Earth Mother (2018)
for custom-built electronic instrument
Earth Mother is a custom-built electronic instrument based on a female archetype of femininity, vitality, and creation. The Earth Mother produces life from within herself—all things come from her, are nurtured by her, and eventually return to her.
Through physical contact, the performer is incorporated into the Earth Mother’s electrical circuit. Current flows through both bodies, and sound emerges with the forming and reforming of connections.
Performed at International Alliance for Women in Music (IAWM) and Feminist Theory and Music 15 (FT&M15) joint conference in June 2019,
At The Bridge Progressive Arts Initiative in April 2019,
And at Missouri Experimental Sonic Arts Festival (MOXsonic) in March 2019.
Party Teen #1
for fixed media
I wrote Party Teen #1 in confrontation with expectations of feminine emotionality in music. In this piece, I use the sounds of a screaming woman to explore how the acousmatic voice can separate not only sound and body, but also sound and emotion. Screaming is usually unpremeditated and can express fear, pain, excitement, or surprise. When voluntary, screaming can be used as a form of explosive liberation and power.
Performed at The National Student Electronic Music Event (N_SEME) in February 2019
And at Electronic Music Midwest (EMM) in October 2018
performed by Splinter Reeds
SUPERLATIVES is about competition and music, and the spectrum between silliness and seriousness. The score consists of 66 cells containing superlatives, which the performers move through according to their own paths and and paces. The performers must balance between completing the cells to the best of their ability and trying to outdo the other performers.
Premiered by Splinter Reeds in July 2017 at the Walden School Young Musicians Program (video above)
Performed by Ghost Ensemble in 2017 at The DiMenna Center for Classical Music in New York and Center for New Music in San Francisco