Commercial Releases

Chaotic Neutral (2022)
non-narrative sounds from the evolving spaceship

A sound doesn’t have to hold human meaning to carry weight and identity.

This is a collection of sounds presented without specific narrative, but with deep appreciation for the unique beauty inherent in each sonic moment.

Remain Calm. This Is Just A Test. (2021)
Recorded at The Radcliffe Institute for Advanced Study at Harvard University

Quadrivium (2018)
“After some thought, I have come up with an album name Quadrivium. I am drawn to this name because I’ve been very fascinated with the actual Quadrivium for several years and a copy of it is always on my studio desk. It also, ties into my concept of what a new renaissance artist is because it covers arithmetic, geometry, music and astronomy… all subjects that are of interest to me in my creative practice.”

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.

{this is not a piano album} (2016)
(noun) an album in which, a keyboard connected to hammers striking strings with 88 distinct pitches, is never played.

Compositions and structured improvisational works by Elizabeth A. Baker for a cast of instrumental characters played by Elizabeth A. Baker including toy piano, Indian harmonium, theremin, electronics, synthesizer, and found objects; with assistance from Dawn Pufahl (viola) and Fofi Panagiotouros (clarinet).

{a series of strange narratives} (2015)
A collection of electroacoustic works for piano and voice, exploring a series metaphysical programatic themes.

Non-Commercial Releases

Is your new lover popping up constantly in your thoughts? You can thank serotonin, as research has found that serotonin deficiencies of those people with Obsessive-Compulsive Disorder are akin to the serotonin levels of people who are “newly in love.” This piece of viola, toy piano, and live electronics is based on the molecular structure of serotonin.

On the other side of your perception is another world… Is what you perceive as love part of a mutually agreed upon reality or is it just a massive deception? (for toy piano and viola)

The Iteration Project, founded by the wonderful Harper Addison in Tennessee, gives participants a prompt each week and then asks them to interpret the prompt in any medium of their choosing. The prompt for the week of April 10 was *Falling* and, I took on the task of interpreting the prompt as well as experimenting with my new gear to create a short piece, which I then posted on Soundcloud. My interpretation of falling came more from the idea of “falling from grace” and those that fall from grace in our society are seen as outcasts. While I didn’t broach the subject further, on a publicly traceable platform, I did ruminate on the subject of falling from favor throughout the week. How often in our lives do we fall from the grace of our friends, loved ones, and professional colleagues? Quite often throughout our lives, because nobody on this earth is perfect… How do we rebuild our reputation after a fall from grace? Can we rebuild our relationships after a fall from grace? These last two questions are highly subjective and do not have universal answers… thus leading me to an intellectual impasse.

Memory quilts are made by collecting meaningful pieces of fabric from one or more individuals, cutting the fabric to conform to a specific pattern, and finally, binding them together with thread to create a cozy blanket. A sonic memory quilt is created by collecting stories from many individuals and fastens them together through music or other sound creation devices.

Recorded live on October 1, 2015 at The Carter Woodson Museum of African American History in St. Petersburg, Florida. Funding for this sound installation was made possible by the Saint Petersburg Arts Alliance and the Mayor’s Office of Cultural Affairs.

Impressions of Ancient Earth is a musical tableaux depicting “pivotal” moments in the evolution of earthly consciousness.

The sparse nature of the first movement “Primordial Sunrise” echoes the tenuous realization of light, the first sunrise, and the first day.

“Morningtide Pandemonium” paints the picture of all natural things finding their voice or rather it portraits the discovery of the perception of sound.

Constant and yet jilted, the third movement, “The Invention of Time” explores the first temporal experiences on this plane.

“Abstract Courtship Dances” sets the scene of man and woman in the proverbial Garden of Eden. This movement largely speaks to three discoveries of man – the perception of another being, attachment to another being (i.e. love), as well as fear and retreat.

The final movement “Campfires & Descent Into Madness” is a representation of man’s discovery of fire and embracing of the dark stories told by night fires – the oral tradition which formed the first ancient religions/belief systems.

All three movements employ a technique of what could be called for lack of a better name, “iterated reverb.” Simply put iterated reverb takes the source sound and sends via a bus it to a reverb with a long delay (ex. 6 seconds) then product of this reverb is then feeds the bus of another reverb and so on until four or more reverb voices have been created.

I. Out of Season
An hommagé to both Reich and Lucier, this work employs both phase shifting and experiments with “iterated” reverb. Further the work plays with formal relationships as both Piano I and Piano II parts have inverted and retrograde inverted relationships with each other. On an extrinsic level the movement expresses feelings of chaos as well as the relationship between ease and tension.

II. Hommagé á Pärt
Following the very active first movement the second movement as a tribute to Estonian composer Arvo Pärt expresses peace, centering, and divine presence; through experimentation with minimalism. Iterated reverb creates a blurring effect which turns the solo piano into an ethereal orchestra.

III. Impromptu Senza Corda
The final movement Impromptu Senza Corda or Impromptu without a chord is just what it’s translation implies. A soundless chord is voice in the left hand while the right hand excites these fundamentals and their associated harmonics with a light, merry, and free linear line which extends through the duration of the movement.

In 2013, Florida composers and friend, Jim  Ivy asked Elizabeth to participate in a performance of his work Milton Bradley in a performance in Orlando. On March 9, 2014, The New Music Conflagration presented the work at The St. Petersburg Main Library. This live solo work was created on the spot using parameters set in place by Ivy. A full explanation of the piece can be found here.

Recorded live at St. Petersburg Library in St. Petersburg, Florida on January 5, 2014.

This work is the amalgamation of eleven individual aleatoric works, which together form the larger work. The scores were expressed as a series of “decision flowcharts” whereby each performer made choices about how they wanted to proceed through “the map”; phrases were expressed in serial cells and a large degree of personal expression was encouraged. Every phrase (with the exception of the piano and drum set in this recording) was serialized both rhythmically and harmonically through the composer’s own stylized technique of serialism. The vocalists represent the surface structure of the piece, that being the familiar extrinsic elements of the musical world –The Muse, The Artist, and The Audience/The Critic. The instrumentalists represent the deeper structures of intrinsic musical language and the universe. The use of convolution reverb, particularly varied algorithms is used to create an otherworld in which each of the dramatis personae exists. The mix has been left static and automation was avoided so that the listener may experience something new in each listening by following their own ears rather than the composer’s/engineer’s predilections.

In 2011, I began playing regularly for art openings and events at the Leepa-Rattner Museum in Tarpon Springs, Florida. For one particular event the museum personnel asked for me to create a jazz trio. So I got a couple of friends together for the gig but due to conflicting schedules we were unable to practice together before the event. It was decided that I would improvise standards on the spot and everyone would jump in where it felt right and thus the trio was born. Later the trio morphed into a quartet and became Quartet Chromatica the official Student Ensemble-In-Residence of St. Petersburg College. This suite is an extension of that same spirit though the works are much more fleshed out than the first time the trio got together I like to think that they still maintain that fresh energy that has turned so many a room of stuffy, posh, administrators into a “hopping” event.

This work fully embraces free tonality. The concepts interwoven throughout the composition are a painting of meditation, an embrace of a Tai Chi-like movement of the aura and a centering of the self. Composed by Elizabeth, this piece was premiered by composer-pianist Daniel Joiner at St. Petersburg College on September 22, 2011.

Elegie, inspired by the death of Baker’s beloved aunt, Jean Plummer. The piece is a graceful farewell to a woman who stood as a role model of strength, compassion, femininity, humility, beauty and regal comportment. Composed by Elizabeth, piece was premiered by conductor-pianist  Dr. Susan Robinson at St. Petersburg College on September 22, 2011.