{About}

When I embarked on my DMA at Texas Tech University, my objective was two-fold: to advance my own craft and to immerse the School of Music’s younger cohort in the landscape of contemporary electronic music. I launched a sustained initiative comprising seven calls for works, resulting in an influx of over 800 compositions from 39 countries.

This massive survey of the global avant-garde served as a catalyst for the department; students became fascinated by the 'how' behind the sound, eagerly asking about coding in SuperCollider and the physics of multichannel arrays. For me, this process was equally transformative. Immersing myself in the study of these transcultural works expanded my aesthetic vocabulary and fundamentally reshaped my approach to writing electronic and electroacoustic music.