desire for

September 25th, 2007

Fall 2007 Faculty Composers Recital @ Elizabeth Hall Auditorium, Stetson University in DeLand, FL. In the summer of 2007, I traveled to Europe with my family. Late one afternoon while resting in a Swiss hotel, the sounds of an alphorn ensemble in the distance began to echo through the alley into the window. The slow, [...]

Invention of the Wheel

April 19th, 2007

During a Spring 2007 special topics course, I oversaw a group of eight students in the production of a CD/DVD package entitled The Invention of the Wheel for Mobile Performance Group. The material was based on pieces that had been developed during our visits to San Jose for ISEA and Brooklyn for Conflux.  The overriding [...]

also apply

March 16th, 2007

Performed on the Spring 2007 Faculty Composers Recital. Held at Elizabeth Hall Auditorium, Stetson University in DeLand, FL. Since 2004, I have made a series of recordings capturing familiar water sounds and used them as inspiration for my work.  This piece musically recreates gestures that evoke the patter of a moderate rain and waves crashing upon the [...]

used these

September 29th, 2006

Fall 2006 Faculty Composers Recital @ Elizabeth Hall Auditorium, Stetson University in DeLand, FL. In June 2006, I traveled to Ontario to participate in a symposium on the legacy of composer Iannis Xenakis, in addition to doing a little sightseeing with my family. Acoustic materials for this piece are drawn from recordings I made during [...]

through some

July 5th, 2006

This piece is an artifact, evidence of a day spent in the studio avoiding mundane tasks, reconnecting with an artist who at the time felt neglected, forsaken and buried beneath an Everest of to-do items and checklists that for just one day had to be put on hold so that he could remember how much [...]


September 9th, 2005

“mini-concrète” was composed as an exercise in self-imposed limitations when faced with the myriad possibilities of the modern digital audio software. Only one channel of sound is used making the pacing and ordering of sound events the sole focus of attention. For a composer whose pieces usually focus on the interaction of slowly changing layers, [...]