December 11: Isaura Quartet plays my first string quartet (2014) at Redcat
January 24 or 25 (tbd): performance with Dirt & Copper at Artaud in San Francisco.
February 28: improvised quartet with Tim Feeney, Jessika Kenney and KCM Walker at REDCAT, Los Angeles.
April 3: new piece for Dog Star at the Wende, curated by Michael Pisaro.
New essay and recording (viola da gamba solo) up now on Lateral Addition.
Indexical has become a non-profit and I have just moved to Santa Cruz to be more involved in my role as president of the board! I really love this organization and am so happy to be working with them. They put on concerts and make recordings of new music and sound works, print beautiful media, organize workshops and discussions and generally help make space for the experimental arts in Santa Cruz.
CD out on Nueni Recs: Harmonica Fables is a collection of pieces for harmonica, some performed as single takes, others created as multi-tracked collages, inspired by ritual, chant, and fable. Some reviews here.
Piriforms for 4 voices now up on Score Follower
CD by Quince Contemporary Vocal Ensemble, Motherland, now available! Works by Gilda Lyons, Jennifer Jolley, Cara Haxo and myself.
Article by Ben Levinson in Soap Ear #2
Imaginary Music Radio Hour shows are archived here
Current interests: background music, repetition, nonsense, soft chords and scratchy chords, tubes, bards, paper, chant, melodic borrowing, birds, orality vs. literacy, bells.
Instruments: viola da gamba, contrabass, piano, guitar, harmonica, voice, invented instruments, some trumpet and fipple flute.
short bio: Laura Steenberge is a performer and composer in Los Angeles who researches language, mythology, and ritual. She is interested in how nonsense relates to the boundaries of knowledge, and is influenced by folk music, psycholinguistics, acoustics and medieval Byzantine chant. A multi-instrumentalist, singer and speaker, Steenberge uses voice, viola da gamba, contrabass, piano, objects, images and movement to create recordings, concert works and site-specific performances. She holds BAs in music and linguistics from the University of Southern California, an MFA in composer/performer and integrated media from CalArts, and a DMA in music composition from Stanford University. She has received significant help and guidance along the way from Sara Roberts, Bissera Pentcheva, Michael Pisaro, Marc Sabat, Paul deMarinis, Mark Applebaum, Jaroslaw Kapuscinski, Erik Ulman, Larry Polansky, Tom Leeser, Wolfgang von Schweinitz, Vicky Ray and Neal Desby.