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Taylor Long is a performer specializing in contemporary percussion based in Stony Brook, NY. He has appeared at the Darmstadt Summer Course for New Music (Germany), Oh My Ears New Music Festival (Phoenix), Network Music Festival (UK), NYC Electroacoustic Music Festival, NowNet Arts Conference (NY), Avaloch Farm Music Institute (New Hampshire), Summer Institute for Contemporary Performance Practice (Boston), and So Percussion Summer Institute (Princeton). 

A native of the Pacific Northwest, he has appeared extensively in his home region at events such as the Oregon Bach Festival, Northwest Percussion Festival, Portland Design Week, Portland Winter Light Festival, and the Oregon/Washington Music Teacher’s Association Conference. He has performed with ensembles and collectives including Speak Percussion, FearNoMusic, Sound of Late, Delgani String Quartet, Burn After Listening, Stony Brook Contemporary Chamber Players, Black House Collective, and Cascadia Composers. He has worked with a wide variety of living composers including Liza Lim, Xu Yi, Margaraet Schedel, Eliza Brown, Niloufar Nourbakhsh,  Lisa Ann Marsh, Charles Peck, John Colpitts, Yiran Zhao, Adam Zuckerman, Jennifer Wright, etc. 

Taylor is a member of Ensemble Decipher, a NY-based laptop/technologically oriented composer/performer collective, with recent performances at Network Music Festival and NYC Electroacoustic Music Festival. Upcoming engagements include world premieres of works by Yaz Lancaster and Lainie Fefferman at the NowNet Arts Conference, and a telematic performance of new works for embodied irons by Margaret Schedel, Jocelyn Ho, Niloufar Nourbahksh and Chelsea Loew for the UCLA Performance Symposium. Taylor is also the co-founder and artistic director of Burnside Percussion, a flexible, Portland-based contemporary percussion project which has presented concerts in galleries, libraries, and public schools, and is currently developing new works for percussion duo and trio by Alan Hankers and Robert Cosgrove.

Other important activities include the European premiere of Liza Lim’s 75-minute work Atlas of the Sky alongside Speak Percussion; American premieres of Kate Neal’s Self Accusation for solo speaking percussionist and Xu Yi’s La Divine for ten soloists, 8-channel electronics, and film; and close collaboration with composer John Colpitts (AKA Kid Millions) for the score to the experimental theater work Hoaxers by Dan O’Brien.

Taylor also has extensive experience as a freelance orchestral player with groups such as the Oregon Bach Festival Orchestra, Oregon Mozart Players, Vancouver Symphony, Newport Symphony, Portland-Columbia Symphony, Bach Cantata Choir and Chamber Orchestra, Portland Choir and Orchestra, Eugene Concert Orchestra, Oregon Chorale, Phoenix Choral Union and more. Additionally, Taylor has performed in collaborative theater productions at the Lawrence Arts Center, and with dancers from the Portland Ballet, Lawrence Ballet, BodyVox Dance Studios, and Agnieszka Laska Dancers.

As an educator, Taylor is a graduate teaching assistant and instructor at Stony Brook University. Previously, he served as the inaugural percussion teaching artist for BRAVO Oregon Youth Orchestra, an El Sistema inspired after-school youth orchestra program in North Portland, and acted as percussion coach/instructor at several high schools in the Portland metro area. He has taught at Midwestern Music Camps, Lions Club Band Camp, East Winds Band Camp, appeared as guest clinician for Blue Valley West High School’s Percussion festival, and percussion coach for the Salem All-City Honor Band, and presented masterclasses for students of all ages.

Taylor is a DMA candidate at Stony Brook University in the studio of Eduardo Leandro. He holds a BM from Portland State University and an MM from the University of Kansas. Principal teachers include Michael Compitello, Ji Hye Jung, Jon Greeney and Joel Bluestone.