Compositions for instruments, electronics, and media:

Platonic Harmonic (2013) for violin and Max/MSP, 5'22". Plato wrote some of the earliest treatises on music, proposing a way of thinking about music based upon proportions and geometric ratios. Plato thought about music in the ideal sense as abstract and mathematically perfect, whereas I think that actual music lies somewhere between the pure rationality of pattern and grounded, physical, emotional experience. This piece was motivated by unfinished business from a class I taught on audio signal processing in Fall 2012. In that class, a student asked me a question about whether overtones could be played in the same way that notes are. (Although we consciously play notes, there are many resonances above the fundamental note that we unconsciously also create.) At the time, I didn't have a satisfying answer to the question of how you might purposefully play (and play with) harmonics. That question captured my imagination, and I have attempted to answer it with this piece, composed for the annual composers' concert at The College of New Jersey. Here is a performance from the Acoustical Society of America session on musical accompaniment systems in May 2014:

April 2013 performance at TCNJ:

Guru-Shishya-Parampara (2010) for violin and Max/MSP, 9'00". The title of this piece refers to the ancient system of teacher-student transmission in the North Indian classical music tradition. When I was 22 years old, I travelled to India to experience this concept for myself. For ten months I sat daily at the feet of Sreeram G. Devasthali, taking music lessons. He taught not only the tradition and mechanics of the Raga system but also a graceful approach to life and to music. I created an interactive patch in the Max/MSP software environment to re-animate and enhance a recording of one of our lessons in Rag Malkauns; there are also occasional audio snippets from my Guru's Guru, Gajananrao Joshi, on violin.

Yezie Five Loops (2008) audio composition, 2'40". This piece feature's a boy's ability to quickly switch between high-energy and relaxed reflective moments. I used the opportunity to also experiment with two well-known electronic techniques, both pioneered by Steve Reich: phasing of loops, and emphasizing the melody in recorded speech. I picked short segments that were appropriate for looping, and then created layered textures where the loop points were purposefully out-of-phase. There are five primary loops, because "I'm five!" There is a string quartet that plays along with the looped speech, sometimes taking over from the spoken word to emphasize the melodic content or further developing the melodies.

Illusion of Safety (2000) audio collaboration with Dan Burke, 5'07".

Pine (2000) audio collaboration with Maria Moran, 5'21".

Affective Carpet (1999) for deformable sensor controller (performed here in work by Noah Feehan, 2003):

SP/RING (2001) interactive composition with Conductor's Jacket interface; three movements, digital video control:

SWAMPED! (1998) audio composition for interactive installation (MIT Media Lab collaboration with Bruce Blumberg et al, presented at ACM SIGGRAPH 1998 as "Swamped! Using Plush Toys to Direct Autonomous Animated Characters"):

Neruda Canon (1997) audio composition, 1'33"

Dogmatic Overture (1994) audio composition for interactive storytelling environment by Tinsley Galyean), 2'31"

Fish Food (1995) for interactive animated short film by Rolf Rando and David Allport, 3'17"

Raga Bhairav (1994) MIDI composition, 4'58"