About
Bio
Matthew Prockup is a composer, percussionist, and music technologist whose approach to composition is informed by his background in percussion performance, music theory, and computational music analysis. He holds a Ph.D. in Electrical Engineering from Drexel University and has spent much of his professional career researching computational methods for music analysis and recommendation at Pandora and SiriusXM. Alongside this work, he has remained involved in music performance and arranging, including writing percussion music for high school marching bands. More recently, he has begun pursuing contemporary concert music composition, exploring how interlocking rhythmic patterns, shifting harmonies, and contrasting instrumental textures can shape larger musical forms.
Artist Statement
Although music has been central to my professional and creative life for many years, I am still at an early stage in my development as a contemporary concert music composer. My background is primarily in percussion performance, arranging, and computational music research, and much of my work with music has taken place outside the traditional composition community.
More recently, I have begun dedicating more of my creative energy to writing original concert music, drawing on my experiences as both a musician and researcher. While I bring years of musical experience to this work, I am still developing my voice as a composer, building relationships with performers, and seeking opportunities to have my music performed and heard. I see this as the beginning of a new chapter in my musical life rather than a continuation of an established composition career.
Submission
Work 1
The Check-Pattern Chorale
Study No. 1
Matthew Prockup
The Check-Pattern Chorale is an interactive composition framework that transforms traditional four-part chorales into interlocking rhythmic music. Drawing on the rhythmic repetition of Philip Glass and Steve Reich, performers use dice to assign repeating patterns to individual pitches, creating overlapping duple and triple rhythms while preserving the original harmonies. With open instrumentation and room for creative interpretation, each ensemble brings its own sound and personality to a unique realization of the piece.
Nov 2026
Instrumentation: Marimba and Vibraphone
(as realized here but the score can be open)
7 minutes 30 seconds
(as realized here but the score can be open)
Work 2
- Title
- Date of Composition
- Complete Instrumentation
- Percussion/Electronic/Tech Requirements
- Stage Plot
- Timing (length of piece)
- Program Notes