By any reasonable standard indexed to those of the folks I see around me in the tight knot of if-you-capitalize-"new music"-I'm-going-to-slap-you, I am a failure as a composer of conventionally-understood concert works for other people and/or sometimes myself to perform from a fixed score. This is due in part to my lifelong bashfulness and an unwillingness both righteous and vaguely pathetic to play by the social and procedural constraints of self-important people and bureaucracies in alien-to-me environments (like N*w Y*rk C*ty) that dominate said knot and offer no real alternative to getting one's proverbial foot in the door, but perhaps more importantly I don't consider myself very good at it and don't really have a flair for scores. (Except for text scores, which a lot of people aren't that keen on; while I think many of those folks can frankly [draw a map to] get lost, this is proving my point about being bad at all this.) Nonetheless, I still do it sometimes. I typically find a way to involve electronics when I do, to allow in a world in which I have a little more mastery and personal flair, but this is not absolute and as of late I am interested in diversifying away from this. Here is a list of (completed) works I have realized in this paradigm that I don't consider entirely awful, in reverse chronological order:
• Splinters of Messianic Time (2026), for double bass and computer
• The Inmost Rite (2026), for soloist
• The Rites of Consumption by Flame (2026), for any bowed string instrument and digital delay
• "Blood in Their Mouths and Dust Thereafter" (2025–26), for accordion, live electronics, and computer
• Preemptive Notion (2025), for synthesizer and computer
• The Vision and The Voice (2024–25), for electric guitar and computer
• Incarnate (2021), for one or two performers with microphones, loudspeakers, and electronics
• Communion (2020), for three or more performers with electronics, bodies, and voices
• Four Anxieties (2019), for guitar
I am quasi-self-quasi-represented through ASCAP as Ayla Cosnett/Left Bracket Music. For more information on these pieces, to request performance materials if you're somehow so inclined, or to request some kind of collaboration/commission type of situation if you're somehow somehow so inclined, kindly send an eee-lectronic mail message unit to leftbracketmusic AT gee male d0t cøm if you are not a bot and/or script kiddie and/or "large" "language" "model" id monster nightmare and therefore know how to interpret the text in tasteful italics there. (I am willing to adjust said materials where the performer's constraints may differ from those the work was initially realized in relation to.) Where applicable, recordings/videos of performances may be found on this site under the "music" banner-tab-link-semioticsnightmare.
It is my goal never to write a piece that requires a conductor. Please hold me to this.
