Paula Matthusen is a composer based in Miami and New York. She writes both electroacoustic and acoustic music and creates sound installations. She specializes in writing for diverse instrumentations, as in her work run-on sentence of the pavement for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker termed "entrancing." Her compositions often consider discrepancies in musical space—real, imagined, and remembered.
Matthusen’s music has been performed by Alarm Will Sound, the International Contemporary Ensemble (ICE), orchest de ereprijs, Ballett Frankfurt, Dither, the Glass Farm Ensemble, Margaret Lancaster, James Moore, Jody Redhage, Todd Reynolds, and Kathryn Woodard. Her work has been featured at numerous venues and festivals in America and Europe, including Roulette Intermedium, Merkin Concert Hall, Diapason Gallery, Sonic Arts Research Center, the Tanglewood Festival of Contemporary Music, the Aspen Music Festival, the Bang on a Can Summer Institute of Music at MassMoCA, Sonorities, Third Practice, ArtBots, the Gaudeamus New Music Week, SEAMUS, and NWEAMO. She performs frequently with the electroacoustic ensembles ouisaudei, Object Collection, and winter company. Awards include a Fulbright Grant, two ASCAP Morton Gould Young Composers Awards, first prize in the Young Composers Meeting Composition Competition, the MacCracken and Langley Ryan Fellowship, a Van Lier Fellowship, and recently the Walter Hinrichsen Award from the American Academy of Arts and Letters. Matthusen is currently Director of Music Technology at Florida International University.
Paula Matthusen appears in the following:
Tuesday, June 15, 2010
but because without this (2006/09) for electric guitar quartet is a timbral exploration of the idea of how discrepancies in repetition emerge and, even when unanticipated, seem somehow necessary in retrospect. The piece was originally scored for bluegrass quartet and was later adapted for the Dither Electric Guitar Quartet, who are featured in this excerpt. Many thanks to Dither, and especially to James Moore, for his frequent support and consultation throughout the writing process for both instrumentations.