Lawrence Wilde is a composer, educator, and music technologist. His music has been described as “passionate and dramatically contoured” by The New York Times and performed by today's most influential ensembles, including the Kronos Quartet, Eighth Blackbird, JACK Quartet, So Percussion, Tesla Quartet, Moscow String Quartet, Ensemble Mise-En, ÆON Ensemble, among others. Lawrence, B.M. (Juilliard), M.F.A. (Princeton), is currently a Ph.D. candidate in Music Composition at Princeton University. He has been a composition fellow at the Tanglewood Music Festival, the Aspen Music Festival, the Bang On A Can Music Festival, among others.
His compositions and sound installations have been presented at leading festivals and venues, nationally and internationally, including Carnegie Hall, Lincoln Center Out of Doors, Aspen Music Festival, Tanglewood Music Festival, Cabrillo Festival of Contemporary Music, Centro Nacional de Difusion Musical, among others.
Combining music theory, technology, and semiotics, Lawrence’s research focuses on acoustic and electroacoustic composition, the music of Soviet and Russian female composers (Sofia Gubaidulina, Galina Ustvolskaya, and Elena Firsova), popular and rock & roll music, and issues of gender and sexuality in concert music and musical theater.
Lawrence's Ph.D. dissertation "Harmonic Dualities in Sofia Gubaidulina's Offertorium", examines binary harmonic structures in Gubaidulina’s pivotal work and provides evidence that her harmonic language operates through a dichotomic organization of compositional devices. Lawrence's research was recognized by the Fulbright Foundation with a Fulbright-Hays Doctoral Dissertation Research Abroad award to Stockholm Sweden where he conducted research independently at the Royal College of Music (KMH).
As an educator, Lawrence draws upon his experience in composition, programming languages, music theory, sound studies, audio-visual theory, auditory culture, and identity. He has taught core music theory, composition, and ear-training courses at the Juilliard School and Princeton University. His teaching experience includes both classroom and studio instruction at undergraduate and graduate levels.
Lawrence’s commitment to Equality, Diversity and Inclusion (EDI) and aim to bring alternative perspectives on the current white racial and masculine framework of music theory, has led him to teach courses outside of the music department, including Gender Crossings in American Musical Theater as part of Princeton University’s Program in Gender & Sexuality Studies, America Then and Now as part of Princeton’s Program in American Studies, and The City and Social Change in the Americas as part of the Princeton Sociology Department.
As an active recording artist and producer, Lawrence is fluent in classical notation-based composition, recording studio composition, and composition through real-time audio programming languages SuperCollider and Max/MSP/Jitter. Driven by the potential of technology in music education, Lawrence is currently writing an article titled Playing the Studio: Towards an In-Studio Music Education that explores the Digital Audio Workstation (DAW) as a visual, auditory, and kinaesthetic tool for teaching and learning music.
Lawrence is an active performer and plays the violin, guitar, and nyckelharpa. The nyckelharpa is a traditional Swedish keyed fiddle with four playing strings and twelve sympathetic strings. Lawrence plays on a 2015 soprano nyckelharpa made by Swedish instrument maker, Olle Plahn.
In his free time Lawrence enjoys writing poetry and creating visual art. Lawrence's music is published by SoundInk Press.
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