Ben Houge, compositions

I've written music in a variety of genres, from a solo cello piece for my friend Eric Lenz back in 1995 to a string orchestra arrangement of some of my Arcanum music that was premiered in Leipzig in 2005, via ecclesiastical choral and liturgical music, performance art pieces for the Seattle School composers' collective, and a fair number of pop songs starting back in 1986. These days I'm doing a lot of pieces for real-time electronics, mostly with Max, along the lines of food operas, sound installations, and video pieces.

I've been fortunate enough to have my work performed in a variety of contexts in North America, Asia, Africa, and Europe. Sometimes the performer has been me; sometimes it's been such fine musicians as the Esoterics, the Northwest Girlchoir, the Ensemble Sorelle, or odeonquartet. Some of my sacred music has been published by Augsburg Fortress, in the Worship & Praise Hymnal (1999) and in several Renewing Worship resources (2004).

Video
Electro-Acoustic
Chamber
Choral
Vocal
Liturgical
Orchestral
Soundtracks

Video:

Cycles, Tides, and Seasons 2012 One channel of real-time generated video, 48 x 70 pixels infinite Developed in Jitter. Co-commissioned by the Boston Harbor Island Alliance, the National Park Service, and Boston Cyberarts.
Exhibited from dusk until midnight, all summer 2012, at the Boston Harbor Island Pavilion.
Model Lightbox 2012 Seven channels of pre-rendered, algorithmically generated video 30" Developed in Jitter.
Exhibited on the 80 foot tall, 7-channel screen array in front of the Boston Convention & Exhibition Center in South Boston, summer 2012, as part of the Art on the Marquee program.
View an excerpt here.
Transportation Is Getting a New Look 2010 One channel of real-time generated video infinite Developed in Jitter.
Exhibited as part of the "Re-Visioning History" show at OV Gallery in Shanghai, May 22-August 15, 2010.
View an excerpt here.
Self-Portrait, Dusk, at the Point of Departure 2010 Twenty-four channels of real-time generated video, two (or theoretically up to forty-eight)-channel soundtrack infinite Developed in Jitter.
View an excerpt here.
Shanghai Traces 2010 One channel of real-time generated video, optional two-channel soundtrack infinite Developed in Jitter.
Exhibited as part of the "Make Over" show at OV Gallery in Shanghai, January 23-March 13, 2010.
View an excerpt here.
Study for Insomnia 2009 One channel of real-time generated video, four channels of real-time generated sound infinite Developed in Jitter.
Exhibited as part of the "Expanding Horizons" show at Art+Shanghai Gallery in Shanghai, July 1-September 25, 2010.
View an excerpt here.

Electro-Acoustic:

Night Rain 光口夜雨 2019 Poem by Yang Wanli 杨万里 Solo voice, 16 channels of real-time audio, and audience mobile devices 4' Premiered by the composer at the LongYou Grottoes International Music Festival 龙游石窟国际音乐盛典 in a recently rediscovered network of human-carved caverns in rural Zhejiang Province, China, on October 24, 2019.
Ornithological Blogpoem 2015 Poem by Elisa Gabbert Mixed choir and audience members' mobile devices 4' Premiered by the Berklee Valencia App Choir (founded and led by me) at the first Vox Festival, Universitat Polytècnica de València, June 4, 2015.
Please Be Seated 2014 Real-time computer-generated sound around an hour Composed to accompany a dance performance by UK-based New Movement Collective. Premiered in performances at Southbank Centre in London, November 11-12, 2014, and Royal Theatre Winchester, November 8, featuring furniture design by my frequent collaborator Jutta Friedrichs. Previously, the work was previewed in Valencia at La Rambelta on June 1 and the Centro Cultural de Picanya on June 5.
The Tomb of the Grammarian Lysias 2014 Poem by Constantine P. Cavafy Voice and audience members' mobile devices 4' Premiered at the opening concert of the International Computer Music Conference/Sound and Music Computing Conference at the Ceremonial Hall of the University of Athens, September 14, 2014. Read more about it on my blog.
The Relaxatron 3000 2014 Mixed choir and audience members' mobile devices infinite A biofeedback sonification system that incorporates the Enobio's brainwave and heartbeat measurement capabilities to increase user awareness of relaxation states by associating biological characteristics with algorithmic music in just intonation. Developed in collaboration with the Starlab team during Music Hack Day Barcelona, June 12-13, 2014. Here's a little video.
Three Studies for Disklavier and Mechanical Chihuahua 2014 Disklavier and mechanical chihuahua about fifteen seconds Composed at the invitation of Ranjit Bhatnagar and presented as part of his installation Short Ride in a Fast Chihuahua at the Qubit Machine Music festival, February 12-14, 2014, New York City. These 26-beat studies were composed using custom comptuer software with the goal of achieving timbral transformations by doubling selected harmonics on a MIDI-controlled (chihuahua-driven) Disklavier piano.
Beside the White Chickens: A Summer Food Opera 2013 Real-time computer-generated sound an hour or two Composed using Cycling '74's Max/MSP graphical programming environment.
A collaboration with Chef Jason Bond of Bondir restaurant in Cambridge.
Premiered at Bondir on July 30, 2013.
Sensing Terroir: A Harvest Food Opera 2012 Real-time computer-generated sound an hour or two Composed using Cycling '74's Max/MSP graphical programming environment.
A collaboration with Chef Jason Bond of Bondir restaurant in Cambridge.
Premiered at Bondir on November 13, 2012. Presented in collaboration with Artists in Context.
Landscape with Water and Woodblocks 2012 Real-time computer-generated sound infinite Composed using Cycling '74's Max/MSP graphical programming environment.
Exhibited as part of the Learning from the Literati 3 show at OV Gallery in Shanghai, September 5, 2011-October 10, 2012.
Food Opera: Four Asparagus Compositions 2010-2012 Real-time computer-generated sound about an hour Composed using Cycling '74's Max/MSP graphical programming environment.
A collaboration with Chef Jason Bond of Bondir restaurant in Cambridge.
Premiered at Harvard's Graduate School of Design on May 22, 2012.
Read all about it and hear an excerpt on NPR's food blog The Salt.
The Winds of Kabul 2011 Real-time computer-generated sound infinite Composed using Cycling '74's Max/MSP graphical programming environment.
A study in telepresence, with meteorological data from Kabul, Afghanistan, driving virtual wind chimes in Shanghai, China. Exhibited as part of the "Forgotten Places" show at OV Gallery in Shanghai, November 26, 2011-January 7, 2012.
Premonitions: Elevated Awareness 2011 Real-time computer-generated sound infinite Developed in collaboration with the MIT Media Lab's Responsive Environment's group (in particular Gershon Dublon, Brian Mayton, and Nick Joliat), as part of my work on the DoppelLab project as an MIT artist in residence during winter 2011/2012.
Chingachgook(s) 2010 Improvising trumpet and real-time computer-manipulated sound about 25 minutes Composed using Cycling '74's Max/MSP graphical programming environment.
Developed in collaboration with trumpet player Justin Sebastian.
Premiered at the Mini Midi Festival (Caotang in Zhujiajiao, MAO Livehouse in Shanghai), May 1-3, 2010. The inspiration for the piece was a shared appreciation for Andrei Tarkovsky’s film Stalker, in which a guide with obscure gifts leads curious sojourners through a mysterious Zone, which is pretty much what happens over the course of our piece.
Lukou 路口 2006, 2009 Real-time sound installation for four channels of computer-generated sound infinite Composed using Cycling '74's Max/MSP graphical programming environment.
First exhibited at Art+Shanghai Gallery's exhibition "Wuwei 无为: Being and Nothing," which ran September 9 through November 1, 2009. The source material comes from recordings of busy Shanghai intersections; read all about it here.
Zhujiajiao Drinking Game 朱家角喝酒游戏 2009 Five beer drinkers, computer-generated percussion about half an hour Composed using Cycling '74's Max/MSP/Jitter graphical programming environment.
Premiered on July 25, 2010, by me, Feng Hao 冯昊, Li Zenghui 李增辉, Yang Ge 杨戈, and some French guy, I think; my memory's a little foggy. Each of the five performers has five bottles of beer from which to drink or on which to blow, in accordance with a real-time, computer generated score projected on a screen. The piece ends when all the beer has been drunk.
Kaleidoscope Music 2009 Real-time sound installation for two or six channels of computer-generated sound infinite Composed using Cycling '74's Max/MSP graphical programming environment.
Created as the audio component of the installation Kaleidoscope Wallpaper, developed in collaboration with Chen Hangfeng 陈航峰, first exhibited at the Today Art Museum in Beijing as part of the Fat Art 09: Music to My Eyes exhibition, which ran from April 17 through May 3, 2009. Read all about it here.
Breaking New Ground 2008 Real-time sound installation for six channels of computer-generated sound infinite Composed using Cycling '74's Max/MSP graphical programming environment.
Created at the behest of MÜ Furniture designer Jutta Friedrichs to accompany her 240 sqm installation for the 100% Design display at Shanghai International Creative Industry Week, which ran October 16-21, 2008. The piece synthesizes sounds evoking wind, chimes, and a kind of insect/flute thing in real time, using algorithmic structures that never repeat to suggest natural behaviors.
Statement of Purpose 2008 Lecturer/singer, computer-manipulated sound, computer-generated images 6'40" Composed using Cycling '74's Max/MSP graphical programming environment.
Premiered at Pecha-Kucha #11, the constraints of which (20 slides of 20 seconds each) suggested the structure for the piece, Shanghai, Sept. 26, 2008.
I wrote six sets of aphorisms around the subjects of videogames, non-linear structure, and digital art, then wrote a program to shuffle them up, along with a textless vocalise. Images and pre-recorded accompaniment are also derived from the same material, shuffled algorithmically. The material can be generated afresh for subsequent performances. Photo and video documentation is available.
Mobile 3 2006 Computer-manipulated recordings of drums and guitars varable duration Composed using Cycling '74's Max/MSP graphical programming environment.
Written using the Mobile Framework, software I developed to deploy open form compositions in real-time. Premiered at the NOIShanghai VI concerts, Nov. 23 and 24, 2006, at Yu Yin Tang and China Live Bar in Shanghai, and performed again the next day at the fourth annual 2pi Festival in Hangzhou, Nov. 25, 2006.
Study for Eventual World Domination 2006 Computer-manipulated sound (any sound, in fact) varable duration Composed using Cycling '74's Max/MSP graphical programming environment.
Written as a response to an algorithmically chopped up version of a piece by Christopher DeLaurenti (chopped, I might add, by another Max program I wrote), which was itself a response to a description of an unfinished work by Mike Min as part of Mike's Bike Bin Project, a musical bicycle tour of Seattle. Premiered live at NOIShanghai VI, Nov. 23, 2006, at Yu Yin Tang in Shanghai. The piece represents one avenue of inqury into algorithmic rhythm generation. You can listen to it on the Bike Bin Project site.
Psalmus 2005 Voice, bells, and real-time electronic processing 11' Composed using Cycling '74's Max/MSP graphical programming environment.
Premiered at the first Sound Currents concert in Shanghai, Nov. 19, 2005, at Harley's Bar in Xu Jia Hui. The vocal part is written in chant notation, so any text divisible into couplets may be used. At the premier, I sang Psalm 107:33-43 in Latin (Posit flumina), which fit nicely.
Radiospace 2004, rev. 2005 Real time computer-manipulated sound variable duration Composed using Cycling '74's Max/MSP graphical programming environment.
Radiospace was conceived to function as the basis for a sound installation in which an incoming audio stream from a radio is fragmented and redistributed using granular synthesis techniques. First presented in a non-interactive version at the Seattle Art Museum in conjunction with the Ensemble Sorelle's premiere of Mobile 1. Revised version for live performance was premiered at Sound Currents in Shanghai on Nov. 19, 2005.
Phantom Combo Mobile 2003 Pre-rendered computer-manipulated sound 4' Composed using the Csound and Common Music (implemented in LISP) programming languages.
I don't think this was presented publicly until June 3, 2010, at Logo in Shanghai.
The Story of Creation 1998 Amplified female speaker, synthesizer, and digital signal processing 5' Premiered by Anbrit Long and the composer, Easter Vigil 1998, Holy Trinity Lutheran Church, Mercer Island, WA.
Les Cloches 1996 Text by Guillaume Apollinaire Soprano and pre-rendered computer-manipulated sound 2'45" Composed using the Csound programming language.
Premiered by Becky Lowe, May 5, 1996, St. Olaf College, Northfield, MN.
Playground Lost 1995 Pre-rendered computer-manipulated sound 2'35" Composed using the Csound programming language.
Commissioned by the Gustavus Adolphus Department of Dance to accompany choreography by Anthony Roberts.

Chamber:

Mobile 4 2011 Accordion, guitar, khaen, and 10 channels of real-time synthesized sound variable duration Premiered on August 11, 2011, by Christopher Adler, Colin McAllister, and the composer as part of the San Diego Museum of Art’s Summer Salon Series
Method for the Direct Conversion of Visual Information into Sound 2006 Any combination of instruments variable duration Premiered by me and UK artist Dominik (performing on synthesizer, accordion, voice, drums, radio, and gu zheng) in conjunction with the Germamy-based art collective Team 404's Lovely Shanghai Music exhibit at the Zendai Museum of Modern Art in Shanghai, China, Sunday, May 28, 2006.
Mobile 2 2005 Any combination of instruments (with optional bells) variable duration An open-form composition that incorporates the transcribed cries of Shanghai's itinerant vendors and solicitors into a sparse collage of sustained tones and bells.
Mobile 1 2003 Flute, piano, soprano, and cello variable duration Premiered by the Ensemble Sorelle on June 20, 2004, 3pm, at the Seattle Art Museum.
An open-form piece in three movements, which may be performed in any order. Each movement displays a different amount of linearity, ranging from interpenetrating, isolated pitches (constrained by scale) to complete, directed phrases. Textures move between sparse, pointillistic atmospheres and driving rhythms.
Relay 2003 Four or more vocalists and radio operator variable duration Premiered by Seattle School on November 20, 2003, as part of their Fear, Karaoke, Discipline, and Paintball performance at Polestar Music Gallery. Based on an idea by Mike Min, Relay is kind of musical relay race, in which vocalists sing sounds from a radio down a line to each other at decreasing intervals, resulting in a collage of overlapping sounds and requiring concentrated listening from the performers. The use of a radio ensures that the piece will be different each time.
Study for Air Guitar 2003 One air guitarist variable duration Premiered by Seattle School on November 20, 2003, as part of their Fear, Karaoke, Discipline, and Paintball performance at Polestar Music Gallery. This piece is an examination of ambient sound, audience attention and expectation, the choreography of musical performance, and the machismo of composition.
A Reading from _____ 2003, electronic version 2006 Four readers 6-9' Premiered by Seattle School live on KEXP's Sonarchy radio program, broadcast from the studios of Jack Straw, engineered by Doug Haire, May 24, 2003.
Electronic version premiered at Noishanghai, May 7, 2006, Yu Yin Tang, Shanghai, China.
The work consists of a scrambled and re-ordered reading from any found text, the name of which goes in the blank for a given performance. This piece is a study in form, systematically exploring the idea of musical non-linearity as theorized by composers like Earle Brown and implemented computer game soundtracks.
Variations on _____ 2003 One or more performers on any instrument variable duration Premiered by Seattle School live on KEXP's Sonarchy radio program, broadcast from the studios of Jack Straw, engineered by Doug Haire, May 24, 2003. This work imposes a non-linear structure onto snippets of music from an existing score. The duration of the work is determined by an external phenomenon or decided in advance. The piece may be performed simultaneously with A Reading from _____, in which case it continues until that piece is completed.
Music from Arcanum (musica arcana) 1999-2000 String quartet up to 45' All 18 pieces or any subset thereof may be performed in any order. Composed for the computer game Arcanum: Of Steamworks and Magick Obscura. Premiered in concert by odeonquartet at the first Sound Currents concert, February 25, 2003. The premiere performance was supported by a generous grant from Meet the Composer. (Sheet music is available for download.)
Bells of Peace and Celebration 1999 Handbell choir 3'
Music for Institutions and Prisons 1996 2 cl, 2 bsn, 4 perc (hi-hat, bd, chm, 2 mrb), synth, 2 vln, 2 vla, cb 7'45" Premiered May 5, 1996, St. Olaf College, Northfield, MN.
Impressions de Paris 1995 Cello solo 4' Premiered by Eric Lenz, January 28, 1995, Paris, France.

Choral:

Die Brautwerbung 2013 Text from Finest Legends of the Rhine by Wilhelm Ruland SATB chorus a cappella 3' Premiered at the wedding of the composer to Jutta Friedrichs on August 17, 2013, at Marienkirche, Alexanderplatz, Berlin, by Cassandra Hoffman, soprano; Saskia Klumpp, alto; Douglas Nasrawi, tenor; and Jörg Gottschick, bass. The text tells of how a dastardly knight is transformed into a noble gentleman through the womanly wiles of a fair maid named Jutta. You can hear a live recording on my SoundCloud page.
Was ist heilig 2013 Text by Johann Wolfgang von Goethe and Matthew 18:20 (Luther Bibel) SATB chorus a cappella 3' Commissioned by Emmanuel Church in Boston, as part of a congregational enrichment program on the theme of Mary Magdalene's Gospel proclamation to the disciples, "I have seen the Lord." Premiered by Ryan Turner and the Emmanuel choir on July 28, 2013.
Revelations 2012 Text by Colin McDonald TTBB chorus divisi a cappella 5'20" Commissioned by the Minnesota Compline Choir, Clarance Smith, conductor.
Composed for the choir's 20 year anniversary. Premiered on April 29, 2012.
Lao Zhang 老张 2010-2012 Text by Yang Haisong 杨海松 SATB chorus a cappella 2'50" Premiered by Dale Warland on June 16, 2012, at the American Composers Forum's ChoralConnections conference, held in conjunction with the Chorus America Festival.
Laudate Dominum 2004 Traditional Latin text (Psalm 150) SMATRB chorus a cappella indeterminate duration Commissioned by and dedicated to The Esoterics, Eric Banks, conductor.
Premiered at the Laudabilis concerts in Seattle, Medina, and Tacoma, WA, on Dec. 4, 5, 11, and 12, 2004.
The premiere performances were supported by a generous grant from Meet the Composer.
Droplets 2004 Text by the composer SATB chorus a cappella 3'
Blossoms 2002 Text by Izumi Shikibu SSA chorus a cappella 4'30" Composed for and dedicated to the Vivace choir of the Northwest Girlchoir, Beth Ann Bonnecroy, conductor. Premiered on May 31, 2003, Meany Hall, University of Washington, Seattle.
Psalm Antiphons for the Easter Season 1997, 2001, 2002 According to cycles A, B, and C of the Revised Common Lectionary, NRSV SATB chorus a cappella Psalm tone and 16 brief antiphons Commissioned by Holy Trinity Lutheran Church, Mercer Island, WA.
Premiered in worship during the Easter seasons of 1997, 2001, and 2002.
Alleluia 2001 SATB chorus, congregation, and organ 3' Commissioned for the service of installation of Pastor Wm. Chris Boerger as bishop of the Northwest Washington Synod of the Evangelical Lutheran Church in America.
Premiered November 3, 2001, by a massed choir conducted by Beth Bonnecroy at Salem Lutheran Church, Mount Vernon, WA.
One Winter Night 2001, version with pipe organ accompaniment 2005 Text by the composer SATB chorus with string ensemble accompaniment 2'50" Premiered Christmas Eve 2001 by the Cantorei Choir, Holy Trinity Lutheran Church, Mercer Island, WA.
Service of Light: Three Pieces for Evening Prayer 2001, "Phos Hilaron" revised 2003 "Now the Day Has Drawn to a Close," text by the composer; "Joyous Light of Glory," traditional Greek text, adapted by the composer; "Blessed Are You, O Lord," text from the Book of Common Prayer. SATB chorus a cappella 6'30" Premiered by the Cantorei Choir of Holy Trinity Lutheran Church, Mercer Island, WA, "Now the Day Has Drawn to a Close" and "Joyous Light of Glory" during evening Lenten services in 2001 at Holy Trinity, and "Blessed Are You, O Lord" during Evening Mass on February 2, 2002, at St. James Cathedral in Seattle, WA. The first two pieces arranged from Evening Prayer (1998).
O Lord, How Manifold Are Your Works 1997 Psalm 104:25-34, NRSV SATB chorus, organ, and synthesizer 3'15" Premiered Pentecost 1997 by the Cantorei Choir, Holy Trinity Lutheran Church, Mercer Island, WA.
Also performed as Psalm 104.

Vocal:

Libera me 2003 Traditional Latin text from the Requiem Mass Voice with piano accompaniment 5' Premiered in concert by Beth Ann Bonnecroy, soprano, and Peter Mack, piano, at the second Sound Currents concert, October 21, 2003.
Stranger Personals 1999, 2001-2002 Texts are personal ads from the weekly Seattle newspaper The Stranger Voice with piano accompaniment 6'45" Premiered by Patricia Thompson, accompanied by Carl Gales, Bloomington, IN, April 27, 2002.
(Sheet music is available for download.)
How Beautiful Upon the Mountains 2001 Romans 10:14-15a, Isaiah 52:7, NRSV Mezzo-soprano with piano accompaniment 1'40" Composed for the installation of Rev. Mart Thompson.
Premiered by Patricia Thompson, Peveley, MO, January 7, 2001.
Two Are Better Than One 2000 Ecclesiastes 4:9-12, NRSV Mezzo-soprano with piano accompaniment 2'25" Composed for the wedding of Amy Weber and John Spencer.
Premiered by Patricia Thompson, Cape Girardeau, MO, December 30, 2000.

Liturgical:

Four Acclamations 2003 Traditional liturgical texts Congregation with keyboard accompaniment and optional drone 20"-30" each Commissioned by the Evangelical Lutheran Church in America as part of the Renewing Worship project.
Certain of the phrases may be repeated over a drone indefinitely.
Sanctus & Agnus Dei 2000 Traditional liturgical texts Congregation with piano or organ accompaniment 3' Commissioned by Holy Trinity Lutheran Church, Mercer Island, WA.
Premiered in worship during the Easter season 2000.
Morning Prayer, Evening Prayer, and Eight Psalms 1998 Except where noted, the texts written or adapted by the composer Congregation with piano or organ accompaniment Commissioned by the Evangelical Lutheran Church in America. Portions were premiered during services at the Alive in Christ conference in Orlando, FL, in November 1998. Three excerpts ("Now the Day Has Drawn to a Close," "In the Morning," and "O Come, Let Us Sing to the Lord") were included in the Worship & Praise hymnal, published by Augsburg Fortress in 1999.
(Sheet music is available for download.)
Morning Prayer:
"Opening to Morning Prayer;" 2'20"
"In the Morning (Hymn for Morning Prayer);" 1'20"
"Invitatory;" 0'15"
"Venite (O Come, Let Us Sing to the Lord);" 2'30"
"Benedictus;" 3'

Evening Prayer:
"Now the Day Has Drawn to a Close (Opening Versicles);" 1'05"
"Joyous Light of Glory (Phos Hilaron);" 1'10"
"Thanksgiving and Blessing," text from the Book of Common Prayer; 1'15"
"Let My Prayer Rise Before You as Incense (Psalm 141);" 2'
"My Soul Magnifies the Lord (Magnificat);" 3'30"
"Intercessions;" (length varies according to the number of petitions)
Lead Us to the Holy River 1998 Text by the composer Processional for congregation and tambourine Composed for the first Easter Vigil services at Holy Trinity Lutheran Church, Mercer Island, WA.
You Are God's Work of Art 1998 Baptismal acclamation for congregation and organ Composed for the first Easter Vigil services at Holy Trinity Lutheran Church, Mercer Island, WA.

Orchestral:

Passage to Arcanum 2005 String orchestra 5'40" Premiered by the FILMharmonic Orchestra under the direction of Andy Brick at the third annual Symphonic Game Music Concert 2005, which was held at the Gewandhaus in Leipzig, Germany, on August 17, 2005. Based on excerpts from my soundtrack to the computer role playing game Arcanum: Of Steamworks and Magick Obscura.

Soundtracks:

Tom Clancy's EndWar 2008, video game Composed the theme song "EndWar," which plays over the end credits.
Hoyle Casino Empire 2002, computer game Contributed the jazzy tune "Larry Rolls the Dice," based on the casino theme from Leisure Suit Larry 7.
Half-Life: PS2 2001, PlayStation 2 video game Composed music for main menu screen.
Baby Express 2001, short film Directed by Shaya Mercer. Produced by Steve Utaski. This film was made as part of the 2001 Seattle International Film Festival's Fly Filmmaking Challenge.
Jonny Drama 1999-2001, unreleased Xbox video game The non-linear score for Jonny employed Microsoft's DirectMusic technology to create a variable, interactive soundtrack that responded dynamically to game elements. The music utilized such advanced features as variable chordmaps, transposing secondary segments, and extensive scripting in AudioVBScript.
Arcanum: Of Steamworks and Magick Obscura 2001, computer game Composed soundtrack for string quartet, supplemented with percussion or synthesizer on four tracks.
King's Quest: Mask of Eternity 1998, computer game Composed about half of the music. Performed on synthesizer, sampler, and acoustic guitar, recorder, and voice.
Leisure Suit Larry 7: Love for Sail! 1996, computer game Composed supplemental music. Performed on synthesizer and sampler, with electric guitar and soprano sax.