published pieces

for Sounding Out!:

Gendered sonic violence from the waiting room to the locker room

for The Log Journal:

#Hearallcomposers: Straining our ears, amplifying our voices
Interview with Joan La Barbara

for VAN Magazine:

Interview with Annea Lockwood
The sounding objects of Ellen Fullman and Theresa Wong

Against the grain: Rethinking the voice with contemporary music

Doom and womb: A feminist listening of Éliane Radigue’s Biogenesis

Listening to homelessness: On Robert Ashley’s Dust
On tour with the Baltic Sea Philharmonic

for Journal of Interdisciplinary Voice Studies:

review of Sensing Sound: Singing and Listening as Vibrational Practice

for Music & Literature:

Robert Ashley, Giordano Bruno, and the infinity of the everyday
The “real child world” of Harry Partch: Partch’s Bitter Music & Delusion of the Fury

for TEMPO Quarterly Review of New Music:

review of Postopera: Reinventing the Voice-Body
review of Tristan Perich’s Surface Image & Meredith Monk’s Piano Songs
review of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording

for Opera Today:

“Written in fire”: Momenta Quartet blazes through an Indonesian chamber opera
Andriessen’s De Materie at the Park Avenue Armory
Robert Ashley’s Quicksand at the Kitchen
review of Coughing and Clapping: Investigating Audience Experience
Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

selected pieces for I Care If You Listen:

“Currents”: Nouveau Classical Project at National Sawdust
88 keys (plus strings, mallets, & music boxes) at MATA’s piano night
Interview with Sugar Vendil
One World Symphony’s “Defiant”: An orchestra resists
Interview with Listening to Ladies
Ensemble Pi presents moving Black Lives Matter concert
Tallinn Music Week
Gibson’s Apparitions of the Four Pillars: 2016 Avant Media Festival
Marveling in the human voice at Meredith Monk and Vocal Ensemble’s 50th anniversary
Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk
Bora Yoon’s Sunken Cathedral at the Prototype Festival
ACO’s Monk’s Sphere at Carnegie Hall
(ICIYL author page)

selected pieces for Bachtrack:

Top 10 Living Women Composers
Interview with John Adams
Kaija Saariaho’s L’Amour de loin triumphs at the Met

Jessie Montgomery première shines among the classics at Carnegie Hall
New York Phil plunges audiences into immersive Saariaho portrait
New Opera Days Ostrava
New York Philharmonic’s “new music from Japan” is a mixed bag
Pauline Oliveros and ICE collaborate for cozy concert at JACK
A full house at Lincoln Center’s Great Performers: JACK Quartet’s inimitable programming
Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk
Scheherazade.2: Violin, cimbalom and female empowerment star in John Adams’ new work
From micropolyphonics to barbershops: Non-narrative choral music in the 1960s and 1970s
Sitting in a room, singing in the Catskills: Composers, performers, and space
ICE Ensemble delves into the personal at Mostly Mozart
Invigorating Gubaidulina from ICE at Mostly Mozart Festival
Either/Or plays For Philip Guston at Issue Project Room
Bang on a Can and New York Philharmonic bring enormous new works to the Biennial
David Lang’s “collected stories” is off to an heroic start
Lights out at White Light Festival: JACK Quartet plays G.F. Haas
David Lang’s whisper opera: Intimate impossibilities at the Mostly Mozart Festival
Boob jobs and blowjobs at BAM: Anna Nicole, the opera
A piece of infinity with Michaels Reise um die Erde at Lincoln Center Festival
Imagine waiting: The Blind at Lincoln Center Festival
Either/Or serves a feast of new sounds at The Kitchen in NYC
John Cage’s HPSCHD: Living art at Eyebeam in NYC
Stockhausen’s Oktophonie incites intergalactic panic attack at the Park Avenue Armory
Transcendent November in March: An early minimalist classic in New York
“It’s about chickens who want to go to outer space”: Composers Now Festival at JackNY
Defining experiences: Olga Neuwirth in portrait at Columbia University’s Miller Theatre
(Bachtrack author page)