Major body of solo performance pieces for voice, text, live looping/processing, live electronic percussion, unusual electronic instruments; performance highlights include Other Minds, Bang on a Can, Berlin Intl. Poetry Festival, Wellington & Christchurch Jazz Festivals (NZ), Warsaw Philharmonic chamber hall, numerous music & text festivals, live looping festivals, clubs, schools, concert series in U.S., New Zealand, Europe.
MAJOR CONCERT WORKS (lyrics by Amy unless specified)
2016: Hunger Strike for San Francisco Chamber Orchestra – 30-min. song-based work for orchestra, electronically processed string quartet, voice and live electronics; now in progress, performances April 2016.
2015: Song Drapes – a new commissioned interpretation; Jerry Hunt’s pre-recorded sound beds designed to accompany voice/lyrics/percussion compositions; 1 hour, reiheM / Cultural Department of Cologne, Germany.
2014: Is it conflict free and were any animals harmed in the making of it? for Paul Dresher Ensemble with voice, live looping & electronic percussion; Cal Performances.
2014: Crowd Source for Truman State University Percussion Ensemble (10 inst.) and voice, based on crowd-sourced lyrics from facebook.
2012: Inbred Kisses site-specific choral work (30 vc.) for the multi-tiered Berkeley Art Museum; [email protected] series.
2010: Circle of Lullabies: Songs for children and planets born and unborn — 30-min. site-specific song cycle for Pacific Mozart Ensemble chorus with electric toy piano and 2 guitars, designed for Ann Hamilton acoustic tower (Geyserville, CA), on themes of earth, birth, and childlessness.
2009: Fill as Desired — 30-min. song cycle for female vocal ensemble with live looping, based on recipes collected at Terezin concentration camp, w/ addl. original text; commissioned 2006 by Jewish Music Festival, expanded and re-staged 2009; Freight & Salvage, 2010 Women on the Way Festival (ODC), East Bay JCC, more.
2006: The Secret Language of Subways — 1-hr. song cycle on love and war and New York; for voice, cello trio, live looping/processing and electronic percussion; Dance Mission SF, LA Philharmonic Left Coast Festival, SF Symphony After-Hours, Project Artaud, Great American Music Hall, YBCA New Frequencies, Churchill Arts Council (NV), The Independent (opening for The Tubes!), more; featured on KQED’s Spark.
SELECT CHAMBER WORKS
2015: Gehim Vaa for Solstice vocal ensemble (6 singers and 6 cell phones), in made-up language Vleesk; to premiere spring 2016.
2015: Spiderette for Indiana University Purdue Arts & Technology ensemble and voice.
2013: Synnnaaa for Sideband laptop ensemble (6 laptops, 6 voices) in made-up language Synnnaaanian; Roulette NYC.
2012: She Got Away for Sqwonk bass clarinet duo and voice; also on 2014 CD release Sqwonk +1.
2011: Why? for pianist Cory Smythe, voice, live looping of both instruments; commissioned by Present Music (Milwaukee).
2011: Lonely. Strange hats. 4-mvmnt. work for Del Sol String Quartet with voice, at YBCA, other SF & NY venues.
2011: Nonette for Kate Stenberg — solo violin with eight tracks of spatially specific recorded violin, for Kate’s CD Scenes from a New Music Séance (Other Minds), and numerous live performances.
2008: The Dude Trilogy – 15-min. solo song/poem on cross-cultural miscommunication; for voice and Blippoo Box custom analog synth created by Rob Hordijk (Netherlands), played using knobs and Theremin-like antenna.
2008: Zenonos Khoros (Dance of Zeno) for Robin Cox Ensemble (LA) — violin, cello, bass clarinet, two percussionists, electronic playback of layered voices.
2006: The Traveler site-specific music-theater work for 12 wandering vocalists; Christchurch Art Museum, NZ.
2006: The Metaphor for Present Music (Milwaukee) — voice, violin, cello, clarinet, piano, percussion, live looping of entire ensemble.
2004: Five Distractions for Santa Cruz New Music Works — voice, violin, cello, dbl. bass, flute, percussion, looping of voice and select instruments.
SELECT WORKS FOR THEATER, DANCE, INSTALLATIONS, VISUAL MEDIA
2015: These knobs voice/electronics audio work for installation of women’s sound work at Brown University.
2007: Unbalanced Output collaboration w/ dancers Nicole Richter, Cynthia Adams, Ken James; live vocal looping and dancing (simultaneously!); Oberlin College TIMARA Festival.
2006: Self-Talk live on-stage vocal looping for choreographer Claudine Naganuma, Dance Mission.
2000-02: For choreographer Nina Haft, live electronics-interactive singer/dancer/composer in major works including The Ring and The Making of Americans (based on Gertrude Stein); Oakland and Berkeley.
2000-01: Composer for Mondomedia’s Piki & Poko in Starland sci-fi animé webisodes.
2000-01: Scored plays for St. Mary’s College, Moraga, CA — Ellen McLaughlin’s Iphigenia and Other Daughters, Constance Congdon’s Tales of Lost Formicans.
1997-98: Composed themes for Xerox PARC’s Nightfall audience-interactive soap opera installation (YBCA San Francisco) and for their Sunset drive-by interactive soap opera on Sunset Blvd., LA.
1992-96: Resident composer for AXIS Dance Company, major evening-length works included Hidden Histories (electronics, tape collage, viola, cello) and The Way In (chamber ensemble and 4 vocalists, site-specific for Berkeley Art Museum).
Dance commissions and sound design for Cynthia Adams, Berkeley Ballet, Sonya Delwaide, Jeanne Hughes, Thaïs Mazur, Randee Paufve, Patricia Reedy, Terry Sendgraff, Ellen Webb.