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A new composition for chamber ensemble (flute, clarinet, violin, cello, piano, and percussion). The piece utilizes extended instrumental techniques, spectral analysis within acoustic orchestration, algorithmic generation of melodic materials, and compositional development through repetition and gradual morphological changes of musical events. Unwound Path began from a poem by Robert Creeley, entitled “Kitchen.” Over the twelve lines of the poem, Creeley details three markers of the quiet passage of time within the stillness of one’s day: the “lace-like patterns” that sunlight reflects about the room in the morning, the silence of noon, and in the evening, a line that reflects about the wider passage of time, “perpetually sweeping this room, I want it to be like it was.”The poem’s exposure of the circadian repetition – the habitual periods that compose one’s life – formed into a kind of musical thinking that I sought to work out through writing this piece. As the title, Unwound Path, suggests, the music slowly unravels, built almost entirely, somewhat obsessively, from a single unfolding melody, which is heard again and again across the score in many different forms. There is an element of obsession, rehearing, and stillness to the music that, I hope, pervades the listening experience.