Chaotic Neutral (2022) 
ALBUM ON SOUNDCLOUD FOR REVIEW PURPOSES ONLY

non-narrative sounds from the evolving spaceship 

A sound doesn’t have to hold human meaning to carry weight and identity. 

This is a collection of sounds presented without specific narrative, but with deep appreciation for the unique beauty inherent in each sonic moment.
credits
released August 30, 2022 

Sounds by The Honourable Elizabeth A. Baker 
Mastered by Melissa Harris Chambers 

Harmonics guitar recorded on this album built and designed by John C. L. Jansen 

Special thanks from The Honourable Elizabeth A. Baker to Harvard Radcliffe Institute for Advanced Study, dear friends and precious loved ones for their support.

Chaotic Neutral (For Review Purposes Only)

WARNING MASSIVE AMOUNTS OF LOW END CONTENT! 
PLEASE USE HEADPHONES OR A SUBSTANTIAL SPEAKER SYSTEM

Single take improvisation with Behringer CRAVE, Behringer 2600, MOOG Mother 32, Critter & Guitari Organelle, Chase Bliss Audio MOOD, Chase Bliss Audio blooper, and Red Panda Particle 2 by The Honourable Elizabeth A. Baker.

DNG Drone Wish

What is done in silence 
A continuation of the narrative in the electronic section of the album that explores the evolution of Digital Stockholm Syndrome in present times, this work explores the extended reality of our Internet beings. It strips away all remnants of humanity in exchange for a series of sterile messages, set against a minimalist texture embracing space.

credits
Performance: 
Elizabeth A. Baker (solo piano, electronics, voice, guitar, percussion, toy piano) 

Engineering: 
Greg LeCompte, Justin Culley, Melissa Harris Chambers, Elizabeth A. Baker 

from Quadrivium, released May 18, 2018

What Is Done In Silence from Quadrivium

Just a simple studio test.

Sounds by The Honourable Elizabeth A. Baker

There's No Fast Forward Button

Presented by The AACM-Chicago and American Composers Forum and Premiered by - The Great Black Music Ensemble

The Possibilities Before - String Quartet

06 I Am Not Perfect, Neither Are You

05 The Niche Of Everything

04 It Doesn't Need To Be Complex

03 Internal Fantasies & Other Disconnection Coping Mechanisms

02 Human Resources

01 Unraveling Cosmic Threads

Recorded live at The St. Petersburg Main Library on January 5, 2014.

Philip Glass - Metamorphosis One

From the upcoming work Tweed Fantasy created for the Saint Petersburg Bicycle CoOp!

Tweed Fantasy - Perpetual Dream (2016)

Music by Elizabeth A. Baker

Dawn Pufahl - viola
Elizabeth A. Baker - toy piano

Serotonin

Music by: Elizabeth A. Baker

Dawn Pufahl - viola
Elizabeth A. Baker - toy piano

On The Other Side

Music and words by Elizabeth A. Baker

Dawn Pufahl - viola
Elizabeth A. Baker - toy piano, electronics, vocals

Amorphous Commitments (Part 1)

Inspired by the iconic book Theatre of the Oppressed by Augusto Boal, this project seeks to create a body of improvisatory works prompted from the various games and exercises outlined in the book.

I encourage artists of all mediums to use my work as a jumping off point to create their own improvisational works inspired by the various topics in the book and my sonic explorations of the physical exercises.

Columbian Hypnosis by Augusto Boal
"One actor holds her hand palm forward, fingers upright, anything between 20 and 40 centimetres away from the face of another, who is then as if hypnotised and must keep his face constantly the same distance from the hand of the hypnotiser, hairline level with her fingertips, chin more or less level with the base of her palm. The hypnotiser starts a series of movements with her hand, up and down, right and left, backwards and forwards, her hand vertical in relation to the ground, then horizontal, then diagonal, etc. – the partner must contort his body in every way possible to maintain the same distance between face and hand, so that face and hand remain parallel. If necessary, the hypnotic hand can be swapped; for instance, to force the hypnotised to go between the legs of the hypnotiser. The hand must never do movements too rapid to be followed, nor must it ever come to a complete halt. The hypnotiser must force her partner into all sorts of ridiculous, grotesque, uncomfortable positions. Her partner will thus put in motion a series of muscle structures which are never, or only rarely, activated. He will use certain ‘forgotten’ muscles in his body. After a few minutes, the two actors change, the follower and the leader. After some more time, both can extend a hypnotising right hand, becoming leaders and followers at one and the same time."

Columbian Hypnosis

A jazz track based off of a given harmonic and rhythmic progression in the piano and drums, the other instruments in the ensemble are asked to improvise in a specific style with specific pitches over this basic structure.
credits
released 27 April 2012 
Elizabeth A. Baker & The Last Minute Triumvirate 

Piano: Elizabeth A. Baker 
Guitar: Keirsten Johnson 
Bass: Ian Hronek 
Drums: Jono Magro 
Marimba: Danzel Dixon 
Theremin: Elizabeth A. Baker 
Synth: Elizabeth A Baker 

Composer: Elizabeth A. Baker 
Producer: Elizabeth A. Baker 
Engineers: MUM 2601-G (SPC Spring 2012) 
Mixed By: Elizabeth A. Baker

Impromptu

Glow fully embraces free tonality. The concepts interwoven throughout
the composition are a painting of meditation, an embrace of a Tai Chi-like
movement of the aura and a centering of the self.

Performed Live in Concert By: Daniel Joiner

Glow

Elegie, inspired by the death of Baker’s beloved aunt, Jean Plummer. The
piece is a graceful farewell to a woman who stood as a role model of strength,
compassion, femininity, humility, beauty and regal comportment.

Performed Live in Concert By: Dr. Susan Robinson

Elegie

Sanctum Solarium

Three Compositions for Piano & Electronics
All three movements employ a technique of what could be called for lack of a better name, "iterated reverb." Simply put iterated reverb takes the source sound and sends via a bus it to a reverb with a long delay (ex. 6 seconds) then product of this reverb is then feeds the bus of another reverb and so on until four or more reverb voices have been created.


I. Out of Season
An hommagé to both Reich and Lucier, this work employs both phase shifting and experiments with "iterated" reverb. Further the work plays with formal relationships as both Piano I and Piano II parts have inverted and retrograde inverted relationships with each other. On an extrinsic level the movement expresses feelings of chaos as well as the relationship between ease and tension.

II. Hommagé á Pärt
Following the very active first movement the second movement as a tribute to Estonian composer Arvo Pärt expresses peace, centering, and divine presence; through experimentation with minimalism. Iterated reverb creates a blurring effect which turns the solo piano into an ethereal orchestra.

III. Impromptu Senza Corda
The final movement Impromptu Senza Corda or Impromptu without a chord is just what it's translation implies. A soundless chord is voice in the left hand while the right hand excites these fundamentals and their associated harmonics with a light, merry, and free linear line which extends through the duration of the movement.

Composition: Elizabeth A. Baker
Piano: Elizabeth A. Baker
Engineering & Production: Elizabeth A. Baker
Album: {insert scintillating title}


Three Compositions for Piano and Electronics

relativeBorder from Three Meditations on the Edge
for string orchestra, theremin, electronics, found objects(2019)

Composed for Barron Collier High School's String Orchestra under the direction of Jordan P. Lamb.

Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture.

Three Meditations from the Edge is a multi-movement work for string orchestra and a variety of enhancement as well as soloists. The fragility of an edge is juxtaposed with the sharpness of an edge — an example is the edge of a
piece of paper, too fragile to easily balance or stack another object and yet sharp enough to draw blood in an instant. The work also exists at the edge of experimental music, a first entree composed specifically for advanced
string students at Barron Collier High School under the direction of Jordan P. Lamb. Throughout the piece students interact with extended techniques with and without the bow, as well as found objects and a variety of electronic soloists including interactive patches, theremin, fixed media, boutique synthesisers, and a dot matrix printer.

This project was designed as part of an artist residency, and recording project for STARS OF DIFFERENT HUES, a
unique outreach project focused on exposing students to experimental art and sound practices, developed by
New Renaissance Artist Elizabeth A. Baker.

Music & Concept by: Elizabeth A. Baker

Conductor/Director: Jordan P. Lamb

Performers:
Elizabeth. A. Baker(electronics)
Barron Collier High School Orchestra under the direction of Jordan P. Lamb
Ramses Francisco Acosta
Colin L Angstrom
Camila J Arteaga
Milla Bertie Barlow
Olivia Rose Becker
Sofia Calle
Holden Alexander Campbell
Michelle Albany Cardenas
Alexa Faith Cardinale
Stephen Ming-Wei Chang
Kaitlyn Chao
Victoria Itzel Chavez
Isabel Rose Chernysh
Jackson Wadsworth Compitello
Julie Ann Coomes
Juliana Leigh Coppola
Caroline Jean Cornell
Sidney Kathryn Cramer
Blaise P Edmond
Anamaria Fernandez
Wyatt Andrew Fox
Christopher Brad Garcia-Vargas
Roberto Fernando Garcia
Noble Gideon
Amber Lynn Green
Ashley Kate Guarino
Saranda Haxhibrahimi
Grace Anna Humphrey
Kaylee Anna Jones
Abigail Preeti Kozlow
Sadie Katharine Lacy
Peter Allen Learned
Emily Gal Levine
Madeline Grace Mair
Collier Jett Manley
Arabella Marie Martoccio
Mary Kathryn May
Mallorie Mckyton
Thaila Mejia
William Nathan Miller
Layla Aunjanue Mobley
Joshua Lee Myers
Giulia Moreira Nelson
Skylar Annabella Nervo Smith
Ashley Ryan Newsome
Eser Aysenur Ozturk
Ashley Juliet Perfetto
Hannah Michelle Ratthe
Hutton Edison Raynor
Roberto Reyes
Robert Matthew Roa
Camila Rojas-Gomez
Madison Sailakkham
Reid Alexander Schwartz
Aaliyah Chi'Ann K. Seaborn
Claudio A Serrano
Jonathan Floyd Sobczak
William Jackson Sobczak
Emma Eva Spangler
Jordan Danielle Taliaferro
Kezia Denise Labios Tan
Tanner Joseph Vandenbosch
Megan Marie Willett
Angela Elizabeth Yu

relativeBorder (LIVE)

The Honourable Elizabeth A. Baker is a new renaissance artist whose work is best expressed as a constantly evolving practice that doesn’t fit neatly into definition or expectation boxes. It is an artistic body of work vast in scope and scale outside of the confines of a simple elevator pitch, unrestrained and unencapsulated.
In recent years, Elizabeth’s commitment to pushing herself and the scope of her work has manifested as a deeply in-depth and time intensive process of creating pieces that involve new systems of notation from time-cones to video scores as well as creating new virtual instruments based on original samples from archives and field recordings collected by Elizabeth both nationally and internationally. Building the virtual instruments and backend of these notation systems to create new works for herself and others can take upwards of 30 to 100 hours.
Within her role as sonic practice artist, Elizabeth performs on a system instrument an extensive and evolving setup, lovingly referred to as “The Spaceship” includes a variety of semi-modular analogue synths, interactive MIDI controllers driven by movement and light, theremins, multiple computers and mobile devices, found objects, toy piano, harmonium, handmade hydrophones, as well as a 6’ 2” custom double-sided third-bridge non-resonant amplified zither designed and built by experimental luthier John C. L. Jansen, named “Black Moon Lilith.”
Elizabeth’s practice also extends into the visual aspects both still and moving her works on canvas have been displayed in galleries as well as being enjoyed by collectors across the United States, while her film works have been featured in international festivals such as Women of the Lens (UK) and African Smartphone International Film Festival (Nigeria). Her video series FIELD STUDIES and AGGRESSIVE PILLOW TALK, which explores the nature of humans and their structures as an equal part of the cosmic ecosystem have been awarded grants from the State of Florida and was the subject of her research as a 2021-2022 Harvard Radcliffe Institute Fellow.
Innovation and expression of ideas that cause people to think and listen deeply has placed Elizabeth at the forefront of discussion about humanity, the impact of art, mental health in the artistic community, as well as dismantling hierarchy in artistic presentation and society as a whole unit. Elizabeth’s work has been studied by scholars across the globe, recognised by press, highly sought after by performers, and been a life-changing experience for collectives of people from a wide range of backgrounds.
Whilst Elizabeth assigns no specific human narrative to the majority of her work and notably mentions that all beings experience her work through the lens of their own backgrounds and physiological capacity, she challenges the receiver of her work to consider… “all things exist and have their own essence outside of human definition… what does our interaction with the world around us look like if we remove ourselves from the narrative center?”
Fanfare Magazine and I Care If You Listen (.com) have both proclaimed The Honourable Elizabeth A. Baker as “the Pauline Oliveros of her generation.”

The Honourable Elizabeth A. Baker

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