Melissa Grey collaborates with artists, architectural designers, creative technologists, musicians, and other composers. Recently, she has composed for Tom Piercy, ETHEL, Miolina, and The Occasional Noise Trio (Derin Oge, Cesare Papetti, William Lang). She has created kinetic scores based on combinatorial memory wheels: blur (after blue hour) for Payton MacDonald’s Sonic Divide project and Volvelle for the Bowers-Fader Duo. Grey's Environnement sonore, composed with the modular synth benjolin, was broadcast in the gallery space for the exhibition curated by artist Angela Grauerholz, Michèle Lemieux | The Whole and Its Parts, From drawing to animated films, exhibited at the Centre de design, Université du Québec à Montréal September-November 2016.

With artist and animator Nicole Antebi, she has ongoing animation-sound projects that include live performance and processing with Grey performing a vintage Merlin music machine: Procrustean Bed, composed for violinist Lynn Bechtold, premiered at the 2016 New West Electronic Arts and Music Organization Festival in San Diego, and later performed by Miolina violin duo (Mioi Takeda and Lynn Bechtold) at the National Opera Center (2017, NYC) and by Lynn Bechtold at the Ars Electronica Show at La Cupula Gallery (2017, Córdoba, Argentina); and Magic Square, a triple collaborative effort, features new music by synthpop pioneer, Vince Clarke, and premiered at the Morbid Anatomy Museum (2016, Brooklyn, New York).

Grey has received awards and funding from Department of Cultural Affairs, NYC; Lower Manhattan Cultural Council, Manhattan Community Arts Fund, American Music Center, Composer Assistance Program, and ASCAPlus Awards, Concert Music Division.

Grey has taught Sound Studies at the School of Media Studies at The New School in New York City since 2009. She is a Board Member of Miolina, the violin duo of Lynn Bechtold and Mioi Takeda. Previous positions include: Associate Director of Composers Concordance 2015 - 2018 and Artistic Director of Circuit Bridges, a monthly electroacoustic concert series in New York City at Gallery MC and around the world from 2014 - 2015.


In 2016, Grey & David Morneau created a collaborative partnership l'Artiste ordinaire. They build expansive projects to collaborate with other musicians, artists, engineers, scientists, creative technologists, and designers to share experiences that are rooted in sound and stretch out to include performance, art, design, architecture, and potential literature. l'Artiste ordinaire introduced themselves with a text-based electronics performance for Hans Tammen’s 100th Anniversary of Dada at Spectrum NYC; this first collaboration, GADGET BERRY DIMPLE: A GLOSSARY OF FALSE TRANSLATION has been published by Circumference journal, which supports poetry in translation. They were subsequently commissioned by the University of Pennsylvania’s Kislak Center to create PHOTON ECSTASY, an “endless composition” that engages music, sound, and interactive light. New York Arts wrote that with repeated listenings “there’s more to be moved and impressed by, to learn from.” The project has grown to reach beyond music resulting in poetry, animation, artist’s books, and interactive lighting components. For BIOPHONIC BEATS, a structured improvisation designed for large-scale participation, they have been awarded the 2018 Joan C. Edwards Distinguished Professor of the Arts Visiting Artists at Marshall University, School of Music, West Virginia, and were selected as the 2018 Toy Piano Pioneer Resident Artists at the Boyd Hill Nature Preserve in Florida. SOFT SERIES, l’Artiste ordinaire’s concert series dedicated to presenting soft premieres of new music features a single artist performing a long-form composition for a curated audience. Soft Series has featured: Thomas Piercy/Bin David Li, Eve Beglarian/William Lang, Ensemble of Irreproducible Outcomes, Nicole Antebi, Elizabeth A. Baker, The Bowers-Fader Duo, Craig Hultgren, Miolina (Lynn Bechtold & Mioi Takeda), and thingNY/Varispeed.

 photo: Marc Fiaux