Art does not seek to describe but to enact. —Charles Olson

Curriculum Vitae


Ph.D., Music Composition, University of California, San Diego, September 2000

Dissertation:  Two Compositions (Gertrud and Showdown) with three accompanying essays

Qualifying Exams:  Stasis and Dynamism in Twelve Musical Examples; Representations of the Natural in Cage, Young, and Lachenmann; Notes Toward an Aesthetics

Composition studies, Staatliche Hochschule für Musik, Stuttgart, 1995-96

M.A., Music Composition, UC San Diego, 1994

B.A. summa cum laude, Music and English and American Literature, UC San Diego, 1992


Composition:  Brian Ferneyhough, Helmut Lachenmann, Roger Reynolds, Harvey Sollberger, Rand Steiger, Steven Kazuo Takasugi, Joji Yuasa

Violin:  János Négyesy, Michael Tseitlin

Film and Aesthetics:  Jean-Pierre Gorin

Lessons and Master Classes: Robert Ashley, Richard Barrett, Chaya Czernowin, David Felder, Jonathan Harvey, Aaron Jay Kernis, the Kronos Quartet, Liza Lim, Gordon Mumma, Frederic Rzewski, Jaap Schroeder, Jukka Tiensuu, Charles Wuorinen


Featured composer, wasteLAnd, Los Angeles, 2016-17.

Artist in Residence, Ruth Asawa School of the Arts, San Francisco, August-September 2011.

Residency, Djerassi Resident Artists’ Program, Woodside (CA), February 2011.

Featured artist, “An Exchange with Sol LeWitt,” Mass MoCA/Cabinet, January-February 2011.

Guest, Akademie Schloß Solitude, Stuttgart, May 2009.

William and Flora Hewlett Foundation Honorary Fellowship, January 2009.

Residency, Djerassi Resident Artists’ Program, August-September 2008.

Official selection, String Quartet #3, Miami ISCM Chapter Submission to the Vilnius World Music Days 2008, July 2007.

Composer in residence, Musiques démesurées, Clermont-Ferrand, June 2007.

Meet the Composer Creative Connections Award, May 2007 (for Fragment for Jules Olitski for the sfSoundGroup).

Fromm Foundation Commission, December 2006 (for Canto XXV).

Composer Assistance Program Award, American Music Center, November 2005 (for String Quartet #3).

Participant, International Composition Seminar, Künstlerhaus Boswil, October 2005, for String Quartet #3; this work was subsequently honored with selection for a second performance by the Arditti Quartet at the Bern Biennale.

Subito Grant (American Composers’ Forum) to sfSoundGroup for Decay, Caldron, April 2005.

Guest, Gonville and Caius College, Cambridge University, July–August 2004.

Faculty Fellowship, UCSD, Winter 2001–Spring 2002.

J.M. Hepps Fellowship, UCSD, 1999.

Scholarship participant, June in Buffalo, 1999.

Finalist, Gaudeamus Competition, Amsterdam, 1998 (for composition History).

Departmental TA Excellence Award, UCSD, 1998.

DAAD Stipendium, Studies at the Staatliche Hochschule für Musik, Stuttgart, 1995–96.

Lectureship, Internationale Ferienkurse für Musik, Darmstadt, 1994.

UCSD Grant, for recording of String Quartet #1 by the Arditti Quartet, UCSD, 1994.

Muir Scholar, UCSD, 1992.

Scholarship, Darmstädter Ferienkurse, 1992.

Stewart Prize for composition Madonna, UCSD, 1989.

Scholarship, Darmstädter Ferienkurse, 1988.


Coronation of Sesostris (2009) for Solo Trombone (Weston Olencki, San Francisco Conservatory of Music, March 2016)

Ode (2014) for Solo Percussion (Aiyun Huang, Ann Arbor, February 2015)

Permission (2014) for Solo Cello (Séverine Ballon, Stanford, January 2015)

Sinfonia Concertante (2014) for Nine Instruments (Ensemble, Ludwig Carrasco, cond., Mexico City, August 2014)

Woodland Glade (2011) for Solo Piano (John Mark Harris, Mexico City, August 2014)

Elysium (2013) for Flute and Cello (Elise Roy and Séverine Ballon, Poto Festival X, Grass Valley, CA, August 2013)

“Tout Orgeuil…” (2012) for Piccolo/Flute/Bass Flute and Soprano (Matteo Cesari and Lucy Shelton, La Jolla, May 2012)

Eclogue (2011) for Clarinet, Ondes Martenot, Cello, and Contrabass (Earplay, San Francisco, March 2012)

Lacrimosa (2011) for Solo Flute (Elise Roy, CalArts, March 2012)

Refrain (2011) for Cello and Piano (Séverine Ballon and Juan Cristóbal Cerrillo, Mexico City, September 2011)

this until (2009) for Solo Flute (Elise Roy, CalArts, February 2011)

days and days (2010) for Solo Bass Clarinet (Anthony Burr, UCSD Sonic Diasporas Festival, La Jolla, January 2011)

Styx (2010) for Flute and Piano (Calliope Duo, UCSD Sonic Diasporas Festival, La Jolla, January 2011)

Duo I (2010) for Two Clarinets (Brian Walsh and James Sullivan, Little William Theater Festival of New Music, Hammer Museum, Los Angeles, October 2010)

Duo III (2010) for Two Accordions (Daniel Corral and Isaac Schankler, Little William Theater Festival of New Music, Hammer Museum, Los Angeles, October 2010)

Duo II (2010) for Two Tubas (Luke Storm and Doug Tornquist, Little William Theater Festival of New Music, Los Angeles, September 2010)

Duo IV (2010) for Two Violins (Andrew McIntosh and Andrew Tholl, Little William Theater Festival of New Music, Hammer Museum, Los Angeles, September 2010)

Ocean (2008) for Five Instruments (sfSoundGroup, San Francisco, August 2010)

#10 In other words (2008) for Nine Instruments (Modelo 62, Den Haag, June 2010)

Study for Eurydice (2010) for Solo Violin (Andrew McIntosh, Stanford, March 2010)

Canto XXV (2007) for Cello and Piano (Séverine Ballon and Mark Knoop, Huddersfield, February 2010; American premiere: Monica Scott and Hadley McCarroll, Tiburon, March 2012)

Persephone (2003) for Solo Contrabass (Christopher Williams, Los Angeles, January 2010)

Bacchanale (2009) for Oboe and Five Instruments (sfSoundGroup, San Francisco, September 2009)

Mnemosyne (2008) for Clarinet, Alto Saxophone, Cello, and Piano (sfSoundGroup, Milwaukee, September 2008)

Fragment for Jules Olitski (2007) for Oboe, Clarinet, Piano, and Violin (sfSoundGroup, San Francisco, August 2007)

L’Extase de M. Poher (2006) for Solo Cello (Séverine Ballon, Musiques démesurées, Clermont-Ferrand [France], June 2007; American premiere: San Francisco, Center for New Music, August 2013)

Canto XLIX (1997) for Piano and Percussion (Pierre Courthiade and Claudio Bettinelli, Musiques démesurées, Clermont-Ferrand, June 2007)

Atu XV (2005) for Solo Guitar (Colin McAllister, Athenaeum, La Jolla, May 2006)

String Quartet #3 (2005; the Arditti Quartet, Boswil [Switzerland], October 2005; subsequently at the Bern Biennale)

Drinking Electricity (2005) for Solo Guitar (Magnus Andersson, Stanford, May 2005)

Decay, Caldron (2005) for Oboe, Bass Clarinet, Alto Saxophone, Contrabass, and Piano (sfSoundGroup, San Francisco, April 2005)

Thoughts on the Esterházy Court Uniform (2004) for Clarinet/Bass Clarinet, Electric Guitar, Piano, Violin, and Cello (Plus Minus, COMA Summer Courses, Wakefield [UK], July 2004; American premiere: Stanford, January 2006)

Deuxième Extase (2003) for Solo Cello (Frank Cox, Baltimore, April 2004)

Spectre (2001) for Solo Piano (John Mark Harris, Avignon, March 2004)

Madonna (1989/2002) for Solo Piano (Ian Pace, London, March 2004)

Summer (1998/2003) for Solo Bass Clarinet (Anthony Burr of Elision, Brisbane, February 2004)

Plus Minus (2002–3) (Partial) Realization of “Seiten für Ausarbeitungen” by Karlheinz Stockhausen for Clarinet/Bass Clarinet, Guitar, Piano, Auxiliary Sound Sources, Violin, and Cello (Plus Minus, London, BMIC Cutting Edge Series, November 2003; American premiere: Stanford, January 2006)

For John Wieners (2002) for Flute, Guitar, and Percussion (NOISE, La Jolla, Noise at the Library; April 2003)

Maximus, from Dogtown—IV (2001–2) for Piano, Accordion, Guitar, and Percussion (the Nonsense Company; Stanford, March 2003)

Empire of Flora (1999) for Flute, Oboe, 2 Guitars, Violin, and Cello (the Cygnus Ensemble, Jeff Milarsky, cond.; New York City, Merkin Hall, December 2001)

Gertrud (1998/2000) for Solo Piano (John Mark Harris; La Jolla, April 2000)

Fable (1995–6) for Piccolo and Two Percussion (Attar; La Jolla, UCSD Spring Festival, May 1999)

Canto CXV (1996–8) for Solo Flute (Elizabeth McNutt; Frankfurt, October 1998)

History (1996–7) for Nine Instruments (SONOR, Steven Schick, cond.; La Jolla, February 1998; European premiere: Nieuw Ensemble, Micha Hamel, cond.; Amsterdam, Gaudeamus Music Week, August 1998)

Eliezer and Rebecca at the Well (1994) for Five Instruments (UCSD Ensemble, Rand Steiger, cond.; La Jolla, Emerging Voices Festival, February 1995)

Les Amours d’Holoferne (1994) for Flute and Percussion (Elizabeth McNutt and Vanessa Tomlinson; Darmstadt, Ferienkurse für Neue Musik, August 1994)

String Quartet #1 (Firenze) (1992) (Arditti Quartet; La Jolla, April 1994)

Drame (1993) for Ten Instruments (Cleveland School of Music New Music Ensemble, Harvey Sollberger, cond.; Cleveland, April 1994)

Cage (1992) for Six Instruments (Ensemble, Harvey Sollberger, cond.; La Jolla, May 1993)

Sleep/Mini (1992) for Flute Duet (Laura Koenig and Karen Bergquist; Darmstadt, Ferienkurse für Neue Musik, August 1992)


as Lecturer, Stanford University:

Music 21 (Elements of Music I), Winter 2015.

Music 22 (Elements of Music II), Spring 2005, Winter 2015, Spring 2016.

Music 23 (Elements of Music III), Fall 2007, Spring 2009, Spring 2010, Spring 2011, Spring 2012, Spring 2014, Fall 2015.

Music 121 (Tonal Analysis), Winter 2009, Winter 2012, Winter 2013.

Music 122 (Introduction to Western Music), Fall 2005, Fall 2006, Fall 2007, Spring 2009, Fall 2010, Winter 2012, Spring 2014.

Music 122A (Tonal Counterpoint), Fall 2013, Fall 2014, Spring 2016.

Music 122B (Harmonic Materials of the 19th Century), Spring 2006, Winter 2007, Winter 2009, Winter and Fall 2010, Spring 2012, Spring 2013, Winter 2016.

Music 122C (Introduction to 20th Century Composition), Fall 2008, Spring 2014, Spring and Fall 2015.

Music 123 (Undergraduate Composition Seminar), Winter and Fall 2006, Winter 2010, Spring 2011, Winter and Fall 2012, Fall 2013.

Music 125 (Undergraduate Lessons in Composition), Spring 2005, Winter 2006, Winter and Spring 2008, Winter, Spring, and Fall 2009, Winter, Spring, and Fall 2010, Fall 2011, Winter, Spring, and Fall 2012, Winter and Spring 2013, Winter, Spring, and Fall 2014, Winter, Spring, and Fall 2015, Spring 2016.

Music 136 (Romanticism and After), Spring 2007.

Music 145 (Studies in Modern Music), Winter 2007.

Music 156 (Improvisation Collective), Winter 2006, Winter 2014, Winter 2015.

Music 163 (Great Composers of the 19th and 20th Centuries), Spring 2011.

Music 171 (Chamber Music), Spring 2015.

Music 198 (Directed Study), Spring and Fall 2005, Winter and Spring 2006, Spring 2008, Spring 2011, Winter 2013, Spring 2016.

Music 199 (Independent Study), Summer and Fall 2006, Summer and Fall 2007, Winter, Spring and Summer 2008, Spring 2009, Fall 2010, Spring and Fall 2011, Winter and Summer 2013, Summer 2014, Spring and Summer 2015, Winter and Spring 2016.

Music 301C (Graduate Post-Tonal Analysis), Spring 2008, Spring 2009, Spring 2013.

Music 321 (Readings in Music Theory), Fall 2005, Winter, Spring, Summer, and Fall 2006, Spring, Summer, and Fall 2007, Spring 2008, Spring, Summer and Fall 2009, Winter, Spring, and Fall 2010, Winter, Spring, and Fall 2011, Winter, Spring, Summer, and Fall 2012, Winter, Spring, and Fall 2013, Spring and Summer 2014, Winter 2016.

Music 323 (Graduate Composition Seminar), Spring and Fall 2005, Winter 2008, Winter 2013, Spring 2016.

Music 325 (Graduate Projects in Composition), Fall 2005, Winter, Spring, Summer, and Fall 2006, Winter, Spring, and Fall 2007, Winter, Spring, Summer, and Fall 2008, Winter, Spring, and Fall 2009, Winter, Spring, Summer, and Fall 2010, Winter, Spring, and Fall 2011, Winter, Spring, Summer, and Fall 2012, Winter, Spring, and Fall 2013, Winter, Spring, Summer, and Fall 2014, Winter, Spring, Summer, and Fall 2015, Winter and Spring 2016.

Music 399 (DMA Final Project), Spring 2010, Fall 2012.

Music 801 (TGR Project), Winter and Spring 2008, Winter and Spring 2009, Winter 2010, Fall 2012, Winter and Spring 2015.

Music 802 (TGR Dissertation), Spring 2010.

Additional duties have included acting as chair or committee member for various graduate student qualifying, special area, and doctoral exams.

as Visiting Assistant Professor, University of Illinois, Urbana-Champaign:

Music 101 (Basic Harmony), Spring 2003.

Music 106 (Undergraduate Composition), Spring and Fall 2003.

Music 111 (Sight-Singing), Spring 2003.

Music 306 (Graduate Lessons in Composition and Analysis), Spring and Fall 2003.

Music 308B (Classical Form and Analysis), Fall 2003.

Music 405 (Graduate Lessons in Composition), Fall 2003.

as Faculty Fellow, UCSD:

Music 4 (Introduction to Western Music), Spring and Fall 2001.

Music 14 (Contemporary Music), Winter 2002.

Music 15 (Sound and Music in the Movies), Spring 2002.

Music 102B (Twentieth Century Music Analysis), Winter 2001.

Guest instructor (for Prof. Chinary Ung), Music 103E (Advanced Undergraduate Composition), Winter 2001.

Additional duties included judging Undergraduate and Graduate Composition Juries with the compositon faculty.

as Associate Faculty, UCSD:

Music 4 (Introduction to Western Music), Fall 1999.

Co-instructor (with Prof. Rand Steiger), Music 33 (Introduction to Composition), Spring 2000.

Co-instructor (with Dana Reason), Music 80 (Intermedia), Summer Session, Summer 1999.

Music 103 (Undergraduate Composition), Fall 1999.

Co-instructor (with Andrew May and Sean Griffin), Music 204 (American Experimentalists), Winter 2000.

as Teaching Assistant, UCSD:

Senior Teaching Assistant, Music Department, 1997–8, 1999–2000.

Teaching Assistant, 1992–2000 (under the direction of various professors, among them Chaya Czernowin, George Lewis, Carol Plantamura, Steven Schick, Bertram Turetzky; classes including Basic Musicianship, Introduction to Western Music, Opera, Chamber Music History, Twentieth-Century Music, Klezmer Music, Gospel Music, New Music Performance).

Private and group lessons in composition and analysis, Fall 1999–present.


Paper, “A Composer’s View of Sibelius,” Sibelius Festival Symposium, Stanford University, November 2015.

Lecture, “Woodland Glade and Roadblock,” Eleventh Poto Festival, August 2015.

Moderator, “Turns of Centuries,” panel discussion with Matthew Goodheart, Hadley McCarroll, and Monica Scott, Old First Church, San Francisco, November 2014.

Lecture, “Introducing Godard and Gorin’s Tout va bien,” Pacific Film Archive, UC Berkeley, September 2014.

Panel, “Sones a Orfeo: In Memoriam Cy Twombly: 5 Piezas de Erik Ulman,” with Juan Cristóbal Cerrillo and Pablo Vargas Lugo, Fundación Jumex Arte Contemporáneo, Mexico City, August 2014.

Lecture, “On The Brainiac,” Film Studies 110N (Filmic Imagination of Horror, Prof. Jean Ma), Stanford University, April 2014.

Lecture, “On Beethoven’s Second Leonore Overture,” Tenth Poto Festival, August 2013.

Guest instructor, Music 156 (Improvisation Collective, Prof. Mark Applebaum), Stanford, January 2013.

Lecture, “On My Recent Music,” Ninth Poto Festival, August 2012.

Lecture, “On My Music,” composition colloquium (Prof. Bruce Bennett), San Francisco State University, March 2012.

Participant/Panelist, “Pedagogical Praxis and Curricular Infrastructure in Graduate Music Composition” (with Mark Applebaum, Jonathan Berger, Martin Bresnick, Edmund Campion, Chris Chafe, Chaya Czernowin, Brian Ferneyhough, Jarek Kapuscinski, Fred Lerdahl, Scott Lindroth, Roger Reynolds, and Dan Trueman), Stanford, February 2012.

Lecture, “On My Recent Music,” Eighth Poto Festival, July 2011.

Guest instructor, “Major Postwar String Quartets: Ferneyhough, Lachenmann, Nono,” Music 301C (Analysis of 20th-Century Music, Prof. Brian Ferneyhough), Stanford University, May 2011.

Guest instructor, “John Cage,” Introduction to the Humanities 25B (Art and Ideas, Profs. Alice Rayner and Janice Ross), Stanford, April 2011.

Lecture, “On My Music,” graduate composition seminar, Prof. Rand Steiger), UCSD, April 2011.

Guest instructor, “John Cage and the New York School,” Music 301C (Analysis of 20th-Century Music, Prof. Brian Ferneyhough), Stanford, April 2011.

Lecture, “On My Third String Quartet,” Genspace, Brooklyn, March 2011.

Lecture, “On My Music,” Bard College, March 2011.

Lectures, “Compositional Method and the Poetry of Michael McClure” and “On McClure’s TheBeard,” Division of Language and Literature, Bard College, March 2011.

Guest instructor, “John Cage” and “Minimalism,” Music 122C (Introduction to 20th-Century Composition, Prof. Brian Ferneyhough), Stanford, February 2011.

Lecture, “Two Recent Pieces,” Seventh Poto Festival, July 2010.

Lecture, “Debussy, Ravel, and Mallarmé,” Seventh Poto Festival, July 2010.

Lecture, “A Composer’s View,” Jornadas de Creación Musical, Instrumenta en la Fonoteca, Mexico City, November 2009.

Lecture, “On My Music,” Escuela Superior de Música, Mexico City, November 2009.

Lecture, “On My Music,” Sixth Poto Festival, July 2009.

Lecture, “Über Meine Musik,” Stuttgart Musikhochschule/Akademie Schloß Solitude, May 2009.

Paper, “Notes Toward an Aesthetic: A Composer’s View,” Illuminations and Reflections: First Annual Symposium on Music in the 21st Century, SFSU, February 2009.

Panel, “Yoko Ono: Then and Now” (with Gordon Chang, Mark Gonnerman, Pamela Lee, and Peggy Phelan), Stanford, January 2009.

Panel, “The Value of New Music” (with Paul Griffiths and Charles Kronengold), Stanford, November 2008.

Lecture, “On My Music,” Fifth Poto Festival, July 2008.

Lecture, “Introducing the Music of Wilhelm Killmayer,” Fifth Poto Festival, July 2008.

Paper, “Olson and Music Composition,” American Literature Association Conference, San Francisco, May 2008.

Lecture, “Stravinsky’s L’Histoire du soldat,” undergraduate music seminar, University of California, Berkeley, February 2008.

Lecture, “On My Music,” UC Berkeley, February 2008.

Master class in composition, UC Berkeley, February 2008.

Lectures on Western music (two series), San Francisco Symphony Mid-Peninsula League, Palo Alto, October 2006–March 2007, and October 2007–March 2008.

Lecture, “On L’Extase de M. Poher,” Fourth Poto Festival, June 2007.

Panel, “Modernism/Postmodernism” (with Alex Mincek, Alex Sigman, and Makis Salomos), Musiques démesurées, Clermont-Ferrand, June 2007.

Guest instructor, Music 301C (Analysis of Music: Post-Tonal), graduate seminar (Prof. Brian Ferneyhough), Stanford, May 2007.

Lecture, “On My Recent Music,” UCSD, April 2007.

Lecture, “On My Recent Music,” Composers’ Symposium, UC Berkeley, April 2007.

Paper, “Heidegger, Music, and Education,” College Music Society Pacific Central Conference, SFSU, March 2007.

Lecture, “On My Third String Quartet,” graduate composition seminar (Prof. Brian Ferneyhough), Stanford, January 2007.

Lecture/Demonstration, “Compositional Process,” graduate composition seminar (Prof. Mark Applebaum), Stanford, October 2006.

Lecture, “La Monte Young and the Trio for Strings,” Third Poto Festival, July 2006.

Lecture, “On My Recent Music,” Third Poto Festival, June 2006.

Paper, “Some Thoughts on Improvisation and Composition,” Current Free Practices in Music and Poetry, New York University, March 2006.

Lecture, “Composing with Olson and Prynne,” Division of Language and Literature, Bard College, March 2006.

Panel, “La Monte Young’s Trio for Strings” (with Charles Curtis, Gascia Ouzounian, and Uli Schägger), Kunst im Regenbogenstadl, Polling (Germany), July 2005.

Lecture, “On My Third String Quartet,” Second Poto Festival, July 2005.

Lecture, “Stockhausen’s Kreuzspiel,” undergraduate music seminar (Prof. Douglas O’Grady), Georgia College and State University, April 2005.

Lecture, “Principles of Schenkerian Analysis,” undergraduate music seminar (Prof. Richard Greene), GCSU, April 2005.

Lecture, “Introducing Stockhausen’s Plus Minus,” undergraduate composition seminar (Prof. Mark Applebaum), Stanford, February 2005.

Lecture, “Improvisation, Language, and the Body: Approaching John Cage’s 62 Mesostics re Merce Cunningham,” undergraduate music seminar (Prof. Mark Applebaum), Stanford, February 2005.

Lecture, “Pound, Olson, and Musical Composition,” Poto Festival, June 2004.

Lecture, “Realizing Stockhausen’s Plus Minus,” Poto Festival, June 2004.

Lectures, “Narrative and Form in the Cinema,” three presentations (on Ford, Bresson, and Straub/Huillet; on Griffith, Rossellini, Altman, and Ruiz; and on Brakhage, Anger, and Warhol), Poto Festival, June 2004.

Lecture, “On My Compositional Development,” composition forum, University of Illinois at Urbana-Champaign, February 2004.

Lecture, “The Diminished Seventh Chord in Beethoven’s 20th Diabelli Variation,” undergraduate music seminar (Prof. Sever Tipei), UIUC, February 2004.

Lecture, “On My Music,” graduate composition seminar (Prof. Brian Ferneyhough), Stanford, February 2004.

Lecture, “The Vocal Music of Dieter Schnebel,” undergraduate music seminar (Prof. Stephen Taylor), UIUC, November 2003.

Lecture, “On My Music,” composition forum, UIUC, January 2003.

Moderator and presenter, “Helmut Lachenmann and Salut für Caudwell,” panel discussion with Rick Burkhardt, Derek Keller, and Colin McAllister, graduate composition seminar (Prof. Chinary Ung), UCSD, April 2002.

Public interview with Richard Barrett, “Music and Metaphor,” Search Event IV, UCSD, March 2002.

Lecture, “Experiments in Film Narrative,” graduate music seminar (Prof. Chaya Czernowin), UCSD, January 2002.

Paper, “Approaching a Western Opera,” The Silicon Cowboy, Southwestern Studies Conference, University of New Mexico, March 2001.

Lecture, “From Cage to Gertrud,” composition seminar (Prof. Carleton Macy), Macalester College, November 2000.

Co-instructor (with Prof. Ryuta Nakajima), “A Hard Look at the Movies,” informal film seminar, University of Minnesota, October–December 2000.

Lecture, “The Paintings of Ryuta Nakajima,” graduate painting seminar (Prof. Alexis Kuhr), University of Minnesota, October 2000.

Lecture, “Morton Feldman and Memory,” graduate visual arts seminar (Prof. Jean-Pierre Gorin), UCSD, February 2000.

Lecture, “Time and Scale in Gagaku, Webern, and Feldman,” undergraduate music seminar (Prof. Steven Schick), UCSD, February 2000.

Lecture, “John Cage,” undergraduate music seminar (Prof. Bert Turetzky), UCSD, November 1999.

Moderator, “Improvisation and Composition,” panel discussion with Muhal Richard Abrams, Chaya Czernowin, Anthony Davis, and Dana Reason, UCSD Spring Festival, May 1999.

Lecture, “Beethoven’s Fifth Symphony,” undergraduate music seminar (Prof. Jane Stevens), UCSD, November 1998.

Lecture, “Varèse und Feldman,” composition seminar (Prof. Helmut Lachenmann), Staatliche Hochschule für Musik, Stuttgart, December 1995.

Lecture, “Empedocles and Other Recent Work,” Darmstädter Ferienkurse, August 1994.


“A Letter for Urban Formalities,” Urban Formalities: Paula De Luccia, Liv Mette Larsen (New York: William Holman Gallery, 2014), n.p.

Issue editor (with Mark Applebaum), Pedagogical Praxis and Curricular Infrastructure in Graduate Music Composition, Contemporary Music Review, Volume 31 Part 4, 2012.  Also contributed “An Overview of the Symposium,” 249-56.

Review of 13 Most Beautiful…Songs for Andy Warhol’s Screen Tests, in Journal for the Society for American Music, Vol. 4 #2, May 2010, 273­–5.

“Composing with Prynne,” in Search: Journal for New Music and Culture, Issue #2, Summer 2008, http://www.searchnewmusic.org/index2.html [no longer available]. Reprinted in Ian Brinton, ed., A Manner of Utterance—The Poetry of J.H. Prynne (Exeter: Shearsman, 2009), 145–62; and in Franklin Cox, Dániel Péter Bíro, Alexander Sigman, and Steven Kazuo Takasugi, eds., The Second Century of New Music: Search  Yearbook Volume 1 (Lewiston, N.Y.: Edwin Mellen Press, 2011), 377-96.

“Some Thoughts on Musicality in the Paintings of Manny Farber” and “Connecting Nono and Farber,” in Manny Farber and All That Jazz (La Jolla: UCSD, 2006).

“Postscript to Cage, Young, and Lachenmann,” in Open Space, Issue #7, Fall 2005, 255–7.

“On Morton Feldman’s Patterns in a Chromatic Field,” at http://gardenvariety.org/projects/feldman/notes.html .

“Representations of the Natural in Cage, Young, and Lachenmann,” in Open Space, Issue #6, Fall 2004, 245–55.

“Considering Feldman,” in Open Space, Issue #5, Fall 2003, 182–5.

“Olson and Musical Composition,” in Michel Delville and Christine Pagnoulle, eds., Sound as Sense: Contemporary U.S. Poetry and/in Music (Bruxelles: P.I.E./Peter Lang, 2003), 175–88. Reprinted in Jeff Gardiner, ed., Olson and Music, Olson and Place: The Charles Olson Panels at the American Literature Association, 2008 (San Francisco: 2009), 21-32.

“For Mark Osborn,” excerpted in Musik und Ästhetik, Heft 25, Januar 2003, 71–2.

“Edgar G. Ulmer,” in Senses of Cinema, Great Directors (January 2003), http://sensesofcinema.com/2003/great-directors/ulmer/

“Jean-Pierre Gorin,” in Senses of Cinema, Great Directors (January 2003), http://sensesofcinema.com/2003/great-directors/gorin/ . Reprinted in Michael Pekler, ed., Viennale: Vienna International Film Festival ’04 (Wien: Viennale, 2004), as “Der Fröhliche Wissenschaft”), 185–90; and in Jane de Almeida, ed., Grupo Dziga Vertov (São Paolo: Witz Edições, 2005), 36–49.

Les Anges du péché,” in Senses of Cinema, Issue #17, November–December 2001, http://sensesofcinema.com/2001/cteq/anges/

A Corner in Wheat: An Analysis,” in Senses of Cinema, Issue #14, June 2001, http://sensesofcinema.com/2001/feature-articles/cornerwheat/ . Quoted in Marieke de Goede, Virtue, Fortune, and Faith: A Genealogy of Finance (Minneapolis: University of Minnesota Press, 2005), 111–2.

The Colossus of New York,” in Senses of Cinema, Issue #10, November 2000, http://sensesofcinema.com/2000/10/colossus/

“Grenzüberschreitendes Improvisieren,” in MusikTexte, Heft 79, Juni 1999, 66–7.

“Frank Cox’s Spuren” (collaboration with Steven Takasugi), in Musik und Ästhetik, Heft 7, Juli 1998, 53–68.

“The Music of Sylvano Bussotti,” Perspectives of New Music, Vol. 34 #2, Summer 1996, 186–201.

“Some Thoughts on the New Complexity,” Perspectives of New Music, Vol. 32 #1, Winter 1994, 202–7 (quoted in Richard Taruskin, The Oxford History of Western Music, Vol. 5 [Oxford: Oxford University Press, 2005], 476); reprinted as “Kilka mysˆli na temat ‘nowej zozonos´ci’,” Glissanada, Nr. 7, 2005.

Rhapsody for Alto Flute,” Amalgamate Sound III (San Diego, 1993).


Numerous program notes; liner notes for compact discs; contributions to Senses of Cinema’s World Polls; and other freelance writing and editing assignments.


Co-founder and -director (with Marcia Scott), Poto (arts organization), 2004–present; as such organized eleven Poto Festivals, Grass Valley, June 2004; June–July 2005; June–July 2006; June–July 2007; July 2008; June-July 2009; July 2010; June-July 2011; August 2012; August 2013. (Duties included programming, performing, writing, general coordination and scheduling, lecturing, leading rehearsals, etc.)

Judge (with Lisa Mezzacappa and Ken Ueno), Djerassi Resident Artists Program, April 2012.

Judge (with Linda Bouchard and Joan Jeanrenaud), Djerassi Resident Artists Program, April 2010.

Contributing editor, Open Space, 2007–present.

Judge (with Zack Browning and Sever Tipei), Salvatore Martirano Composition Competition, UIUC, Urbana, April 2003.

Organizer/planner, Spring Festival, UCSD, May 1999. (Duties included programming, editing the program book, budgeting, and coordinating.)

Student representative to the faculty, UCSD Music Department, 1998–9.

Founder/planner, 29 Water concert series, UCSD, 1993–5.

Co-director (with Richard Cameron-Wolfe), New Music Program, Taos Ski Valley Music Festival, Summer 1987.


American Composers’ Forum, 2007–2012.

American Society of Composers, Authors, and Publishers (ASCAP), 2004–present.

American Music Center, 2004–9.

College Music Society, 1999–2009.

Phi Beta Kappa, inducted 1992.


Violinist, sfSoundGroup, 2004­­–present. (Performed works by, among others, Applebaum, Berio, Boulez, Braxton, Brown, Burns, Cage, Cardew, Chessa, Coll, Czernowin, Feldman, Grisey, Ingalls, Jimenez, Jones, La Barbara, Levine, Ligeti, Na, Oliveros, Payne, Penderecki, Satie, Scodanibbio, Spahlinger, Tenney, Ulman, Webern, Wolff, Xenakis, and Yang.)

Violinist, [SIC] (Stanford Improvisation Collective), 2005; Guest Director, 2006, 2014, 2015. (Performed works by, among others, Applebaum, Barrett, Stockhausen, and Zorn; performed in Encounter:Merce [the Merce Cunningham Dance Company’s residency at Stanford, March 2005].)

Violinist/Violist, Theatre of Eternal Music String Ensemble, 2002, 2005. (Premiere and “avant-premiere” of the just intonation version of Young’s Trio for Strings, July and September 2005.)

Violinist, SONOR Ensemble, 1988–2001. (Performed works by, among others, Brant, Carter, Czernowin, Ferneyhough, Gubaidulina, Ligeti, Martino, Martirano, Moe, Mosko, Nono, Reich, Ruders, Saariaho, Sollberger, Steiger, Takemitsu, Tenney, Wolpe, and Yuasa; performed on tours at UC Berkeley, UC Santa Cruz, the Peabody Conservatory in Baltimore, the Los Angeles Philharmonic’s Green Umbrella Series, and the Darmstadt Ferienkurse.)

Founder/Member, Sirius Ensemble, 1993–94. (Performed works by Donatoni, Webern, Wuorinen, and Yuasa.)

Founder/Member, 29 Water (new music ensemble), 1993–95. (Performed works by Cage, Feldman, Ichiyanagi, and Wolff.)

Founder/Member, UCSD Improvisation Ensemble, 1988–92.

Violinist, La Jolla Symphony, 1985–92 (concertmaster: 1990–92).

Violinist and performer, various other contexts:
Improvisational work principally with Anthony Burr; performances with, among others, Muhal Richard Abrams, Ted Apel, Mark Applebaum, John Butcher, Charles Curtis, George Lewis, Pauline Oliveros, Mark Osborn, and Dana Reason; informal session with Eddie Prévost; intermedia work with Rachel Mayeri.

Much modern chamber music, notably works by Applebaum, Barraqué, Cage, Cardew, Q. Chen, Copland, Feldman, Ichiyanagi, Ives, Krenek, Lachenmann, Lewis, Lyon, Osborn, Rzewski, Scelsi, Shostakovich, Stockhausen, Stravinsky, Wolff, Xenakis, and Yuasa, including world and national premieres.


as composer:
Récit for Solo Violin, on János Négyesy: Dedications (Neuma NMA450-85)

Gertrud for Solo Piano (John Mark Harris, piano; UCSD)

Summer for Solo Bass Clarinet (Anthony Burr, bass clarinet; Skirl 016)

Bacchanale and Fragment for Jules Olitski (sfSoundGroup) (forthcoming)

as violinist:
Mark Applebaum: The Composer’s Middle Period, on Applebaum: Sock Monkey (Innova 706)

Mark Applebaum: The Metaphysics of Notation (Innova 787 [DVD])

Chaya Czernowin: Dam Sheon Hachol, on Czernowin: Afatsim (Mode 77)

Mark Osborn: Sleep, in the Shape of My Body, on Osborn: Interregna (Old King Cole OK102)

Rand Steiger: Double Concerto, on SONOR (CRI CD652)

La Monte Young: Trio for Strings (forthcoming)

as producer:
sfSoundGroup: Collected Works / Collective Work

Chaya Czernowin: Afatsim (SONOR; Mode 77)

Hilda Paredes: The Seventh Seed (Arditti Qt., etc.; Mode 60)

John Cage: Freeman Etudes (János Négyesy; Newport Classics NPD 856161)

János Négyesy: Dedications (Neuma 450-85)

Béla Bartók: 44 Duos (János Négyesy and Päivikki Nykter; Neuma NMA82)

János Négyesy:  Solo Violin Recital (Au Courant AU110)

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