I have been setting up a field, where the composer-performer emerges. My field is composed of elements, one of which is the use and construction of Max patches. Regarding this technology, I prefer not to delegate ‘sound design’ duties to another. Other elements considered, which may seem obvious, include, the players, their instruments, their approach to the […]


I encountered August Sheehy’s article (2013), “Improvisation, Analysis, and Listening Otherwise”. It is a great discussion on how we do use listening in real time to understand improvisation. Sheehy’s article is a solid theoretical context, which supports how improvisation expands musical dialogues in my own work. Concepts found in Sheehy’s article, seem to have potential, further defining the […]

Get and Listen

Genesis, Peter Evans Quintet.  The electroacoustic aspect of the band, coupled with improvisation, demonstrates a highly personal approach to the medium. One particular collaboration is Evans’ association with composer and laptop performer Sam Pluta. Along with Evans performing on trumpet and Pluta(live electronics), the band includes Ron Stabinsky(piano/synth), Tom Blancarte(bass), and Jim Black(percussion/drumset/live electronics). Evans’ music is […]

Lanyon Performance

The players’ movements have been captured in this video. The players perform in a space, which provides them with a limited area for movement. I initially wanted to play with the environmental resonance of the Lanyon Quadrangle, which included the building itself and natural ambience adjacent to the space performed in. I chose this location […]

follow-up on Horning article

  As an introduction to my thinking in response to Susan Horning’s “Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound”, my position is that studio engineers develop their craft quite intuitively. Through responsive listening, whether in the studio or in performance, their(our) craft develops what Horning describes as ‘aural thinking’. Horning […]