Brittany J. Green (b. 1991) centers her work as a composer and educator around her vision to create unique sounds, spaces, moments, and opportunities that engage audiences and challenge their thinking. Her music explores the intersection between sound, movement, and poetry and finding new ways to define relationships between the three. A Masters of Music in Composition/Theory candidate at East Carolina University (ECU), Brittany is a graduate assistant with the North Carolina NewMusic Initiative.  As such, she assists with planning and grant writing for the initiative’s programming, presents grant-writing workshops for graduate students, and serves as a liaison between the NC NewMusic Initiative and the ECU Lab School on behalf of the initiative’s Young Composers Project. Her music has been featured at NYCEMF, BGSU Graduate Conference, and the Crossing Borders: Women Composers Around the World Concert Series. She has presented research and demonstrations on gestural musical instruments at ECU’s Research and Creative Arts Week (RCAW) and Intersection@ Art and Science Symposium.  As a composer, she has participated at SPLICE Institute and Snowpond Composer’s Workshop. Brittany is a member of Pi Kappa Lambda Music Honors Society, Sigma Alpha Iota, and Society of Composers, Inc.



The Sound of Color Project (2018)

The Sound of Color Project is a virtual reality installation built around the idea of connecting light with sound. Using a color to pitch algorithm to draw connections between light and sound frequencies, the installation allows participants to explore a world where every color on the visible spectrum has its own sound. 

Performance History

  • March 25, 2018: Phase I of The Sound of Color Project premiered
  • Fall 2018: Phase II will be presented in Greenville and Raleigh North Carolina

conversations in a private room (2018)

Conversations in a Private Room explores the timbre of the human voice juxtaposed with white noise and sine waves. The source material for this piece comes from several hours of recorded conversations about life, love, and philosophy. The performer interacts with prerecorded sounds through physical gestures, each of which triggers a new sound or alters an existing sound. The piece is realized through collaboration between a Myo armband, Myo Mapper software, and MaxMSP.

Performance History

  • March 25, 2018: World Premiere, AJ Fletcher Recital Hall Greenville, NC

feel Like this (2017)

Feel Like This is a fixed media piece realized in Pro Tools. The source material comes from 9 year old Zianna Oliphant's speech against police brutality at a Charlotte City Council Meeting. In the piece I explore what happens when her gripping plea encounters white noise- the juxtaposition, convergence, and power struggle between two opposing sounds.

Performance History

  • March 28, 2017: World Premiere, AJ Fletcher Recital Hall Greenville, NC
  • October 1, 2017: Rebel 60 Literary and Arts Exhibition, Emerge Art Gallery Greenville, NC
  • July 21, 2018: New York Electronic Music Festival, Abrons Art Center New York, NY

the sounds you left behind (2018)

Sounds can evoke emotionally charged memories.  Scientists have found that sensory information is often coupled with emotional information, allowing sounds to acquire an emotional meaning.  Using the text of Sonia Sanchez's "Poem No. 3," The Sounds You Left Behind explores the sounds of loss emptiness, content, and reflection.

Performance History

  • March 25, 2018: World Premiere, AJ Fletcher Recital Hall Greenville, NC
  • March 28, 2018: North Carolina NewMusic Initiative's Premiere Performance Recital, AJ Fletcher Recital Hall Greenville, NC

let love speak...then let love be silent. (2017)

let love speak...then let love be silent. is an interlude for percussion, speaker, and body.  Featuring marimba and crotales, this work is inspired by Jason Schneiderman's "Stories About Love."  Written in AB form, the piece juxtaposes the quirky and dramatic ways we speak of love and the stillness and quietness of love felt deeply.

The A section, labeled "Love; speaking through storytelling animals" features a rhythmically active texture interrupted by abrupt stops, silences, and sustains.  The B section, "love quietly felt in its touch and known by its face," is rhythmically static in comparison and features a wider pallet of timbral colors.  


Movement and sound

A discussion exploring the intersection of movement and sound and how technology can be used to redefine that relationship.

Presentation History

  • March 26, 2018: East Carolina University Research and Creative Arts Week, Greenville, NC
  • March 28, 2018: Intersection@ Art and Science, Greenville, NC

upcoming projects

  • The Sound of Color Project, phase II
  • Coding for Kids: Teaching Music and Design through MaxMSP- a lecture presentation and curriculum for music educators at the North Carolina Music Educators Association Conference, November 2018