Sounds like a lot of fun to play, awesome ancient new sound. Apropos af. look forward to listening many time again

Thematically this reminds me of the first movement of Bartok’s Dance Suite

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Que No Se Diga

Dan Shaud (horn) & Aaron Trant (drums) perform the 1999 composition "no apologies necessary" (part 2 of 2) by Curtis K. Hughes
Recorded July 1999, Groton MA.

no apologies necessary [1999] - part 2 (of 2)

“Antrum Crepitus” composed by: Stephen Ryan Jackson performed by: Empyrean Ensemble

www.stephenryanjackson.com

antrum ('æntrǝm) n. a natural chamber or cavity within a bone or other anatomical structure.
crepitus ('krepǝdǝs) n. a grating or popping sound or sensation produced by friction between bone and cartilage.

[This piece is meant to recreate that distinct sensation]

Antrum Crepitus focuses on zooming microscopically into the body, treating the inner bone as a chamber in which the audience metaphorically resides. Viewed from this scale, the slightest movement in a joint is suddenly grating and earthquake-like, the walls of the chamber rubbing against adjoining caverns. 

“Antrum Crepitus” was written for Empyrean Ensemble and was performed and recorded as part of the 2024 Taproot New Music Festival hosted at UC Davis on Feb. 11, 2024.

©2024 Stephen Ryan Jackson

Antrum Crepitus (2024) - for large chamber ensemble

scraps for loadbang by Elena Doria Winell, text by Emily Dickinson. Performed at Emmanuel Episcopal Church in Baltimore, MD on April 29th, 2025

Ty Bouque - baritone
Andy Kozar - Trumpet
Adrián Sandí - Bass Clarinet
William Lang - Trombone

This piece is about fragmentation. The poem is taken from Dickinson's collection of "envelope poems" which were literally scrawled in dull pencil on various scraps of papers and envelopes. Like most of her work, these poems did not see the light of day until after her death. The brief interjection comes from what began as my attempt at 'modernizing' the language of the poem, only retroactively realizing a) how pointless that is and b) how intensely I had projected my own immediate reality into this 'translation.'

scraps

This is My Scary Robot Voice by Kerrith Livengood

Composed for and commissioned by the junQtin keyboard collective, Microlocking explores groove based musical development as well as microtonality. This piece is composed for 6 digital pianos, three of which are tuned a quarter tone higher.

Microlocking

~ Drops ~ (2017)
for saxophone quartet

premiered by the 
Quartet Iberosudamericano

18th World Saxophone Congress
in ACADEMY OF MUSIC Fran Lhotka Hall

The piece was initially commissioned by the association "Friends for Music" of Venaria Reale and was presented in parts by the Vagues saxophone quartet, Toniro – Italy, September 23rd, 2017.

~ Drops ~ (2017), for saxophone quartet

Recording from reading session with the NEC Orchestra on April 29, 2019. Conducted by David Loebel.  

I’ve been trying to remember a lullaby my mother sang to me. Fragments of it would come and go for me.  The fragment that constantly haunted me was this perfect 5th interval that started and ended each line of the lullaby.  It was a such a distant memory that I wasn’t even sure it was my mother’s lullaby and I started thinking that it was something my mind created, maybe in a dream.  I started to believe this after I listened to hundreds of recordings of traditional Vietnamese lullabies and nothing clicked for me.  

Regardless, I decided to sing what I heard in my head on pure intuition, recorded it, and then notated it out on paper.  

I finally called my mom to ask about this lullaby and the most amazing thing happened when she sang it to me.  Not only were my contours correct, but I was also in the right key.  I don’t have perfect pitch.  

The process of discovering this lullaby deep in my subconscious was very humbling. It made me realize on a different level how much a mother’s love can imprint on someone. I know she spent hours singing that to me as a baby and to my little brother.  The words that go along with that perfect 5th interval is “À Ơi”, which means “listen, my child”.

In My Life There Is This Lullaby (2019) - for orchestra

loading screen dream

Piano: Me :)
Vibes: Dan Reifsteck 
Mixing/Mastering: Dan Reifsteck

my technology

www.stephenryanjackson.com

This is a small online portfolio of my music. I hope you enjoy it. My email is stephenjacksoncomposer@gmail.com if you have any questions,  commissions, performance requests etc. please feel free to contact me. I'm always happy to start another project or collaboration!

Antrum Crepitus (2024) - for large chamber ensemble

Stephen Ryan Jackson

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Alex Goodhart

Alex Goodhart

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