My research investigates composition as an interdisciplinary practice at the intersection of music theatre, collaboration, ecology, and pedagogy. Through artistic research, I explore how compositional processes emerge from dialogue with performers, extra-musical materials, and new modes of listening.
Translating Non-Musical Elements into a Musical Language: A Case Study of Two Composers in Relation to My Music
This research examines how non-musical materials are translated into musical composition. Through case studies of Olivier Messiaen and Toru Takemitsu, it explores the relationship between metaphor, extra-musical references, and compositional practice, investigating how literature, nature, spirituality, and cultural memory become musical form. The project also reflects on these processes in relation to my own compositional methodology.
Applied Collaborative Practices of Composition: Choir of One — A Case Study
Centered on Choir of One for soprano, electronics, and video, this research explores collaborative composition as a laboratory shared between composer and performer. Situated within the contexts of Music Theatre and The New Discipline, it investigates authorship, notation, intimacy, and the increasingly fluid boundaries between composing and performing, proposing collaboration as a fundamental compositional methodology.
Integrated Sound Practices: Ecopedagogy and Collaborative Creation in Music Education
This research develops a pedagogical toolkit exploring the intersections of acoustic ecology, quantum listening, and collaborative composition. Drawing on the educational philosophies of R. Murray Schafer, Pauline Oliveros and Jennifer Walshe, it combines theoretical research with seminars and workshops to cultivate critical, embodied, and ecological listening practices. Through a collaborative pedagogical approach, the project investigates how artistic creation can foster new relationships between sound, education, and the more-than-human world.