EDUCATION:
2012 Ph.D., Music Composition, Stony Brook University, Stony Brook, NY. Dissertation: Apricots of Andujar - song cycle for tenor, Marimba Lumina, and pierrot sextet; commissioned by the Jerome Fund for New Music; premiered by Birds on a Wire at Western Michigan University in March 2012. Adviser: Sheila Silver
2006 M.A. Music Composition, Stony Brook University, Stony Brook, NY
1994 B.M. Music Composition, Oberlin Conservatory, Oberlin Ohio
PRINCIPAL COMPOSITION TEACHERS:
· Sheila Silver (Stony Brook University, 2006-2012)
· Perry Goldstein (Stony Brook University, 2004-2006)
· Dan Weymouth (Stony Brook University, 2008)
· Randy Coleman (Oberlin Conservatory (1991-1994)
LESSONS AND MASTER-CLASSES:
John Adams, Steve Reich, Frederic Rzewski, Eighth Blackbird, Paul Dresher, and Michael Quell
TEACHING EXPERIENCE:
2017 - present Adjunct Assistant Professor at La Guardia Community College/CUNY, Queens NY. Courses taught:
· Introduction to Music (HUM-101). A rigorous introduction to perception in listening, appreciation of various forms of music and their socio-political contexts from the Middle Ages to today, waveform analysis, transcription, and some elements of music theory.
· Harmony and Counterpoint (HUM-240). An in-depth study of diatonic and chromatic harmony, including species counterpoint, chorale harmonization, part writing, and figured bass.
· Musicianship I (HUM-144). Development of the tools to identify diatonic and chromatic intervals, interpret and document rhythms, sight-sing melodies, identify fundamental chord progressions, and transcribe melodies and rhythms.
· Musicianship II (HUM-244). Building on the skills of Musicianship I, Musicianship II continues to develop tools to identify diatonic and chromatic intervals, interpret and document rhythms, sight-sing diatonic and chromatic melodies, identify fundamental chord progressions, and transcribe diatonic and chromatic melodies and rhythms.
2005-2009 Teaching Assistant at Stony Brook University. Courses Taught:
· Private Composition (MUS450). Private composition lessons with undergraduate music majors. Stony Brook University, NY. Fall 2009, Fall 2008, Spring 2008, Fall 2007, Spring 2007, Spring 2006, Fall 2005.
· Music Appreciation (MUS101). A music appreciation class for undergraduate students, stressing focused listening, phenomenological discussion and analysis of music, and elements of music theory. Stony Brook University Manhattan, Summer 2009.
· Tonal Theory I (MUS-321). An intensive course for undergraduate music majors focusing on 16th-18th century harmony, counterpoint and species counterpoint, and chorale harmonization. Stony Brook University, Fall 2008.
· Musicianship IV (MUS331) Music 331 focuses on the development of solid skills in the areas of tonal and atonal melody, harmony, intervals, and rhythm through sight singing, dictation and aural recognition. Stony Brook University, NY. Spring 2008
· Musicianship III (MUS221) Music 221 focuses on the development of skills in the areas of tonal melody, harmony, intervals, and rhythm through sight singing, dictation and aural recognition. Stony Brook University, NY. Fall 2007
· Elements of Music (MUS119). A rigorous introduction to the basics of music theory, with an emphasis on reading, writing, and practical musicianship. Includes composition of original pieces. Stony Brook University, NY. Fall 2007, Spring 2006, Fall 2005
AWARDS AND HONORS:
2022 Both Eyes Open is selected for the 2023 OPERA America New Works Forum ($8,000)
2021 JA Community Foundation grant ($10,000) for the premiere of Both Eyes Open at Presidio Theater in San Francisco, June 2022
2020 California Humanities grant ($20,000) for the premiere of Both Eyes Open at Presidio Theater in San Francisco, June 2022
2019 Brooklyn Arts Council award ($3,696) for a workshop performance of Both Eyes Open with Ensemble Ipse in Brooklyn, October 2019
2018 National Parks Service Japanese-American Confinement Sites Program Award ($40,000) for premieres near internment camps across the U.S. of Both Eyes Open
2018 Alice M. Ditson Fund of Columbia University Recording Grant ($2000) for Folding Music on New World Records
2017 Charlotte New Music Festival (CNMF) and Beo String Quartet Composition Competition ($500), winner
2016 New Music USA award ($3000) for Ensemble Ipse’s inaugural season
2014 New Music USA award ($10,000) for Both Eyes Open
2014 Third Angle/Russell New Ideas In Music Competition ($3000), Grand Prize winner
2014 RED NOTE New Music Festival Composition Competition, Finalist
2013 RED NOTE New Music Festival Composition Competition, Honorable Mention
2012 Boston Chamber Orchestra Commission Competition, Runner-Up
2012 Music Now Competition (performance), Winner
2012 Ackerman Award for Excellence in Music ($300)
2012 Minnesota Orchestra Composer Institute and Future Classics 2012, Honorable Mention
2012 Fifth Annual New York Composers Circle Competition (performance), Winner
2011 Colors 2011 Composition Competition Award, Finalist
2010 Jfunds Commission ($8,500) for Both Eyes Open (formerly Apricots of Andujar)
2010 Hanson Young Composer Competition 2010, Honorable Mention; sponsored by the Chamber Music Rochester and the Hanson Institute for American Music of the Eastman School of Music
2010 Minnesota Orchestra Composer Institute and Future Classics 2010, Runner-Up
2008 Meet The Composer Award ($300), in support of the Seattle Chamber Players’ performance of Twilight for Adored and Breathless Moments
2004-2012 Teacher Assistant – Stony Brook University
CONFERENCES, RESIDENCIES, FESTIVALS & PRESENTATIONS:
2019 Workshop presentation, residency, and talk for Both Eyes Open, co-produced by the Paul Dresher Ensemble at U.C. Berkeley, and Paul Dresher Studios, November 2019.
2019 Workshop presentation and talk for Both Eyes Open, co-produced by the Paul Dresher Ensemble and Ensemble Ipse, in NYC, September 2019.
2017 Charlotte New Music Festival (CNMF) and Beo String Quartet Composition Competition (winner for Glass Blue Cleft); presentation on my music
2016 University of Nevada, Las Vegas – residency, presentation on my music and workshop presentation of Both Eyes Open presented through the NEON Festival
2016 University of Berkeley, Center for Japanese Studies – residency, presentation on my music and workshop performance of Both Eyes Open
2014 University of Nevada, Las Vegas – residency, presentation on my music and workshop presentation of The Potato King (developmental draft of Both Eyes Open)
2014 Versipel New Music Festival, New Orleans, LA
2013 Florida State University’s Festival of New Music (Glass Blue Cleft)
2012 Indiana State University’s 46th Annual Festival of Contemporary Music (Glass Blue Cleft)
2012 Western Michigan University – residency, workshop presentation of Apricots of Andujar (developmental draft of Both Eyes Open)
2012-2014 Iron Works on the Edge, Composer-in-Residence
2011 EMS2011 - poster presentation of "Quantifying MIDI Use for Instrumental Composers" research project
2010 Doctoral Colloquium ~ presentation of "Quantifying MIDI Use for Instrumental Composers" research project. Stony Brook University, NY
2010 Le Ville Matte music residency, Teulada, Italy, Summer, 2010. Premiere of Sette Momenti and presentation on my music
2008 Music08 Music Festival, Cincinnati, OH (Twilight for Adored and Breathless Moments)
2008 soundSCAPE Music Festival, Pavia Italy. Premiere of The Clemency of Milk and presentation on my music.
2008 Icebreaker IV Music Festival, Seattle, WA curated by the New Yorker’s Alex Ross. Premiere of Twilight for Adored and Breathless Moments; presentation on my music.
2001-2002 HERE Arts Center – Artist in Residence with Prototype Theatre
SELECTED COMMISSIONS:
2023 Vapor/Blood dance score commissioned by the Tiffany Mills Company, to be premiered at National Sawdust in Brooklyn in December 2023.
2020 The Home Project evening-length dance score composed for The Tiffany Mills Company, to premiered at La MaMa in NYC in April 2022.
2019 Blue Room evening-length dance performance sound design composed for The Tiffany Mills Company, premiered at The Flea in NYC in fall 2019, and toured at various venues.
2018 Parallax for clarinet and piano, composed for Trio Namaste
2018 Semblance for string quartet and MIDI foot controllers, commissioned by Beo String Quartet
2017 End of String for accordion and piano four hands, commissioned by Antisocial Music
2017 Arborescence for solo piano, (arranged from the 2010 version) commissioned by Antisocial Music, arranged for Stephen Gosling
2016 Scatterloop for violin and piano, commissioned by Antisocial Music, composed for violinist Esther Noh
2016 Flame for flute and two MIDI foot controllers, commissioned by flutist Margaret Lancaster.
2015 The Way In for soprano, cello, and piano, commissioned by Antisocial Music.
2015 Near and Hollow for violin and two MIDI foot controllers, commissioned by Antisocial Music. Composed for Curtis Stewart.
2014 Both Eyes Open chamber opera for the Paul Dresher Ensemble (tenor, soprano, speaking actor, Marimba Lumina, and mixed ensemble); commissioned by New Music USA. (Formerly The Potato King)
2014 Cut and Fold for viola, cello, and piano; commissioned by The Glass Farm Ensemble.
2014 Theia for bass clarinet, two MIDI foot controllers, and bar chimes; commissioned by Antisocial Music, composed for Christa Van Alstine.
2014 A Breath of Arches for string quartet and four MIDI foot controllers; commissioned by Third Angle New Music Ensemble as part of their 2014 Third Angle/Russell New Ideas In Music Competition; Grand prize selection.
2012 The Table Where We Met evening-length dance score for violin and processed string quartet samples; composed for Esther Noh and commissioned by Ironworks on the Edge.
2013 After Lightness for solo violin; commissioned by Antisocial Music, composed for Curtis Stewart.
2011 Arborescence for accordion and pierrot sextet; commissioned by The Avian Orchestra.
2010 Apricots of Andujar song cycle for tenor, Marimba Lumina, and pierrot sextet; commissioned by the Jerome Fund for New Music.
2009 Sea Borne dance documentary film score; commissioned by Ironworks on the Edge.
2009 Light dance score for electronics; commissioned by the Brookhaven National Laboratory for their NSLS II Start-of-Construction Celebration.
2008 Glances for bass clarinet, vibraphone, and piano; commissioned by Philip Everall.
2007 Bread and Gentleness for tenor and piano; commissioned by John Duykers.
2007 When the Sea Dies evening-length dance score for prepared piano and electronics; commissioned by The Stony Brook Department of Theatre Arts and Director Amy Yopp Sullivan.
2006 Invisible Messages theater score for electronics; commissioned by PS 122 and Prototype Theatre.
2006 Running For Our Lives dance score for prepared piano and electronics; commissioned by The Stony Brook Department of Theatre Arts and Director Amy Yopp Sullivan.
2004 Green for two tenors and electronics; commissioned by Raw Impressions.
2003 Now It Can Be Told for soprano and electronics; commissioned by A. Jane Johnston.
2002 Three Ring theater score for electronics; commissioned by Prototype Theatre.
2002 Elk River’s Edge for tenor and mixed sextet; commissioned by John Duykers.
RADIO BROADCASTS & RECORDINGS:
· Folding Music – album of my music featuring Ensemble Ipse released on New World Records in May, 2019 with producer Judith Sherman. Featured on regular playlists on radio stations throughout the U.S. and abroad.
· Glass Blue Cleft on the regular playlist of WQXR and WNYC
· Glass Blue Cleft played on Po Mo Show 59, WVUM, June 26th 2013.
· Glass Blue Cleft recorded by the Escher String Quartet and released on Bridge Records (9318).
· Glass Blue Cleft on the regular playlist of wruv.radioactivity.fm.
· Twilight for Adored and Breathless Moments played on counterstreamradio.com, April 10th and 13th 2008.
· Theatre Music: The Singles self-produced and released on iTunes and Amazon (2008).
SELECTED LIST OF WORKS WITH PERFORMANCE HISTORY:
CHAMBER:
Parallax (2018) for clarinet and piano. Composed for Trio Namaste
· Premiered in December 2018 at the National Opera Center, NYC.
Ocean Filigree (2018) for amplified violin and piano, MIDI keyboard and MIDI foot controller.
· Performed by Ensemble Ipse in May 2019 at the National Opera Center
· Premiered by Ensemble Ipse in April 2018 at the Tenri Cultural Institute.
Black Meadow (2017) for solo cello.
· Performed at the National Opera Center, January 2018
· Premiered at LAGCC in September 2017
Folding Music (2017) for pierrot sextet. Composed for Ensemble Ipse.
· Premiered in Brooklyn on March 5th, 2017.
End of String (2017) for accordion and piano four hands, commissioned by Antisocial Music.
· Performed in Brooklyn in May 2017.
· Premiered at the National Opera Center in NYC in March 2017.
Arborescence (2017) for solo piano, arrangement commissioned by Antisocial Music
· Performed by Craig Ketter at the National Opera Center, March 2018
· Arranged for and premiered by Stephen Gosling in Brooklyn in February 2017.
Scatterloop (2016) for violin and piano. Commissioned by Antisocial Music, composed for violinist Esther Noh.
· Performed by the Pone Ensemble in New Paltz, NY in April 2017.
· Performed by the Pone Ensemble in Cornwall, NY in April 2017
· World Premiere at Greenwich House Music School, May 28th, 2016.
· Preview performance at house concert, Brooklyn, February 15th 2016.
Near and Hollow (2015) for violin and two MIDI foot controllers. Commissioned by Antisocial Music, composed for Curtis Stewart.
· Performed at Colgate University, Hamilton, NY, July 12th, 2016.
· Performed at Ernst C. Stiefel Concert Hall, New School through the Imani Winds Festival, June 25th, 2016.
· Performed at Beethoven Pianos in NYC on August 13th, 2015
· Performed at the Spring Street Loft in NYC on June 18, 2015
· World Premiere at IBeam, Brooklyn, on May 5th, 2015
Dark Body (2015) for flute, violin, cello, and piano.
· Performed by Ensemble Ipse at Tenri Cultural Institute, September 23rd, 2016.
· Premiered by members of Ensemble Ipse by the New York Composers Circle in NYC on April 21st, 2015.
Cut and Fold (2014) for viola, cello, and prepared piano. Commissioned by the Glass Farm Ensemble.
· Performed through New York Composers Circle at Symphony Space Thalia, June 4th, 2016.
· World Premiere at Symphony Space Thalia, NYC on October 18th, 2014.
Theia (2014) for bass clarinet, two MIDI foot controllers, and bar chimes. Composed for Christa Van Alstine.
· Performed at the DiMenna Center, NYC on October 24th, 2014.
· World Premiere at the Verspiel New Music festival in New Orleans, LA on October 9th, 2014.
· Workshop premiere by Antisocial Music in NYC in June, 2014.
A Breath of Arches (2014) for string quartet and four foot-controlled MIDI sample players. Commissioned by Third Angle New Music Ensemble as part of their 2014 Third Angle/Russell New Ideas In Music Competition. Grand prize selection.
· World premiere at the Alberta Rose Theatre in Portland, OR on May 23rd, 2014.
After Lightness (2013) for violin. Commissioned by Anti-Social Music, composed for Curtis Stewart.
· Performed at Queens College, Nov 10th, 2013.
· Performed at Cornelia St. Café, NYC on August 12th, 2014.
· World premiere at the Douglass Street Music Collective, Brooklyn, NY, May 2013.
Deep Lines (2012) for flute, clarinet, violin, and cello, composed for the Glass Farm Ensemble.
· World premiere by the Glass Farm Ensemble at Saint Peter’s Church, NYC, on February 18, 2014.
Arborescence (2011) for accordion and pierrot sextet. Commissioned by Avian Orchestra.
· Performed at The Cell, NYC, in September, 2011.
· World premiere at the Barn at Flint Woods, DE in September, 2011.
Glances (2008-2009) for bass clarinet, vibraphone, and piano. Commissioned by clarinetist Philip Everall.
· Australian premiere at the Western Australia Academy of Performing Arts, Perth, Australia in August 2013.
· World premiere at the Manhattan School of Music, NYC in February, 2009.
Glass Blue Cleft (2006-2008) for string quartet.
· Performed by the Beo String Quartet for the Charlotte New Music Festival (CNMF) and Beo String Quartet Composition Competition in June 2017
· Recorded by the Escher String Quartet in Fall 2008; released on Bridge Records in April 2010.
· Performed at Florida State University’s Festival of New Music, Tallahassee in January 2013.
· Performed at Indiana State University’s 46th Annual Festival of Contemporary Music, Terre Haute in October 2012.
· Performed by PUBLIQuartet at Bargemusic, NYC in September, 2012.
· World premiere by the New York Composers Circle at Symphony Space Thalia, NYC in June, 2012.
· University premiere by the Stony Brook Contemporary Chamber Players at Stony Brook University, NY in December, 2007.
· Preview performance by the Stony Brook Contemporary Chamber Players at Stony Brook University, NY in December, 2006.
Twilight for Adored and Breathless Moments (2004-2005 rev. 2007) for pierrot sextet.
· Performed at the Music08 Festival at the University of Cincinnati College-Conservatory of Music in June 2008.
· World premiere by the Seattle Chamber Players at Icebreaker IV music festival, Seattle, WA in January,
2008.
· University premiere by the Stony Brook Contemporary Chamber Players at Stony Brook University, NY in April 2005.
I'd Want Her Eyes To Fill With Wonder (2003) for pierrot sextet.
· World premiere by Anti-Social Music at Cami Hall, NYC in October, 2003.
VOCAL
Both Eyes Open (Formerly The Potato King; formerly Apricots of Andujar) (2009-work in progress). Commissioned by New Music USA, The Jerome Fund for New Music (JFunds), and the National Parks Service’s Japanese-American Confinement Program. Composed for the Paul Dresher Ensemble.
· NY Premiere in January 2023, Flea Theater, San Francisco, CA
· World Premiere in June 2022, Presidio Theatre, San Francisco, CA
· Workshop performance with the Paul Dresher Ensemble in Oakland, CA, November 2019
· Workshop performance with Ensemble Ipse in Brooklyn, September 2019
· Workshop performance with Nextet at University of Nevada, Las Vegas, September 2016
· Workshop performance at U.C. Berkeley, January 2016
· Workshop performance with Nextet at University of Nevada, Las Vegas, March 2014
· Workshop performance at Main Stage West, Sebastopol, CA in Summer, 2013
· Workshop performance with Birds on a Wire at Western Michigan University, Kalamazoo, MI, March 2012
Thousands of Years (2017) excerpt from chamber opera Both Eyes Open.
· Premiered at the University of Miami in September 2017.
The Way In (2015) for soprano, cello, and piano. Commissioned by Antisocial Music.
· Performed by the New York Composers Circle in NYC in April, 2017
· World Premiere at Opera America’s The National Opera Center in NYC on June 18th, 2015.
· Studio recording done in July, 2015.
Elk River's Edge (2002 - 2003) for tenor and chamber ensemble. Commissioned by tenor, John Duykers.
· World premiere at California Institute Of The Arts, Valencia, CA, in March, 2003.
ORCHESTRAL
Glance (2009) Composed for the Stony Brook Symphony Orchestra,
· University Premiere at Stony Brook University, NY in February, 2010.
Chronos For Orchestra (1989) Composed for the Oakland Youth Orchestra
· World premiere in Oakland, CA in March, 1990.
THEATRE, MULTIMEDIA, FILM, & DANCE:
Vapor/Blood (2023) dance score (seven violas + electronics) commissioned by the Tiffany Mills Company
Premiere at National Sawdust in Brooklyn, December 2023
The Home Project (2020-2022) evening-length dance score composed for The Tiffany Mills Company
· World Premiere at La MaMa in NYC in April 2022.
· Workshop showing at La MaMa in NYC May 2021
Blue Room (2019) evening-length dance performance sound design composed for The Tiffany Mills Company, premiered at The Flea in NYC in fall 2019, and toured at various venues.
Flame (2016) music theater piece for flute and MIDI foot controllers. Commissioned by Antisocial Music, composed for flutist Margaret Lancaster.
· Performance on the Accidental Music Festival online, May 2020
· Performance through Composers Concordance at Bernie Wohl Center at Goddard Riverside, May 12th 2016.
· World premiere at IBeam in Brooklyn, March 11, 2016.
The Table Where We Met (2012) dance score for solo violin and string quartet samples with choreographer Amy-Yopp Sullivan. Commissioned by Iron Works on the Edge.
· Premiered by violinist Esther Noh at Stony Brook University, NY in November, 2012.
Light (2009) dance score for electronics with choreographer Amy-Yopp Sullivan. Commissioned by the Brookhaven National Laboratory
· Premiere at the NSLS II Start-of-Construction Celebration, Brookhaven, NY in June, 2009.
Sea Bourne (2009) film score for electronics. Commissioned by The Stony Brook Department of Theatre Arts and Director Amy Yopp Sullivan.
· First screening at the Stony Brook Southampton University, NY in June, 2009.
When The Sea Dies (2007) dance score for prepared-piano and electronics. Commissioned by The Stony Brook Department of Theatre Arts and Director Amy Yopp Sullivan.
· Premiered at Stony Brook University, NY in February, 2007.
Invisible Messages (2006) for electronics. Commissioned by PS122 and Proto-type Theatre, Inc.
· Premiered at PS122, NYC in September, 2006.
Running For Our Lives (2006) dance score for prepared-piano and electronics. Commissioned by The Stony Brook Department of Theatre Arts and Director Amy Yopp Sullivan.
· Workshop at Stony Brook University, NY in December, 2005.
Three Ring (2002 - 2003) for electronics. Commissioned by Proto-type Theatre, Inc.
· Festival showing at the Sibiu International Theatre Festival in Sibiu, Romania in May, 2003.
· Premiered at Walkerspace, NYC in April, 2003.
· Developmental showing at HERE Arts Center's Culturemart Festival, NYC in January, 2003.
Cheap Thrills (2001 - 2002) for tenor and electronics. Commissioned by Proto-type Theatre, Inc.
· Premiered at HERE Arts Center, NYC in April, 2002.
· Developmental showing commissioned by Warren Wilson College, Asheville, NC in December, 2001.
The Twilight Series (2001) for electronics. Commissioned by Proto-type Theatre, Inc.
· Premiered at HERE Arts Center, NYC in July, 2001.
· Festival showing at The American Living Room Festival, HERE Arts Center, NYC in July, 2001.
Bunny's Last Night In Limbo (2000 - 2001) for live MIDI processing. Commissioned by Proto-type Theatre, Inc.
· Premiered at HERE Arts Center, NYC in March, 2001.
· Developmental showing at HERE Arts Center, NYC in November, 2000.
Poor Angels (1998 - 1999) for electronics. Commissioned by Proto-type Theatre, Inc.
· Festival showing at The New York International Fringe Festival, NYC in August, 1999.
· Festival showing at The American Living Room Festival, HERE Arts Center, NYC in August, 1999.
PUBLICATIONS:
· Duykers, Max (2014). Quantifying MIDI Use by Instrumental Composers. Society of Composers, Inc. Newsletter, XLVI: 4. Available online at http://www.societyofcomposers.org/publications/newsletter/
· Duykers, Max (2004). View Right Before Grad School: Connecting the Parts. The New Music Box, June 1, 2004. Available online at: http://www.newmusicbox.org/articles/View-Right-Before-Grad-School-Connecting-the-Parts/
AFFILIATIONS:
2016 – present Ensemble Ipse, founder and co-director
2011 – present New York Composers Circle: Deputy Executive Director (2015-2021), Programming Committee, Steering Committee member, Membership Coordinator, Concert Producer
2011 – present American Composers Forum
2009 – present Society of Composers, Inc.
2012 – present College Music Society
COMMUNITY SERVICE:
2019-present PTA Executive Board at MS50 in Brooklyn, NY; Treasurer
2016 – 2020 PTA Executive Board at PS133 in Brooklyn, NY; Treasurer, Secretary of Communications
2017-2018 Sonic Voyagers Music Lab – after school program instructor at PS 133 in Brooklyn, NY
AREAS OF EXPERTISE:
· Music Composition and Orchestration
· Music theory and analysis (tonal and post-tonal)
· Multidisciplinary and collaborative projects
· Music Technology (MAX, Finale, Cubase, Logic, Pro Tools, recording, live sound reinforcement)
· Research and methodology on the use of computer tools (MIDI software, samples, etc.) in composing for acoustic instruments
· Business development, business management, software implementation, and Accounting
RELEVANT OTHER WORK EXPERIENCE:
· Clear Solutions Group, Inc. - owner, consultant, trainer. Clear Solutions Group is a sales, implementation, training and consulting firm for Sage 100 Contractor - an estimating, project management, payroll and accounting software program for the construction and service industries - with over 250 clients throughout the Tri-state area. Brooklyn, NY. 2000 – present
· Looking Glass Studio; Dunvagen Music Publishing - music copier, music editor, studio assistant, intern. Assistance with several aspects of music production, including studio recording, Pro-Tools post-production, and music sequencing, editing, and copying for the Philip Glass Ensemble, film-scoring projects, and operatic works. New York, NY. 2000-2001
· Livewire Production and Recording – studio intern and engineer, New York, NY. 2000-2001
· Eastern Live Concert Sound – live sound engineer, Boston, MA. 1995
· Concert Sound Department, Oberlin Conservatory – Student Director, live sound engineer for visiting performers and student ensembles. Oberlin, OH. 1990-1994