Kevin Kay

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Kevin Kay (b. 1995) is a composer interested in the physicality of sound. He is furthermore interested in expressing the physical nature of our reality abstractly through music. Working in just intonation, his music is concerned with the sensation and perception of sound as a physical phenomenon through framework based on the physical, mathematical, and psychoacoustic properties of sound. Through an obsession with patterns and numbers in music, such mathematically oriented harmonic spaces often become entangled with temporal processes.

Kevin’s music has been performed by ensembles and musicians such as the Copland House Ensemble, Ensemble Linea, Spektral Quartet, Imani Winds, soloists from Ensemble intercontemporain, The Van Swietens, Divertimento Ensemble, zone expérimentale basel, Density512, PinkNoise Ensemble, Ghost Ensemble, and MotoContrario Ensemble, among others. As a clarinetist, he performs with red panel.

Festivals and academies that have performed his music include: the Copland House CULTIVATE emerging composers institute (2024), impuls Academy (2023), CIEL Academy (2023), the Cortona Sessions for New Music (2020 Cortona Prize winner, 2022, 2023), the International Workshop for Young Composers (2020), IRCAM’s ManiFeste Academy (2018-19), Les Ecoles d’Art Américaines de Fontainebleau (2018), New Music on the Point (2017), the Yarn/Wire Institute (2017), and the NYC Electroacoustic Music Festival (2017). Kevin has been in residence at Arts Letters and Numbers (2023) and the Hambidge Center for the Arts (2022).

Kevin resides in Berlin where he stayed following support from the DAAD-Stiftung (Respekt & Wertschätzung Scholarship) to pursue composition and artistic research at the Universität der Künste Berlin with Marc Sabat. He holds a Ph.D. in Music Composition from Stony Brook University, an M.A. in the Humanities from the University of Chicago, and a B.S. in physics and music from the College of William and Mary. He has studied with Margaret Schedel, Sam Pluta, and Sophia Serghi, among others.

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Ordered by year. Most recent works appears first

Chamber Ensemble (5 - 9 instruments)


Dualities and symmetries Double String Quartet and Viola da Gamba (2024)
Flux cycles for Bass Flute, Harp, Accordion, Piano, Double Bass, and Percussion (2023)
Below our ears for septet (2020)
Duality ii for ensemble and electronics (2019)
Quiver for wind quintet (2018)

Chamber Group ( 2 - 4 instruments )


Verge for clarinet (bass/Bb), violin, cello, and piano (2024)
Dx/dt for 4 violins or 4 violas or 4 cellos or 4 double basses (2020)
Damped for violin and cello (2019)
Reaching for string quartet and electronics (2018)

Solo Instrument


Coalescing solo cello (2022)
The queering of fragile notes for solo piano (2022)
Thoughts on imperceptibility for solo cello (2020)
EnSNARE for snare drum and electronics (2018)

Ensemble (10 - 19 instruments)


Worldlines worldlines, for 14 instruments (2020)

Pierrot Ensemble (fl, cl, vln, vlc, piano)


Duality ii for ensemble and electronics (2019)

Concert Band


Thixotropic for wind ensemble (2019)

String Quartet


Reaching for string quartet and electronics (2018)

Woodwind Quintet


Quiver for wind quintet (2018)
Below our ears for septet (2020)
Coalescing solo cello (2022)
Damped for violin and cello (2019)
Dualities and symmetries Double String Quartet and Viola da Gamba (2024)
Duality ii for ensemble and electronics (2019)
Dx/dt for 4 violins or 4 violas or 4 cellos or 4 double basses (2020)
EnSNARE for snare drum and electronics (2018)
Flux cycles for Bass Flute, Harp, Accordion, Piano, Double Bass, and Percussion (2023)
Quiver for wind quintet (2018)
Reaching for string quartet and electronics (2018)
The queering of fragile notes for solo piano (2022)
Thixotropic for wind ensemble (2019)
Thoughts on imperceptibility for solo cello (2020)
Verge for clarinet (bass/Bb), violin, cello, and piano (2024)
Worldlines worldlines, for 14 instruments (2020)