I will present at the Stanford Center for Computer Research in Music and Acoustics (CCRMA) colloquium series on gesture sensing, dance, and electroacoustic music.

Wednesday, April 26 @ 5:30pm PST/8:30pm PST

More info here: https://ccrma.stanford.edu/wiki/Colloquium

I’m performing imprints: blue grey silhouette at NJDAC.

This is a TIMARA/OPG Concert. I premiere Imprints: blue grey silhouettte for text, movement, projection, wearable robotic instruments, and electronic sound. Electromechanically actuated chimes by Steven Kemper.

Alice Blumenfeld and I will present a performance video of our dance collaboration Shifting Reflections, at NJDAC on Sunday, April 10, 2022.

Steven Kemper and I will present Why Should Our Bodies End at the Skin? at the Music and Movement Virtual Conference at the University of Pittsburgh from January 22–24, 2021.

Registration is Free! Please check back for full conference schedule.

I will present string song at the NIME Conference (virtual).

Please stay tuned for details

Steven Kemper and I will present Why Should Our Bodies End at the Skin? at the 7th International Conference on Movement and Computing, 2020.

The conference has moved to a virtual space this year. Hope to see you at our ZoomRoom!

Please stay tuned more details on this concert as part of TIMARA’s 50th Anniversary Celebration Events.

Please stay tuned for this multi-event festival organized by Tom Lopez as part of TIMARA’s 50th Anniversary Celebration Events.

Please Stay Tuned for Details.

I’m excited to be a part of the NJDAC concert - New Jersey Digital Audio Concert.

Please stay tuned for details.

I’m so excited that Oberlin’s Contemporary Music Ensemble, conducted by Timothy Weiss, is playing a 2019 revision of mosaic for flute, clarinet, vioiln, cello, prepared piano. I’m honored to be on the program with Ives, Jesse Jones, Kari Watson, and Kirsten Docter.

Click for more information and link to the webcast.

Brianna Matzke, featured artist in the Hammert Concert Series performs This Train, Blue Shine for piano, ebow, guitar slide, and harmonica 

Bob Dylan’s It Takes a Lot to Laugh, It Takes a Train to Cry features “lazy slap” style drumming (a slower tempo slightly favoring the offbeat), steady strummed rhythms, and resolute piano, vocal, and harmonica parts. Along with the music, the lyrics evoke a sense of locomotion, “ride on a mail train,” as well as imagery: “shinin’ through the trees” and “the sun look good goin’ down over the sea.” This Train, Blue Shine takes its lead from these elements and unfolds a deconstructed blues while re-imagining the piano played like a guitar. With an emphasis on timbre and texture, the piece begins with hand stomps inside the piano and a low rumble resembling a slow train. Gradually, the piece opens up to the piano’s full range and features layered textures created by strumming, guitar slides on strings, and an electric bow (e-bow). As homage to Dylan’s iconic sound, the harmonica joins the texture until the end of the piece. Many thanks to Brianna Matzke for her artistry and for the opportunity to write for The Response Project.

I am so honored to be a part of Brianna Maztke's third The Response Project: Something is Happening Here.  

SOMETHING IS HAPPENING HERE is a community-wide response to Bob Dylan's 1964 album Highway 61 Revisited. Twelve composers, nine filmmakers, and six multidisciplinary artists create new work in response to songs from the album. These evenings feature short films and musical responses. Visit www.theresponseproject.org/bds-the-project for more info.

Brianna Matzke, featured artist in the Kent State Vanguard Series performs This Train, Blue Shine for piano, ebow, guitar slide, and harmonica 

Bob Dylan’s It Takes a Lot to Laugh, It Takes a Train to Cry features “lazy slap” style drumming (a slower tempo slightly favoring the offbeat), steady strummed rhythms, and resolute piano, vocal, and harmonica parts. Along with the music, the lyrics evoke a sense of locomotion, “ride on a mail train,” as well as imagery: “shinin’ through the trees” and “the sun look good goin’ down over the sea.” This Train, Blue Shine takes its lead from these elements and unfolds a deconstructed blues while re-imagining the piano played like a guitar. With an emphasis on timbre and texture, the piece begins with hand stomps inside the piano and a low rumble resembling a slow train. Gradually, the piece opens up to the piano’s full range and features layered textures created by strumming, guitar slides on strings, and an electric bow (e-bow). As homage to Dylan’s iconic sound, the harmonica joins the texture until the end of the piece. Many thanks to Brianna Matzke for her artistry and for the opportunity to write for The Response Project.

I am so honored to be a part of Brianna Maztke's third The Response Project: Something is Happening Here.  

SOMETHING IS HAPPENING HERE is a community-wide response to Bob Dylan's 1964 album Highway 61 Revisited. Twelve composers, nine filmmakers, and six multidisciplinary artists create new work in response to songs from the album. These evenings feature short films and musical responses. Visit www.theresponseproject.org/bds-the-project for more info.

I will perform music box (2018) for prepared Wurlitzer student butterfly piano, sound exciters, and electronics at the annual New Jersey Digital Audio Concert (NJDAC) featuring performances of computer-based music by Rutgers students, faculty, and special guests.