The girls are chased through the trees and streets of London.

Gash Theatre Gets Ghosted is an immersive theatrical film set in an apartment that’s been possessed – ​Poltergeist ​style – by the ghost of pop-cultural masculinities. The GASH gals find themselves stuck, forced to encounter chit-chatting desk lamps, harmonising closet drawers, a TV that plays nothing but rom-coms, a werewolf singing classic rock, and waaaay too many ​Rick and Morty references. In this macho macho world, they grapple with romance, bisexuality, their fears of men, and how they’ll connect with other people once they finally escape.

GASH THEATRE gets GHOSTED - Chase Scene

"It is not within my power to morph my body into the shape that I desire." This piece is about my years-long struggle to access gender-affirming medical care, specifically FTM top surgery. 
Piano and vocals by Sam Kaseta

This Obtrusive Flesh

Jolie Laide (or “Ugly-Pretty”) is a trio for mezzo and two sopranos that embraces the weirdness of the vocal instrument. What is worth looking at or listening to? Why does our culture deem certain things unworthy of our collective attention? What if we examined, and loved, those things?

Featuring members of Quince Ensemble: Amanda DeBoer Bartlett, Liz Pearse, and Kayleigh Butcher

Jolie Laide

Percussion Quartet "Corrective Thinking" is about the broken patterns of thought that we, as a society and as individuals, are beholden to with regards to race, gender, class, religion, status, education, employment, etc. The arc of this piece illustrates a conscious effort to amend these ingrained patterns, to realize our biases, and, ultimately, to disentangle our Culture from our Selves. If we can fix our habits - for instance, of predicting gender as a binary - we can begin to help the people who are left out by these assumptions.

Orchestrated for double duet: 2 players on pitched metal pipes and kitchen utensils, and 2 players on planes of glass, rope, and two buckets.

Recorded live by Cisum Percussion members on November 29th, 2019.

Corrective Thinking

Incidental Music for Ivan Faute's "The Dog Show"
Solo violin - Michael Genese

The Dog Show Suite Movement 4

The Dog Show Suite Movement 3

The Dog Show Suite Movement 2

The Dog Show Suite Movement 1

I wrote this piece beginning on the day of the Capitol Riots on January 6th, 2021. It expresses my anger at this action and the white supremacy behind it.

Vocals: Sam Kaseta
Mix: Sam Kaseta

01.06.21 Vocal Quartet

Underscoring for SCUM - a devised theater piece based on Valerie Solanas's S.C.U.M. Manifesto and the Miss America pageant. Created in collaboration with Nathalie Ellis-Einhorn, Ryan Gedrich, Maeve Brady, Jesse Krebs, and Glenna Yu

*Rehearsal Tape*

SCUM - Valerie 3 (Rehearsal Tape)

Performed live by Righteous Girls at Provincetown Playhouse on 5/6/18 as part of a collaborative concert by the NYU Graduate composers' NeverMind the Noise Collective


http://www.righteousgirls.com/

"Ebullience" From Verbatim

Isolde’s aria at the end of Wagner’s opera Tristan und Isolde is often lauded as an ultimate illustration of physical and spiritual ecstasy, a feminine proclamation of love-death or Liebestod, and a representation of the female orgasm. Isolde is one of many late Romantic operatic heroines, including the eponymous characters of Strauss’s Salome and Elektra, whose desires lead her along an arc that includes professing eternal love, achieving a single climax, and then dying. These depictions of female sexuality, however, stem from a more-typically masculine attitude towards sex as linear and goal-oriented. Dionysia, however, explores a feminine (feminist?) approach to sex as improvisatory, constantly changing, and endlessly unfolding. 

Recorded live May 6th, 2019 by the NYU Contemporary Music Ensemble, dir. Jonathan Haas. Conducted by Sean Statser

Dionysia (for NYU Contemporary Music Ensemble)

Game Piece #3 is a semi-improvised piece that asks the performers to musically respond to changing stimuli - namely, the Max program that the pianist and percussionist are playing through. Once the Max patch is turned on, every middle C played by the pianist raises the pitch of the piano by 1 Hz, every D4 lowers it, and every G4 resets the piano's pitch back to normal. The percussionist - playing a noisy computer keyboard - controls whether or not those notes are audible.
Recorded in Dolan Studios at NYU with Bearthoven featuring Karl Larson (MIDI piano keyboard), Pat Swoboda (electric bass), and Matt Evans (percussion/computer keyboard).

Game Piece #3 (feat. Bearthoven)

This original art song portrays a woman’s stream-of-consciousness reaction as she encounters another beautiful woman on the subway. The speaker wrestles with a uniquely queer confusion: do I want to be her, or do I want her?

Recorded March 2019 with Sam Kaseta (vocals), Shane Turner (piano), and Rebecca Frank (piano interior)

A Stranger On The Subway

Created in collaboration with artist Beatrice Antonie Martino, What Remains is a multimedia installation exploring grief, loss, and the ephemeral traces we leave behind, through the artistic lenses of video art, projection, sound, sculpture, and performance.
Vocals by Sam Kaseta

Memory Song from "What Remains"

Recovery III, for treble vocal quartet
This piece continues exploring the themes of Recovery I and II, of the difficulty but reward of recovering from an eating disorder.
Performed by Sam Kaseta

Recovery III

I wrote this piece on what I thought was a theme by Strauss, but it turns out I misremembered it.

Vocals by Sam Kaseta

Misremembered

Composer of concert music, opera, musical theater, theatrical underscoring, incidental music; new music vocalist
B.A. '15 in music at Princeton University
M.M '19 in concert composition at NYU Steinhardt

Sam Kaseta

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