Louise Dierker's music falls within the genre of art music and includes compositions for piano, voice, and instruments as well as electroacoustic soundscape compositions.

Dierker's composition, Sands of Time (2000), was selected by audition for inclusion in the August 2003 electroacoustic music festival at Dartmouth College, Hanover, NH.

Collaborating with Choreographer Rebecca Patek, Dierker has created electroacoustic soundscape compositions for dance. Performances have included the Mulberry Street Theater in NYC, the Won Institute of Graduate Studies, Glenside, Pennsylvania, and the Fringe Festival and Glue Performance Series in Philadelphia.

In January 2004, Dierker was artist in residence with choreographer Rebecca Patek, at Keene State College in Keene, New Hampshire. The day of residency included two presentations and an evening recital of her chamber music and electroacoustic compositions for dance.

In July 2004 she was guest speaker at the North Unitarian Universalist Congregation, Lewis Center, Ohio, in a service which also included performance of her acoustic and electroacoustic music.

She has been awarded a fellowship by the Virginia Center for the Creative Arts and will be in residency in February 2005.

Receiving her Bachelor of Music degree in Music Education from Keene State College, Keene, New Hampshire in 1996, Louise Dierker began her career in music after twenty-five years as a physician in the practice of medicine. In 1998 she entered the Longy School of Music as a candidate for the M.M. degree in Clarinet Performance, studying in the studio of Jonathan Cohler. While there she realized her love of composition, and in 2002 received her Master of Music degree in Composition with Distinction.

Webster's Third International Dictionary defines Listening as "the act of one that listens", and Listen as, " 1. to pay attention to sound 2. to hear with thoughtful attention 3. to be alert to catch an expected sound."

In my career as a composer, especially influenced by my work in the electroacoustic realm of soundscape composition, I have become aware that the act of listening has always been a core part of my life. The sounds, and also the visual images, which surround and pervade my daily life have become an integral part of my compositional work. Listening, not only for the expected but the unexpected, provides rich material to integrate into my music, acoustic as well as electroacoustic. Through my compositions, I hope to inspire others to listen to the sounds of everyday life in a more creative way.

LIST OF WORKS BY DATE OF COMPLETION WITH TIMINGS AND PREMIERES

2004
Tuesday, July 15, 10:20AM, an electroacoustic soundscape composition 7: 30'
Keene, New Hampshire 2004
Spring in the Wetlands, an electroacoustic soundscape composition 6:30'
Philadelphia, Pennsylvania 2004
NUUC Soundscape, an electroacoustic soundscape composition 6:45'
Lewis Center, Ohio 2004
Home for the Summer, an electroacoustic soundscape composition 5:40'
E.E.M.S. a string quartet based on poems by David Patek, Mvt. I 5:30'

2003
Windward of Winterbeech reprised, an electronic collage for dance 10:30'
Philadelphia, Pennsylvania 2003
Keenside, an electroacoustic soundscape composition 12' Philadelphia, Pennsylvania 2003
Song on a Poem by Gerard Manley Hopkins, for baritone and piano 3:30'
Lewis Center, Ohio, 2004

2002
Perceptions, for Violin, Clarinet, and Piano 18:47' Cambridge Massachusetts 2002
Soundtrap, for solo percussion 6:30' Cambridge, Massachusetts 2002
Brownian Motion, for bassoon and computer 2:30' Cambridge, Massachusetts, 2002
Winterbeech and Pine, an electroacoustic soundscape composition 11:30'
Cambridge, Massachusetts 2002