A composer who strives to create exciting and emotionally engaging experiences, Timothy Miller’s works have been performed at numerous local and regional festivals and performance spaces. His first orchestral work, …but a pattern can change, was recently premiered by soprano, Caroline Drury and the University of Louisville Orchestra, and is featured on their newest student composers recording project, released in late 2010. Miller’s recent projects have included collaborations with performers, choreographers, dancers and costume designers, which resulted in two multimedia works for the concert stage. His Inoculation Apparatus for bass clarinet, found percussion and dancer, included collaborations of two Indiana University faculty members from the Textile and Fine Arts departments, and The Seeping of 4 for mixed ensemble and 5 dancers, was included in Indiana University’s annual Hammer and Nail Project in 2010. Currently he is working on two large projects that utilize odd instrumentations and their performance spaces as apart of the composition. The composer's recent interests have also involved interactive work inside of the MaxMSP/Jitter environment. A recent work, Set/ReSET, for drumset and performer, uses the Xbox Kinect motion tracking technology to manipulate live sounds.
Miller holds degrees in composition from Arkansas State University (B.M. 2006), the University of Louisville (MM 2008), and is currently finishing his dissertation at Indiana University Bloomington (D.M.) under the guidance of Sven-David Sandström. He has studied both acoustic and computer music composition under many widely known composers such as Steve Rouse, John Gibson, John Ritz, Tim Crist, Tom O’Connor, Claude Baker, David Dzubay, P.Q. Phan, Aaron Travers, and Jeffrey Hass.