EPK

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. Elizabeth has received recognition from press, scholars, and the public for her conceptual compositions and commitment to inclusive programming. Elizabeth has been awarded numerous fellowships, grants, residencies, and corporate sponsorships.

STYLE NOTES
When referring to Elizabeth in print, her full name and middle initial are always used —
Elizabeth A. Baker.

In print and speech, the shortened version of Elizabeth A. Baker is just Elizabeth.

Elizabeth’s preferred pronouns are she/her.

Elizabeth’s preferred honorific title is The Honourable Elizabeth A. Baker, which should be used in lieu of “Ms. Baker.”

In lieu of an other title or label such as composer, performer, author, etc., Elizabeth is always a referred to as a “new renaissance artist.”

Click here for Elizabeth’s biography in blurb, short, medium, and long formats.

PRESS & REVIEWS

“Saying Elizabeth A. Baker plays toy pianos is like saying the Hubble telescope takes photos.” – Tampa Bay Times

“…Baker’s unorthodox approach toward composition and performance shows her unique perception of the world.” – Jeff Brown, VAN Magazine

“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

“As distinguished as the other composers she interpreted in this performance are, Baker’s own pieces were by far the most provocative. Work like this is a sterling testimonial to her artistry that proves she’s not just an expert in the toy piano field but a pioneer.” – The Orlando Weekly

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

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

“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

“…what hooks you and reels you in is her intensity and immense talent on the piano.” – The Weekly Challenger, Saint Petersburg, Florida

Elizabeth A. Baker on falling in love from the point of view of a neurotransmitter, making music from bicycle parts, and the legacy of Nina Simone. – Listening to Ladies (Episode 15)

PHOTOS

RECENT LIVE PERFORMANCES

COMMERCIAL RELEASES

PUBLICATIONS

Ain’t I A Woman Too – New Music Box (2018)
The Resonant Life: Attack. Decay. Sustain. Release. Resonate.Ain’t I A Woman Too (2018)
Musings of a Young Composer (2016)
Toyager: A Toy Piano Method (2016)

SPONSORSHIPS, AWARDS, & HONOURS

Marjorie Bruce Holland Memorial Artist-In-Residence – ÆPEX CONTEMPORARY PERFORMANCE – Michigan, USA (2020)
2019-2020 ACF Connect Award – St. Paul, MN & Chicago, IL (2019)
Individual Artist Grant, State of Florida (2019-2020)
Pitt County Schools – Sound Artist Residency – Greenville, NC (2019)
Visual Art Headliner, Oregon Fringe Festival – Ashland, OR (2019)
Laboratory for Live Electronic Audio Performance Practice (LLEAP) – Phoenix, AZ (2018)
Artist Endorsement, Source Audio LLC – Woburn, MA (2017)
Individual Artist Award, St. Petersburg Arts Alliance – St. Petersburg, FL (2017) 
Professional Artist Fellowship, Creative Pinellas – Pinellas County, FL (2017)
Guest Artist, co-incidence residency – Somerville, MA (2017)
Official Artist, Schoenhut Piano Company – St. Augustine, FL (2015) 
Individual Artist Award, St. Petersburg Arts Alliance – St. Petersburg, FL (2015)