“My GRASpunt residency is part of the development of an opera set in early 20th-century Southeast Asia, during the final days of European colonial rule. This residency allows me to explore the Piphat musical traditions of Thailand, Myanmar, and Cambodia—examining how their aural traditions, tonalities, and rhythmic structures can shape my own musical language.

I’ve previously experimented with Thai microtonality in my instrumental works, but this will be my first time integrating Southeast Asian instruments into a contemporary classical ensemble. However, my focus extends beyond the instruments or even the pitches; I am particularly interested in incorporating rhythmic organization and melodic sensibilities through aural tradition. To achieve this, I will be working with a professional Thai musician who does not read Western notation.

Through this process, I aim to develop an interdisciplinary notation system that enables Southeast Asian professional musicians to engage with new music ensembles. I also hope to further explore harmonic language and text setting within the context of this opera. There’s only so much that can be accomplished in these few days of residency, but this marks the first step toward creating something truly interdisciplinary and organic—respecting and bridging both traditions that I navigate between.”