Born in Lansing, Benjamin Fuhrman is a graduate of the doctoral program in music composition at Michigan State University, where his principle instructors were Dr. Ricardo Lorenz and Dr. Mark Sullivan. He also holds a master’s degree in music composition from Michigan State University, and a bachelor’s degree in violin performance from Hope College, where his principle instructor was Mihai Craioveanu. He has had works commissioned from performers and organizations such as Grant Gould, Jack Kinsey, Mark Flegg, Shawn Teichmer, Ty Forquer, Jeff Loeffert, Barton Rotberg, Ryan Janus, Sam Gould, Nathan Bogert, Will Cicola, the H2 Quartet, University Reformed Church, Blacksoil Church, and the Magnolia West High School Wind Symphony. His works have been performed at the IMMARTS TechArts Festival 2007, Electro-Acoustic Juke Joint 2008 and 2009, the Digital Arts Week 2008 Diamond in the Mud Exhibition, the ARC Gallery, the 2009 World Saxophone Congress, the 12 Nights Electronic Music and Art Festival, University of Central Missouri New Music Festival 2010: Dualities, the Electro-Acoustic Barn Dance, SCENE&Heard Concerts, the STREET Festival, the 2013 SCI National Conference, the 2013 SEAMUS National Conference, the 2013 Studio 300 Festival, Colorado State University, Bowling Green State University, Oklahoma State University, and elsewhere in the US, Brazil, Switzerland, and Asia. He has also served as the composer in residence for ART342 in Fort Collins, Colorado. He maintains an active role as a performer and teacher of mandolin and computer music at the MSU Community Music School, Mott Community College, and Oakland University, and is the co-host of the podcast Patch In. His first solo album "Concrete Oasis" is now available on Amazon, BandCamp, CD Baby, Google Play, iTunes, and Spotify. For more information check out

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Exploring the Remains of a Giant (2015)

I'm fascinated by the cycle of urban growth and decay in the American Rust Belt. Growing up in Michigan, I've seen quite a number of properties fall into disrepair and neglect, with the larger ones always seeming to become gigantic scabs on the landscape – a silent testament to overreaching, and a lack of financial planning. So, when I saw the K-Mart ephemera collection, "Attention K-Mart Shoppers," posted to the Internet Archive, I knew I had to play with it a bit. The resulting piece uses store announcements (though only a handful are intelligible) in a sonic depiction of wandering through an abandoned store. These comprehensible snippets can be understood as memory, or possibly an idealization while surrounded by desolation and decay within the corpse of a former giant.

Study on Morning Religion (2007)

The primary idea behind this piece was the juxtaposition of textural elements through the blending of materials within an audio editor. With that in mind, the primary sampled sound used was the coffee maker in my office, due in a large part to its proximity to the microphone that was currently attached to my computer. Samples were then granulated and pitch-shifted to create the resulting work.

Reflections in a Gasoline Rainbow (2014)

It's been a rough year. A number of friends have died, relatives have been given terminal diagnoses, and any number of other things have generally made my life hell. As such, I haven't written nearly as much as I normally do, and when I do write, I've been throwing it all away. In fact, this is the first piece I've actually completed since the Elegy for Violin, Viola, and Computer – nearly three months ago. Like I said, it's been a rough year. In place of writing, I've been spending a lot of time practicing Bach's Sonatas and Partitas for Violin Solo, specifically the fugues, in what I suppose is a sort of gorging on musical comfort food. In any event, it's brought the idea of explicit counterpoint back into the forefront of my compositional and improvisational practice. Which is why it's so prominent in this piece. Reflections in a Gasoline Rainbow is a piece about loss and grief. It begins with the solitary, synthesized droplets, leading into a reflective passage for bansuri. As the piece progresses, other instruments are introduced, forming contrapuntal lines before fading away. The melodic lines gradually morph and change, becoming more and more blurred, while also forming contrapuntal parts. After a brief period of respite, the droplet sounds return, guiding the piece back to the lonely notes that it started on. The title is, in part, from Robert Pinsky's Impossible to Tell.