2022 |

A Speculative Evolution of the wind | Wind Quartet for flute, clarinet, bassoon, horn| ca. 25’ commissioned by Tel Aviv wind quintet

Whistling Wild | A site-specific, participatory piece for 100+ high school and middle school students commissioned by Reut school of Arts, Haifa

Sound Morphologies | Environmental Listening Walk, Giva’at Aliya beach, Jaffa | in collaboration with Geophysicist Michael Lazar

Emergence | for 4 performers, open instrumentation | ca. 20’

Sonic Botany | Live performance |for Tuning forks, organic objects, electronics, Cologne, Germany| ca.40’

2021 |

School of Fish | sound recording, Installation, community-based process piece | as part of Haifa Museums Art/Place residency

Proto-Music #2 | any number of performers + rocks | ca.20’

Cyborg Manifesto | live performance of an audio-visual work, in collaboration with Zohar Shafir and Dani Williamson commissioned by Musraramix festival, Jerusalem

Raash Adama (EaerthNoise) | Sound and Video | 50’ | commissioned by ISSUE project room, NY, for the project with women’s work

Nekavim (for Amnon) | self-performative text score

The Acorn Series |a live set for The Quarantine Concerts, Experimental Sound Studio, Chicago

Prehistoric Harmony | a radio show about music, acoustics, ecology and cosmology | on Halas radio commissioned by The Center for Digital Art, Holon, Israel

Sound Morphologies | Environmental Listening Walk, Giva’at Aliya beach, Jaffa | in collaboration with Geophysicist Michael Lazar

2020 |

Sonic Botany | Live performance |for Tuning forks, organic objects, electronics, Mamuta Art and Research center, Jerusalem| ca.25’

Bird-Flock-Folk | Live performance | for bird whistles | Indexical (Santa Cruz, CA) livestream

2019 |

Sonic Botany | Ongoing performance project | tuning forks, leaves, bird whistles, looper

HOUWEIYA | voice, violin, cello, double bass | ca.6’ 

The Vegetable Lamb of Tartary | four double basses, tuning forks and leaves | ca.25’ 

EchoSystem | Audio-visual collaboration with Lior Ben-Gai

Proto-Music #1 | 3 performers+bamboo sticks | ca.20’

Reconstruct in Minshar | Gallery Exhibition | site-specific audio/video installation (with KinoEar)

2018 |

Simple Ratios | Open Instrumentation+electronics| ca.25’

Circling Ratios | violin, cello, clarinet and 3 circling bells | ca.20’

Piano Study of Beating Frequencies | solo piano (retuned) | ca.20’

KOOR | fixed electronic | 15’

De Stella Nova: On the new star in the foot of the serpent handler | piano, saxophone, double-bass, voice, electronics, lasers and tuning forks | ca.20’

An Audio Guide to Occupation | radio piece, 15’| part of the project from the Red Sea to the Dead Sea: a soundscape of an occupation commissioned by Radiokunst-Kunstradio ORF Vienna

SPHERE | composition and sound for video installation | 25’

Al Hamakom | sound installation| A-Genre Festival, Tmuna Theater | based on the report This is not a place for children: The lives of children of Asylum seekers in South Tel Aviv

Amplifikatsija Naturalis | leaves and tuning forks | ca.30’ | recording

2017 |

Partial Patterns on a String: Blues Artifacts (e) | violin and viola | ca.25’ 

Partial Patterns on a String [extended] (d) | tuning forks, piano, sine waves | ca.13'

Blind Date | for any number of people and open instrumentation 

Partial Patterns on a String (c) | String Quintet | ca.20’ 

Piano Exorcism | solo performance | piano and walkie-talkie 

2016 |

Museum of Extinct Sounds and Imaginary Water Creatures | 5 performers, hydrophones, water tanks, various objects | ca.45'

Eight Underwater Sonic Experiments | hydrophone, water tank, various instruments | ca.20'

Partial Patterns on a String (b) | Solo Cello | ca.14'

2015 |

Partial Patterns on a String (a) | Solo Cello | ca.13’ 

Piano Studies [i, ii, iii] | Solo Piano | ca.15’

2014 |

Three Ajaeng Etudes | Solo Ajaeng | ca.7’| Commissioned by Kim Sang-Hun

Music Box Office | for any number of people (non musicians) and resonant staircase

134 Pacific | for any number of people (non musicians) and metal rails

Three Phonetic Studies | for any number of voices and optional instruments | ca.11’ 


2013 |

Sumud | two Pianos and two Percussion players | ca.23’

Ear study No.1 | for Cello, Percussion, and audience participation | ca.10’
Hydrophony | 10 Clarinets, Electric Guitar, Double Bass, and Harp | ca.14’ 

We Are The Bees of The Invisible| three graphic scores | open instrumentation

2012 |

 

Ex Terriroria X | Clarinet, Cello, Piano, and trombone | ca. 6’ 

The Possibility of Un-Island | Solo Violin | ca.10’
Three pieces for toy piano | Toy piano & Glockenspiel | ca.6’

2011 |


Territoria X | Solo Piano | ca.7’
Preparations |for Prepared Piano | ca. 4’

Ship of the Moon | Voice and Ensemble (10 players) | ca.13’
Percussion Quartet | for 4 percussion players | ca.6’30

2010 |

 

Tulpa | Flute, Clarinet, Horn, Saxophone, Violin, and Percussion | ca. 6’

Present Absentees | Solo Piano | ca.13’

Al Hisha’arut HaNefesh | Piano, Flute, and Clarine|ca.12’

Daegeum Trio | Daegeum, viola, and Cello | ca. 6’20 
Trio | for Clarinet, Cello, and Piano |2007, rev. 2010 | ca.7’20

2006-2009|


Three Pictures for Sale |for Symphonic Orchestra |2008 | ca.8’
Hagigat Kaitz (Summer Fest, text by Nathan Alterman) | for Narrator and Ensemble (8 players) | 2008 | ca.115’ 

Adam Ve Adama (On Man and Land: A Legal Document) | for Narrator and Ensemble (6 players) 2008 | ca.11’

Psalm 92 | for Children Choir (SSAA) | 2008| ca.3’30 
Ha’em Hashlishit, text by Nathan Alterman | for Choir and Ensemble | 2008 | ca.14’

Horn Quartet | Horn, Violin, Viola, and Cello) | 2007 | ca.16’

Piano Sonata | 2007 | ca.11’
String Quartet | 2006 | ca.6’
Longing | for two Celli | 2006 | ca.3’30

Symptoms | for 9 instruments | 2006 | ca.3’