Has Drawn to a Close," "In the Morning," and "O Come, Let Us Sing to the Lord") were included in the Worship & Praise hymnal, published by Augsburg Fortress in 1999. (Sheet music is available for download.) Morning Prayer: "Opening to Morning Prayer;" 2'20" "In the Morning (Hymn for Morning Prayer);" 1'20" "Invitatory;" 0'15" "Venite (O Come, Let Us Sing to the Lord);" 2'30" "Benedictus;" 3' Evening Prayer: "Now the Day Has Drawn to a Close (Opening Versicles);" 1'05" "Joyous Light of Glory (Phos Hilaron);" 1'10" "Thanksgiving and Blessing," text from the Book of Common Prayer; 1'15" "Let My Prayer Rise Before You as Incense (Psalm 141);" 2' "My Soul Magnifies the Lord (Magnificat);" 3'30" "Intercessions;" (length varies according to the number of petitions) Orchestral: Passage to Arcanum (2005) String orchestra; 5'40" Premiered by the FILMharmonic Orchestra under the direction of Andy Brick at the third annual Symphonic Game Music Concert 2005, which was held at the Gewandhaus in Leipzig, Germany, on August 17, 2005. Based on excerpts from my soundtrack to the computer role playing game Arcanum: Of Steamworks and Magick Obscura. Soundtracks: (For more information on my game scores, please visit the Games page.) Hoyle Casino Empire (2002, computer game) Contributed the jazzy tune "Larry Rolls the Dice," based on the casino theme from Leisure Suit Larry 7. Half-Life: PS2 (2001, PlayStation 2 video game) Composed music for main menu screen. Baby Express (2001, short film) Directed by Shaya Mercer. Produced by Steve Utaski. This film was made as part of the 2001 Seattle International Film Festival's Fly Filmmaking Challenge. Jonny Drama (1999-2001, unreleased Xbox video game) The non-linear score for Jonny employed Microsoft's DirectMusic technology to create a variable, interactive soundtrack that responded dynamically to game elements. The music utilized such advanced features as variable chordmaps, transposing secondary segments, and extensive scripting in AudioVBScript. Arcanum: Of Steamworks and Magick Obscura (2001, computer game) Composed soundtrack for string quartet, supplemented with percussion or synthesizer on four tracks. King's Quest: Mask of Eternity (1998, computer game) Composed about half of the music. Performed on synthesizer, sampler, and acoustic guitar, recorder, and voice. Leisure Suit Larry 7: Love for Sail! (1996, computer game) Composed supplemental music. Performed on synthesizer and sampler, with electric guitar and soprano sax. |