Adam D. OíDell (b.1992) is an American composer, pianist, theorist, and teacher. His classical works seek to combine romanticism with jazz, rock, theatre, and folk styles into music with story-like forms, interplay between tonality and atonality, and a strong connection to visual stimuli. Recent commissions include the Dubuque Symphony Orchestra, The Oklahoma State University Symphony Orchestra, Ensemble 135, Just Duet, and the Julien Chamber Choir. His works have been performed across the United States, as well as in the United Kingdom, Czech Republic, Brazil, Germany, and Italy. He has won awards from ABLAZE Records, the Tri-State Wind Symphony, the Philharmonia of Greater Kansas City, Make Music Inc., and the Kennedy Center. O'Dell received his MM in composition from Bowling Green State University, where he has studied with Christopher Dietz, Mikel Kuehn, and Marilyn Shrude, and a BA in Music from Clarke University in Dubuque, Iowa, where he studied composition with Amy Dunker, and piano with Nancy Lease and Sharon Jensen. O'Dell is an internationally published academic writer, and has given lectures and masterclasses in composition, analysis, and biomusicology across the United States. He is a member of ASCAP and SCI, and is a licensed PARMA artist.

For a list of works, please visit


Five Dali Miniatures

Five Dali Miniatures (2014-2016) explores the abstract, quirky, simple, and philosophical styles of the Spanish surrealist painter Salvador Dali. I. The Persistence of Memory (1931), Daliís most famous painting, depicts his iconic melting clocks. This movement juxtaposes highly rhythmic, clocklike rhythms with rubato passages, indicative of Daliís deconstruction and disavowing of time as universal construct. II. The Meditative Rose (1958), is an enigmatically simple painting amongst the rest of Daliís abstract catalogue. The single line melody of this movement imitates the ensemble of the dark, simple landscape with the nuanced painting of the floating rose. III. Swans Reflecting Elephants (1937), is composed with the cello being divided along the vertical center. The high strings (swans) perform gestures that are reflected in the low strings (elephants), with musing of the two animals coming together to form a call-and-response music with the occasional asymmetric ripple. IIII. Landscape with Butterflies (1956), presents complex philosophical thought with another of Daliís simply realized paintings from the late 1950s. Fascinated by DNA, and the concept of creation, Dali depicts colorful butterflies over a desolate landscape and a cloudy blue sky. This movement depicts the wistful nature of the butterfly tempered by an airy quality and exposed aesthetics, highlighting the complexity of the butterfly against the earthy simplicity of the landscape. V. The Disintegration of The Persistence of Memory (1954) painted as a response to Daliís The Persistence of Memory, depicts the same landscape as the original, now deconstructed and with additional objects to reflect Daliís interpretation of the new modern era. Dali became fascinated with nuclear technology, and its dark implication in the war-torn mid-20th century. Deconstructed to Daliís vision of the atomic level, and transformed to juxtapose atomic biology with atomic missiles, Daliís painting suggests a dystopian future where time has fallen away as the world disintegratesÖ

I stood and stared at a lake in a rainstorm

Based on the poem of the same name. I stood and stared at a lake in a rainstorm, watched it grow absorbing its torment, and resented it when I only got wet. Text and music © Adam D. O'Dell 2017