Katherine Young obituary Ri and dead, kinetic structures of my electroacoustic

katherine young obituary ri

My electroacoustic compositions delve into the distinctive timbres, expressive nuances, and dynamic structures of sound, exploring the physicality of sound, interpersonal dynamics, and the interplay between the familiar and the unfamiliar. Collaboration is a cornerstone of my creative process, and I embrace surprise as an integral element in my work.

I have been commissioned by renowned entities such as the LAPhil, Chicago Symphony Orchestra’s MusicNOW, Internationales Musikinstitut Darmstadt, Third Coast Percussion, Ensemble Dal Niente, Bludenzer Tage zeitgemäßer Musik, Spektral Quartet, Weston Olencki, Fonema Consort, and others. Notable collaborations include engagements with Wet Ink, Ensemble Nikel, WasteLAnd, RAGE Thormbones, Distractfold Ensemble’s Linda Jankowska, Callithumpian Ensemble, Lucy Dehgrae, Yarn/Wire, and Till by Turning. My 8-channel outdoor sound installation, “Resonance and the Inhibition of,” was featured in the University of Chicago’s Smart Museum of Art’s Chicago Sound Show in fall 2019. I am honored to be recognized as a 2021 Guggenheim Fellow in Music Composition.

As a bassoonist and improviser, I extend the capabilities of my instrument using amplification and a flexible electronics setup. I frequently perform as a soloist, and my debut solo album received acclaim in publications such as The Wire (“Bassoon colossus”) and Downbeat (“seriously bold leaps for the bassoon”). Additionally, I engage in improvised performances with ad hoc groups and contribute to projects like Beautifulish (duo with Sam Scranton) and Architeuthis Walks on Land (duo with Amy Cimini). My work has been documented on various recordings, including the self-titled debut of my quartet Pretty Monsters, a duo recording with Anthony Braxton, and the multi-movement composition “Diligence Is to Magic as Progress Is to Flight” (Parlour Tapes+), created in collaboration with violinist Austin Wulliman of the JACK Quartet. In my scholarly pursuits, I explore the integration of idiosyncratic electronics and improvisation in contemporary notated music, with a focus on Anthony Braxton’s operatic oeuvre.

Having joined the faculty of Emory University in 2020, I previously taught composition, electronic music, and improvisation at the School of the Art Institute of Chicago and Berklee College of Music. My roots in Chicago’s creative music communities run deep, shaping my artistic identity during significant years of living and creating music there. I am currently based in Atlanta.

Scroll to Top