Dorothy Hindman

In November–December 1994, she completed additional studies at the Atlantic Center for the Arts with composer Louis Andriessen, reflected in her interests in the formal structures of Bach and Stravinsky as well as her adaptations of social and popular influences in her music.

She has written solos for virtuosic performers including bassist Robert Black (Bang on a Can), cellist Craig Hultgren, guitarist Paul Bowman, and percussionists Stuart Gerber and Scott Deal.

Her music has been performed at major venues across the world, including Weill Recital Hall at Carnegie Hall; the United Nations; and the Adrienne Arsht Center (Miami); internationally in France; Germany; Italy; Copenhagen, Denmark; Catania, Sicily; Havana, Guantanamo, and Las Tunas, Cuba; Canberra, Australia; Estonia; London, England; and Montreal, Canada; and throughout the United States, including: NYC, Brooklyn, and Harlem, New York; Miami, Wynwood Arts District, Gainesville, Tallahassee, and Brevard, Florida; Connecticut; Pittsburgh, Pennsylvania; St. Paul, Bloomington, and Ham Lake, Minnesota; Camden, New Jersey; Atlanta, Georgia; Flagstaff, Arizona; Birmingham, Auburn, Tuscaloosa, and Gadsden, Alabama; Chattanooga; Durham, Winston-Salem, Charlotte, and Greensboro, North Carolina; and.

Elements of her personal style include economy of materials; works such as "drowningXnumbers" for amplified cello (1994 for Craig Hultgren) show intense extension and development of a single idea to create complex organic structures.

More recent works such as Tapping the Furnace for speaking percussionist (2006) and Nine Churches for guitar quartet and chamber orchestra (2006-7) focus on the cultural, social and economic legacies of industrialization, slavery, and racist policies in the New South.

(2014) for speaking saxophonist and percussionist and Rough Ride (2016) for speaking cello, are part of her Trademarking Trayvon cycle for chamber orchestra Bent Frequency of Atlanta, exploring and musically integrating ideas and emblems of African American expressions of grief and outrage in the wake of the epidemic of gun violence and murder of black men and women, specifically focusing on the ways in which protest became product around the most sensationalized cases.

Metric schemes correspond to meaningful numeric patterns such as telephone numbers; harmonic structures may be based upon names, dates, places; emotional levels are subtle, complex, and varied within a single work.

It is a language of connotations; within each piece, a new syntax is fully established to allow the perceptive, active listener to respond to or to complete fragmentary statements, which the composer, in turn, comments upon, verifies or denies later in the work.