Recognizing the Face

Fluid, chimerical transformation driven by a material constancy composed of archetypal elements is always present in the best work, always free, authentic, and unwilling to be boxed in; it does not yield easily to taxonomy.

The Nature Project

In the last few years, as the ecological problems that surround us have become more pressing, I have found a way to combine my career-long interest in the performance and promotion of “new music” with my concern for the environment.

Invisible Performer

In printed programs, I am usually credited for “sound mixing and voice processing,” and that covers a lot of my role in a given performance, but I don’t have an easy “elevator description” of what it is that I do in the company.

A Song By Any Other Name

Why do we keep insisting there can be such a thing as American classical music, as opposed to classical music that happens to be made in America?

Maximize Information Flow: How to Make Successful Live Electronic Music

In any performance, there is an information network that exists between the performer, the instrument, and the audience. By maximizing information exchange between objects in the performer/instrument/audience network and creating interactions between the separate information streams of that network, an electronic composer/performer is more likely to create a compelling performance.

Who Cares If You Don’t Listen?

Adventurous new music reaches wide audiences and they applaud it, so this is a good time to sort out rhetorical falsehoods from rhetorical flourishes in the great debate over new music.