All The Little Spots In Its Geography - for violin, cello, saxophone, sine tones, and live electronics (SuperCollider)

"The majority of All the little spots in its Geography is, with a few exceptions, formed to create one large, constantly evolving drone.  Performers should emphasize the practice of listening (as prompted in various movements) to construct a feedback loop (both  symbolic and literal) between electronics and acoustic sound, wherein a performer's instrumental output has an effect on their aural  input and vice versa. Other otoacoustic emissions and phenomena, such as acoustic beatings and difference tones, should always  be emphasized to the greatest degree possible. The point is not to directly and clearly demonstrate any single phenomenon, but rather,  to openly explore and lean into the possibilities, boundaries, ambiguities, tensions, and otherwise otherworldly conditions of their  production.   To create an interactive, dynamic performance environment, much of the score design in All the little spots in its Geography takes  influence from the architecture of and conceptual frameworks in programming environments such as SuperCollider. From movement to  movement, environments are built by defining data sets, parameters, paths, routines, and other behaviors. Please pay close attention  to the conditions that constitute each movement, and execute these environments with agency and purpose."       

Performed and recorded by the Wet Ink Ensemble. Music composed in 2021.

All The Little Spots In Its Geography, performed by the Wet Ink Ensemble

This is the end of the road, but this is not the end of the road

Bailey Paugh, trumpet
Tyler Ricks, trombone
Emma Gierszal, percussion
Kate Ragan, MIDI keyboard
Reilly Spitzfaden, conductor

Everything lost along the way (2022)

Performed by Fifth House Ensemble.

Violin, Charlene Kluegel 
Viola, Sixto Franco 
Cello, Herine Coetzee Koschak 
Alex Goodin, Double Bass
Piano, Katherine Petersen

A Corpus Resounding is conceived of as a single instantiation of corpus-based concatenative synthesis (CBCS) implemented acoustically. The corpus itself was compiled from the composer’s own output over the past three years, pulling from completed compositions in addition to excerpts from sketch books. Concatenation was performed intuitively, linking and connecting a diverse constellation of musical material into a single, resounded work.

Music Composed in 2018.

A Corpus Resounding [Excerpt], for piano quintet

Performed by Dal Niente 

Michael Lewanski, Conductor 
Tara Lynn Ramsey, Violin
Sarah Plum, viola
Chris Wild, Cello 
Mark Buchner, Double Bass
Ann Yi, Piano 

A Corpus Resounding is conceived of as a single instantiation of corpus-based concatenative synthesis (CBCS) implemented acoustically. The corpus itself was compiled from the composer’s own output over the past three years, pulling from completed compositions in addition to excerpts from sketch books. Concatenation was performed intuitively, linking and connecting a diverse constellation of musical material into a single, resounded work.

Music Composed in 2019

A Corpus Resounding, for piano quintet

Performed by Dal Niente

Jesse Langen, Ben Melsky, Emma Hospelhorn, and Mark Buchner.

Photograph by Stephen Hennessey.

Music Composed in 2019

Study For String Instrument 2: Concomitant Designs, for four performers, bass, and live electronics

Video (recommended): https://youtu.be/vqCoZBj1geQ

For four performers and double bass. 

Performed by Unheard-of//Ensemble

Performer 1, Ford Fourqurean  
Performer 2, Matheus Souza 
Performer 3, Daniel Anastasio
Performer 4, Issei Herr 

Music Composed in 2019.

Study for String Instrument 2: Living Room, for four performers and double bass

progressively smaller TVs

Glitch Glitch is a fixed-media piece that serves as a documentation of a process-based programming intended for real-time, octophonic realization. In this sense, Glitch Glitch is an individual capturing of a process wherein an infinite number of variants are possible. Throughout Glitch Glitch, audio files are retrieved from a library, sampled and used in wave table synthesis, and finally, spatialized ambisonically. The library consists of thirty-four synthesized audio files made in SuperCollider and are retrieved in groups of four at a rate of approximately one group every four seconds at the start of the piece and one group every fifty milliseconds at the end of the piece. Ambisonics are utilized not only for their qualities in spatialization but also for their potentials in mixing, considering aspects of proximity, volume, and EQ. Every component of Glitch Glitch (from the original audio files in the library, to sampling, processing, and spatialization) is intended to highlight and emphasize aesthetics of glitch, gradual change, and saturation. 

Sage Hall, 2020. Part of the "When Machines Rock: A Celebration of Robert Moog and Electronic Music" festival.

Glitch Glitch, for octophonic fixed media

D.M.A. Cornell University, current 
M.A. Eastman School of Music, 2018
B.M. Indiana University, Jacobs School of Music, 2016

All The Little Spots In Its Geography, performed by the Wet Ink Ensemble

Miles Jefferson Friday

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