Betsey Biggs
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Performance

Constellation, for 16 Speakers (2007): Constellation explores the idea that all sounds that have ever emanted from this earth have a home in the stratosphere.

Spell (2007): Chamber music about memory and loss, for harp, piano and string trio. Premiered by the Nash Ensemble of London.

Lost and Found (2007): A meditation on four American haikus. Commissioned and premiered by singer Becca Stuhlbarg.

Happy Idiot (2006): Happy Idiot is a musical space for lurching between happy idiocy and mystery, as our own lives often do. The piece is composed of musical modules, which might be thought of as narratives or memories; The performer's job is to create his own fragmented narrative by jumping amidst the notes. Premiered by Sam Z. Solomon.

Breaks (2006): instructional piece for orchestra or large ensemble. Premiered by Tactus.

Ocean (2006): Laptop sound and video improvisation with pianist Cor Fuhler based on field recordings from Newfoundland.

IRT (2006): for viola, bassoon, electric guitar and percussion. Written for and featuring Clogs.

The dark has its own light (2005): for improvising ensemble. Written for and featuring The BSC.

Fear of Flying (2005): for percussion quartet and live video. Written for and performed by So percussion with BB.

M. (2004): One-person opera for female singer, live sound and live video. Written with and performed by Melissa Madden-Gray with BB.

'74 Chevy (2004): for percussion duo. Performed by Doug Perkins and David Schotzko.

Frog City (2004): for cello octet. Written for and performed by Tarab Cello Ensemble.

Deluge (2003): Laptop improvisation based on field recordings from my shower.

Slip (2003): for string quartet. Written for and performed by the Brentano String Quartet.

Linger (2003): Laptop improvisation based on field recordings from Rajasthan, India.

American Thighs (2003): for electric guitar quartet. Written for and performed by the Bang on a Can Electric Guitar Quartet.

Fragments and Rumors (2003): for three female singers and string quartet.

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Exhibition

Triptych No. 1 (Trinidad, Colorado) (2007) Triptych No. 1 (Trinidad, Colorado) is a sonic and visual portrait of my time in a small Colorado town in the summer of 2006.

Untangled (2006) for orchestra fragments, river and sky.

Inside Out (Trinidad #1) (2006): for shadows, sound and video projection, and public interaction.

Burble (2006): for amplified bamboo fountain, birds, thunder and public interaction.

The Tipping Point (2004): for army tent, pillows, stones, flickering candle video and interaction.

What's Your Favorite Sound (2006): for chalk pastels, empty gallery wall and public interaction.

Circling (2006): Single-channel video.

Fleeting (2006): Single-channel video.

Six for Seven (2001, 2006): Single-channel video.

Sleep 1 (2000): for two projectors and three television monitors.

I Dream of Baby (2000): Single-channel video.

Untitled (Neon #1) (1999): Single-channel video.
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Collaboration

There There (2006): Soundtrack for single-channel video by Amy Harrison, exhibited at Barcelona's Fem Art 06.

Path 1 (2005): Video commissioned by laptop duo Evidence, released as a DVD on the Deep Listening label.

Through the Ice (2005): Soundtrack for short film by director Jennie Livingston, premiered at Sundance 2006.

Monument (2003): Soundtrack for single-channel video by Amy Harrison, exhibited at the Berkeley Art Museum.

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Writing

Everyone Play (2006): Spring 2006 draft of the introduction to my dissertation about sonic participation in new media art.

Primitive Future: Dziga Vertov's Enthusiasm as Early Audiovisual Concrete (2004): Russian filmmaker Dziga Vertov is best known for his 1929 film, Man With A Movie Camera. But his documentary sound film, Enthusiasm, is a strikingly early example of musique concrete, as well as a groundbreaking experiment in the relationships possible between sound and image.

Meeting the World Halfway: Sonic Imagination at Play in the Soundworld (2003): An exploration of some philosophical approaches to working with realworld sound.

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Teaching

Princeton University: Music 103: Introduction to Music (2007):
I taught this class with Professor Simon Morrison. The course was a survey course on Western classical music from the early days of chant to Steve Reich. My sections generally introduced composers that Professor Morrison had not had time to present in lecture, and clarified important musical points. I also worked with my students to develop presentations and learn listening skills.

Princeton University: Music 210: Beginning Workshop in Musical Composition (2006):
I taught this class with Professor Paul Lansky. The class teaches several approaches to music composition through analysis, listening and improvisation. Students play and discuss music during each meeting. My responsibilities include all technical aspects of the course including recording, and meeting with students outside of class to discuss their work.

Trinidad Area Arts Council: Youth Media Arts Workshop (2006):
As part of a residency at the First Street Gallery in Trinidad, Colorado, I taught a two-week workshop for elementary-school students. Together we learned to record sounds and work with software to create audiovisual self-portraits. The children's pieces were exhibited along with my own work as a collaborative portrait of the town.

Princeton University: Music 211: The Sound of Collaboration (2004):
I worked as a research assistant to develop this course with Professor Barbara White. My responsibilities included locating materials indicated in the syllabus, discovering additional materials and links, and designing a website around the core syllabus.

Princeton University: Music 104 (2003, 2005):
I have taught this class twice with Professor Paul Lansky. The class teaches basic music theory for beginners through songwriting. My classes consisted of ten or twelve students and met twice a week outside of the lecture. I really enjoyed this approach to theory, and I think the students did too.

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