In my music I hope to open up doors to worlds that might otherwise not exist, drawing together material contexts for human performers that are resistant and require collaborative effort. I am interested in working with unstable and contingent situations that both demand response and afford freedom to those involved. For example, my string quartet union–seam asks performers to share an instrument, at times producing a single sound through communal action, staging an intimate responsiveness to one another and their instrument’s resonance.
Since 2013, I have been a student in the doctoral programme at Harvard University (USA) where my dissertation committee includes Profs. Chaya Czernowin, Vijay Iyer, and Hans Tutschku. I studied on the ‘Cursus 1’ programme at IRCAM (France), supported by an Entente Cordiale Scholarship, and at the University of Manchester (UK) where I received Bachelors and Masters degrees in music and composition, studying with Ricardo Climent. Other important musical encounters have included discussions with Pierluigi Billone, Michael Pisaro, Rebecca Saunders, Steven Kazuo Takasugi, and Jennifer Walshe and work with the musicians of the JACK Quartet, ensemble mosaik, soundinitiative, Talea Ensemble, Trio Atem, and Yarn/Wire, amongst many others.
In addition to my compositional work, I have worked as a teaching assistant to Profs. Claire Chase, George Lewis, and Hans Tutschku, covering improvised and experimental music, studio composition, and collaborative creative practice. I developed a suite of pedagogical tools for teaching creative audio programming and have worked regularly as a technical assistant to the composer Clara Iannotta. Fall 2018 saw the publication of a special issue of CR: The New Centennial Review on music and critical theory, co-edited with philosopher Irving Goh.
Last updated: 31 January 2019