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[ Hey…Ryan  here.   To be honest, I find it quite tricky to write a "bio". I’ve managed to cobble together a palpation of what it is I do.  It follows the familiar formula: use of the third-person, some sort of mission statement, a list of accomplishments and the wonderful people I’ve had the fortune to work with, etc. Truth is, I don’t know why I do what I do…I just all of a sudden find myself doing it.   I used to have a clear “for”; a quantifiable Eden to strive towards. I suppose I still have a “for” but it has become free-floating, ambiguous, and ephemeral. Maybe that’s what my work is about? I suppose that’s not for me to decide. Anyhow, please pardon this interruption   , we now return to our regular programming…. ]

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Ryan Carraher (b.1993) is a composer, guitarist, and improvisor based in Seattle, WA. His compositional work is concerned with articulating the vulnerability of the human body, the role failure plays in identity expression, superabundance, and a composer-performer-audience relationship defined by kinesthetic empathy. His works often experiment with notation. In order to create distance from habit and expose psychophysical limitations, performers are presented with graphics, games, animations, tasks, and/or recordings. Ideally, one can then reflect upon these normally subconscious limitations, inquire into the their origins, revisit perceptual/creative/experiential dimensions left unexplored due to them, and galvanize personal work towards deeper, more fully-aware, performance and creative practices.

 

His works have been featured at leading festivals including June in Buffalo, Either/Or’s Spring Festival, Darmstädter Ferienkurse, New Music on the Bayou, Oh My Ears, New Music on the Point, Charlotte New Music Festival, VIPA, and Etchings. Carraher’s music has been performed by Loadbang, Ensemble Dal Niente, Popebama, Line Upon Line, Vasko Dukovski, Mariel Roberts, ECCE, Ensemble x.y, Transient Canvas, Orlando Cela, Iwona Glinka, Peridot Duo, Rose Hegele, Megan Inhen, Philipp Stäudlin, and others across Europe and the USA. 

 

Carraher has been named the Eastern division winner and national finalist of the MTNA composition competition, selected as a national finalist for the American Prize, and selected as a national finalist in the Flute New Music Consortium composition competition. Additionally, he is the recipient of a Tribeca New Music merit award and the Berklee College of Music guitar department achievement award.

 

In addition to composition, Carraher is an accomplished guitarist specializing in free jazz and experimental improvisation. As band leader, he has released numerous albums to critical acclaim with his 2016 debut release Vocturnal named to the All About Jazz “Best of 2016” list. As a sideman, he has contributed to numerous recording projects.

 

Currently, Carraher is pursuing his DMA in composition at the University of Washington studying with Huck Hodge, Joël-François Durand, and Yigit Kolat. He earned his MA at Tufts University studying under John McDonald and his Bachelors in Guitar Performance at Berklee College of Music studying under Alla Cohen, David Tronzo, and Tim Miller. Additional composition instructors include Stratis Minakakis, Stefano Gervasoni, and Erin Gee.

 

Upcoming projects include the premiere of One faces by Line Upon Line, a new work commissioned by Ligament, a solo tuba work commissioned by Thomas Pfaffinger, and a new work for large ensemble.

[1] Did you notice the use of the first-person? Pretty cool right?! Does this mean I’m “sincere” now? Submit your answer here!!

[2] Me-speaking-to-Me: “You just had to go and use footnotes didn’t you? Way to shoot yourself in the foot with that one…now the reader will undoubtedly see this as a thirsty, poor-man’s Octet.”

 

      Me-responding-to-me: “Don’t worry…no one will read this. I mean, who reads the footnotes anyhow? Also…whats wrong with that?”

 

      Me-responding-to-my-response: “You’ve already interrupted the reader twice for no reason…knock it off.”

 

      Me-responding-to-my-response-to-my-response: “sorry.”

[3] ...or at least what it is I think I do.

[4] Don't worry...you're not going crazy...there is no fourth footnote, just wanted to keep you on your toes!

[5] Me-speaking-to-Me: “Is this meant to be a lame underhanded attempt to communicate some sort of noble persisting-in-the-face-of (i.e., upon peering into the void, you’ve chosen to respond with creation as                     opposed to paralysis)? Are you expecting sympathy or brownie-points? Good luck with that…”

 

      Me-responding-to-me: *silence* — *clears throat* — “…not sure.” *avoids eye contact*

[6] This sloppy ode to tired metafictional interruption...I’m sorry! I didn’t mean to interrupt you again.