Praised by The Wire for “superb” music, Anqi Liu is a composer, interdisciplinary multimedia artist, photographer, and filmmaker. Boomkat described her improvisatory synthesizer album as “detailed, narrative-driven sound,” while The San Diego Union-Tribune praised her orchestral work for its distinctive color and introspection. Her music has been featured in The Best Contemporary Classical Music on Bandcamp. Her portrait album Veiled Erosion (KAIROS) received wide acclaim from de Volkskrant, The Wire, Sonograma, Reportersonline, musiquemachine, Crescendo Magazine, and El Compositor Habla, with critics noting its fragile, intimate sonic universe and expansive cultural reach. Writing on the album, Peter Margasak observed that Liu “had already veered from any sort of conventional pathway,” situating her work within experimental lineages of instability, performer agency, improvisational tension, and communal listening.
Liu’s written, improvised, electronic, and interdisciplinary media works have circulated internationally, with performances across the United States, Europe, and Asia. Her work has appeared at KM28 Berlin, Stellwerk Hamburg, Sun Space, Pen + Brush, Coaxial Arts Foundation, Oracle Egg, Automata Theater, Downtown Music Gallery, Le Poisson Rouge, Shapeshifter Lab, The Firehouse Space, Dusk Dawn Club, Beijing Mao Live House, MIRY Concertzaal, Hotelier Porto, the Palace of Fontainebleau, etc. She has also moved through a wide range of festivals, conferences, residencies, academies, and institutional platforms, including ECCV Art Gallery, Society for the Study of Affect Conference, Elektronmusikstudion EMS, ICMC, NIME, Ligeti Zentrum Hamburg, Every Woman Biennial, Project [Blank], Reiefestival, Bludenzer Tage zeitgemäßer Musik, Neofonía Festival de Música Nueva, ACTOR at McGill University, Dog Star Orchestra Festival, Darmstädter Ferienkurse, IRCAM ManiFeste Academy, Kalv Music Academy, Connecticut Summerfest, and others.
Working across acoustic composition, free improvisation, electronics, modular synthesizer, traditional Mongolian choor khuur, multimedia, interactive system design, and audiovisual ecologies, Liu develops the Ecology of Fraysonics, a framework for listening to fragility, erosion, memory, and endurance. She is Assistant Professor and Music Production Program Lead at RMCAD and holds a Ph.D. in Music Composition from UC San Diego.
Course Credentialing
MP1000 – Music Production Styles + Analysis, MP1100 – How Music Works, MP1110 – Theories of Musical Practice I, MP1140 – Musicianship, MP1230 – Music Composition I, MP1400 – How Digital Audio Works, MP1500 – How the Music Industry Works, MP2110 – Theories of Musical Practice II, MP2140 – Critical Listening, MP2230 – Music Composition II, MP2330 – Sound Design I: Synthesis, MP2430 – Recording + Production I, MP2510 – Music Copyright + Ethics, MP3150 – Reharmonization Techniques, MP3220 – World Music Composition Resources, MP3250 – Contemporary Styles: Arrangement + Orchestration, MP3330 – Sound Design II: Creative DSP, MP3430 – Recording + Production II, MP3630 – Film + Game Music Production, MP3650 – Sound for Media I, MP3750 – Computer Music Systems, MP3840 – Digital Performance I, MP4230 – Music Composition III, MP4430 – Mixing + Mastering, MP4450 – Advanced Audio Engineering, MP4650 – Sound for Media II, MP4840 – Digital Performance II, MP4900 – Special Topics in Music Production, NS3100 – Acoustics of Music
