Thank You

Musique Concrète

This track is a recording of a live performance I put together with sounds in the UrbanRemix database as a demonstration for the TechArts summer camp I worked at during the summer of 2010.

Staying Power

Musique Concrète

Staying Power is created from a .5 sec sample. I wanted to see how much I could create with such little source material. This recording is a combination of a live performance and material assembled "offline".

May 14th, 2010 / Emily Amy Gallery / Atlanta, GA


Musique Concrète

Growth is an algorithmic composition that focuses on granular synthesis techniques. This audio recording is a live performance in which I modified aspects of the granulation of input signals like grain size, length, pitch, density, speed, etc.

May 14th, 2010 / Emily Amy Gallery / Atlanta, GA

Fountain of Youth

Musique Concrète

Fountain of Youth is a Musique Concrète piece composed for my Computer Music Composition class. I set out to create a piece that would capture a feeling of nostalgia. I used piano, water, and children sounds.

May 14th, 2010 / Emily Amy Gallery / Atlanta, GA

Bionic Bicinium

Flute, Live and Recorded Electronics

Designed as a college-level teaching piece, Bionic Bicinium gives flute students a chance to play a piece of New Music with live and recorded electronics that is of manageable difficulty. The piece requires students to use a variety of common New Music musicianship skills like playing with a stopwatch, playing with live and recorded electronics, and playing in alternate tuning systems.


Catherine Bull: Flute
May 14th, 2010 / Emily Amy Gallery / Atlanta, GA

Sonic Symbiotic

Networked Ensemble

Sonic Symbiotic is an interactive take on the traditional rock band. Created for the Georgia Tech Center for Music Technology's annual Listening Machines concert, Sonic Symbiotic features guitar, keys, drums, and theremin. Each player controls his own sounds, but also controls aspects of other members' sounds like timbre, volume, and note duration, to name a few. This interactive musical network allows new creative opportunities that are enjoyed by the musicians and audience alike.

Meghashyam Adoni: Guitar / Ryan Nikolaidis: Theremin / Avinash Sastry: Keys / Andrew Willingham: Percussion

April 17th, 2010 / Eyedrum / Atlanta, GA


Interactive Audio Installation

Formants is an interactive audio installation whose aural output is determined by the structure of an ant colony. A webcam is used to collect images of the colony being dug over time and these images are analyzed in real-time to generate music using Max/MSP/Jitter.

Dead Reckoning

Flute, Live Electronics, Computer Vision

Dead Reckoning is piece for flute and live electronics in four movements. The electronics part is generated in real-time utilizing computer vision to track the physical location and angle of the performer’s flute. The red and blue LEDs on each end of the flute allows us to track these parameters. A webcam is mounted above the performer, and Max/MSP/Jitter is used to to analyze this live video feed and generate the electronic part in real-time.

The score for Dead Reckoning is indeterminate in form and utilizes a wide range of compositional techniques that span the spectrum of entirely pre-composed to structured improvisation. Each movement has a strong conceptual framework that not only influenced my choices for how the movement would sound but also influenced my choice for the physical layout/form of the movement on the page.

I. East
II. South
III. North
IV. West

Jessica Sherwood: Flute / BD Vamsi: Software Design
April 17th, 2009 / Eyedrum / Atlanta, GA


Machine Listener/Improviser

This is the second of my three Interactive Music projects. Max/MSP was used to design the software. Trumpipe is a program that listens to what the human improviser plays on the trumpet and creates an intelligent musical response. The software collects the amplitudes and pitches the human plays and responds using similar pitches at similar dynamic levels. Trumpipe’s output is also influenced by the human performer’s timbre and note density.

That Box

Interactive Musical Interface

This is the first of my Interactive Music projects. Max/MSP was used for the software and the Monome was used as the hardware interface. The interface is designed to be used by musical novices- no musical experience is necessary. The project uses a generative algorithm to interpret user input to create music. The results are unique, engaging, and musical.


Musique Concrète

I created Sliders using Max/MSP. I wanted to create a piece that used small impulses of audio that when played repeatedly would sound like continuous pitches. I used eight extremely short samples of audio and varied their playback speed, playback direction, and volume.

Sliders was selected as part of the Vox Novus 60x60 2009 International Mix

October 3rd, 2009 / Wallstreet / Columbus, OH
October 14th, 2009 / University of Limerick / Limerick, Ireland
November 6th, 2009 / Electronic Music Midwest Festival / Kansas City, Kansas
November 8th, 2009 / MadArt / St. Louis, Missouri
November 13th, 2009 / World Financial Center Winter Garden Atrium / NYC
November 13th, 2009 / New Music Juke Joint / Mississippi
November 13th, 2009 / Central Michigan University / Mount Pleasant, Michigan
November 15h, 2009 / Simultania Art Gallery / Strasbourg, France
December 3rd, 2009 / Luggage Store Gallery / San Francisco, CA
December 5th, 2009 / Los Angeles Harbor College / Wilmington, CA
January, 12th 2010 / Illinois Wesleyan University / Bloomington, IL
February 26th, 2010 / Oxford Brookes University / Oxford, England
March 16th, 2010 / Southern Illinois University / Carbondale, IL
March 19th, 2010 / Mansfield University / Mansfield, PA
March 19th, 2010 / Oklahoma Panhandle State University / Goodwell, OK
March 29th, 2010 / University of Wisconsin-Green Bay / Green Bay, WI
May 22nd, 2010 / LOOP Videoart Festival / Barcelona, Spain
May 30th, 2010 / FOFA Gallery Concordia College / Montreal, Canada

Water Machine

Musique Concrète

A short Musique Concrète piece, Water Machine was made from sounds I recorded in my shower. I found it challenging to try to make a piece that illustrates how water, a “natural” sound, can also be presented as a mechanical and unnatural sound.

August 11th, 2009 / The Walden School / Dublin, NH

Sonata for Two Soundworlds

Musique Concrète

This Musique Concrète piece takes the form of a traditional sonata. Those of you who are musical theory-minded will have no trouble hearing the Exposition, Development and Recapitulation. I feature two areas of thematic material, each of which is generated from a different object. The first thematic area is generated from glass. The second area is generated from paper. My intent is that the musicality and beauty of this work will make it unique. Many people imagine electronic pieces to be complicated, oblique, and hard to listen to. I think the simplicity, beauty, and sheer musicality of this work challenges these assumptions.

May 31st, 2008 / Santa Clara University / Santa Clara, CA
June 4th, 2008 / Santa Clara University / Santa Clara, CA
June 8th, 2008 / Santa Clara University / Santa Clara, CA

Record #7

Film Score

I created an original score for the short "Record #7", which tells the story of a producer who will do anything to retrieve his stolen masterpiece, Record #7. I worked closely with Bridge to design these short pieces, which were central to the movie's plot.

Written and Directed by Bridge Stuart.

The Right Walk

Trio for Piano, Trumpet, and French Horn

The Right Walk begins with a driving rhythmic motive that defines the first section of the piece. Although the work starts fast, loud, and hard driving, by its conclusion this grittiness has developed into a beautiful and peaceful melody.

Jordan Becerril: French Horn / Nick Gable: Trumpet / Leslie LaBarre: Piano

May 31st, 2008 / Santa Clara University / Santa Clara, CA
June 4th, 2008 / Santa Clara University / Santa Clara, CA

Parameters for Contrabass and Gameboy


This piece is a structured improvisation using graphical scores. I used simple graphs to illustrate the changes in specific parameters throughout the duration of this piece. Beyond the compositional value, I couldn’t resist the opportunity to write a piece for a Gameboy. I use a 16-step sequencer to control the 8-bit synthesizers that are so closely associated with the “Gameboy” sound.


Taylor Thorn: Contrabass / Andrew Willingham: Gameboy

May 31st, 2008 / Santa Clara University / Santa Clara, CA


Song with Marimba Accompaniment

This song utilizes two specific compositional techniques; the limited modes of transposition and indeterminate form. The text, a poem written by Buddhist Zen Master Ryokan, spoke to me. I wanted to write a piece that was not centered on tension and release - one that could just exist.

The vocal part is free-flowing and does not have tension or release. The marimba part is indeterminate - meaning that I have composed a number of one or two-measure patterns that the performer can choose to play. The musician chooses which patterns to play, how many times to play them, and can also choose to rest.

The title has multiple meanings. “Sum” means “I am” in Latin, and when combined with its English definition, the title accurately represents what I was trying to communicate.

Katie Brennan: Voice / Kelly O'Donnell: Marimba

May 31st, 2008 / Santa Clara University / Santa Clara, CA


Musique Concrète

This is my first major work in the genre of Musique Concrète. I use only four sounds, each of which was made using my mouth. It was a challenge to process the audio in a way that resulted in extremely varied sounds compared with the generating source.

April 7th, 2008 / Santa Clara University / Santa Clara, CA
May 31st, 2008 / Santa Clara Univserisy / Santa Clara, CA


Suite for Piano and a little Percussion

Quintessence is my opus 1- the first "serious" piece I composed. Debuted in June of 2007, this piano suite has five movements, each representing a different classical element. Rhythmic interludes act as introductions and reductions of each movement. This piece is dedicated to Dr. Teresa McCollough, who besides being a great mentor, inspired me to become a music major.

I. Idea
II. Water
III. Air
IV. Fire
V. Earth

Keisuke Nakagoshi: Piano
June 6th, 2007 / Santa Clara University / Santa Clara, CA

Teresa McCollough: Piano
May 31st, 2008 / Santa Clara University / Santa Clara, CA

Half-Filled Cup


Composed beat, worked with MC K-Flay to develop track in Spring 2007.

Bad, Bad Man

Handmade Instruments

Made every instrument in piece by hand. Then composed, recorded, mixed, and mastered piece for high school Senior Project.

June 8th, 2005 / The Overlake School / Redmond, WA