Scores and photos are available on these pages:

Instrumental work     Music for People     Fixed Media/Installation     Collaboration

huangshan - 170

A pdf of a complete work list with performance history is here. Below is a plainer list of titles linked to recordings (or you can browse Youtube and Soundcloud directly). Feel free to write me at walkingmango at gmail dot com for other scores – please send a program any performances.

Instrumental work


The Sleeper and the Drinker (2018) for flute, 2 clarinets, bassoon, trumpet, French horn, trombone, 3 percussion, piano, 2 violins, viola, cello, contrabass, 15’ – for the LA Phil New Music Group

Animalcules (2018) for flute, clarinet, bassoon, French horn, 2 percussion, piano, 2 violins, viola, cello, contrabass, 25’ – for Symphony No.1

We were dead and we could breathe (2017) for 2 bass flutes, clarinet, soprano/baritone saxophone, trombone, accordion, piano, percussion, 2 violins, viola, cello, contrabass, 15’ – for Klangforum Wien/impuls

The Mussels (2017) for soprano, flute, clarinet, trombone, electric guitar, piano, percussion, violin, cello, contrabass, 20’ – for Wild Rumpus

Oceans in oceans (2014) for flute, clarinet, bassoon, French horn, trombone, 2 percussion, piano, violin, viola, cello, contrabass, 12′

Monsters, cold and warm (2013) for 2 soprano, 2 clarinets, French horn, sousaphone, percussion, violin, cello, contrabass, 26′

ache bind blind break (2012) for flute, clarinet, piano, percussion, violin, viola, cello, 15′ – for Talea Ensemble

We are small and wee and we eat the house down (2011) for trombone and string quartet, 9′ – for Gliss Ensemble

Wilder Shores of Love (2011) for chamber orchestra, 20′ – for The Orchestra of the S.E.M. Ensemble

cut up sleep red stars round me (2010) for flute, clarinet, piano, percussion, violin, viola, cello, 15′ – for Red Light Ensemble

Hamlet (2009), for percussion sextet, starring steel drum, tabla, and timpani, 30′ – for red fish blue fish

The Patronage of St. Anthony (2008), for voice, clarinet, trumpet, violin, cello, percussion, piano, 12’

Weather Underwater (2008) for 3 sopranos and wind orchestra, 5’ – for orkest de ereprijs

Muse, mute (2005, 2007) for soprano, flute, violin, vibraphone, percussion, piano, 24’

Choral and Operatic

A Cylinder (2019) for 3 voices, 15’

Hoods (2014) chamber opera mashup of Euripides’ Hekabe and Red Riding Hood, for 3 sopranos, flute, clarinet, French horn, percussion, cello, contrabass, tape, and projection, 90′

How to assemble (2012) for 6 voices, 7′

Persimmons (2012) round in 6 parts, 5′

Momentum (2012) round in 8 parts to a poem by Heather Gordon – for the wulf.

the little mermaid (2010) for 3 singers, bass flute, wood block, follow-spot, and predatory tunicate chorus, 30′ (excerpt)

Dry goods (2004) for mixed voices, 5’


My Loves Are in America (2019) for violin and viola, 15’ – for Aperture & andPlay

Whether the Fish are Friendly (2019) for clarinet, xylophone, 12’ – for Red Desert

Whether the Fish are Friendly (2019) for flute, guitar, 12’ – for Michael Matsuno and Cameron O’Connor

Speaking of Water (2019) for soprano, countertenor, violin, cello, piano, 7’

Non-stick Properties (2019) for steel pan quartet with objects, 12’

The Mussels (2018) for soprano, clarinet, piano 4-hands, 10’ – for NOISE-BRIDGE

Cold mountains, one belt, heart-break green (2018) for bass flute, percussion, harp, violin, cello, 12’ – for SFCMP

Cut white (2018) for soprano and percussion, 15’

Our glass bodies (2016) for violin, cello, piano, percussion, objects, 15’

Other Forests (2016) for string quartet with mobile transducers and Rainforest object orchestra, 50’ – for Southland

Sentence (2016) for clarinet, violin, cello, piano, 15’

Inner lining (2015) for viola quintet, 15’ – for Chamber Music Center at Wellesley

Sky doesn’t talk (2015) for clarinet, violin, cello, harp, percussion, audio interviews on a Chinese origin myth and the Big Bang, and a presentation of the skies, 60′ – for Emory Planetarium

From Ditan to Chaoyangmen (2015) for field recording, guqin, flute, and fiddle, 12’

fly blue between light (2015) for two sopranos, 6’

Relationships with Gravity (2014) for violin, guqin, piano, percussion, video, 18′ – for MATA Festival

Made in China, Made in California (2013) for clarinet, soprano saxophone, percussion, contrabass, video, 9′ – for Now Hear

Ingredients (2012) for brass trio, 10’ – for Trio Kobayashi

Throw me light (2012) for 3 percussionists with lights, 12′ – for NorthArc Percussion Group

We are small and wee and we eat the house down (2011) for trombone and string quartet, 9’ – for Gliss Ensemble

Blow Up Bird (2010) for 2 clarinets, 2′ – for James Sullivan and Brian Walsh/Hammer Museum

The Saga Continues (2010) for 2 violins, 2′ – for Andrew Tholl and Andrew McIntosh/Hammer Museum

soft eyes (2010) for 2 accordions, 2’ – for Daniel Corral and Isaac Schankler/Hammer Museum

The Thrush Nightingale (2010) for 2 tubas, 1:30 – for Doug Tournquist and Luke Storm/Hammer Museum

The Shapes of Faces (2009) for electric guitar, large tam, piano, and light, 8’ – for bodies

Fall (2008) for 2 voices, 2’ – for Anne Marie Dicce

cups of gravel (2008) for violin and piano, 25’ – for Orin Hildestad

Cabbages and Kings (2007) for clarinet, cello, piano, 28’

Rendition (2007) for cello, contrabass, piano, 20’

Lullabies (2005) for mezzo-soprano and clarinet, 10’


Southern vs. Northern Lion (2020) for piano, 7’ – for Gloria Cheng

Introducing (object) (2019) for object, open duration – for Caitlyn Cawley

Hand Catching Flour (2018) for clarinet with video, 15’ – for Michiko Ogawa

The Throat Is a Passage (in progress) for voice – for Christie Finn

Mom and Dad Are Not at Home (2018) for guitar, 6’ – for Neil Beckmann

Some Dragons (2018) for violin, 20’ – for Batya MacAdam-Somer

tearing (2018) for piano, 35’ – fo Jared Redmond

Stomachs of Ravens (2018) for flute, 6’ – for Berglind Tomasdottir

Southern vs. Northern Lion (2018) for carillon, 10’ – for Tiffany Ng

Study on Westhoff Suite No.5 in d minor (2017) for violin, 28’ – for Keir GoGwilt

rara avis (2015) for cello, 30’ – for Charles Curtis

And with what body do they come? (2015) for voice and 8 tape recorders, 10’ – for Leslie Leytham

glass umbrella (2015) for toy piano or carillon, 9’ – for Amy O’Dell

Great Birnam Wood (2014) for drumset and objects – for Eric Derr

Threads (2013) for ASL interpreter strung to windchimes at a distance, 15′ – for Chris Clarino

Ingredients (2012) for low brass trio, 10’

The Sport of Cooking (2010-12) for marimba – for Luis Tabuenca

breathe out clouds (2011) for bass flute (and voice) – for Christine Tavolacci

What We Swallow Turns Around (2011) for timpano – for Brian Archinal and Dustin Donahue

My young life has an end (2009-11) for piano, variations on variations by Sweelinck, ~80′

The Sedge Warbler, or The Ingenious Gentleman Don Quixote of La Mancha (2011) for tuba, tape, and powerpoint, 15′ – for Jonathan Piper

VIN DIESEL = I END LIVES (2011) for solo percussion, video, and live electronics, 15′ – for Bonnie Whiting Smith, with PD by Jaime Oliver and video/set design by Monica Duncan

line (2011) for bassoon, 7′ – for Rebekah Heller

pipe (2004/08/10) for flute, 8′ – for Grace Leslie

For Voice (2005/09) for vocalist and real or imaginary objects passing through the throat, open – for Adrian Coburn/for Zeynep Bulut

Overtures (2008) for horn or piano, 10-20’ – for Amanda Tabor

Regarding chickens, death (2007) for violin and imaginary chickens, 5’ – for Mark Menzies

Ground (2007) for contrabass and rock, 6’ – for Han Han Cho

Fixed Media/Installation

Private Ocean (2021) video for Jennifer Torrence/No Hay Banda Videofest

CURB assemblages (2021) for CURB, webspace for book of poetry by Divya Victor

The woods are miles to sleep to sleep (2014) field recording of Pacific Crest Trail and slumber by Nat Evans set to guqin playing by myself, 7′

Circling: an experimental documentary on roundness (2013) video, 18’

Your End Is Your Beginning (2010) immersive listening box of Foley sound opera , 8’

The Work of Art in the Age of Mechanical Reproduction (2005) tape, 8’ (i. Voices, 4′, ii. Contact, 4′)

After eating breakfast, you walk into the sky (2006) experimental video, 4’.  Rhythmic exploration of visual noise in images received by a homemade antenna from a wireless camera on frisbee.

still (2006) experimental video, shot with Marcia Scott, individual editing and sound design, 5’

Wedding (2006) experimental video, slowed visual noise from wireless camera, 15’

Box of tea (2005) installation.  Tea box changes its feedback music in response to human presence and touch.  Warms over time, smells of peppermint.

Music for People

The movement of glass through a house (2013) installation and performance in Zhuantang Demolition District, Hangzhou, China

Just In Case, A Few Extra Sinkings of the Sun (2011) amoeba sunset play to Ravel’s Bolero at sunset on Sunset Boulevard in Los Angeles

Aquarium: an out-of-water ballet (2011) with projection by Joe Mariglio, mannequin leg opera featuring animated undersea umbrella, projection of synchronized swimmers and Liberace illuminated in flocking dots, movement to pavanes by Ravel and Faure (excerpt)

Room with a View; Blindfolded tour; Transcription of Event for Midday in the Sunlight (2011) installation and performance for abandoned space in La Jolla, CA

Superstars Are What We Are (2011) for 5 rock-paper-scissors-players, narrator, and video projection

Moisturization (2010) for sewer and scented moisturizer

Clothing (2010) for 2 people, clothing monster crossfade

Human windchimes (2009-12) sound-theater for instrument-clothing of recycled materials, sound illuminating movement

Tragedy: Love Duet for Clint and Ian (2009) corpse-position-permutation play 2 bodies and light operator, 12’

Tragedy (2009) tableau vivant (corpse-position-permutation) in light-dark rhythm play for 10 people, 22’

Adagio (2009) slow-motion face choreography to headphone listening of Bruckner’s Symphony No.7 for 3-4 people, 8’

The 24 (2008) Yang style taichi sequence with sonorous arctic apparel

The confusion of stars (2008) model universe of people circling one another with small lights blinking at individual rates

Pears (2007) for two people, stage diagrams accompanied by texts from Sei Shonagon and Gertrude Stein – for Reiko Manabe and Yumi Hara-Cawkwell

Transcription of guqin tuning for people in a supermarket, Aisle Music, Traveling music for freezers, Sort by sound (2004-9) music for people in a supermarket. Sitters in cart intone the names of products passed, conducting cart-pusher through changes in speed and volume and other covert actions.

The character for ant contains the character for justice (2006) for people, containers, and things that can be contained


Mountains in Concrete (2014) performance event and live painting installation to guqin playing with Anna-Maija Rissanen, Hangzhou

Drown (2011) sequence for fishtank singing by Leslie Leytham

Made in America (2010) installation with Cooper Baker, Brian Griffeath-Loeb, Clinton McCallum, and Justin Zullo, Conrad Prebys Music Center, La Jolla

Nocturne (2010) sound for film, light, and ice installation by Lili Chin

Bu Sahilde [On the Coast] (2010) music for film by Merve Kayan, 21’

Boundary Music for Bodies (2009) performance event featuring movement, sound, light, and human screensavers, curated with Clint McCallum and Ian Power, 120’

Breathing Music for the Dark (2009) light, video, movement, and music event with Anna Thorvaldsdottir for the Conrad Prebys Experimental Theatre, La Jolla, 90’

Water Music (2005), installation with Neepa Acharya and Zhengyun Zhang at Columbae House, Stanford University

Score Four (2005) for clarinet, violin, viola, piano, wax cylinder, percussion, 11’, collaborative dance score composition and performance with Matthew Czinger, Elizabeth Donald, and Jeffrey Trevino, for the dance “Allow me to say goodbye,” choreographed by Hope Mohr, in affiliation with Merce Cunningham Dance Company Stanford residency

How To Play Nice (2005), score to film by Anthony Ha and Alice Kim, 5′