Ryan Seward (b. 1988) is a composer, improviser, and performer (percussion, electronics, free-reed instruments, and zither) living in Hartford, Connecticut.

Ryan’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 Dog Star 15, and Casper College (Casper, Wyoming) for the Second Annual New Music Day. He has performed with Jaap Blonk, Eugene Chadbourne, Tashi Dorji, Sandy Ewen, Bob Marsh, Ryan Wade Ruehlen, Daniel Ryan, Bret Sexton, Susan Wolf, and Jack Wright, among others.

Ryan currently studies composition with Ron Kuivila and Paula Matthusen and organ with Alcée Chriss III at Wesleyan University.


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)


steel and air, a mottled presence (2020) for trumpet, transducer, and suspended sheet metal
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 Dog Star 15
(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
tracings (2016/2019) for snare drum
poetics of resplendent decay (2015) for four-channel playback (field recordings)
an invincible summer (2015) for violin, cello, and double bass