Machinic Tides (2019): installation for the robotic instruments Cyther, PAM, and modular percussion
Machine Rhythm Study No. 2 (2019); for Interactive Software
Machine Rhythm Study No. 1 (2019); for Interactive Software
Tempo Mecho (2018); for the robotic instruments PAM, modular percussion and percussive aerophone; 4:07
Experiment in Augmentation 2 (2018); for human performer, Cyther (human-playable robotic zither), PAM (robotic string instrument) and robotic percussion
Through the Rain (2017); two channel recording; 5:25
Carried by Currents (2017); for flute, oboe, clarinet, bassoon and electronics; 8:00
Experiment in Augmentation 1 (2017); for human performer, Cyther (human-playable robotic zither), and robotic percussion
Effusion (2016); two channel recording; 5:59
Water, Rhythm and Light (2016); for voice, djembe, darbuka and robotic percussion; 7:00
Human-Robot Improvisation: Cyther (Summer 2015 – present); for human performer and Cyther (human-playable robotic zither)
Life’s Node (Composed with Nate Tucker, Summer – Fall 2015); for human performer and Cyther (human-playable robotic zither)
Minimlexity (Spring 2015); for piano, cello and electronics
Intersections (Fall 2014 – Spring 2015); for flute, clarinet, piano, violin, cello, tom-tom, PAM (robotic string instrument), and robotic percussion; 9:05
Eroding Mountains (2014); two channel recording; 7:00
Figure <-> Ground (Fall 2013); two channel recording; 2:39
Conversing in Rotation (Fall 2013); for two performers and the sound sculpture Container Man; 7:00
Human-Robot Improvisation (Winter 2013 – present)
Solar House (Spring 2013); two channel recording and video; 1:34
Opus Palladianum: voice and drums (Winter 2013); two-channel recording; 7:00
Reposition (Fall 2012); for musical robots AMI, CARI and TAPI; 5:00
From Here to There (Fall 2011-Spring 2012); for musical robots PAM, AMI and CARI, 5:00
Motormouth (Summer 2011); for musical robots PAM and MADI; 3:00
Push for Position (2010-2011); for musical robots AMI, CARI, bassoon, saxophone, 2 channel recording and electronics; 7:17
Street Meetings (composed with Steven Kemper, Fall 2010); interactive installation for PAM and CADI
Rise of a City (2009-2010); for guitar, PAM, MADI and CADI percussion ensemble (darbuka, djembe, tambourine and assorted percussion instruments); 5:30
Drum Circle (composed with Steven Kemper, Winter 2010); for MADI and CADI percussion ensemble; 7:00
Breeding in Pieces (Summer – Fall 2009); 2 channel recording; 7:30
Study No. 3 (composed with Steven Kemper and Troy Rogers, 2009); for PAM and MADI; 8:00
Study No. 2 (composed with Steven Kemper and Troy Rogers, 2009); for PAM and MADI; 5:00
for steps that grow when climbed (Fall 2008 – Winter 2009, revised 2011); for flute, oboe, clarinet, bassoon, tom-toms, marimba, piano, viola and double bass; 6:30
Study No. 1 (composed with Steven Kemper and Troy Rogers, Summer 2008); for PAM and MADI; 6:00
Unity Groove composed by the Emergence Collective (Scott Barton, Jonathan Zorn, Yuri Spitzyn, Lanier Sammons, Peter Traub, Matthew Burtner); for the Mice Laptop Orchestra
The Lines are Alive (2008); for Orchestra; 10:00
Release (March – April 2008); for PAM; 6:30
The Arc of Braided Movement (Fall 2007 – Winter 2008); for flute, clarinet, piano, violin and cello; 7:00
Decay to Primitive (Fall 2007); 4 channel recording; 7:00
Assemblage of Gears (Fall 2006 – Winter 2007); for flute, clarinet, piano, electric guitar and double bass; 7:30
Etchings in Ice (Fall 2005 – Spring 2006); for 3 disklaviers, string ensemble and 8 speakers / electronics (Master’s Thesis); 20:00
Antiprism (Summer-Fall 2005); for guitar and laptop; 7:30
Antiprism (Summer-Fall 2005); for percussion and laptop; 3:00
Cycle of the Nonstarter (Summer-Fall 2005); for trumpet, piano and drum set; 8:30
Birth of a Machine (Winter-Spring 2005); 4 channel recording; 11:30
Deliberation (Winter 2005); 2 channel recording; 5:30
Process in Autumn (Fall 2004); for Flute, Viola and Piano; 3:00
Clearing of Path (Winter – Spring 2004); for guitar, drumset and recording; 7:00
Race of Man and Things (Summer – Fall 2004); for Electric Organ, 2 Marimbas, Glockenspiel, acoustic bass, bass clarinet, tenor sax and percussion; 8:30
Chair (Spring 2004); for laptop and performer
Bees Turn to Flowers (Spring 2004); for laptop and performer
Helix (Fall 2003); for laptop and performer
Seven (Fall 2003); 2 channel recording
A View From the Woods (2003); for piano, celesta, marimba, acoustic bass, timpani, trumpet, organ, percussive organ, prepared piano, electric guitar and 2 channel recording
Work to Year One (2001-2002); for guitar, bass, voice and percussion
Evast (1999-2000); for 2 acoustic guitars
Durations: Coalescence (Fall 1998-Winter 1999); for voice, guitar, bass, piano, drum set and electronics
Television (the Thief) (Winter 1999); for 2 channel recording and acoustic guitar
Shuffled (Winter 1999); 2 channel recording
5 to 9 (Spring 1998); for piano, re-orchestrated for 2 electric guitars, electric bass and drum kit
Tattered and Drone (Fall 1998); for marimba, xylophone, electric guitar and 2 channel recording
Stack (Fall 1998); for 2 electric guitars, electric bass and drum kit
Chameleon (Spring 1997); for cello, 2 channel recording and mixing board
5 Short Pieces: Electric Drip, The Hunt, Shuffled, Dance with Weakened Legs, Return to Moscow (Fall 1996); 2 channel recording
Aquarium (Fall 1996); for keyboard and 2 channel recording
Early Daze (Fall 1996); 2 channel recording
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