2009
Duration 6'30"

2000
Duration 5'

One day, I happened to listen to a severely scratched CD for a while. I was struck by the hyper-rhythm imposed on the music by the efforts of the error-correction circuitry to deal with the scratches.

1999
Duration 13'20"'

In 1999, I was the composer for the world premiere of The Passion of Henry David Thoreau, a play by Joyce Carol Oates. In approaching the music for this production, I was influenced by a passage from Walden in which Thoreau mentions being able to hear church bells from a nearby town. I used tuned filters to shape sounds of nature into otherworldly, ethereal bell sounds.

1999
Duration 3'20"

An excerpt from wool and water, a sound installation I created for the Mary & Leigh Block Museum of Art in Evanston, Illinois. The installation was based on Chapter V of Lewis Carroll's Through the Looking Glass, in which Alice finds herself in a shop with a sheep behind the counter. Every time Alice attempts to focus on something on one of the shelves, to see if she wants to buy it, the object moves out of her vision. In this installation, I used granular synthesis and other techniques to engulf the audience in constantly moving, unidentifiable sounds. Audience members could interact with the installation through a MIDI keyboard, and the system captured their input for subsequent playback (sometimes days later).

1999
Duration 12'

A free-flowing work for electronics alone, move blends granular synthesis with samples and other synthesized tones to create a series of vignettes related to motion.

1999
Duration 4'

A short piece, based entirely on a recording of a guitar quartet tuning their instruments.

1998
Duration 7'37"'

The end result of a independent study of spatial audio with Gary Kendall at Northwestern University, wisp is a composition using binaurally recordings of various environments, a can of compressed air, and air blown through a saxophone. When played back over headphones, the sounds seem to encircle the listener.

1998
Duration 6'26"'

My first experience with granular processing, this piece is built from a two-bar drum loop, sliced, diced, and processed to within an inch of its life.

1998
Duration 7''

My first experience with binaural techniques, this piece used recordings of Sufi whirling dervishes (Mevlevi Order) and processing in SoundHack to create a binaural experience of the listener whirling through the ceremony.

1997
Duration 8'12"'

Using nothing but loops downloaded from the Internet in a single evening – back when that was fairly new and unusual – Boom-Ba recontextualizes these overtly dance-oriented sounds into a tapestry of interruption. Throughout the first two large sections of the work, a groove constantly begins to develop, only to be thwarted. In the closing section, the groove is permitted to evolve, but quickly spins out of control.

1995

(Withdrawn)

1994
Based on the poem "Rapid Eye Movement" by Jena Haberger.

(Withdrawn)