Embedded Files
From a very young age, I was drawn to the way music shaped a film’s world. I would sit in our dark family room with my father, watching "Being There", "The Accidental Tourist", "Brazil", "Blade Runner", and old black-and-white films, completely absorbed by how lighting, acting, camerawork, and music created something that lingered long after the credits rolled. I wasn’t just watching — I was in those moments. I was in the car as William Hurt turned to look out of the rain-covered window, walking down the dimly lit staircase with Peter Sellers, sitting next to Rutger Hauer on the roof in the rain. Overwhelmed by the feelings some films evoked, I would run into the forest behind our house, replay the films in my head over and over, and try to figure out what made the film so powerful… landing on the vulnerability, the quiet moments in between, the subtlety, the honesty, so exposed. At first on piano, I wrote many filmic pieces and would often gift these moody songs to my loved ones on cassette tapes as Christmas presents. Soon my desire was to be honest, clear whenever possible in my creations or performances. My hope was I could connect with listeners on a profound emotional level – something that was felt and understood. To this day, music, storytelling, and emotion are intertwined for me and shape how I create. Whether composing for film or writing songs, my goal is always to craft something immersive—something that lingers, just like those early films did for me.
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Background
I studied at Oberlin College, where I earned a B.M. in Technology in Music and Related Arts, later pursuing an M.F.A. in Composition with New Media and Integrated Media at California Institute of the Arts (CalArts). I studied with Gary Nelson, Kristine Burns, Richard Povall, Morton Subotnick, Stephen Mosko, Mark Trayle, and Sara Roberts.
Music and Art
In my academic pursuits, I enjoyed exploring the intersection of where music, art and technology meet, and ventured into video art, installation, the written word, performance art, and composing for dance. When inspired, I usually start from what’s in my head but occasionally begin with a concept I want to explore and go from there. I employ a variety of techniques for the development process, including motivic and thematic development, improvisation, experimentalism, chance music, spectralism, aleatoric, phasing, extended techniques, found sound, musique concrète, as well as minimalism. My curiosity has also led me to explore and appreciate the nuances of several other styles including alternative, indie, pop, Latin, bossa nova, and lounge pop. Studying the works of film score luminaries like Henry Mancini, John Williams, Thomas Newman, Carter Burwell, Vangelis, and Cliff Martinez has further enriched my musical palette. I don’t limit myself to writing in a narrow scope, following where inspiration leads.
Performance Roots
My background in classical piano, jazz guitar/bass, and electric/classical guitar has shaped my versatile approach. During my time at Oberlin, I further honed my performance skills, studying acting with Paul Moser, where I embraced techniques like the Stanislavski Method for creating authentic characters and improvisation. I also explored the Alexander Technique with Mariana Bernoski and voice work with Natsuko Ohama, specializing in Kristin Linklater's technique. I often perform in my written works and have contributed to a variety of soundtracks. My performance style focuses on imparting a clear feeling and resonant impact.
Teaching
I taught at Oberlin Conservatory of Music as a Visiting Professor of Technology in Music and Related Arts (2001), and served as Faculty/Assistant in Electronic Music Summer Workshops (1998-1999). I also co-wrote Creative Music-Making on the Computer - Guided Exercises for the Urban Technology Center in 2001.
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