Ryan Seward is a composer, musician, and artist living in New York, New York. His work takes many forms, including improvisation, installation, performance, photography, sculpture, text, and video. He is an active improviser and performer, playing drums, percussion, objects, free-reed instruments, and electronics.

Ryan’s work has most recently been performed by TAK ensemble, Filament, and Sam Wells; and presented at Blo Back Gallery (Pueblo, Colorado); Technische Universität Berlin (Berlin, Germany); 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 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.

Ryan holds the MA in music with a concentration in experimental music/composition from Wesleyan University and studied there with Ron Kuivila and Paula Matthusen. He has also been mentored informally by composers Antoine Beuger, Michael Pisaro-Liu, and Emmanuelle Waeckerlé.



DISCOGRAPHY

Ron Coulter / Ryan Seward – Traces (2022, emic rite, emic 02)

Ryan Seward & Daniel Ryan – Breccia (2022, Marginal Frequency, MFCS O)

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

it is a question of surrendering
(2022) for three snare drums activated by miniature loudspeakers and sine tones

lines (for Agnes Martin) (2021) for five or so performers with sustaining instruments

two harmonicas and stones (2021) for two harmonicas and stones

mesh (2021) for two speaking performers with sustaining instruments and radios, and 2- or 4-channel fixed media (field recordings and sine tones)

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

copper pipes drawn over various surfaces (2020) for copper pipes and surfaces

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)

Irrational thoughts should be followed absolutely and logically (1) (2019) for two or more vibraphones

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

plainsong
(2018) for percussion sextet (glockenspiel, two vibraphones, low octave crotales, and two snare drums [with one or two optional radios])

an invincible summer (2015) for violin, cello, and double bass