Luke Martin (b. 1992) is an experimental composer, musician, and poet currently living in Valencia, CA. His work focuses on the concepts of liminality, neutrality, and fragility and is primarily interested in exploring limits of perception. More specifically, he is interested in the use of silence, listening, text, and sound as equally considered elements in the compositional practice; for instance, the composer's task is not only to consider the parameters of determined sound making (text and instrumental), but also the parameters of how we listen, and how we may interact with and frame silence. The composer, then, seeks to create situations of possible events which the audience, performer(s), and composer may experience concurrently. It is essential to critically consider, both before and after a performance, the hierarchical roles and power relations at work, or in other words, the nature of the political/social significance of that situation. Recently inspired by David Dunn's notations for listening and Lasse Thoresen's spectromorphological analysis of electronic music and sound, Luke is in the beginning stages of developing a notation for silence (i.e., incidental sounds, contingency).
Among his many influences, Luke is particularly inspired by the work of Samuel Beckett, John Cage, Morton Feldman, Peter Ablinger, Luigi Nono, the Wandelweiser Group, and Gertrude Stein. Luke is also part of the noise trio sinecure, playing no-input mixer along with friends Ben Levinson and Andy Young. He is currently in his final year of the M.F.A. music composition program at California Institute of the Arts, studying with Michael Pisaro. Originally from Massachusetts, Luke received his B.A. in English and Music from Colby College in Maine, graduating magna cum laude and with honors in music composition/theory. Aside from composing, Luke plays tennis, guitar in both jazz and experimental music settings, enjoys canoeing with family and friends in Maine, and always appreciates a good game of cribbage.