Photo by Charlotte Suarez

Celebrated for her “terrifying dynamic range,” cleanliness of sound, as well as unique sensitivity and ability to sculpt her performance for the acoustics of a space, Elizabeth A. Baker is a dramatic performer with an honest, near psychic connection to music, which resounds with audiences of all ages and musical backgrounds. As a creator, her understanding of sonic space from organic intuition and studies in music production, pair with a unique eclectic voice, making for a spatial and auditory experience of music. Eschewing the collection of traditional titles that describe single elements of her body of work, Elizabeth refers to herself as a “New Renaissance Artist” that embraces a constant stream of change and rebirth in practice, which expands into a variety of media, chiefly an exploration of how sonic and spatial worlds can be manipulated to personify a variety of philosophies and principles both tangible as well as intangible.

An active performer highly sought after for her unique concert presentation methods, which break the fourth wall and draw the audience further into the music by asking them to listen beyond the surface through interactive dialogue, reminding them that there is no such thing as an incorrect interpretation of a work. Elizabeth firmly believes that every person will encounter music in a unique manner because each person comes from a different set of cultural norms, life experiences, and even the way they physically hear can be a factor to consider when seeking to relate with a work. Her solo concert tours have featured engagements at Lamar University (Beaumont, TX), Flying Monkey Arts Collective (Huntsville, AL), Eyedrum (Atlanta, GA), Southern Methodist University (Dallas, TX), Georgia Museum of Art (Athens, GA), and the Good Shepherd Chapel (Seattle, WA). As a mixed media movement performer her collaborative work has been presented at The Joslyn Museum of Art (Omaha, NE), The Gallery at Avalon Island (Orlando, FL) as well as at St. Petersburg Opera (Saint Petersburg, FL).

Emmy-award winning composer Larry Groupé has referred to her works as “Perfect.” and compared one of her early works to Debussy’s Engulfed Cathedral. Elizabeth’s works have been featured by performers, programming organizations, and online publications including: Composers Circle, I Care If You Listen, TEDxYouthTampaBay (Tampa, FL),  Tenth Intervention (NYC), Verdant Vibes (Providence, RI), OME Festival (Phoenix, AZ), Voic(ed) Project (Chicago, IL), The Florida Orchestra (Tampa Bay, FL), The Furies (Los Angeles, CA) as well as at Electronic Music Midwest Festival, and the 19th International Festival of Women Composers. Her compositions and work as an arts advocate have been studied in academic institutions throughout the United States including USC-Thornton, University of Buffalo, and the University of Georgia – Athens.

In 2015 she received an Individual Artist Award from the St. Petersburg Arts Alliance and the City of Saint Petersburg, Florida to create and present an original sound installation In Our Own Words: A Sonic Memory Quilt, which told the stories of various African-Americans in a fresh avant-garde manner, framed by evolving drones and a four-hour live performance by Elizabeth. Additional honors include, a 2017 Professional Artist Fellowship from Creative Pinellas; a guest artist spot in the inaugural co-incidence residency in Somerville, MA with master resident Michael Pisaro, who described her compositions as a marriage Schoenberg, Cage, and Satie; as well as a 2017 Individual Artist Award from the St. Petersburg Arts Alliance.

In addition to her work on the concert stage and on the page, writing for other performing artists, Elizabeth has extensive training in recording arts, live sound reinforcement, and consistently received praise as well as high marks for the artistic sensibility and technical excellence of her mixes at St. Petersburg College, where she studied closely under mastering engineer Dave Greenberg. Today, friends and colleagues across the globe, frequently look to her as a consultant on projects for her skills as both a recording and mix engineer.


Photo by Elizabeth A. Baker

Combining her love of electronics and keyboard instruments, Elizabeth embarked on a mission in 2015 to promote works for toy piano and electronics, using a setup that combines handmade microphones and hydrophones. Her original works have been hailed by the Orlando Weekly as “a sterling testimonial to her artistry that proves she’s not just an expert in the toy piano field but a pioneer.” In Fall 2015, Schoenhut Piano Company added Elizabeth A. Baker to their official artist roster.

Between 2016 and 2017, Elizabeth began working extensively with dancers on a number of projects including works for film, stage, and workshops which primarily featured toy piano, electronics, and Indian harmonium, a keyboard instrument that rarely appears on the Western musical concert stage. With the support of her mover colleagues and friends, Elizabeth began incorporating movement in her own performances, adding new depth to her interdisciplinary practice. In 2017 Source Audio LLC, officially endorsed Elizabeth for her innovative work creating musical compositions through physical choreography using their Hot Hands USB Wireless MIDI Controller technology. A sensitive improviser, with experience in a wide array of genres, Elizabeth is a frequent collaborator for improvisational ensembles throughout the United States.

Elizabeth is author of Toyager: A Toy Piano Method, the first comprehensive instructional book for toy piano, featuring principles of technique, practice strategies, music notation, as well as improvisational tactics. Additional books include a multimedia collection of writings and photographs called Musings of a Young Composer and Compositions for the Contemporary Student Pianist, an anthology of solo piano pieces. As a solo artist, Elizabeth has self-released numerous albums including: {this is not a piano album} (2016), A Series of Strange Narratives (2015), A Sonic Memory Quilt (2015), Music for Possible Probable Ghost Listeners (2015), {BAGGAGE CLAIM} (June 2015), and Solo Piano Compositions In Recital (2011). In 2017, Elizabeth signed with California-based Aerocade Music, her first release on the label, Quadrivium was released in May 2018 to rave reviews. In early-2019 her first motivational book The Resonant Life which is inspired by my personal experiences in the music industry, life lessons, anecdotal stories, and universal methods for navigating the road of success; the book has light-hearted and serious content that speaks to a wide-audience with advice for people no matter what field or season of life they might be in at present; the book will additionally work to de-stigmatise issues in mental health, physical health, and other things that musicians/performing artists and workers tend to mask out of fear of judgment from employers, colleagues, and loved ones, will be released via physical copy, e-book, and audio book. As an experimental filmmaker, her work has been shown at festivals including Women of the Lens (United Kingdom), and the African Smartphone International Film Festival (Nigeria).

We can’t talk about equity and inclusion and harmony when we are pitted against each other in the set concrete of defensive rhetoric.

Elizabeth is founder of The New Music Conflagration, Inc., a nonprofit created to promote the work of contemporary composers and musicians. She is also, founder of the Florida International Toy Piano FestivalIn March 2018, amid growing success with regard to her solo career, Elizabeth retired from nonprofit arts management to fully pursue her artistic endeavors. Elizabeth still remains committed to new music promotion and community by presenting experimental music workshops across the United States.

IMG_0221The Resonant Life: Attack. Decay. Sustain. Release. Resonate.

Like a Phoenix that is constantly reborn, Elizabeth A. Baker presents a motivational book, drawing lessons and stories from her life as a professional musician. Each story in this a deep, profound, gripping, and light-hearted text, is paired with guided self-reflection questions which inspire the reader to evaluate various aspects of their own lives in pursuit of a more conscious meaningful and purpose driven existence.




Quadrivium is Elizabeth A. Baker’s debut album on Aerocade. It is a double disc sized digital release of minimalist solo piano compositions, avant garde prepared piano improvisations, meditative new-age tracks, spoken word, and electronics

Quadrivium is available for download and streaming worldwide via iTunes, Bandcamp, Amazon, Deezer, Google Play, and more. The Bandcamp release of the album comes with a companion zine full of poetry and artwork by the Elizabeth. A limited edition double CD wallet package comes with a copy of printed 5.5″x8.5″ zine designed by the Elizabeth.

“A more than impressive debut…” – Textura

“New perspectives, perhaps, are Quadrivium’s best exports. The album isn’t a conventional listen by any means; the title is a nod at the idea of curricula involving the “mathematical arts” of arithmetic, geometry, astronomy, and music. But Quadrivium isn’t burdensome — or laborious, either. It’s an invitation to get focused, unplug from distractions, and take a lap around an extensive work of art. And hopefully learn a little bit about yourself when it’s all said and done.” – Ray Roa, Creative Loafing Tampa Bay

Baker’s striking high/low piano contrasts follow a hypnotically circling, glacial pace in the thirteen-plus minutes of the album’s opening track, Sashay. Subtly and slowly, her icicle accents grow more spacious, with the occasional unexpectedly playful accent… Lots of flavors and lots of troubling relevance in an album which has a remarkably persistent awareness even as Baker messes with the listener’s imagination. – New York Music Daily

“In Quadrivium, Elizabeth A. Baker does more than show the different ways that historical and modern influences can co-exist, she does so with purpose.  She illuminates the ways that the changing digital world is changing us. She embraces the future cautiously while avoiding nostalgia for the past. She warns of the consequences of our rapidly changing world while leading us into the future anyway.  She acknowledges the dangers that lie ahead but equips us with her own quadrivium of lessons in a variety of subjects & mediums.” – Erin Marie Hoerchler for The Sybaritic Singer

It is as contemporary as anything you will hear, and it is not afraid to combine deftly timbral and sound-color beauty in striking ways. The music is visceral. The words are frank yet poetic. – Gregory Edwards