Works List

In addition to performing on flute, Jodie composes works for small ensembles that explore the role of the musician as performer. Recordings of a selection of these works can be found on the 'Sounds' page. Please get in touch with Jodie through the contact page if you wish to view scores, schedule a performance, or know more about these works. 


Garbage Island

For mixed small ensemble (2017). Co-composed with Hannah Reardon-Smith for Kupka's Piano (Brisbane). 

Premiere date: 11 May 2017, Judith Wright Centre of Contemporary Arts. 

PROGRAM NOTES

Garbage Island (2017, in progress) is a reflection on the human habit of consumption and its impact on the earth. Inspired by the swirling mass of plastic of the title's namesake in the Pacific Ocean, the piece draws on the rate of density, commonly found items, and permanence of the gyre of marine debris. Is Garbage Island floating faraway in the ocean, or are we drowning ourselves in a sea of physical and existential rubbish? 

 


Signature

For string quartet (2016). Commissioned by the Amaranth Quartet (San Francisco). 

Premiere date: 4 March 2017, San Carlos Eclectic Music Festival.

Score type: graphic and notated. 

PROGRAM NOTES

Signature explores the sonic qualities of simple gestures made everyday, regardless if it is thought of as musical or not. Rather than the traditional sound of a string instrument, Signature focuses on the movement and sounds produced by the initial contact of the bow on the instrument. I draw this musical link to writing on paper, when a temporary sound but lasting visual cue is created that can take on the form of a love letter, a list of notes, or simple doodle drawings.

In Signature, I attempt to show the personality of sound by linking the gestures required to create it and the actual sound itself. A performer’s tone and phrasing is just as iconic as their movements and personality. Likewise, when each of us signs our name, it is an inimitable creation of sound and calligraphy unique to the individual. The use of bracelets and costuming also attempt to show the freedom of choice and the resulting beauty, both sonic and visual, that our choices and movements make.


Book Now

For flute and 'cello (2015). Commissioned by Dead Language (NYC) as part of BLEAK

Premiere date: 17 September 2016, Home Audio Series (Brooklyn, NY). 

Score type: notated.

PROGRAM NOTES

Book Now! Click for Tickets! Don't Miss Out! Reserve Your Spot! 

Book Now explores the idea of marketing, commands, and FOMO (fear of missing out). What is art is we are forced to consume it? Is the anxiety that accompanies a once-in-a-lifetime event even real? What are our motives for experiencing certain events, music, and art? What do we serve to gain?


Wednesday Assembly

For flute, piano and percussion (2016). Commissioned by Kupka's Piano (Brisbane). Composed in memory of D.A.R.

Premiere date: 19 April 2016, Judith Wright Centre of Contemporary Arts. 

Score type: mixed graphic and notated. 

PROGRAM NOTES

Life is a blur for thirty hours. Every noise, sight and smell is auxiliary, as the knot in your stomach grows tighter. Your ears ache from attempting to block out any residual sound; your heavy eyelids droop; and your teeth unknowingly clench.

Finally, you enter the room and it looks just as you predicted. The air feels heavy and the drone of noise evaporates. The door always remains open to the hallway but you can only hear and feel this sensation upon entering the room.

Every step outside transports you back to reality. Somehow, another realm of clarity exists with just one step. The feeling of hope, resolution, finality, and sorrow exist at once. You dare not to leave it, but you cannot tolerate one more second. Hold your breath.


Everyday

for electric toothbrush/vocalist and percussion (2015). Written for the Amazing Women Series Queensland Conservatorium Griffith University (Brisbane). 

Premiere date: 19 August 2015, Queensland Conservatorium Griffith University. 

Score type: set of instructions.

PROGRAM NOTES

Everyday explores the sounds and humour alive in mundane activities. It is a reflection on finding inspiration amongst the simplest tasks and the importance of imagination well beyond the years of youth. Using an electric toothbrush, voice, and singing bowls, Everyday creates a sparkling, imaginary, and fantastical pedestal upon which virtuosic performances can take place despite their otherwise ordinary appearance. Everyday highlights the ritual of routine and the expectations we have as 21st century humans.

Everyday is optimism.


The Howl

for flute, cello and piano (2013). Commissioned by Dead Language (NYC). 

Premiere date: 13 December 2013, Church of the Ascension (Brooklyn, NY). 

Score type: graphic.

PROGRAM NOTES

Do wolves like chords? 

The Howl is based on the sounds and musicality of wolves. How can we draw correlation between the cries and howls of wolves to our own audible emotions? What noises do we only make when amongst friends, by ourselves, or in an unfamiliar territory? Based on the album "The Language and Music of the Wolves" narrated by Robert Redford, The Howl chronicles the most basic of animal sounds through the lens of classical instrumentalists.