• nb1
    NATHANIEL BARTLETT //
    SOUND-SPACE AUDIO LAB

CONNECT

INTRODUCTION

PROSPECTUS (PDF)

WORK DESCRIPTION


I am a composer, performer, and technologist who creates music with a special focus on the nuances and inner details of sound and its expression in a physically immersive listening space.

When one listens attentively to details, it becomes readily apparent that most complex vibrating bodies do not produce a single "note," but rather many perceivable events that unfold over time before the complex vibrating body comes to rest. In my music's sounds -- both those produced acoustically and electronically -- the complex nuances are used as critical artistic components. In my computer-integrated work, the computer is often used to emphasize the constituent parts within a single acoustically produced sound, as well as how the parts evolve, and mold them into new, compelling sound objects.

Our ability to localize sound (determine its spatial position and environment) is a powerful sensory function full of possibilities for artistic exploitation. Our auditory systems enable us to grasp the entire three-dimensional soundscape in which we are immersed at any point in time. This ability to listen simultaneously to sounds in all directions and distances contrasts greatly with our ocular system, which gives us only partial views of our surroundings. Not only can sound exist in space, but spaces themselves can provide us with sonic environments (for example, hear in your mind the vastly different behavior of sound inside of a cathedral versus a carpeted hallway). In my music, I take great care to craft not only kinetic audio spatial-forms, but also the acoustic environments in which they sound.

My main creative avenue is my music for marimba plus three-dimensional, high-definition, computer-generated sound. I designed my electronics system as an extension of my aesthetic sensibilities, and it thus allows for an intensely personal approach to my works. Indeed, my works for this setup are intended for my performance alone, as soloist or ensemble member. My compositions for marimba plus computer are not fixed, but rather constantly evolve as I create new musical material and new computer processes. In live performance, I act as creator and live arbiter of the music, navigating through flexible compositional frameworks which utilize a complex system of interconnecting notation generation, acoustic instrumental performance, and real-time audio manipulation.

As counterpoint to my proprietary electro-integrated works, my compositions for acoustic instruments have scores available for performance by other musicians. Although the music is produced acoustically, it shares the same aesthetic framework as my electronic music. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. At first glance, the system is distinguished by its use of multiple colors and an attention to visual detail which reflects the artistic sensibilities of the music.

In general, I strive to create musical events, as opposed to "pieces." In live performance, I assemble programs that are without intermission, with either a single, large-scale composition, or a set of works designed to create a unified event. My recordings are structured in the same way, as albums, with either a single, large-scale composition, or a collection of works that together have an artistic impact greater than the sum of the individual components. My music, both live and recorded, is often part of multi-media collaboration projects. Over the past few years, I have worked with dancers, sculptors, and video artists on performance and installation projects.

Although the focus of my activities is on my own compositions, my work as a marimbist and technologist also includes the performance and presentation of works by other composers. On marimba, this repertoire includes compositions, both acoustic and electro-integrated, from recent decades, including a growing number of compositions written specifically for me, as well as some centuries-old compositions. As a technologist, I present a growing repertoire of multi-channel, fixed-media, electronic compositions as part of my Sound-Space Audio Lab Fixed Media Repertoire Project.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created by endpcnoise.com.

BIOGRAPHY


Born 1978, Madison, Wisconsin (USA).

I am a composer, performer, and technologist. Since 2004, I have been traveling all across the US with my continuously evolving marimba+electronics system, performing solo marimba and marimba+electronics repertoire in a wide variety of venues: art museums, concert halls, dance spaces, DIY/underground spaces, and many universities and colleges. Visits to academic institutions often include master classes, lectures, and demos.

My mobile electroacoustic diffusion rig began in 2004 with a stereo loudspeaker setup, moving to four-channel surround in 2005, then on to my first eight-channel (cube) three-dimensional surround setup in 2006, and finally upgrading to my current cube setup in 2011. During the first years of performing in my marimba+electronics format, a handful of composers wrote several new works for me, but since 2011 I have focused almost exclusively on the performance of my own compositions.

Ongoing work with computer monitor-based real-time notation in my marimba+electronics compositions began around 2008. Through real-time computer notation processing, I am able to combine the flexibility and spontaneity of improvisation, with the complex organizational capabilities of a notated score.

In 2007, I founded an ongoing concert series to feature my new work at the Overture Center for the Arts, in Madison, Wisconsin. The Overture Center series has hosted the premieres of many of my works, as well as the works of other composers, and has featured collaborations with other musicians, and collaborations with artists working in other media such as dance, video art, and sculpture. It was on this series (2014) that I launched the SSAL Fixed Media Repertoire Project with a concert featuring the historic multi-channel electronic works Kontakte and Gesang Der Jünglinge, by Karlheinz Stockhausen.

After much experimentation, I completed the initial work (it continues to progress) on my notation system for acoustic works in 2010, and have subsequently created a growing body of work composed in this system. The system uses multiple colors and other graphic devices in order to achieve maximum clarity, and is in general an attempt to visually represent the artistic sensibilities of the music for the performers as intuitively as possible. In order to expand my catalog of acoustic works, and record them in multi-channel, high-definition formats, I launched the The SSAL Guest Artist Recording Project in 2015, with my solo percussion work apical topography.

Recordings in multi-channel (surround), high-definition formats are central to my work, and to facilitate these projects, I designed and built a recording/work studio -- Sound-Space Audio Lab -- in Madison, WI, in 2010. I moved SSAL to Placitas, New Mexico in 2014, and back to Madison in 2017 (currently looking for a new space).

From 2011 to 2013 I was a postdoctoral associate at the Wisconsin Institute for Discovery, working on music+technology projects.

EDUCATION

• Doctor of Musical Arts • Music Composition • University of Wisconsin–­MadisonStephen Dembski // • Postgraduate Diploma • Marimba Performance • Royal Academy of MusicLeigh Howard Stevens // • Bachelor of Music • Percussion Performance • Eastman School of MusicJohn Beck // • Private Study • Marimba Performance • Leigh Howard Stevens

ARTICLES AND INTERVIEWS

PDFascent of man: art & more // PDFPercussive Notes // PDFPercussive Notes // PDFThe Squid's Ear // MP3Sound Notion TV: Patch In // PDFThe Key // PDFDowntown Devil // MP3Public Radio Tulsa: Studio Tulsa // PDFPercussive Notes // PDFNUVO // PDFPercussive Notes // MP3Wisconsin Public Radio: The Midday

DISCOGRAPHY

DETAILS

PURCHASE RECORDINGS

All works were recorded in multi-channel (surround), high-definition audio, capturing the sonic nuances and spatialization that are key components of my music. For accessibility, each recording is available in multiple formats, including stereo CD.

ALBUM INFO KEY: Title • Code • Year of Release • Label • Physical Media Format • Audio Formats (HD = high definition, CD = CD quality, # = number of channels)

The following excerpts have a very wide dynamic range and laptop or mobile device speakers will not yield good results.

HEADPHONES RECOMMENDED

LUMINOUS MACHINE • SSAL-A6 • 2017 • SOUND-SPACE AUDIO LAB • AUDIO CD AND DATA DVD • HD8 HD4 HD2 CD2

[1] 4:41-9:41
of 13:03
[2] 8:28-13:28
of 15:15
[3] 4:17-9:35
of 12:11

[1] luminous machine, for solo percussion* • [2] solar sequence, for four glockenspiels** • [3] apical topography, for solo percussion* • *percussion: Michael Carp • **glockenspiels: Nathaniel Bartlett

COMPOSITIONS BY NATHANIEL BARTLETT

SPECTRUM • SSAL-A8 • 2017 • SOUND-SPACE AUDIO LAB • AUDIO CD AND DATA DVD • HD8 HD4 HD2 CD2

[1] 0:00-5:00
of 7:48
[2] 0:00-4:30
of 5:22
[3] 0:00-6:00
of 10:32
[4] 0:00-4:30
of 5:18
[5] 0:57-5:57
of 6:37
[6] 0:00-4:30
of 5:12
[7] 0:52-2:52
of 2:52

[1] networks, for solo flute • flute: Elizabeth Marshall[2] cronometro_palter_quartet, for percussion quartet • percussion: Morris Palter[3] impulse response, for four percussionists playing six snare drums each • snare drums: Lee Vinson[4] cronometro_palter_solo, for solo percussion • percussion: Morris Palter[5] wave energy, for violin, vibraphone, and percussion • violin: David Felberg, vibraphone: Will Kramer, percussion: Will Kramer • [6] cronometro_bugbee_duo, for percussion duo • percussion: Fred Bugbee[7] bright points, for vibraphone and percussion • vibraphone: Will Kramer, percussion: Will Kramer

COMPOSITIONS BY NATHANIEL BARTLETT

AV • SSAL-AV7 • 2016 • SOUND-SPACE AUDIO LAB • AUDIO/VIDEO BLU-RAY • HD8 HD4 HD2 CD2

COMPLETED: RELEASE PENDING BLU-RAY AUTHORING

VIDEO GALLERY

[1A] timeSpacePlace (a-side)* and [1B] timeSpacePlace (b-side)* (audio, from album SSAL-A4) + Unseasonable Events Change Hands** (video) • [2] Heap (audio*, from album SSAL-A2 + video**) • *performer: Nathaniel Bartlett • **video: Toby Kaufmann-Buhler

COMPOSITIONS BY NATHANIEL BARTLETT

NEOTERIC TOPOLOGY • SSAL-A5 • 2015 • SOUND-SPACE AUDIO LAB • AUDIO CD AND DATA DVD • HD8 HD4 HD2 CD2

[1] 6:32-11:32
of 37:38
[1] 21:39-26:39
of 37:38

[1] neoteric topology • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • composed by Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett

COMPOSITION BY NATHANIEL BARTLETT

TIMESPACEPLACE • SSAL-A4 • 2013 • SOUND-SPACE AUDIO LAB • AUDIO CD AND DATA DVD • HD8 HD4 HD2 CD2

[1] 7:44-13:04
of 22:15
[2] 14:10-19:09
of 22:15

[1] timeSpacePlace (a-side) and [2] timeSpacePlace (b-side) • for marimba and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • composed by Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett

COMPOSITIONS BY NATHANIEL BARTLETT

(((CLANG))) • SSAL-A1 • 2012 • SOUND-SPACE AUDIO LAB • AUDIO CD AND DATA DVD • HD8 HD4 HD2 CD2

[1] 0:00-5:00
of 40:11
[1] 18:47-23:40
of 40:11

[1] (((clang))) • for marimba and metal objects; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • composed by Nathaniel Bartlett • marimba, metal objects, and computer control: Nathaniel Bartlett

COMPOSITIONS BY NATHANIEL BARTLETT

TRICHOTOMIC ECOLOGY • SSAL-A3 • 2011 • SOUND-SPACE AUDIO LAB • AUDIO CD AND DATA DVD • HD8 HD4 HD2 CD2

[1] 7:57-12:22
of 42:54
[1] 23:28-28:28
of 42:54

[1] trichotomic ecology • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • marimba and computer control: Nathaniel Bartlett • percussion: Geoff Brady • viola: Nils Bultmann

COMPOSITION BY NATHANIEL BARTLETT

FAR REACHES • SSAL-A2 • 2010 • SOUND-SPACE AUDIO LAB • AUDIO CD AND DATA DVD • HD8 HD4 HD2 CD2

[1] 2:25-7:33
of 20:00
[2] 7:23-12:23
of 17:30

[1] star_birth, for solo percussion* • [2] Heap, for solo percussion** and real-time three-dimensional, high-definition, computer-generated sound • *percussion: Justin Alexander • **metal percussion and computer control: Nathaniel Bartlett

COMPOSITIONS BY NATHANIEL BARTLETT

PRECIPICE • TROY855 • 2006 • ALBANY RECORDS • HYBRID MULTI-CHANNEL SUPER AUDIO CD • HD5 HD2 CD2

[1] 0:00-2:09
of 6:31
[2] 0:00-5:00
of 17:43
[3] 0:00-2:08
of 5:40
[4] 0:00-1:10
of 2:36
[5] 2:48-5:35
of 11:20

[1] Opening, for solo marimba*, by Philip Glass[2] Precipice, for marimba and four-channel, high-definition, computer-generated sound*, by Allan Schindler[3] Interlude, for marimba and four-channel, high-definition, computer-generated sound*, by Greg Wilder[4] Silhouettes (four movements), for solo marimba*, by Augusta Read Thomas[5] Vermont Counterpoint, for marimbas*, by Steve Reich, mar. version N. Bartlett • *marimba: Nathaniel Bartlett

MARIMBA+ELECTRONICS

MARIMBA; REAL-TIME THREE-DIMENSIONAL, HIGH-DEFINITION, COMPUTER-GENERATED SOUND; AND REAL-TIME COMPUTER NOTATION PROCESSING

VIDEO INTRODUCTION

ABOUT


My performances seamlessly meld my five-octave acoustic marimba with a powerful Linux-based computer, custom computer control interfaces, a variety of hardware audio electronics, and eight loudspeakers (plus subwoofer) arranged in a cube. With the audience positioned in the center of the loudspeaker cube, an elaborate, kinetic, three-dimensional sound environment can be projected into the audience space, totally immersing the listeners in the music. In my immersive sound environments, spatialization (the positioning and movement of sounds in physical space) becomes a central musical parameter, alongside of pitch, rhythm/time, timbre, and so on.

The sound environments of my compositions are comprised of sounds culled from many sources and techniques, including digital audio manipulations of my live marimba, digital audio manipulations of recorded acoustic sounds stored on my computer, and synthetically engineered sounds. The intricate three-dimensional sound environments of my works are further enriched by the use of high-definition audio, which allows for a significant increase in sonic nuances.

In my performance rig, two computer monitors are used in place of a conventional music stand. The music notation, now free from the physical realm of paper and ink, is created and manipulated in real time, just as the computer-generated sounds are created and manipulated in real time.

I designed my performance rig for maximum mobility without compromising audio quality, and have performed all across the US in a wide variety of venues, such as art galleries and museums, concert halls, dance spaces, DIY/underground spaces, and many universities and colleges. In order to present my music in its original three-dimensional, high-definition form at every performance, I always tour with all my own electronic equipment and marimba.

Recordings of my original compositions and other projects -- all on multi-channel, high-resolution media -- can be found on Albany Records, and on my own label, Sound-Space Audio Lab.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created by endpcnoise.com.

WORKS


My compositions for marimba + computer are dynamic works which evolve from performance to performance. Each composition has an overarching framework inside which I, as the composer and live performer of the composition, aided by computer-based algorithmic audio and score production, have the flexibility to realize different versions of the work.

Recent events have included performances of:

next apex (2015)
apex altissimo (2014)
in balance (2014)
timeSpacePlace (2013)
RETURN TRANSMISSION (2012)
territories (2012)
(((clang))) (2012)
summer sanctuary (2011)
time-­space-place (2011)
System Ping (2010)
Space Forms (2010)
Wear Patterns (2009)
sound/­space ­system (2009)
Blue Shift (2009)
Sodium Lights (2008)

SOUND-SPACE AUDIO LAB

STUDIO


The SSAL studio is my personal laboratory (with occasional outside projects) for the creation and recording of works which feature spatialized acoustic and/or electronic sounds.

I designed the acoustic treatment system for the main SSAL recording room to be completely modular and mobile, and it has been installed in rooms in Madison, WI (2010–2013), and Placitas, NM (2014–2017). In 2017, I moved back to Madison, WI, and am currently searching for a new space.

All recording is done digitally (24bit/88.2kHz) on my Linux-based computer system.

MOBILE MULTI-CHANNEL ELECTROACOUSTIC DIFFUSION SYSTEM


The core of the SSAL mobile multi-channel electroacoustic diffusion sytem is its array of eight loudspeakers and a subwoofer. I designed and built a set of mounts for the loudspeakers which allow them to be mounted on a variety of stands of different heights and rotated 360° vertically and horizontally. Most often, the loudspeaker array is set up in a "cube" format, with the audience in the center.

The SSAL mobile rig uses the electronics (microphones, microphone preamplifier, A/D/A converters, etc.) from my recording studio. This allows me to bring uncompromisingly nuanced, beautiful sounds to all my live events.

Travelling with such an elaborate electroacoustic rig is a sizeable logistical challenge. In order to accomplish the task, I designed and built a set of road cases which use as little space as possible and minimize set-up / tear-down time.

RECORDINGS


Most of my musical activities as a performer and composer involve the use of highly detailed, immersive sound environments. In order to fully capture my works, SSAL recordings use high-definition, multi-channel audio.

PURCHASE ALBUMS

SSAL recordings are available as two-disc albums (audio CD + data DVD). The audio CD (containing format D) is playable on standard CD players. The data DVD contains audio files in formats A, B, and C.

[A] HD CUBE (8 channels), 24BIT 88.2KHZ
[B] HD QUAD (4 channels), 24BIT 88.2KHZ
[C] HD STEREO, 24BIT 88.2KHZ
[D] CD STEREO, 16BIT 44.1KHZ

TRUE DYNAMICS


SSAL recordings, as a reflection of my musical aesthetics, are highly dynamic recordings. In other words, there is a huge range between the softest and loudest sounds. No dynamic range compression is used. The PDF notes accompanying the recordings give directions for setting playback levels based on the loudest section in the composition.

LOUDSPEAKER SETUPS


CUBE // For the cube format, eight loudspeakers should be placed at the vertices of a cube with the listener in the center.

QUAD // For the quad format, four loudspeakers should be placed at the vertices of a square with the listener in the center. The tweeters should be at about the same height as the listener's ears.

STEREO // For the stereo format, two loudspeakers should be placed in front of the listener at +/- 20° to 30°. If the speakers are too close together, the stereo image will smaller than necessary. If the speakers are too far apart, the stereo image will be lost (sounding like two separate audio channels coming from the two different speakers). The tweeters should be at about the same height as the listener's ears.

PHYSICAL MEDIA


SSAL physical media albums come in two-tone (black / brown) kraft paper envelopes, with brown kraft disc labels, black printing, and sleeved in resealable clear poly bags.

CONCERT PRESENTATION


SSAL recordings are not solely intended for home listening, I also conceive of them as fixed-media sound works that can be projected in a concert or installation setting. Multi-channel home-listening setups are still rare, especially eight-channel cube setups, so public presentations of SSAL recordings are the way most people hear these works in their true three-dimensional, high-definition format.

If you are interested in acquiring the rights to present a SSAL recording publicly, please email me.

FIXED MEDIA REPERTOIRE PROJECT


In addition to my live performances, I present a growing repertoire of multi-channel, fixed-media, electronic works. Compositions include my original works as well as compositions by other composers. Click button for More information.

SSAL_FMRP

GUEST ARTIST RECORDING PROJECT


For performers of contemporary music, funding for the commissioning and recording of new works is extremely hard to secure. To get around this problem, I started the Sound-Space Audio Lab Guest Artist Recording Project. The SSAL_GARP, an exchange of time and talent, is simple: (1) if you are a professional-caliber performer or ensemble, (2) and can get yourself and your instruments to my studio, (3) I will write a new work for you to record, in high-definition surround, (4) for release on my Sound-Space Audio Lab record label.

PHOTO/VIDEO

EVENTS

PROSPECTUS (PDF)

2017


07-22-17
Santa Fe, NM

TIME • 2pm-3:30pm

EVENTTech and the West • a symposium presented by the Santa Fe Opera • presented as part of the upcoming world premiere (2017) of The (R)evolution of Steve Jobs and the 2018 production of Doctor Atomic.

PANEL DISCUSSION • Topic: Creative Expression • Composer Nathaniel Bartlett, Psychologist Dorella Bond, and Designer Leah Buechley, moderated by Andrew J. Wulf, Director of the NM History Museum.

07-21-17
Santa Fe, NM

TIME • 3pm-4pm

EVENTTech and the West • a symposium presented by the Santa Fe Opera • presented as part of the upcoming world premiere (2017) of The (R)evolution of Steve Jobs and the 2018 production of Doctor Atomic.

TITLE • Concert Music and the Personal Computer Revolution

VENUE New Mexico History Museum auditorium

WORK 1Gesang der Jünglinge (excerpt) (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2Sidewinder, part 2 (excerpt) (1971) • for four-channel tape, created on Buchla analog synthesizer • four-channel (square) loudspeaker array • fixed media • high-definition digital transfer from original analog tape • composer: Morton Subotnick

WORK 3Sieben Stufen (1995) • for four-channel computer-generated sound, created on NeXT computer • four-channel (square) loudspeaker array • fixed media • composer: Hans Tutschku

WORK 4Word Color (1992) • for stereo computer-generated sound, created on NeXT computer • stereo loudspeaker array • fixed media • composer: Paul Lansky

WORK 5NEXT_APEX_SF (2015/2017) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel (cube) loudspeaker array • composer/performer: Nathaniel Bartlett

06-09-1706-10-17
Santa Fe, NM

TIME • included with other works between 6pm and 12am

EVENTCurrents New Media Festival 2017

VENUE The Quasar Pavillion

WORK 1audio/video composition • AUDIO: cronometro_bugbee_duo (2017) • for percussion duo • from the audio album spectrum (SSAL-A8) • a interpretation of cronometro, for unspecified time-based media • presented in CD-quality stereo (original: high-definition eight-channel surround) • fixed media • composer: Nathaniel Bartlett • percussion: Fred Bugbee • VIDEO: cronometro (2017) • an interpretation by Toby Kaufmann-Buhler of the composition cronometrovideo link

WORK 2audio/video composition • AUDIO: timeSpacePlace (b-side) (2013) • for marimba and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the audio album timeSpacePlace (SSAL-A4) and the blu-ray AV (SSAL-AV7) • presented in CD-quality stereo (original: high-definition eight-channel surround) • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Unseasonable Events Change Hands (2013) • by Toby Kaufmann-Buhlervideo link #1 video link #2

WORK 3audio/video composition • AUDIO: Heap (2010) • for solo metallic percussion and real-time three-dimensional, high-definition, computer-generated sound • from the audio album far reaches (SSAL-A2) and the blu-ray AV (SSAL-AV7) • presented in CD-quality stereo (original: high-definition eight-channel surround) • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Heap (2015) • by Toby Kaufmann-Buhlervideo link #1 video link #2

03-24-17
Udine, Italy / Global Internet Event

TIME • 1:30pm, Mountain Time (US)

EVENT SERIESToBeContinued...2017

VENUE Stazione di Topolò • multiple live listening posts across the globe • live internet stream

MORE INFO • ToBeContinued is an concert lasting 24 hours (from 00.00 hours to the midnight of March 24th, GMT+1), during which musicians from many parts of the world will be connected to a website that will broadcast their concerts. During this uninterrupted 24 hour marathon, each musician -- representing a range of "new music" practices -- will have a 30 minute window for live or prerecorded performance created especially for this event.

WORKcampanology improvisation 1 • for computer-processed glockenspiel • streamed in lower-resolution stereo • performer: Nathaniel Bartlett

PHOTO ARCHIVEAUDIO ARCHIVE

2016


11-24-1611-28-16
Belfast, UK

EVENT SERIESSonorities Festival of Contemporary Music

VENUE Queen’s University BelfastSonic Arts Research Centre (SARC)

WORKaudio/video installation • AUDIO: Heap (2010) • for solo metallic percussion and real-time three-dimensional, high-definition, computer-generated sound • from the audio album far reaches (SSAL-A2) and the blu-ray AV (SSAL-AV7) • presented at this installation in high-definition four-channel surround • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Heap (2015) • by Toby Kaufmann-Buhlervideo link #1 video link #2

PROGRAM (PDF)

05-27-16
Santa Fe, NM

TIME • 5:00pm - 7:00pm

EVENTICONIC Group Exhibition

VENUE EVOKE contemporary

WORK 1audio/video installation • AUDIO: timeSpacePlace (b-side) (2013) • for marimba and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the audio album timeSpacePlace (SSAL-A4) and the blu-ray AV (SSAL-AV7) • presented at this installation in its original high-definition eight-channel surround version • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Unseasonable Events Change Hands (2013) • by Toby Kaufmann-Buhlervideo link #1 video link #2

WORK 2audio/video installation • AUDIO: Heap (2010) • for solo metallic percussion and real-time three-dimensional, high-definition, computer-generated sound • from the audio album far reaches (SSAL-A2) and the blu-ray AV (SSAL-AV7) • presented at this installation in its original high-definition eight-channel surround version • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Heap (2015) • by Toby Kaufmann-Buhlervideo link #1 video link #2

PHOTO ARCHIVE

04-03-16 (2)
Carbondale, IL

TIME • 7:30pm

EVENT SERIESOutside the Box New Music Series

VENUE Southern Illinois University Carbondale • Altgeld room 112

WORK 1impulse response (2016) • acousmatic premiere • for four percussionists playing six snare drums each (an immersive array of 24 spatially distinct snare drums) • eight-channel (cube) loudspeaker array • fixed media • snare drums: Lee Vinson • composer: Nathaniel Bartlett

WORK 2trichotomic ecology (2011) • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album trichotomic ecology (SSAL-A3) • eight-channel (cube) loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

PHOTO ARCHIVE

04-03-16 (1)
Carbondale, IL

TIME • 5:00pm

EVENT SERIESOutside the Box New Music Series

VENUE Southern Illinois University Carbondale • Altgeld room 112

LECTURE • A lecture covering the technical (hardware and software) and artistic facets of my compositions utilizing three-dimensional, high-definition, computer-generated sound/notation

PHOTO ARCHIVE

2015


11-05-1502-28-16
Milwaukee, WI

EVENT • Threshold

VENUECharles Allis Art Museum

WORKaudio/video installation • AUDIO: timeSpacePlace (b-side) (2013) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album timeSpacePlace (SSAL-A4) • presented at this installation in high-definition four-channel surround • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Unseasonal Events Change Hands (2011) • by Toby Kaufmann-Buhler

PHOTO ARCHIVE

11-02-15 (2)
Oshkosh, WI

TITLE • NATHANIEL BARTLETT PRESENTS A LIVE PERFORMANCE OF HIS NEW COMPOSITION NEXT APEX

TIME • 7:30pm

VENUE University of Wisconsin–Oshkosh, Music Hall

WORKnext apex (2015) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel (cube) loudspeaker array • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

11-02-15 (1)
Oshkosh, WI

TIME • 12:40am

VENUE University of Wisconsin–Oshkosh

LECTURE • A lecture covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

PHOTO ARCHIVE

10-30-15
Madison, WI

TITLE • NATHANIEL BARTLETT PRESENTS A LIVE PERFORMANCE OF HIS NEW COMPOSITION NEXT APEX, AND AN ACOUSMATIC PROJECTION OF MORTON SUBOTNICK'S SIDEWINDER (PART 2)

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Overture Center Event Series • Event #20 • support the series, donations welcome

VENUE The Overture Center for the Arts

WORK 1Sidewinder, part 2 (1971) • for four-channel tape, created on Buchla analog synthesizer • four-channel (square) loudspeaker array • fixed media • high-definition digital transfer from original analog tape • composer: Morton Subotnick

WORK 2next apex (2015) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel (cube) loudspeaker array • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

10-26-15 (2)
St. Cloud, MN

TITLE • EARLY MULTI-CHANNEL ELECTRONIC MUSIC OF KARLHEINZ STOCKHAUSEN

TIME • 8pm

VENUE St. Cloud State University, Performing Arts Center, room 158A

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

PHOTO ARCHIVE

10-26-15 (1)
St. Cloud, MN

TITLE • LISTENING SESSION

TIME • 1pm

VENUE St. Cloud State University, Performing Arts Center, room 158A

Listening session featuring works from my Sound-Space Audio Lab discography presented in their original multi-channel, high-definition formats.

PHOTO ARCHIVE

10-25-15 (2)
St. Cloud, MN

TIME • 4pm

VENUE St. Cloud State University, Ruth Gant Recital Hall

LECTURE • A lecture covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

PHOTO ARCHIVE

10-25-15 (1)
St. Cloud, MN

TITLE • NATHANIEL BARTLETT PRESENTS A LIVE PERFORMANCE OF HIS NEW COMPOSITION NEXT APEX

TIME • 3pm

VENUE St. Cloud State University, Ruth Gant Recital Hall

WORKnext apex (2015) • premiere • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel (cube) loudspeaker array • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

10-24-15 (2)
Kirksville, MO

TITLE • NATHANIEL BARTLETT PRESENTS A LIVE PERFORMANCE OF HIS NEW COMPOSITION NEXT APEX

TIME • TBD

EVENT SERIES • New Horizons Music Festival

VENUE Truman State University, Ophelia Parrish Hall, room 2340

WORKnext apex (2015) • premiere • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel (cube) loudspeaker array • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

10-24-15 (1)
Kirksville, MO

TIME • TBD

EVENT SERIES • New Horizons Music Festival

VENUE Truman State University, Ophelia Parrish Hall, room 2340

LECTURE • A lecture covering the technical (hardware and software) and artistic facets of my works utilizing multi-channel, high-definition, computer-generated sound/notation

PHOTO ARCHIVE

10-22-15 (2)
Manhattan, KS

TITLE • NATHANIEL BARTLETT PRESENTS A LIVE PERFORMANCE OF HIS NEW COMPOSITION NEXT APEX

TIME • 7:30pm

VENUE Kansas State University School of Music, Kirmser Hall

WORKnext apex (2015) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel (cube) loudspeaker array • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

10-22-15 (1)
Manhattan, KS

TIME • 11:30am

VENUE Kansas State University School of Music

LECTURE • A lecture covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

PHOTO ARCHIVE

06-06-15
Santa Fe, NM

TITLE • EARLY MULTI-CHANNEL ELECTRONIC MUSIC OF KARLHEINZ STOCKHAUSEN, AND NEW SOLO PERCUSSION WORK BY NATHANIEL BARTLETT

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Albuquerque/Santa Fe Event Series • donations welcome

VENUE Railyard Performance Center

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2apical topography (2015) • premiere • for solo percussion • live • percussion: Michael Carp • composer: Nathaniel Bartlett

WORK 3GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

PHOTO ARCHIVE

06-05-15
Albuquerque, NM

TITLE • EARLY MULTI-CHANNEL ELECTRONIC MUSIC OF KARLHEINZ STOCKHAUSEN, AND NEW SOLO PERCUSSION WORK BY NATHANIEL BARTLETT

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Albuquerque/Santa Fe Event Series • donations welcome

VENUE First Unitarian, Old Sanctuary

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2apical topography (2015) • premiere • for solo percussion • live • percussion: Michael Carp • composer: Nathaniel Bartlett

WORK 3GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

PHOTO ARCHIVE

05-24-15
Santa Fe, NM

TITLE • OPEN HOUSE FEATURING MULTIPLE PLAYBACKS OF NATHANIEL BARTLETT'S NEW ALBUM/COMPOSITION NEOTERIC TOPOLOGY

TIME • Open House, 11am to 5pm • FREE (donations welcome)

EVENT SERIES • Sound-Space Audio Lab Albuquerque/Santa Fe Event Series

VENUE Santa Fe Railyard Park Community RoomMAP

WORKneoteric topology (2015) • premiere • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album neoteric topology (SSAL-A5) • eight-channel (cube) loudspeaker array • fixed media • composer/performer: Nathaniel Bartlett

MORE INFO • THIS EVENT IS AN OPEN HOUSE. Stop by anytime 11am-5pm. Playback of the new work on the hour (45min duration), every hour. Socialize / talk 0:45-0:60. Meet me, see/hear my mobile 3D high-def electroacoustic rig, learn about my work, and my other upcoming ABQ/SF events.

PHOTO ARCHIVE

05-23-15
Albuquerque, NM

TITLE • OPEN HOUSE FEATURING MULTIPLE PLAYBACKS OF NATHANIEL BARTLETT'S NEW ALBUM/COMPOSITION NEOTERIC TOPOLOGY

TIME • Open House, 11am to 5pm • FREE (donations welcome)

EVENT SERIES • Sound-Space Audio Lab Albuquerque/Santa Fe Event Series

VENUE SCA Contemporary Art

WORKneoteric topology (2015) • premiere • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album neoteric topology (SSAL-A5) • eight-channel (cube) loudspeaker array • fixed media • composer/performer: Nathaniel Bartlett

MORE INFO • THIS EVENT IS AN OPEN HOUSE. Stop by anytime 11am-5pm. Playback of the new work on the hour (45min duration), every hour. Socialize / talk 0:45-0:60. Meet me, see/hear my mobile 3D high-def electroacoustic rig, learn about my work, my other upcoming ABQ/SF events, and check out the other art at SCA.

PHOTO ARCHIVE VIDEO ARCHIVE

01-20-1502-20-15
Columbus, OH

EVENTIMAGEOHIO 15 • presented by ROY G BIV Gallery

VENUEThe Shot Tower Gallery

WORKaudio/video installation • AUDIO: timeSpacePlace (b-side) (2013) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album timeSpacePlace (SSAL-A4) • presented at this installation in stereo • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Unseasonal Events Change Hands (2011) • by Toby Kaufmann-Buhler

PHOTO ARCHIVE

2014


10-31-14
Wichita, KS

TIME • 8:00pm

EVENTKNOB Festival of New Music 2014

VENUE Fisch Haus Studios

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

10-29-14
Omaha, NE

TIME • 6:30pm

VENUE Bancroft Street Market

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

10-27-14
Stevens Point, WI

TIME • 7:30pm

VENUE Noel Fine Arts Center • Room 240 • University of Wisconsin–Stevens Point

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

PHOTO ARCHIVE

10-26-14
Madison, WI

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Overture Center Event Series • Event #19 • support the series, donations welcome

VENUE The Overture Center for the Arts • Promenade Hall

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

09-28-14 (2)
Cleveland, OH

TIME • 3:00pm

EVENTIngenuity Cleveland

VENUE Great Lakes Science Center • Reinberger Auditorium

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

09-28-14 (1)
Cleveland, OH

TIME • 1:00pm

EVENTIngenuity Cleveland

VENUE Great Lakes Science Center • Reinberger Auditorium

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

09-23-14
Tulsa, OK

TIME • 7:30pm

VENUE Living Arts

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

09-22-14
Conway, AR

TIME • 7:00pm

VENUE Snow Fine Arts Recital Hall • University of Central Arkansas

LISTENING SESSION • A listening session featuring excerpts from compositions by Nathaniel Bartlett, Allan Schindler, Karlheinz Stockhausen, Kraftwerk, and others, presented on the Sound-Space Audio Lab multi-channel, high-definition loudspeaker array

PHOTO ARCHIVE

09-21-14 (2)
Conway, AR

TIME • 7:30pm

VENUE Snow Fine Arts Recital Hall • University of Central Arkansas

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

09-21-14 (1)
Conway, AR

TIME • 5:00pm

VENUE Snow Fine Arts Recital Hall • University of Central Arkansas

LECTURE/DEMO • A lecture/demo covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

PHOTO ARCHIVE

05-28-14
Philadelphia, PA

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Philadelphia Event Series • Event #3

VENUECrane Old School White Space

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

PHOTO ARCHIVE

04-30-14
Philadelphia, PA

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Philadelphia Event Series • Event #2

VENUECrane Old School White Space

WORKin balance (2014) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

03-26-14
Philadelphia, PA

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Philadelphia Event Series • Event #1

VENUECrane Old School White Space

WORKtrichotomic ecology (2011) • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album trichotomic ecology (SSAL-A3) • eight-channel (cube) loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

PHOTO ARCHIVE

01-12-14
Springfield, IL

TIME • 3:00pm

VENUEThe Pharmacy

WORKtrichotomic ecology (2011) • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album trichotomic ecology (SSAL-A3) • eight-channel (cube) loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

PHOTO ARCHIVE

01-11-14
St. Louis, MO

TIME • 8:00pm

VENUELemp Neighborhood Arts Center

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

PHOTO ARCHIVE

01-10-14
Tulsa, OK

TIME • 7:30pm

VENUELiving Arts

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2timeSpacePlace (a-side) (2013) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album timeSpacePlace (SSAL-A4) • eight-channel (cube) loudspeaker array • fixed media • Composer: Nathaniel Bartlett

PHOTO ARCHIVE

01-04-14
Madison, WI

TIME • 6:30pm

EVENT SERIES • Sound-Space Audio Lab Overture Center Event Series • Event #18 • support the series, donations welcome

VENUE The Overture Center for the Arts • Promenade Hall

WORK 1Vivre (2008) • for three-dimensional, high-definition, computer-generated sound • 8-channel (cube) loudspeaker array • fixed media • composer: Allan Schindler

WORK 2in balance (2014, premiere) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

PHOTO ARCHIVE

01-03-14
St. Louis, MO

TIME • 8:00pm

VENUELemp Neighborhood Arts Center

WORKtrichotomic ecology (2011) • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album trichotomic ecology (SSAL-A3) • eight-channel (cube) loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

PHOTO ARCHIVE

2004–2013


• Madison, WI • University of Wisconsin–Madison // • Asbury Park, NJ • LHS Marimba Seminar // • Ocean Grove, NJ • LHS Marimba Seminar // • Stevens Point, WI • University of Wisconsin–Stevens Point // • Stevens Point, WI • University of Wisconsin–Stevens Point // • Madison, WI • Overture Center for the Arts // • Madison, WI • James Watrous Gallery // • Madison, WI • Town Center at the Wisconsin Institutes for Discovery // • Madison, WI • Town Center at the Wisconsin Institutes for Discovery // • Tulsa, OK • Living Arts // • Austin, TX • Percussive Arts Society International Convention // • Flagstaff, AZ • Northern Arizona University // • Tucson, AZ • University of Arizona // • Phoenix, AZ • The Icehouse // • Madison, WI • Town Center at the Wisconsin Institutes for Discovery // • Madison, WI • Overture Center for the Arts // • Madison, WI • Overture Center for the Arts // • Manhattan, KS • Kansas State University // • Madison, WI • Overture Center for the Arts // • Ithaca, NY • Ithaca College // • Madison, WI • Overture Center for the Arts // • Wayne, NJ • William Patterson University // • West Chester, PA • West Chester University // • New York, NY • Danspace Project // • New York, NY • Danspace Project // • New York, NY • Danspace Project // • Asbury Park, NJ • LHS Marimba Seminar // • Ocean Grove, NJ • LHS Marimba Seminar // • Madison, WI • Overture Center for the Arts // • Pittsburgh, PA • Robert Morris University // • Madison, WI • University of Wisconsin–Madison // • Madison, WI • University of Wisconsin–Madison // • New York, NY • Judson Memorial Church // • New York, NY • Judson Memorial Church // • Columbus, OH • The Fuse Factory // • Madison, WI • Overture Center for the Arts // • Atlanta, GA • Georgia Institute of Technology // • Orlando, FL • University of Central Florida // • Tallahassee, FL • Florida State University // • Atlanta, GA • Eyedrum // • Athens, GA • Athens Institute for Contemporary Art // • Lexington, KY • University of Kentucky // • Lexington, KY • University of Kentucky // • Madison, WI • Overture Center for the Arts // • Madison, WI • Higher Fire Gallery Annex // • Greenville, NC • East Carolina University // • Greenville, NC • East Carolina University // • Kirksville, MO • Truman State University // • Kirksville, MO • Truman State University // • Santa Fe, NM • The Santa Fe Complex // • Flagstaff, AZ • Northern Arizona University // • Albuquerque, NM • University of New Mexico // • Las Cruces, NM • New Mexico State University // • Arlington, TX • University of Texas at Arlington // • Conway, AR • University of Central Arkansas // • Tulsa, OK • Living Arts // • Madison, WI • Overture Center for the Arts // • Indianapolis, IN • Percussive Arts Society International Convention // • Rochester, NY • Eastman School of Music // • Rochester, NY • Eastman School of Music // • Madison, WI • Overture Center for the Arts // • Atlanta, GA • Eyedrum // • Somerville, MA • Third Life Studio // • Pittsburgh, PA • The Brew House // • Santa Ana, CA • Orange County Center for Contemporary Art // • Tucson, AZ • Solar Culture // • Albuquerque, NM • University of New Mexico // • Houston, TX • Super Happy Fun Land // • Madison, WI • Overture Center for the Arts // • Syracuse, NY • Onondaga Community College // • Whitewater, WI • University of Wisconsin–Whitewater // • Minneapolis, MN • Center for Independent Artists // • Madison, WI • Capitol Lakes Grand Hall // • Madison, WI • Overture Center for the Arts // • East Lansing, MI • SCENE Metrospace // • Austin, TX • Mexican American Cultural Center (New Music Coop) // • Austin, TX • Mexican American Cultural Center (New Music Coop) // • St. Louis, MO • Lemp Neighborhood Arts Center // • Madison, WI • Overture Center for the Arts // • Lansing, MI • Lansing Community College // • Indianapolis, IN • Indianapolis Art Center // • Spring Green, WI • Taliesin // • Pittsburgh, PA • Mattress Factory // • Madison, WI • Overture Center for the Arts // • Dallas, TX • Gallery 1308 // • Houston, TX • Nutsuoh // • St. Louis, MO • Lemp Neighborhood Arts Center // • Madison, WI • Overture Center for the Arts // • Madison, WI • University of Wisconsin–Madison // • Philadelphia, PA • Mascher Space Cooperative // • New Bedford, MA • Gallery X // • Somerville, MA • Third Life Studio // • Philadelphia, PA • Philadelphia Ethical Society // • Manhattan, KS • Kansas State University // • Austin, TX • Austin Museum of Digital Art // • Berkeley, CA • Center for New Music and Technology // • Los Angeles, CA • Dangerous Curve // • Scottsdale, AZ • Taliesin West // • Houston, TX • Super Happy Fun Land // • Oklahoma City, OK • Individual Artists of Oklahoma Gallery // • Madison, WI • Overture Center for the Arts // • East Lansing, MI • SCENE Metrospace // • Ann Arbor, MI • Canterbury House // • Durham, NH • University of New Hampshire // • Marshfield, WI • Chestnut Avenue Center for the Arts // • Sturgeon Bay, WI • Fairfield Center for Contemporary Art // • Spring Green, WI • Taliesin // • Madison, WI • Capitol Lakes Grand Hall // • Minneapolis, MN • Studio Z // • Milwaukee, WI • Hotcakes // • Providence, RI • AS220 // • Portland, ME • One Longfellow Square // • Cambridge, MA • The Lily Pad // • East Lansing, MI • SCENE Metrospace // • Philadelphia, PA • Mascher Space Cooperative // • Philadelphia, PA • Mascher Space Cooperative // • Media, PA • Maitri Yoga Studio // • Philadelphia, PA • Mascher Space Cooperative // • Denver, CO • Creative Music Works // • Ft. Collins, CO • Colorado State University // • Ft. Collins, CO • Colorado State University // • El Paso, TX • University of Texas at El Paso // • Las Cruces, NM • New Mexico State University // • Philadelphia, PA • Mascher Space Cooperative // • Rochester, NY • Eastman School of Music // • Rochester, NY • Eastman School of Music // • Oklahoma City, OK • Oklahoma City University // • Oklahoma City, OK • Individual Artists of Oklahoma Gallery // • Fayetteville, AR • University of Arkansas // • Conway, AR • University of Central Arkansas // • Glassboro, NJ • Rowan University // • Philadelphia, PA • Mascher Space Cooperative // • Chicago, IL • Heaven Gallery // • East Lansing, MI • SCENE Metrospace // • Madison, WI • Madison Center for Creative and Cultural Arts // • Milwaukee, WI • Hotcakes // • Madison, WI • Madison Center for Creative and Cultural Arts // • Philadelphia, PA • Mascher Space Cooperative // • Philadelphia, PA • The Rotunda (Bowerbird) // • Atlanta, GA • Eyedrum // • Harrisonburg, VA • James Madison University // • Syracuse, NY • Onondaga Community College // • Ithaca, NY • Cornell University // • Columbus, OH • MILO ELEKTRIC // • Cleveland, OH • Passport Project // • Milwaukee, WI • Hotcakes // • Sturgeon Bay, WI • Fairfield Center for Contemporary Art // • Madison, WI • First Unitarian Society of Madison // • Minneapolis, MN • Studio Z // • Rochester, NY • A/V // • Gloucester, MA • Fishtown Artspace // • Cambridge, MA • Zeitgeist Gallery // • New York, NY • The Tank // • Philadelphia, PA • Andrea Clearfield Salon // • Philadelphia, PA • The Arts League // • Richmond, VA • Artspace // • Baltimore, MD • The Red Room // • Philadelphia, PA • Philadelphia Ethical Society // • Oklahoma City, OK • Oklahoma City University // • Fayetteville, AR • University of Arkansas // • Conway, AR • University of Central Arkansas // • Conway, AR • University of Central Arkansas // • Kenosha, WI • Carthage College // • Madison, WI • Mills Hall // • East Lansing, MI • Michigan State University // • Glassboro, NJ • Rowan University // • Baltimore, MD • University of Notre Dame of Maryland // • Rochester, NY • Christ Church // • Eau Claire, WI (2) • University of Wisconsin–Eau Claire // • Eau Claire, WI (1) • University of Wisconsin–Eau Claire // • Tallahassee, FL • Florida State University // • Tallahassee, FL (2) • Florida State University // • Tallahassee, FL (1) • Florida State University // • Wayne, NJ • William Patterson University // • Cambridge, MA • Edward M. Pickman Concert Hall // • West Chester, PA • West Chester University // • Ft. Collins, CO (2) • Colorado State University // • Ft. Collins, CO (1) • Colorado State University // • Cambridge, MA • Edward M. Pickman Concert Hall // • Madison, WI • University of Wisconsin–Madison // • Madison, WI • Mills Hall // • Madison, WI • Chazen Museum of Art // • Elberon, NJ • LHS Marimba Seminar // • Madison, WI • Mills Hall // • Oshkosh, WI • University of Wisconsin–Oshkosh // • Tallahassee, FL (2) • Florida State University // • Tallahassee, FL (1) • Florida State University // • Rochester, NY • Eastman School of Music // • Conway, AR (1) • University of Central Arkansas // • Conway, AR (2) • University of Central Arkansas

SCORES

OVERVIEW


In addition to my works which employ electronically generated sound and real-time scores, I also write purely acoustic works -- with a special emphasis on percussion instruments -- using paper-and-ink scores. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. The system uses multiple colors and other graphic devices in order to achieve maximum clarity, and is in general an attempt to visually represent the artistic sensibilities of the music for the performers as intuitively as possible. A guide to the notation system in included at the beginning of each score.

PURCHASE/RENT SCORES AND PARTS

SOLAR SEQUENCE (2017)
four glockenspiels

IMPULSE RESPONSE (2016)
four percussionists playing six snare drums each

APICAL TOPOGRAPHY (2015)
solo percussion

LUMINOUS MACHINE (2011)
solo percussion

STAR_BIRTH (2008/10)
solo percussion

WAVE ENERGY (2010)
violin, vibraphone, and percussion

BRIGHT POINTS (2010)
vibraphone and percussion

NETWORKS (2010)
solo flute

OTHER PAGES