Aubrie Powell is working towards a Master of Music degree in composition at the University of Missouri-Kansas City Conservatory of Music and Dance (UMKC) where she studied with Dr. Zhou Long and James Mobberley. She received a Bachelor of Music degree in music composition from Baldwin Wallace University Conservatory of Music (BWU) where she studied with composer in residence, Dr. Clint Needham. At BWU Aubrie studied double bass with Henry Peyrebrune and Charles Carlton and presently she is studying double bass with Jeffery Kail at UMKC. Currently, working on her Masters Thesis in completion of her degree, Aubrie is working on a multi movement orchestra work that started with Promenade. Other projects include attendance at the Society of Composers’ Inc. National Conference for a performance of her piano trio that incorporates vocalization, aɪ Kænt Spiːk and collaboration with artist Taylor Fourt on a short animated film, Birthmark. She had a reading by the Cleveland Chamber Symphony of her chamber orchestra work, The Hermit, and BWU Symphony Orchestra premiered her orchestral work, Promenade. She collaborated with a librettist to write a short chamber opera, The Raindance Café, and has worked with a choreographer on three works presented in the BWU Fyoo zh en dance concerts 2013-2015. Aubrie has written incidental music for two Shakespeare productions at BWU, All’s Well that Ends Well and Henry IV Part 1. Her latest endeavors include a collaborative cello solo work, Three Panels, and an orchestra work Amelia.

Link To Resume:

Johnson county library interview, Listen Local, with Bryan Voell:



For Flute/Piccolo, Baritone Saxophone, Classical Guitar, Cello, Piano, performed by Bent Frequency for the Charlotte New Music Dance Concert Summer 2016. This was a workshop in collaboration lead by Vincent Thomas. The choreographer for this piece was Kelly McGill.

aI Kaent Sp:k

PDF score

For violin, cello, piano, premiered at UMKC Composers’ Guild Concert 12/11/15 and at the Exchange of Midwestern Composers Conference in Boulder 4/9/16. Pronounced “I can’t speak” in the International Phonetic Alphabet, the concept of this piece is drawn from the fact that instruments cannot speak. This is an obvious statement, but considering the enormous amount of expectation placed on a performer to express through their instrument it is also ironic. Most instruments alone cannot make a noise without a person initiating the vibration. To integrate the performer with the instrument, vocal sounds are used to enhance instrumental sounds. Three main sounds are used: “aɪ,” “ts,” and “k.” “K” is used to add a percussive element and strengthen Bartok pizzicatos. “Ts” is described in the performance notes as sustained and percussive, like a sizzling frying pan, and imitates sweeping along an inside piano string. “Aɪ” is the closest to speaking and is said like “eye.” This adds a curious element of almost speaking and a gliding pitch to pose a question. The build up of the work starts with a halting noise component that adds a pitch and then develops into a rising fifth motif. Then the movement becomes more articulate, but stops before the phrase is over. Through swells and murmurs the theme is steadily revealed until stated in its entirety. Following this is a synthesis of the vocalization and noise component. Finally flowing, the instruments ramp up to come to a screeching final halt.


PDF score

Five characters in a human world they believe their own, yet which holds them hostage in an eternal struggle between order and chaos: this piece is a perspective inspired by The Chronicles of Chaos trilogy by John C. Wright. These characters are members of different realms of chaos to which they cannot return without risking the destruction of their present world. This piece is in a fantasy style both in story and music. Starting with a forming space (wind noises and soft clicking) that gradually focuses through an oscillatory figure into fragments of the characters’ themes. Once all characters are present, chaos ensues, obliterating the musical space, which had formed. Shocked and unsteady the initial space returns with wind noise, soft clicking, and the oscillatory figure. A march to the end of the movement accompanies the character’s exits, who leave though a giant set of golden carved doors that slam behind them with a boom. This has a very thick orchestration bordering on cacophony. Old and new musical ideas are presented and layered. The end homogenizes in gesture climbing and receding until the last notes resound like a great door closing.

The Colored Horses

PDF score

My sister extemporaneously improvised the colored horses’ story while we were walking; a chalk colored horse on the sidewalk had inspired her. I have an interest in working with speaking and music because to my eyes the performers are people as much as they are instruments. They are people who have spent years working on mastering an instrument to create sound, and that is what they want to showcase in a performance. But there is a huge part of the process that is not recognized by the audience. The audience does not see the hours of practice and preparation in a recital or the number of people it takes to make such a thing possible. Most of this is taken for granted. I see speaking as a way to humanize the performers to the audience. To reach out to them and say “I am a person who has spent thousands of hours mastering my craft and I am also a person who has family and friends that I talk to and engage with by speaking.” In this piece I wanted to use the humanness in storytelling and place it in a musical landscape. I am working with several textures starting with a guitar harmonic intro as the hook. I proceed with the beginning of the story with a speaking and guitar duet. A gestural build-up comprises the space between the speaking until there is a break. A bar of silence separates this from the fast moving landscape of the horses. This is minimalist influenced texture that shifts between tonalities. It is my hope this piece is interesting to play and listen to while still provoking thoughts of passing pleasure and beauty found in the natural world.