Scores and Recordings:

Depth Sounding (2016), 11', solo violin with live electronics.  Written in collaboration with violinist Kate Dreyfuss; premiered at the 2016 Festival de Música Académica y Contemporánea in Cuenca, Ecuador under the title Being Breathed; and revised for the U.S. premiere in February 2016 at Stony Brook University.  See score.

 Anchorage (2016), 6', eight voices.  Written for Roomful of Teeth and read at Stony Brook University in October 2016.  See score.

Amassed (2015), 7.5', brass quintet with live electronics.  Written for Anima Brass and premiered at Stony Brook University in November 2015.  See score.

Clarion (2016), full orchestra (2, 2, 2d1bass, 2 - 2, 3, 2, 1, strings, harp, vibraphone).  Written for the Stony Brook Symphony Orchestra and read at Stony Brook University in November 2016.  See score.

Expansion (2014), 7', 8 trombones (6 tenor, 2 bass) or 8-part trombone choir.  Premiered by the Minneapolis Trombone Choir in spring 2015.  See score.


"In Search of Rhythmic and Improvisatory Practice in the 13th and 14th Centuries: Birdsong and Singers on the Wing," 2016 paper using birdsong quotations as clues to issues of tempo, rhythm, and improvisation in 13th- and 14th-century music.  (Written at Stony Brook University, supervised by Catherine Bradley.)

"Hit Chansons: the Contratenor as Cover and Clue in Machaut," 2013 paper investigating Machaut's contratenors in comparison with added contratenors composed for his music by other musicians.  Given at the 48th International Medieval Congress in Kalamazoo, Michigan.  (Written at Princeton University, supervised by Anna Zayaruznaya.)

 "Canntaireachd: 'Making a Word of the Note,'" 2011 paper investigating the spectral logic of Scottish piping vocable system.  (Written at Princeton University, supervised by Dan Trueman.)