“Rob was an outstanding member of the team as composer on “Follow” and “The History of Spectacle Island.” His creative innovation and knowledge of composition enabled him to hone in on the storytelling. He was a leader in taking responsibility to meet challenging deadlines and provided quality results under pressure.”

Elliot Higger, Filmmaker

“Rob’s work went above and beyond what we imagined, creating intricately detailed, responsive audio environments combining music, ambiance and sound effects to help create a realistic 18th century world. Rob is a hands-on, precision artist who knows what needs to happen for his creations to come to life”

Dan Silvers, CEO

“Rob is a caring professional who is fast, efficient, and attentive. We contracted him for voice recording and audio work and his deliverable format and organization changed the way we think about our audio pipeline. It was a pleasure working with him, and I look forward to doing so again.”

Jon Meyers, CEO

“Rob’s compositions for the film “Our Mockingbird” and several American Experience films were exceptional. His musical skills are varied and many, and he is a pleasure to work with, often doing more than he’s asked, anticipating problems before they arise.”

John Kusiak, award winning composer of the Errol Morris film, Tabloid

Observing

Urbanity Dance - Observing

These are two excerpts from a piece I composed for a collaboration with Urbanity Dance’s director and choreographer Betsi Graves. The work was performed as part of Urbanity’s event Observing, at the Tsai Center in Boston on June 2nd and 3rd.

This is my second time collaborating with Betsi and Urbanity, and my first composing in conjunction with†the development of the choreography. It made for an interesting comparison to film scoring. The piece is not programmatic, meaning it s not about anything in particular, other than to allow for an exploration of the overall dance s theme, What is contemporary dance?  It was still similar to working in film in that I was dealing with timing issues (in a couple of cases I scored to a video of the dancers, including both sections below), but there was more room to explore the role, style and tone of the music.

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