About

Ryan Seward is a composer and percussionist based in Hartford, Connecticut.

His work has most recently been presented at Blo Back Gallery (Pueblo, Colorado), Washington Street Art Center (Somerville, Massachusetts) for co-incidence festival 2020, heim.art®-Station (Neufelden, Austria), California Institute of the Arts (Valencia, California) for The Dog Star Orchestra 15, and Casper College (Casper, Wyoming) for the Second Annual New Music Day.

He has previously collaborated with Gabriela Areal, Jaap Blonk, Eugene Chadbourne, Tashi Dorji, Sandy Ewen, Simon Labbé, Bob Marsh, Nakatani Gong Orchestra, Ryan Wade Ruehlen, Daniel Ryan, Bret Sexton, Susan Wolf, and Jack Wright, among others.

Seward is currently completing the MA in music with a concentration in experimental music/composition at Wesleyan University and studies there with Ron Kuivila and Paula Matthusen. He has also been mentored informally by composers Antoine Beuger, Michael Pisaro-Liu, and Emmanuelle Waeckerlé.

 

DISCOGRAPHY
Ryan Seward & Daniel Ryan – Breccia (2022, Marginal Frequency, MFCS N)
Sandy Ewen / Ryan Seward – Live at thought//forms gallery (2019)
Matt Smiley / Ryan Seward – Sense of Place (2017, emic rite, emic 01)
Bob Marsh / Michael O’Neill / Ryan Seward – Pueblo 5&6 (2017)
Bret Sexton / Ryan Seward – Live at Thee Haus Ov Where? Gallery (2017)

 

SELECTED WORKS
lines (for Agnes Martin)
for five or so performers with pitched or non-pitched instruments (2021)
mesh
for two performers with pitched instruments and radios, and 2- or 4-channel fixed media (field recordings and sine tones) (2021)
a tremulous light
for organ (2021)
irrational thoughts should be followed absolutely and logically (2)
for organ (2021)
untitled (for Alvin Lucier)
for glockenspiel bars and sine tones (2020)
steel and air, a mottled presence
for trumpet, transducer, and suspended sheet metal (2020)
two copper pipes drawn over various surfaces for fixed media (2020)
take any flat, plain piece of land, give it a name—
for fixed media (field recordings and sine tones) (2020)
ultimately, engaging in the practice itself was enough for us
for two or three people (or perhaps alone) (2020)
irrational thoughts should be followed absolutely and logically (1) for two or more vibraphones (2019)
to knowe the spryng of the dawenyng and the ende of the evenyng, the whiche ben called the two crepuscules
for two or more performers (2019)
plainsong
for percussion sextet (glockenspiel, two vibraphones, low octave crotales, and two snare drums [with one or two optional radios]) (2018)
an invincible summer for violin, cello, and double bass (2015)