Ryan Seward (b. 1988) is a composer and musician originally from Texas and currently living in Connecticut.
Seward’s work has most recently been presented at 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.
An active improviser and performer, Seward has performed with Jaap Blonk, Eugene Chadbourne, Tashi Dorji, Sandy Ewen, Bob Marsh, Nakatani Gong Orchestra, Ryan Wade Ruehlen, Daniel Ryan, Bret Sexton, Susan Wolf, and Jack Wright, among others.
He studied music at University of North Texas and The University of Texas at Arlington and currently studies composition at Wesleyan University with Paula Matthusen, Ron Kuivila, and Neely Bruce.
Ryan Seward & Daniel Ryan – Breccia (2021, 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)
a tremulous light (2021) for organ
irrational thoughts should be followed absolutely and logically (2) (2021) for organ
untitled (for Alvin Lucier) (2020) for glockenspiel bars and sine tones
steel and air, a mottled presence (2020) for trumpet, transducer, and suspended sheet metal
two copper pipes drawn over various surfaces (2020) for fixed media
take any flat, plain piece of land, give it a name— (2020) for fixed media (field recordings and sine tones)
ultimately, engaging in the practice itself was enough for us (2020) for two or three people (or perhaps alone) | commissioned for co-incidence festival 2020
irrational thoughts should be followed absolutely and logically (1) (2019) for two or more vibraphones | commissioned by Ron Coulter for the Casper College Percussion Group
to knowe the spryng of the dawenyng and the ende of the evenyng, the whiche ben called the two crepuscules (2019) for two or more performers | commissioned for The Dog Star Orchestra 15
plainsong (2018) for percussion sextet (glockenspiel, two vibraphones, low octave crotales, and two snare drums [with one or two optional radios]) | commissioned by Ron Coulter for the Casper College Second Annual New Music Day
there is a balm in Gilead (2016) for two or more performers
poetics of resplendent decay (2015) for four loudspeakers
an invincible summer (2015) for violin, cello, and double bass