“The purpose of art is to reflect society;

it must be revisited through a new lens with a new perspective,

and that lens is art.”


Dorothy Hindman’s unique music has been called “bright with energy and a lilting lyricism” (New York Classical Review), “dramatic, highly strung” (Fanfare), “varied, utterly rich and sung with purpose and heart” (Huffington Post), “powerful and skillfully conceived” (The Miami Herald), and “music of terrific romantic gesture” (The Buffalo News).  Of her latest CD Tightly WoundICON magazine says, “Hindman’s music weds technique and syntax of classical music with the directness and impudence of rock. Highly recommended for rockers wishing to get their proverbial feet wet in post-20th century classical music.”

Her over seventy-five works, many of which engage with autobiographical or social issues, include: seven orchestral pieces; a full-length opera; three concerti; a youth opera; ten choral works; fifty chamber works; music in digital media forms; and more.  

Her over 400 performances span 30 states and 16 countries, in major venues including Carnegie Hall, the United Nations, Boston’s Jordan Hall, the American Academy in Rome, Amsterdam’s Muziekgebouw, Berlin’s BKA-Theater, and Miami’s Adrienne Arsht Center.  Numerous festival appearances include the Havana Contemporary Music Festival, Australian Flute Festival, 2015 Birmingham New Music Festival, Charlotte New Music Festival, and Nuovi Spazi Musicali Festival. 

Fusing her punk background with classical refinement, Hindman’s music pushes the boundaries of performance techniques.  It is played by the world’s best new music performers, including Empire City Men’s Chorus (NYC), Splinter Reeds (San Francisco), Bent Frequency (Atlanta), ensemble dal niente (Chicago), Corona Guitar Kvartet (Denmark),Caraval Quartet (NYC), Atlas Saxophone Quartet (Chicago), Bang-on-a-Can’s bassist Robert Black, cellist Craig Hultgren, percussionist Stuart Gerber. Orchestra appearances include the Alabama Symphony, the Florida Orchestra, the Women’s Philharmonic Orchestra and the North Florida Symphony.  Her collaboration with artist Sally Johnson has been exhibited in major museums throughout the Southeast. 

Hindman’s awards, recognition, and adjudicated performances include the American Prize, three Gold Medals in the 2017 Global Music Awards, 2017 ISCM/New Music Miami, 2017 Boston Microtonal Society, Iron Composer 2015, a 2015 Artist Access Grant from the Miami-Dade County Department of Cultural Affairs, NoteNova Choral Competition, Almquist Choral Composition Award, Nancy Van de Vate International Composition Prize for Opera, International Society of Bassists Solo Composition Competition, the NACUSA Young Composers Competition, and more.  

Guest teaching appearances include the 2018 Charlotte New Music Festival, the 2016 Summer Composition Intensive at St. Mary’s College, the 2016 and 2017 Miami International Piano Festival Academy, and the 2015 AmiCa Credenze POP Festival in Sicily. Her residencies include 2017 and 2009 Seaside Escape to Create Fellowships, Visiting Artist at the American Academy in Rome, the Visby International Centre for Composers, and Composer-in-Residence for the Goliard Ensemble. 

Her music appears on twelve CDs, including her critically acclaimed Tightly Wound (innova 965) and Tapping the Furnace (innova 878). “Hindman offers extraordinary glimpses into interesting topics, concepts of modernity and structured complexity. … for many listeners the composer’s first CD Tapping The Furnacerepresents a remarkable discovery,” says Kulturni Magazin UNI. Recent releases on include Albany include her orchestral work Setting Century Symphony on Frost Symphony Live (2018), and the title track on Corona Guitar Kvartet’s Taut (2015). Other labels include Capstone and Living Artists. Scores are available from Subito Music, NoteNova, and dorn/Needham.  

Hindman is Associate Professor of Composition at the Frost School of Music, University of Miami.  She received her Doctorate of Musical Arts from the University of Miami, and a Master of Arts from Duke University.  She has been new music critic for the Miami Herald and South Florida Classical Review, and hosted WVUM’s Po Mo Show, devoted to a post-modern mix of classical music written since 1980.