" composition is more than an instrument for expression – it is a mirror which's tainted reflection teaches me more about myself and others "
I wish you would hold me
long enough to grow hungry,
'til your love becomes eternal
and swallows me to nothing.
DSP Original Poem Setting (2019) - This work tells one character’s development of love, longing, and loneliness to its greatest extent. This composition focuses on the use of FFTs, the phase vocoder, convolution, and a variety of other digital signal processing tools to process readings of this poem and generate this poem setting’s sound design. As a result, the power of this poem's bold statement is brought to life. The dichotomy of human nature is revealed as the poem's pitiful character reaches his or her utmost state of anguish and despair, therefore transforming into an unapologetic, daring creature of self-destruction.
Presented at the SEAMUS 2020 National Conference (Concert 4 ) on behalf of the University of Virginia: http://2020.seamusonline.org/#seamus-2020-digital-conference
Landmark of Overdues
With specious, cordial lips,
trumpeting this truth as you may,
basking in sunken treasure ~ greetings ~ of
"I needed you",
some lost wanderer you claim you knew
earns a place in your line of fishes,
an oriental relic from the now glorified landmark of overdues.
DSP Original Poem Setting (2019): Landmark of Overdues is an original poem setting that tells the story of two characters whose relationship contemplates themes concerning the creation and preservation of legacy. Inspired by the works of Francis Dhomont and Delforge, This composition features techniques of spectral audio signal processing, granular synthesis, and string resonators to convey the poem's morphing metaphors. As a result, this poem setting reveals one particular event in which legacy leads to the objectification and dehumanization of one character. Accordingly, this composition explores the concept of distortion and deception.
CsoundQT Note-List Composition (2019) - Through the use of seven originally programmed CsoundQT instruments, this work immerses itself in the pensive ambience of daybreak.
Ambient piece (2018) - Featuring the sole use of original, synthesized sound design as well as focus upon musical symbolism and motifs. These complimentary sound design elements paint the image of a waterfall at dawn. This image for False Consciousness represents one’s secret place of safety. It is a beguiling, untouchable location that survives with the core of one’s being. The composition centers in on one instance of this location’s history, a moment of deception. This site to see morphs and evolves, coming and going to paint unreliable images. As a result, this act exposes the dichotomy between a desired illusion and a darker reality. This musical work’s title presents an ‘objective’ conclusion to the piece.
Electronic Soundscape (2019) - All sound design is derived from 9 short samples: mouth harp, bell, glass tone, goat hoof rattle, gong, bowed trashcan lid, bowed cymbal, cowbell, garbage can rolling. Transformed with CsoundQT's spectral processing capabilities, these samples work to illustrate the hazy, suspenseful anticipation of a haunting nightmare.
Concrete Soundscape (2018) - Based on the musical techniques found in Edgard Varèse’s Poème Électronique. This work illustrates the performance of puppetry through creative splicing between sonically unrelated samples.
Modular Soundscape (2018) - Inspired by the works of Morton Subotnick, Richard Devine and structured by Fibonacci proportions. This work of original sound design came to be with use of the MakeNoise Shared System and Eurorack modules. Beginning in a location of quiet meditation, spectators are taken through a day in the life of a busy, metropolitan city. Each hour of a 24-hour day is represented by a 36 second section. With this in mind, the last section of the piece reveals an additional, hypothetical 25th hour of a day.
Soundbyte Composition (2019) - All sounds created and heard were processed from a soundbyte, one recorded reading of the spoken word, "flight", heard at the beginning of the piece. There were no drums, pads, leads, synth samples used. However, through the use of SoundHack's phase vocoder, this single word was manipulated into a variety of familiar and new textures. Additionally, this library of new source material was further used and processed with modern sampling and production techniques. As a result, this piece takes the listener on a fun, adventurous journey through the skies.
Electronic Symphonic Musical Analogies to Poetry (2019) - Featuring three original poems concerned with the overarching theme of cognizance.