The fixed media tape for my multi-percussion piece Factory Method.

Factory Method gets its name from the factory method design pattern in programming and software engineering, in which the program creates objects without specifying the exact class of object that will be created. The piece makes use of metallic factory sounds and a compositional process that tries to mimic the design pattern.

Factory Method - for Percussion and Fixed Media (fixed media only)

On October 10th, I had the opportunity to be a part of the Waking the Monster team for Boston's ILLUMINUS, a nighttime public arts festival down Landsdowne Street. The festival featured many public art works by Boston's artists and performers. I, and three other composers, wrote music for nine percussionists to drum on the beams and pipes of the Green Monster. The team aimed to bring the green giant to life through programmatic music, lighting, and staging throughout the structure. Roughly thousands of spectators packed Landsdowne Street, and clustered together around the Green Monster to watch our performance.

The piece I wrote, Goliath Industrial, aimed to depict the Green Monster as this steampunk-esque machine to be piloted by the 9 performers. The programmatic music awakens the monster from the built-up rust, winding its gears as the machine starts to gain momentum and steam.

I would like to thank the Waking the Monster team, Maria Finkelmeier, and Ryan Edwards for this wonderful opportunity to share music with the Boston community. The Green Monster performance was definitely the centerpiece of the whole festival, and has certainly garnered much attention.

Goliath Industrial - For 9 Percussionist on the Green Monster

Over the Summer, I started sketching out musical ideas for soundtracks to some made-up video game concepts that I came up with. Among them was a space fantasy sort of game. This is what I came up with for its title screen music.

SpaceFantasy - Title Theme - Celestial Drift

Live recording of my performance of Xenakis' Psappha for my Masters Percussion Recital.

Von der Mehden Recital Hall, University of Connecticut, April 1, 2017.

Xenakis - Psappha (Performed by Shaun Cayabyab)

Live recording of my performance of Per Bloland's Solis-EA for my Masters Percussion Recital. Due to issues from the recital recording, audio is not the best quality.

Von der Mehden Recital Hall, University of Connecticut, April 1, 2017.

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The electronics for Solis-EA are organized around a physical model of an 8 stringed instrument capable of producing a huge amount of distortion and internal feedback. This instrument responds to the material played by the percussionist, attempting to track the pitch of these sometimes “unpitched” instruments as best it can.

The piece is loosely inspired by the novel Stillaset Brandt, by the Norwegian author Pedr Solis. Having created several other pieces that are tightly connected with the principle (unnamed) character in the novel, Solis-EA is more concerned with the author himself, his unusual and dichotomous life, and his mysterious disappearance (or tragic end, depending on which biographer you read).

This piece is dedicated to Ryan Packard
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Per Bloland - Solis-EA (Performed by Shaun Cayabyab)(Recital recording)

Crystalline is a piece meant to exploit the metallic, resonant nature of crotales. This is my first in-depth use of Max/MSP in a piece.

Performed by Shaun Cayabyab
Von der Mehden Recital Hall, University of Connecticut, April 1, 2017.

Crystalline - for Crotales and Live Electronics

Sound Designer, Composer, Software Engineer, and other certain titles.

Shaun Cayabyab

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