S. Dedalus

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A native of the Pacific Northwest, Daniel (b. 1989, United States) has been composing music since before he could read. His childhood was spent close to nature, and an early interest in ecology led him to monitor salmon populations in local streams and fill the house with aquatic wildlife. Later, the rocky beaches and mountains of Washington State and Alaska, along with the diverse, urban soundscapes of Seattle, were formative influences on his interest in sound and space. In 2013, Daniel received the prestigious Thomas J. Watson Fellowship, a grant that made possible twelve months of research in seven countries. His project, entitled “Experiencing Nature through Computer Music,” took him to the Australian outback, volcanoes in Indonesia, underground-music venues in Tokyo, the high-altitude salt flats of Bolivia, and the glacial lagoons of Iceland. In late-night jam sessions with audio-hackers, unconventional instrument builders, and open-source software developers, Daniel explored the complex relationship between electronic musicians and the acoustic spaces they record, manipulate, and create.

Daniel’s interest in ambient sound is complemented by his expertise in experimental music technology. His music frequently incorporates responsive, electroacoustic environments in performance, and his interest in inanthropogenic soundscapes has led him to work extensively with software algorithms to assist in rendering the sonic complexity of systems that are intuitively expressive but cognitively complex. Compositions incorporating these techniques have recently been accepted by both the Society for Electroacoustic Music in the United States (SEAMUS) national conference and the International Computer Music Conference (ICMC). Daniel also recently authored a Python script for enumerating chord progressions that comply with specified rules when constrained by a limited, and he also has a long-standing interest in the influence of software design on artistic choices.

While studying composition and philosophy at Lawrence University (Appleton, Wisconsin, USA), Daniel received the Lawrence University Composition Scholarship and the James Ming Scholarship for composition. Daniel’s music has been performed in the United States and Europe at venues such as the Nordstrom Recital Hall (Benaroya Hall, Seattle) and the Bethaniënklooster in Amsterdam, played by, among others, Seattle Symphony musicians, the Lawrence Symphony Orchestra, the World Youth Symphony Orchestra, the Beau Metro String Quartet, and the NOW Ensemble. Daniel has also collaborated with Seattle-based photographer and filmmaker Zachary Burns, resulting in a short video art piece, Progression in Stills.

In addition to his work as a composer and programmer, Daniel is active as a freelance music orchestrator and copyist. Recent commissions include a joint commission from Lawrence University and the Fox Valley Symphony to create the first extant engraved score and parts for LaVahn Maesch’s recently rediscovered Suite on Children’s Tunes. Original string orchestrations by Daniel Miller are featured on Portland, Oregon-based singer/songwriter Alek Vila’s 2012 album Gratitude World. In addition, Daniel has received orchestration and transcription commissions from former Seattle Symphony Composer-in-Residence Samuel Jones and Los Angeles-based violinist and composer Michael McLean.

Daniel’s composition teachers have included Joël Bons, Eric Flesher, John Mayrose, Joanne Metcalf, and Asha Srinivasan. Daniel studied for a year at the Conservatorium van Amsterdam in 2011, and in 2013 Daniel graduated from Lawrence University with a Bachelor of Music in music theory/composition, cum laude, and a minor in philosophy. Currently, Daniel is based in Los Angeles where he serves as the Coordinator of Art and Technology Programs at Foundry Academy in Walnut, California, USA.

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