N0 ST0NES is a recent collaboration of Wilder Alison and Monroe Street (WAMS).  Centered on the creation and performance of musical texts, the project extends Alison and Street’s respective practices dealing with language, queerness, and psychoanalysis: as a painter, Alison work gravitates towards materializing the queer signifiers that lurk within the semiotics of everyday life—found objects & texts, dreams, and repurposed textiles; Street is a composer and Lacanian psychoanalyst, whose work explores Freud’s discovery that dreams can be understood as sonic texts, built out of elaborate forms of homophonic wordplay.

Douglas Boyce writes chamber music that draws on Medieval and Renaissance traditions and modernist aesthetics, building rich rhythmic structures that shift between order, fragmentation, elegance, and ferocity.  His approach is deeply historical and broadly philosophical.  Many of his works have an direct historical touchstone, such as his  Etude on 'Pymalion qui moult subtilz estoit' (A Book of Etudes, Quire 4, No. 1) which features quotations of and elaborations on music from 15th century Cyprus, or La Deploration for clarinet, violin, and cello, which couples Josquin's lament on the death of Ockeghem with works of his own teacher Robert Suderburg, synthesizing jazz and Renaissance approaches. Other works draw on sources from antiquity, such as the string quartet Alcyone, a partially spoken setting of a tale of Ovid's Metamorphoses, or Tethys, a violin concerto which links the sea-goddess to geological time and tectonic change.
Literature and philosophy are also significant points of articulation: The Winter Journey, a current project commissioned from the ensemble Yarn|wire, is based on a short story by George Perec; the story itself  takes the form of a 19th century fairytale of memory and loss, and so the new composition will involve transformation of the French and German art-song tradition of the 19th and early 20th century. A song cycle focused on settings of American poets (Jorie Graham, BJ Ward, Wallace Stevens) entwines with the poems fragments from philosophers (James, Aristotle, Husserl, Bergson). The piano trio 'Fortuitous Variations' draws upon the language of William James and C.S. Peirce in inspiration, organization, character markings, and movement titles. This approach and the works themselves connect to many aspects of the scholarship in the humanities, including history, anthropology, literary studies, and philosophy. 
His works have been praised many times in the press.  Regarding his Quintet “l’homme armé”, Allan Kozinn wrote “he couches [the medieval melody] in such thoroughly modern scoring that the ear is lured to other things, including the juxtaposition of eerie string writing with playful material for the clarinet and piano, or the lively interplay among all five instruments.” (The New York Times March 12, 2005.) Regarding A Book of Songs (2006), the Stephen Brookes wrote “[they] can only be described as drop-dead beautiful. Easily the most captivating works on the program, these songs of love and death are extraordinarily well written and insightful.” (The Washington Post May 23, 2006)  Regarding La Déploration, Corinna da Fonseca-Wollheim wrote that "...the violinist, cellist... and clarinetist... spread out throughout the crypt. Against vaporous harmonics and ghostly fragments of Renaissance music played by the strings, [a] warm, clear clarinet announced itself as very much alive as it sashayed in and out of blues territory and laughed in the face of their mournful keening." (The New York Times May 17, 2015.)
He has been awarded the League of Composers ISCM Composers Award (2005), the Salvatore Martirano Prize (2006), and the Robert Avalon Prize (2010), and a Fromm Commission (2012). He is a MacDowell Fellow in Winter 2017, and an Avaloch Music Farm Fellow in Fall 2017. His music has been performed by  counter)induction, Aeolus Quartet, Inscape Chamber Orchestra, Redlight Music, Dan Lippel, Robert Baker, Trio Cavatina, Edge Ensemble/Contemporary Music Forum (DC), pianists Ieva Jokubaviciute (Shenandoah University), Alice Belem (State University of Minas Gerais), and Ning Yu; cellists Elise Pittenger (Federal University of Minas Gerais) and Schuyler Slack (Richmond Symphony) and Lori Barnett (George Washington University); and clarinetists David Jones (Washington National Opera), Benjamin Fingland (Dorian Winds).
He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region (www.counterinduction.com).

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“Now that things are so simple, there's so much to do.” - Morton Feldman

"...when you're painting out of your unconscious, figures are bound to emerge." - Jackson Pollock

"I never thought of music as a challenge - you always figure the audience is at least as smart as you are. You do this because you like it, you think what you're making is beautiful. And if you think it's beautiful, maybe they think it's beautiful." - Lou Reed

"I'm no longer quite sure what the question is, but I do know that the answer is Yes." - Leonard Bernstein


Eve is an Irish composer and vocalist who had had works performed, and had performed at many international locations such as The National Concert Hall, Dublin, the Cork Opera House, Cork, The Royal Albert Hall, London and Lincoln Center, NY. Since completing her Bachelor of Music Composition in 2012 Eve has worked with New Music in Ireland at Chamber Choir Ireland, Contemporary Music Center, and in New York at The Irish Arts Center, Opus 3 Artists, and is currently the Artistic Producer Composer Initiatives at National Sawdust, Brooklyn.

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