photograph by Lyndsay Bloom

B i o g r a p h y

Caroline Louise Miller is a US composer and intermedia artist based in Oakland, California. Her music broadly explores affect, ecology, labor politics, tactility, and digital materiality, often addressing contemporary issues within dreamlike musical spaces that thread shimmering textures and romantic melodic lines through harsh noise and clattering dissonances. She appears at a diverse array of festivals and venues with works ranging from electroacoustic music, pop crossover, and sound art to chamber music and musical theater. Projects for the 2020–2021 season include a grant from Alarm Will Sound for an installation-performance for large chamber ensemble, electronics, projection-mapping, and archival materials, a fellowship from Transient Canvas for a new piece for electronics, bass clarinet, and marimba, and a piece for electronics and custom-built controllers to appear at venues around the San Francisco Bay Area. In 2019, Caroline was commissioned by SPLICE Ensemble with funding from Chamber Music America and created Ansible, a 30-minute meditation on communication, globalization, and open-science technology based around the writing of Ursula K. Le Guin. She received first prize in the International Society of Bassists/David Walter Composition Competition for her piece Hydra Nightingale, a collaboration with bassist and improvisor Kyle Motl. Other recent fellowships and commissions include works for Guerilla Opera (Boston), Ensemble Adapter (Berlin), and SPOR Festival of Contemporary Music and Sound Art (Aarhus, DK). She has served as artist-in-residence aboard a Scripps Institution of Oceanography research vessel in the South Pacific. Her ongoing project whistle-session hijacker is a series of instrumental hip-hop/acousmatic crossover works. The first of these, Subsong, was voted onto Music from SEAMUS vol. 28 by audience choice. Caroline's work is regularly performed across the U.S. and around the world.

Alongside individual projects, Caroline is passionate about organizing, curating, and producing concerts. From 2012–2017, she organized and curated annual freeform concerts at the Birch Aquarium at Scripps Institution of Oceanography. Immersion@Birch Aquarium drew over a thousand visitors from the San Diego county community since its inaugural event, and incorporated musics as diverse as experimental chamber, gamelan, American folk, soul, free jazz, drone, and noise; as well as installation, algorithmic art, film, and poetry. For her curatorial and community-building work, she won the Carolyn Applebaum Endowed Prize. In 2019 she curated a multimedia science-fiction show called Tales from the Wasteland that brought together works which meditate on alternate realities; pasts, presents, and futures. Since 2014, she has also co-organized and co-curated, with Fernanda Navarro (and many others over the years!) a series of concerts and installations centering the perspectives and experiences of women.

Caroline holds a Ph.D. and Master of Arts in music composition from UC San Diego, and a Bachelor of Music from UMKC Conservatory of Music and Dance.


Short Bio

Caroline Louise Miller’s music explores affect, biomusic, labor, tactility, and digital materiality. She has most recently received grants, fellowships, and commissions through Alarm Will Sound, SPLICE Ensemble with funding from Chamber Music America, Guerilla Opera, Transient Canvas, and Ensemble Adapter. In 2018 she won the ISB/David Walter Composition Competition for Hydra Nightingale, created with free jazz bassist Kyle Motl. Other projects include whistle-session hijacker, a collection of acousmatic/instrumental hip-hop crossover tracks. C.L.M.’s music appears across the U.S. and internationally. She holds a Ph.D in Music from UC San Diego, and is based in Oakland, California.