CV — Ash Fure

EMPLOYMENT

The Industry (Los Angeles, California), Co-Artistic Director, 2021 - present
Dartmouth College (Hanover, New Hampshire), Associate Professor of Music, 2015 - present
Columbia University (New York, New York), Mellon Postdoctoral Fellow, July 2014 – June 2015
Oberlin Conservatory (Oberlin, Ohio), Visiting Assistant Professor of Music Composition, January 2012 - May 2012

EDUCATION

Harvard University (Cambridge, Massachusetts), PhD in Music Composition, May 2013
IRCAM (Paris, France), Cursus 2, June 2011,
IRCAM (Paris, France), Cursus 1, April 2009
Harvard University (Cambridge, Massachusetts) Master of Arts in Music Composition with Distinction, June 2006
Oberlin Conservatory (Oberlin, Ohio), Bachelor of Music in Composition, June 2004
Interlochen Arts Academy (Interlochen, Michigan), Diploma in Music Composition, June 2000

HONORS

2021 Fondation Prince Pierre de Monaco Prize of Musical Composition, Filament nominated (under review)
2021 Coup de Coeur des Jeunes Mélomanes, Filament nominated (under review)
2020 Scholarly Innovation and Advancement Award for “Archiving the Immersive,” Dartmouth College
2o19 Sony Music Fellowship
2019 Wetterhahn Award for Distinguished Creative or Scholarly Achievement, Dartmouth College
2018 Stuttgart Composition Prize, Bound to the Bow
2018 Lincoln Center Emerging Artists Award (nominee of Lincoln Center and the New York Philharmonic)
2017 Guggenheim Fellowship in Music Composition
2017 Rome Prize in Music Composition
2017 DAAD Artists-in-Berlin Prize
2016 Pulitzer Prize Finalist, Bound to the Bow
2016 Foundation for Contemporary Art Grant-for-Artists
2015 Busoni Prize, Akademie der Künste, Berlin
2015 Dartmouth College Provost’s Seed Fund Grant Recipient
2015 Siemens Foundation Grant received to support The Force of Things
2014 Kranichsteiner Composition Prize, Darmstadt Internationale Ferienkurse für Neue Musik
2013 Fulbright Fellowship to France
2013 American Academy in Berlin Prize in Music Composition, Alternate
2013 Impuls International Composition Prize
2012 Stipendienpreis, Darmstadt Internationale Ferienkurse für Neue Musik
2011 Staubach Honorarium for the Internationale Ferienkurse für Neue Musik
2011 Julius F. Jezek Prize
2011 Cité Internationale des Arts 6-month Fellowship, Paris, France
2011 NPR Music Top Composers under 40, WQXR, New York, New York
2010 Adelbert W. Sprague Prize
2009 Akademie Schloss Solitude 10-month Fellowship, Stuttgart, Germany
2008 National Endowment for the Arts Commission Grant
2008 World Music Days Young Composers Prize Finalist
2008 U.S. Nominee, World Music Days, Vilnius, Lithuania

SELECTED PRESS

“Composers Find Transcendence, and Inspiration, at the Club” | The New York Times | March 10, 2023 by Jeffrey Arlo Brown
- Fure’s work is featured in a long form article exploring the impact of Berlin’s iconic club Berghain on contemporary composers.
“Notable Performances and Recordings of 2021” | The New Yorker | December 9, 2021 by Alex Ross
- Alex Ross features Hive Rise in his year-end wrap-up and quotes a full paragraph of Fure’s own reflections on the communal act of listenting from a printed interview in 2019.
“Ash Fure’s HIVE RISE is a Visceral Experience in Sound” | The New Yorker | December 6, 2021 by Alex Ross Alex
- Ross lauds Hive Rise in this stunning review, writing, “Fure’s acoustical tidal wave, ravishing and dangerous, left a constructive kind of panic in its wake.”
“HIVE RISE” | No Proscenium | November 24, 2021 by Laura Hess
- “A profound communal exchange, Hive Rise articulated the primal heartbreak, rage, and existential loneliness of recent events such as the pandemic, and systemic issues such as colonization and injustices of all kinds. The experience was a shattering example of the transformational power of sound.”
“An immersive sonic experience marks the Industry’s return to live performance” | Los Angeles Times | Nov 19, 2021 by Jessica Gelt
- The LA Times previews Hive Rise’s US debut, describing it as a “somatic landscape that seeks to cultivate a sense of collectivity during a distressingly isolating and disjointed time.”
“HIVE RISE” | Time Out LA | October 19, 2021
- Time Out LA alerts its readers to the ticket release of Hive Rise, which sold out in 3 minutes.
“The Industry Announces New Artistic Director Cooperative” | San Francisco Classical Voice | June 29, 2021
- “The Industry began as an experiment and is dedicated to the experimental,” Sharon said in an official statement. “The inauguration of an artistic director cooperative might be our most far-reaching experiment yet.”
“The Industry Announces Significant Changes in Management Structure, Forms Artistic Director Cooperative” | OPERAWIRE | June 25, 2021
- “Ruth Eliel, Chair of the Board of Directors at The Los Angeles-based interdisciplinary production company, The Industry, announced a radical change in management structure, establishing a cooperative of three co-artistic directors called Artistic Director Cooperative.”
“The Industry, Yuval Sharon’s Opera Company in L.A, Adds Two Artistic Directors” | ArtsJournal: Arts, Culture, Ideas | June 22, 2021
- “In what he describes as a deliberate effort to make the organization more diverse on a managerial as well as an artistic level, [Sharon] and the board have taken on two co-artistic directors, composer Ashley Fure and interdisciplinary artist Malik Gaines.”
“The Industry, L.A.’s groundbreaking opera company, casts new leaders” | Los Angeles Times | June 21, 2021 by Jessica Gelt
- “The company is attempting to expand its voice and reach by adding sonic artist Ash Fure and interdisciplinary artist Malik Gaines as artistic directors, serving alongside Sharon.”
“Ash Fure and Nate Wooley: In Conversation” | Chamber Music America | January 17, 2021 by Peter Margasak
- “The composer and trumpeter met over Zoom to discuss the untapped potential of the performance space, the ethics of collaboration, and the social complexity at the heart of their music.”
“Best Tracks of 2020” | The New York Times | December 17, 2020
- Shiver Lung from Sound American’s Portrait Album release is named amongst The New York Times’ ‘Best Tracks of 2020.’
“The Best Contemporary Classical Albums of 2020” | Bandcamp Daily | December 10, 2020 by Peter Margasak
- “…unfolding with a drama so riveting, episodic, and alien it’s hard to know whether the listener should be petrified or electrified.”
“Best Classical Music of 2020” | The New York Times | December 2, 2020 by David Allen
- “And there has been plenty of new music, too, best of all an overdue portrait of Ash Fure’s inimitable explorations of tactile sound (Sound American). More, please.”
“Staff Picks – October 2020” | The Attic | November 10, 2020 by Dragos Rusu and Victor Stutz
- “Close, transparent sound that inhabits your psyche and transcends form, melody, and harmony.”
“October 2020 in Experimental Music” | The Road to Sound | November 9, 2020 by Vanessa Ague
- “Gritty, visceral sound of all kinds that captures the essence of storytelling through the drama of tension and release.”
“Composer Ash Fure Tells Vivid Stories with Unsual Sounds” | Bandcamp Daily | October 29, 2020 by Vanessa Ague
- “While it may seem impossible to bring a story to life without words, in Fure’s music, it’s the sounds that are alive, and they speak as much as words do, or perhaps even more.”
“In Music of Gritty Appeal, Composer Ashley Fure Celebrates the Physicality of Sound” | San Francisco Chronicle | October 28, 2020 by Joshua Kosman
- Kosman calls Something to Hunt "an elaborate and beguiling portrait” and “a peculiarly poignant vein of music to experience during the isolation of the pandemic."
“Best of Bandcamp Daily Contemporary Classical: October 2020” | Bandcamp Daily | October 26, 2020 by Peter Margasak
- “Fure has succeeded magnificently here, with no visual cues required."
“Gothic Kinship: Ash Fure’s Something to Hunt” | San Francisco Classical Voice | October 19, 2020 by Tamzin Eliott
- “Her sounds are immediate, they cleave close to the bone, and they feel tactile in a way that relates more to one’s naked body than to sound coming from a stage.”
“Under Pressure” | The New Yorker | July 7, 2020 by Alex Ross
- Ross reviews the virtual premiere of Fure’s Interior Listening Protocol 1, declaring it “delivered an experience so vivid that I almost felt the need to lie down afterward.”
“Lincoln Center Awards for Emerging Artists Celebrate Ten Remarkable and Rising Talents” | Broadway World | December 13, 2018 by Seth Colter Walls
- Fure receives the endowed Hunt Family Award in this year’s crop of Emerging Artist awardees.
“The 10 Best Classical-Music Performances of 2018” | Vulture | December 7, 2018 by Justin Davidson
- Filament, at the New York Philharmonic, ranks third in Davidson’s top ten year-end round up. He writes, “The world premiere of Ashley Fure’s new work was a powerful reminder that all music is born from noise, and it gave unclassifiable sounds a depth and drama that are the exact opposite of chaos.”
“The Best Classical Music of 2018” | The New York Times | December 5, 2018 by Anthony Tommasini, Zachary Woolfe, Joshua Barone, and Seth Colter Walls
- Tommasini lists the “mystical...dangerous” Filament in his “Best Surprises of the Year,” while Zachary Woolfe puts both The Force of Things at Mostly Mozart and Filament amongst his “Best Performances of the Year,” writing ,“A one-two punch this year brought this young composer firmly into the New York musical spotlight.”
“Loop38 Explores the Bodies Behind the Music” | Houstonia | November 13, 2018 by Hannah Che
- A preview of Albatross’ premiere in Houston by Loop38.
“Review: New Works Designed with a Daring Trumpeter in Mind” | The New York Times | November 2, 2018 by Seth Colter Walls
- Walls’ response to A Library on Lighting at Issue Project Room: “The intimacy of the Brooklyn space didn’t sap any of Ms. Fure’s intensity: The final buzzing chords hit with extraordinary force.”
“A Hell-raising Soprano Cuts Through a Dreary First Week at the Metropolitan Opera” | The New Yorker | October 4, 2018 by Alex Ross
- Ross calls Fure “blazingly inventive,” and Filament “as experimental a work as the Philharmonic has attempted since Karlheinz Stockhausen invaded the premises in the early seventies.”
“A New Season at the Met Opera: The Week in Classical Music” | The New York Times | September 28, 2018 by Anthony Tommasini
- “It’s not often that you get a chance to hear an ambitious new orchestral work twice…This absorbing work…came across again like an immersive, yet kinetic and atmospheric sound environment. I heard even more details and strange intricacies the second time.”
“Review: The Jaap van Zweden Era Begins at the Philharmonic” | The New York Times | September 21, 2018 by Anthony Tommasini
- Tommasini calls Filament, “Astringently captivating… ravishing…I loved being part of this enveloping sonic and communal experience.”
“Jaap Takes Charge: The Week in Classical Music” | The New York Times | September 21, 2018 by Michael Cooper and Josh Barone
- Michael Cooper writes, “I loved the eerie, immersive Ashley Fure premiere, Filament.” Josh Barone follows, “I can’t recommend Filament enough… a brilliant use of David Geffen Hall, and a fascinating study of musical teamwork and auditory perception.”
“What’s Opera, Jaap? Van Zweden’s Opening Night as the Philharmonic’s New Leader” | Vulture | September 21, 2018 by Justin Davidson
- “Filament roared, and when it was done, the crowd roared back…Fure is a revelation...”
“Megaphones Up, the Philharmonic Opens With Two Young Voices” | The New York Times | September 18, 2018 by Joshua Barone
- An extensive preview of Filament leading up to opening night.
“5 Classical Music Faces to Watch This Season” | The New York Times | September 14, 2018 by Zachary Woolfe and Joshua Barone
- Fure previewed in this shortlist of young voices to watch this musical season.
“The Sounds of Music in the 21st Century” | The New Yorker | August 27, 2018 by Alex Ross
- Ross closes this rumination on the music of our time by linking Fure’s upcoming Filament premiere to Stravinsky’s Rite of Spring.
“Ashley and Adam Fure’s The Force of Things at Mostly Mozart” | I Care if You Listen | August 23, 2018 by Rebecca Lentjes
- “The Fure siblings have created an environment for sound and listening in which aural perception occurs through multi-sensory immersion rather than passive reception…Ashley Fure defies conventions of directional listening and allows for a wholly new and innovative experience.”
“Turning Climate Crisis into Sound: The Week in Classical Music” | The New York Times | August 10, 2018 by Zachary Woolfe
- “A simultaneously glacial and tumultuous abstract drama, it attempts to wrestle in sound with the paradox that is ours: A fundamental threat, climate change, whose progress is both undetectable and devastating. How, in other words, to capture the emotional landscape of our time?”
“Review: An ‘Opera for Objects’ Makes Music Out of Fear” | The New York Times | August 7, 2018 by Corinna da Fonseca-Wollhelm
- “A powerful expression in sound of ecological dread…it has an ominous elegance that…is singularly effective.”
“What’s That Sound? In Ashley Fure’s Compositions, It Could Be Almost Anything.” | New York Magazine | August 6, 2018 by Justin Davidson
- An extensive feature on Fure’s work and her collaborative installation opera The Force of Things.
“Ashley Fure on Learning From What You Hate” | Red Bull Music Academy Daily | July 11, 2018 by Aaron Gonsher
- An extensive interview with Red Bull Academy’s Aaron Gonsher on Fure’s work.
“Big Ears 2018: 10 Best Things We Saw.” | Rolling Stone | March 26, 2018 by Cristopher R. Weingarten
- Fure’s Therefore I Was, performed by ICE, is listed in this top ten report from Knoxville, Tennessee.
“Composer Ashley Fure Explores the Collision of Traditional Instruments and Electronics” | San Francisco Classical Voice | February 13, 2018 by Rebecca Wishnia
- Wishnia “can’t remember the last time a program was so thought-provoking,” as Fure’s portrait concert at Mills College.
“New York Philharmonic’s CONTACT! at National Sawdust” | I Care if You Listen | January 24, 2018 by Alyssa Kayser-Hirsh
- Kayser-Hirsh recalls sitting “with held breath,” awed by the “immense, technical precision” Therefore I Was demands.
“Review: CONTACT! at New York Philharmonic and National Sawdust - A Roll of Duct Tape Made me Cry.” | Broadway World | Jan. 9, 2018 by Cole Grissom
- Grissom writes of the strikingly wrenching roll of duct tape from Fure’s “ethereal,” and “transformative” Therefore I Was.
“The Top 15 NJ Theater Productions of 2017” | NJArts | December 29, 2017 by Jay Lustig
- Lustig lists the “immersive and compelling” Force of Things amongst his top theater experiences of the year.
“Best of 2017: 10 Memorable Musical Events” | National Sawdust Log | December 28, 2017 by Steve Smith
- Smith writes The Force of Things “was awe-inspiring in its imaginative ingenuity and gut-wrenching in its underlying implications.”
“Notable Performances and Recordings of 2017” | The New Yorker | December 11, 2017 by Alex Ross
- Ross calls The Force of Things “the most purely visceral music-theatre outing of the year,” in this year-end best-of list.
- ‘Tremors’ | The New Yorker | October 23, 2017 by Alex Ross
- Alex Ross reviews “the sensuous unease” of Fure’s “staggeringly original” The Force of Things: An Opera for Objects.
‘Review: An Indirectly Audible Opera’ | The New York Times | October 10, 2017 by Seth Colter Walls
- “After we had gone through a collective, thorough contemplation of oft-ignored, barely detectable causes and effects, the operatic voice was ready to sing — and to sound truly, traditionally beautiful — once more.”
‘Your Week in Culture’ | New York Times | September 29, 2017 by William Robin
- The New York Times features The Force of Things: An Opera for Objects on its list of October must-sees.
‘Up Close’ | Harvard Magazine | September 26, 2017 by Jennifer Gersten
- Harvard Magazine publishes a profile on Fure’s work and the upcoming East coast premiere of The Force of Things during Peak Performances.
‘Interview with Ashley Fure’ | Times Higher Education | June 29, 2017 by John Elmes
- Questions on a range of topics from England’s premiere education magazine.
‘2016 Pulitzer Prize Winners’ | The New York Times | April 11, 2017
- Fure’s work Bound to the Bow is announced as a finalist for the 2016 Pulitzer Prize in Music Composition.
‘Peak Performances Devotes Season of Works to Women’ | The New York Times | April 2, 2017 by Andrew R. Chow
- Fure’s installation opera The Force of Things is featured in this announcement of the upcoming 2017/18 Peak Performances season.
‘Lyric Engine: An Interview with Ashley Fure’ | Van Magazine | March 30, 2017 by Jeff Arlo Brown
- An interview about Fure’s work Anima, for augmented string quartet.
‘Die Klassische Musik hat ein Sexismusproblem’ | Sueddeutsch Zeitung | January 11, 2017 by Simon Tonies
- One of Germany’s leading newspapers analyzes ‘the gender problem’ in New Music and cites Fure’s research into gender dynamics at the Darmstadt Internationale Ferienkürse fur Neue Musik.
'Notable Performances and Recordings of 2016’ | The New Yorker | Dec 27, 2016 by Alex Ross
- In his yearend review, Alex Ross names Fure’s Bound to the Bow at the NY Phil Biennial a highlight of his 2016 season.
'A History of Classical Music (The Women-Only Version) ' | The New York Times | Dec 02, 2016 by Alice Gregory
- In this historical synopsis of female composers, The New York Times highlights the work of women making music from 1151, right down to 2016 and Ashley Fure.
'Map of The New' | The New Yorker | June 27, 2016 by Alex Ross
- Bound to the Bow named the "most arresting of the world premieres" at the NY Phil Biennial.
'Review: At NY Phil Biennial, Interlochen Rises to the Occasion' | The New York Times | June 6, 2016
by James Oestreich
- Bound to the Bow called "boldly individual" and "compelling, beginning to end" in the New York Times review of Interlochen's Biennial Performance.
'Rising Start Composer Wins Prestigious Award' | Dartmouth News | February 22, 2016 by Hannah Silverstein
- A look back at Fure's compositional career and her path to Dartmouth College.
'Review: Ashley Fure Highlighted in a Composer Portrait at Columbia' | The New York Times | Feb 8, 2016
by Corinna da Fonseca-Wollheim
- The New York Times calls Fure’s work “richly satisfying” and imbued with “profound expressivity.”
'Chains Clink, Water Splashes: A Composer’s Beautiful Noise' | The New York Times | January 28, 2016
by David Allen
- An in-depth portrait of Fure’s work published as a full-page spread in the Sunday Arts and Leisure Section of The New York Times.

RECENT WORKS

Proofing (c. 3.5’). Film score. Commissioned by the Venice Biennale for Xavi Aguirre. 2023
Tremor (c. 75’). Electroacoustic composition created for performance with artist Samita Sinha. 2023
ANIMAL (c. 40’). Solo synesthetic performance with custom instruments. 2023
ANIMAL: A Listening Gym (c. 110’). Performance installation. Commissioned by Yale.
Timepiece | Electroacoustic (c. 28’) | Commissioned by Maerz Muik 2021
Interior Listening Protocol 01 (c. 8’) | A Participatory Listening Score. 2021
Together Games | for Megaphones and Instruments (c. 35’) | 2020
Commissioned by Ensemble Modern, premiered at Eclat 2020 in Stuttgart, Germany
Hive Rise | for Megaphones and Instruments (c. 45’) | 2020
Commissioned by CTM and the DAAD, premiered at Berghain during CTM 2020 in Berlin
Filament | for Trio, Orchestra and Moving Voices (c. 15’) | 2018
Commissioned by the New York Philharmonic; to be premiered at David Geffen Hall in New York, New York in September 2018
A Library on Lightning | for Bb Trumpet, Basoon, and Double Bass (c. 15’) | 2018
Commissioned by Klangforum Wien; premiered at the Wittener Tage für neue Kammermusik in Witten, Germany in April 2018
Anima | for String Quartet and Electronics (c. 25’) | 2017
Commissioned by IRCAM and GMEM for the Diotima Quartet; premiered in Marseille, France in May 2017
The Force of Things: An Opera for Objects | an Installation Opera (c. 55’) | 2016
Commissioned by the International Contemporary Ensemble (ICE); created in collaboration with architect Adam Fure; premiered at the Darmstadt International Summer Courses for New Music in August 2016
Bound to the Bow | for Orchestra and Electronics (c. 16’) | 2016
Commissioned by the New York Phil Biennial for the Interlochen Academy Orchestra; premiered in June 2016 at David Geffen Hall, Lincoln Center, New York, New York
Etudes from the Anthropocene | for Septet and Electronics (c. 17’) | 2016
Commissioned by ICE; premiered at Miller Theater in New York, New York, in February 2016
Feed Forward | for Sinfonietta (c. 20’) | 2014
Commissioned by the Impuls International Composition Competition; to be premiered by Klangforum Wien in Graz, Austria in February 2015
Something to Hunt | for Large Ensemble (c. 10’) | 2014
Commissioned by the Darmstadt Stipendienpreis; premiered by Dal Niente at the Darmstadt Internationale Ferienkurse für Neue Musik in August 2014
Ply | Electroacoustic Ballet with The Guests Company (c. 55’) | 2014
Commissioned by IRCAM for the 2014 Manifeste Festival; premiered in Paris, France in June 2014
Albatross | Large Ensemble and Electronics (c. 15’) | 2014
Commissioned by the San Francisco Contemporary Music Players for the 2014 Sweet Thunder Festival; premiered in San Francisco, California in April 2014
Soma | for Ensemble (6 Players – c. 11’) | 2012
Commissioned for Curious Chamber Players by the Staubach Honorarium; premiered at the Darmstadt Internationale Ferienkurse für Neue Musik in August 2012
Veer | Multimedia Installation created with Adam Fure | 2012
Commissioned by the Akademie Schloss Solitude in Stuttgart, Germany
Therefore I Was | for Cello, Piano, and Percussion (c. 14’) | 2012
Commissioned by the Jezek Prize for Talea Ensemble; premiered in New York, New York in April 2012
Hover | Multimedia Installation created with Adam Fure | 2012
Premiered at Gallery Project in Ann Arbor, Michigan in April 2012
Tripwire | Multimedia Installation created with Jean-Michel Albert | 2011
Premiered at the Agora Festival in Paris, France in June 2011
Pull | for Electric Guitar and Percussion (c. 6’) | 2010
Premiered by Ensemble Nikel at the Tzlil Meudcan Festival in Tel Aviv, Israel in July 2010
Aperture/Iris | for Ensemble (9 Players - c. 14’) | 2010
Commissioned by Calithumpian Consort in Boston, Massachusetts in April 2010
Cyan | for Orchestra (c. 7’) | 2009
Commissioned by the Marquette Symphony Orchestra; premiered in Marquette, Michigan in April 2009
Wire & Wool | for Cello and Electronics (c. 8’) | 2009
Premiered by Florent Maigrot in Paris, France in April 2009
Névé | for Oil Drum and Instruments (8 Players – c. 8’) | 2008
Premiered by White Rabbit in Cambridge, Massachusetts in May 2008
Blush | for Sinfonietta and Electronics (17 Players – c. 15’) | 2007
Commissioned by the Oberlin Contemporary Music Ensemble for the TIMARA Festival; premiered in Oberlin, OH in April 2007
Susurrus | for Flute, Violin, Cello, Percussion, and Electronics (c. 9’) | 2006
Commissioned by eighth blackbird for the Third Practice Electroacoustic Music Festival; premiered in Richmond, Virginia in March 2006
Drips of Hiss | for String Quartet (c. 11’) | 2006
Premiered by the Arditti Quartet in Cambridge, Massachusetts in February 2006
Steamed | for Soprano and Live Electronics (c. 4’) | 2005
Premiered by Hannah Lash in Cambridge, Massachusetts in December 2005
Spines | for Large Ensemble (13 Players – c. 8’) | 2005
Premiered by l’Orchestre National de Lorraine at the Acanthes Festival in Metz, France in June 2005
Inescapable | for Flute, Clarinet, Violin, Cello, Piano, and Percussion (c. 11’) | 2005
Commissioned by eighth blackbird; premiered in New York, NY in September 2005
Work with the Bones | for Violin Solo (c. 12’) | 2004
Premiered by Aimee Weiss in Cambridge Massachusetts in September 2004
Shrapnel | for String Quartet (c. 13’) | 2004
Premiered by the Jasper Quartet in Oberlin, Ohio in May 2004
Clay Teeth | for Chamber Orchestra (c. 7’) | 2004
Premiered by the Oberlin Contemporary Music Ensemble in Oberlin, Ohio in April 2004

RECENT AND UPCOMING PERFORMANCES

2024 ANIMAL, IRCAM, Paris, France

2024 ANIMAL, BIG EARS FESTIVAL, Knoxville, Tennessee

2024 ANIMAL, THE CARNEGIE MUSEUM, Pittsburgh, Pennsylvania

2023 ANIMAL, Town Hall, New York, New York

2023 ANIMAL, Long Play, New York, New York

2023 ANIMAL: LISTENING GYM, Schwarzman Center for the Arts, New Haven, Connecticut (

2023 Tremor, Danspace, New York, New York

2023 Tremor, Western Front, Vancouver, Canada

2023 Proofing, Venice Biennale, Venice, Italy (running continuously for 6 months)

2023 Bound to the Bow, Archipel Festival, Geneva, Switzerland

2023 Feed Forward, Israel Contemporary Players, Tel Aviv, Israel

2022 Interior Listening Protocol, Serpentine Gallery, London, England

2022 The Force of Things, Hopkins Center for the Arts, Hanover, New Hampshire

2022 The Force of Things, Hopkins Center for the Arts, Hanover, New Hampshire

2021 Bound to the Bow, Warsaw Autumn, Warsaw, Poland

2021 Interior Listening Protocol, Warsaw Autumn, Warsaw, Poland

2021 Hive Rise, Co-presented by The Industry and MOCA, Geffen Warehouse, Los Angeles, California

2021 Timepiece, Maerz Musik, Berlin, Germany

2021 Shiver Lung 2. San Francisco Contemporary Music Players. San Francisco, California

2020 The Force of Things. ICE. The Industry. ICA, Los Angeles, California (COVID cancelled)

2020 Together Games. Ensemble Modern. Festival Musica, Strasbourg, France (COVID cancelled)

2020 Together Games. Ensemble Modern. Holland Festival, Amsterdam, Netherlands (COVID cancelled)

2020 The Force of Things. ICE. Hopkins Center for the Arts, Hanover, New Hampshire (COVID cancelled)

2020 Tripwire. Manifeste. Paris, France

2020 Anima. Arditti Quartet. Wien Modern. Vienna, Austria

2020 Interior Listening Protocol 1. The Lobby Festival. Los Angeles, California

2020 Interior Listening Protocol 1. Maine Ovations. Virtual premiere

2020 Shiver Lung 3. Music Now. Cincinnati, Ohio. (COVID cancelled)

2020 Together Games. Ensemble Modern. Frankfurt, Germany. (COVID cancelled)

2020 Together Games. Ensemble Modern. Éclat Festival. Stuttgart, Germany

2020 Bound to the Bow. SWR Orchestra. Éclat Festival. Stuttgart, Germany

2020 Hive Rise. CTM. Berlin, Germany

2020 Shiver Lung. Nemo. Ghent, Belgium

2019 Something to Hunt. ICE. Mostly Mozart, New York, New York

2019 Hive Rise. Wasserturm. Berlin, Germany

2019 A Library on Lightning. ICE. Mostly Mozart, New York, New York

2019 Bound to the Bow. The Butler School of Music Orchestra. Austin, Texas

2019 Ply. Musica Electronica Nova. Wroclaw, Poland

2019 Something to Hunt. Ensemble Modern. Bielefeld, Germany

2019 Shiver Lung 2. ICE. Big Ears Festival, Knoxville, Tennessee

2019 A Library on Lightning. ICE. Big Ears Festival, Knoxville, Tennessee

2019 Bound to the Bow. Konzerthausorchester Berlin. Maerz Musik, Berlin, Germany

2019 Feed Forward. Zagros Ensemble. Musica Nova Festival, Helsinki, Finland

2019 Feed Forward. Ensemble Moderne. Frankfurt, Germany

2019 Feed Forward. Ensemble Moderne. South Bank Center, London, England

2018 Bound to the Bow. San Francisco Conservatory Orchestra. San Francisco, California

2018 Albatross. Loop 38. Houston, Texas

2018 A Library on Lightning. Nate Wooley, Rebekah Heller, Brandon Lopez. New York, New York

2018 Susurrus. ZuHören. Winsen, Germany

2018 Wire & Wool. John Popham. New York, New York

2018 Shiver Lung 2. So Percussion. New York, New York

2018 Filament. New York Philharmonic. New York, New York

2018 Shiver Lung 3. PEOPLE, Berlin, Germany

2018 Echolocator. PEOPLE, Berlin, Germany

2018 Echolocator. Phönix Solisten. Festival Mikromusik, Berlin, Germany

2018 The Force of Things. ICE. Lincoln Center Mostly Mozart Festival. New York, New York

2018 Anima. Arditti Quartet. Darmstadt Internationale Ferienkürse fur Neue Musik. Darmstadt, Germany

2018 Echolocator. Roma Vocale. American Academy in Rome, Italy

2018 Bound to the Bow. BBC Scottish Symphony. Tectonics, Glasgow, Scotland

2018 A Library on Lightning. Klangforum Wien. Mozartsaal, Vienna, Austria

2018 A Library on Lightning. Klangforum Wien. Witten Festival. Witten, Germany

2018 Therefore I Was. ICE. Big Ears Festival, Knoxville, Tennessee

2018 Anima. Sonar Quartet. Maerz Musik, Berlin, Germany

2018 Shiver Lung 2, Phönix Solisten. Maerz Musik, Berlin, Germany

2018 Shiver Lung. Phönix Solisten. Maerz Musik, Berlin, Germany

2018 Wire & Wool. Sonar Quartet. Maerz Musik, Berlin, Germany

2018 Shiver Lung 2. Scharoun Enemble. Rome, Italy

2018 Therefore I Was. Scharoun Ensemble. Rome, Italy

2018 Wire & Wool. Scharoun Enemble. Rome, Italy

2018 Shiver Lung 2. Scharoun Enemble. Rome, Italy

2018 Therefore I Was. Scharoun Ensemble. Rome, Italy

2018 Wire & Wool. Scharoun Enemble. Rome, Italy

2018 Anima. Amaranth Quartet. Oakland, California.

2018 Shiver Lung 2. Willie Wynant. Oakland, California

2018 Wire & Wool. Crystal Pascucci. Oakland, California

2018 Therefore I Was. Contact! by the New York Phil. New York, New York

2018 Anima. Diotima Quartet. Milano Musica, Milan, Italy

2017 Therefore I Was. ICE. Mexico City, Mexico

2017 The Force of Things. ICE. Peak Performances, Montclair, New Jersey

2017 Anima. Diotima Quartet. Warsaw Autumn. Warsaw, Poland

2017 Shiver Lung 2. Ross Karre. For/With, New York, New York

2017 Therefore I Was. Ensemble Mosaik. Rome, Italy

2017 Anima. Diotima Quartet. Manifeste, Paris, France

2017 Anima. Diotima Quartet. Orleans, France

2017 Anima. Diotima Quartet. Marseille, France

2017 Something to Hunt. Ensemble Itineraire. Marseille, France

2017 Something to Hunt. Ensemble Itineraire. Hanover, New Hampshire

2017 Something to Hunt. Ensemble Itineraire. New York, New York

2017 Shiver Lung 2. Ross Karre, New York, New York

2017 The Force of Things. ICE. Ypsilanti, Michigan

2017 Shiver Lung. San Francisco Symphony Orchestra. San Francisco, California

2017 Soma. ICE. Providence, Rhode Island

2017 Therefore I Was. ICE. Palo Alto, California

2017 Therefore I Was. ICE. New York Public Library, New York, New York

2017 Shiver Lung 2. Ross Karre. New York Public Library, New York, New York

2016 Therefore I Was. Ensemble Ipse. New York, New York

2016 The Force of Things. ICE. Internationale Ferienkurse für Neue Musik. Darmstadt, Germany

2016 The Force of Things. ICE. Internationale Ferienkurse für Neue Musik, Germany

2016 Therefore I Was. Ensemble Mosaik. Berlin, Germany

2016 Bound to the Bow. Interlochen Academy Orchestra, New York, New York

2016 Shiver Lung. ICE. Darmstadt in New York Festival. New York, New York

2016 Ply. Festival Les Musiques KLAP, Marseille, France

2016 Wire & Wool. Severine Ballon, Festival Les Musiques KLAP, Marseille, France

2016 Ply. Biennale Musiques en Scène 2016, Lyon, France

2016 Therefore I Was. New York New Music Ensemble. New York, New York

2016 Albatross. ICE. Miller Theater Portrait Concert, New York, New York

2016 Soma. ICE. Miller Theater Portrait Concert, New York, New York

2016 Wire & Wool. ICE. Miller Theater Portrait Concert, New York, New York

2016 Something to Hunt. ICE. Miller Theater Portrait Concert, New York, New York

2016 Etudes from the Anthropocene. ICE. Miller Theater Portrait Concert, New York, New York

2015 Something to Hunt. Zafraan Ensemble, Berlin, Germany

2015 Soma, Zafraan Ensemble, Berlin, Germany

2015 Ply. Albertville, France

2015 Feed Forward. Impuls Festival, Graz, Austria

2014 Ply. Festival Total Danse, Ile de la Réunion

2014 Ply. Centre Nationale de la Danse, Paris, France

2014 Tripwire. BOZAR, Brussels, Belgium

2014 Ply. Biennale de la Danse, Lyon, France

2014 Something to Hunt. Dal Niente. Darmstadt, Germany

2014 Therefore I Was. Walden School Players. Walden, Massachusetts

2014 Wire & Wool. TIMF Ensemble. Tongyeong, Korea

2014 Wire & Wool. TIMF Ensemble. Seoul, Korea

2014 Albatross. SFCMP. Sweet Thunder Festival, San Francisco, California

2013 Tripwire. Seconde Nature. Aix-en-Provence, France

2013 Tripwire. L’Ososphère. Strasbourg, France

2012 Soma. Curious Chamber Players. Darmstadt, Germany

2012 Sussurus. Walden School Players. Walden, Massachusetts

2012 Veer. Akademie Schloss Solitude, Stuttgart, Germany

2012 Wire & Wool. Severine Ballon. Stuttgart, Germany

2012 Tripwire. Montréal Biennale Numérique, Montreal, Canada

2012 Therefore I Was. Talea Ensemble. New York, New York

2012 Hover. Gallery Project, Ann Arbor, Michigan

2012 Wire & Wool. Kivie Cahn-Liphman. Northampton, Massachusetts

2012 Wire & Wool. Kivie Cahn-Liphman. Oberlin, Ohio

2012 Tripwire. Stereolux Festival, Nantes, France

2011 Tripwire. Nemo Festival, Paris, France

2011 Tripwire. Panorama, Tourcoing, France

2011 Tripwire. Agora Festival, Paris, France

2011 Pull. Ensemble Nikel. Tel Aviv, Israel

2010 Aperture/Iris. Calithumpian Consort. Boston, Massachusetts

2009 Wire & Wool. Kivie Cahn-Lipman. Cambridge, Massachusetts

2009 Susurrus. Echoi Ensemble. San Diego, California

2009 Susurrus. Marquette Symphony Orchestra. Marquette, Michigan

2009 Lakewater (1999). Marquette Symphony Orchestra. Marquette, Michigan

2009 Cyan. Marquette Symphony Orchestra. Marquette, Michigan

2009 Wire & Wool. Florent Maigrot, Paris, France

FESTIVAL PARTICIPATION

2024 Big Ears, Knoxville, Tennessee

2024 Sonic Protest, Paris, France

2023 Long Play, New York, New York

2023 Archipel, Geneva, Switzerland

2021 Warsaw Autumn, Warsaw, Poland

2021 Maerz Musik, Berlin, Germany

2020 Manifeste, Paris, France

2020 Holland Festival, Amsterdam, Netherlands

2020 Festival Musica, Strasbourg, France

2020 Music Now, Cincinnati, Ohio

2020 Wien Modern, Vienna, Austria

2020 CTM, Berlin, Germany

2020 Éclat, Stuttgart, Germany

2019 Mostly Mozart, New York, New York

2019 Musica Electronica Nova, New York, New York

2019 Big Ears, Knoxville, Tennessee

2019 Maerz Musik, Berlin, Germany

2019 Ultraschall, Berlin, Germany

2018 PEOPLE, Berlin, Germany

2018 Mikromusik, Berlin, Germany

2018 Mostly Mozart, New York, New York

2018 Internationale Ferienkurse für Neue Musik, Darmstadt, Germany

2018 Wittener Tage für Neue Kammermusik, Witten, Germany

2018 Maerz Musik, Berlin, Germany

2017 Warsaw Autumn. Warsaw, Poland

2017 Festival Les Musiques, Marseille, France

2017 Maerz Musik, Berlin, Germany

2017 Manifeste, Paris, France

2016 Internationale Ferienkurse für Neue Musik, Darmstadt, Germany

2016 New York Philharmonic Biennial, New York, New York

2015 Impuls Festival, Graz, Austria

2014 Festival Total Danse, Ile de la Réunion, France

2014 BOZAR, Brussels, Belgium

2014 Biennale de la Danse, Lyon, France

2014 Manifeste, Paris, France

2014 Internationale Ferienkurse für Neue Musik, Darmstadt, Germany

2014 Sweet Thunder, San Francisco, California

2013 Impuls Festival, Graz, Austria

2012 L’Ososphère, Strasbourg, France

2012 Internationale Ferienkurse für Neue Musik, Darmstadt, Germany

2012 Biennale Internationale d’Art Numérique, Montreal, Canada

2012 Stereolux Festival, Nantes, France

2011 Agora Festival, Paris, France

2011 Nemo Festival, Paris, France

2011 Panorama Festival, Tourcouing, France

2010 Internationale Ferienkurse für Neue Musik, Darmstadt, Germany

2010 Tzlil Meudcan New Music Course, Tel Aviv, Israel.

2008 World Music Days, Vilnius, Lithuania

2008 Siren Festival, Göteborg, Sweden

COURSES TAUGHT

Dartmouth College – Hanover, New Hampshire
- Associate Professor of Music, September 2015 – Present
- “Machine Music” “Sound Art Practice,” “Making Noise,” “DDIY: Creativity in Collaboration,” and “Compose Yourself,” Sound is Alive,” “Site, Space, Sound”
Columbia University [New York, New York] : Mellon Postdoctoral Fellow
- “Music Humanities”
- “Notation in New Music”
Oberlin Conservatory [Oberlin, Ohio] : Visiting Assistant Professor of Music Composition | January 2012 - May 2012
- “Notation in New Music”
- “Private Composition Studio”
Harvard University [Cambridge, Massachusetts]: Teaching Fellow | September 2006 – May 2010
- “Introduction to Western Music from Beethoven to the Present”
- “Advanced Music Theory”
- “Music and Politics”
- “First Nights”
- “Introduction to Music Composition”
- “Introduction to Music Theory”