Dorothy Hindman’s music, a blend of punk/grunge with a spectralist sensibility, has been described as “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), “music of terrific romantic gesture” (The Buffalo News) and “one of the hopes of the present chamber music” (Kulturni Magazin UNI).

Her over 350 performances span 30 states and 16 countries, including major venues such as 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, Nuovi Spazi Musicali Festival, Imagine, and New Music Greensboro.

Hindman’s music has been commissioned and performed by the world’s top new music performers including most recently the Bent Frequency Chamber Ensemble (Atlanta), Pulse Ensemble (Miami), Empire City Men’s Chorus (NYC), virtuosi including Bang-on-a-Can’s bassist Robert Black, cellist Craig Hultgren, guitarist Paul Bowman, percussionist Stuart Gerber, the Caraval Quartet (NYC), the Goliard Ensemble (NYC), the Atlas Saxophone Quartet (Chicago), the Corona Guitar Kvartet (Denmark), and orchestras including the Women’s Philharmonic Orchestra (reading session), the Alabama Symphony, the Brevard Symphony Orchestra, and the North Florida Symphony Orchestra.  Her installation with artist Sally Johnson Projections and Reflections has been exhibited in multiple museums throughout the Southeast.

Hindman’s many awards and recognitions include Iron Composer 2015, a 2015 Artist Access Grant from the Miami-Dade County Department of Cultural Affairs, a 2015 University of Miami Provost Research Award, NoteNova Choral Competition, Caprice Saxophone Quartet, Black House Collective, Almquist Choral Composition Award, Nancy Van de Vate International Composition Prize for Opera, International Society of Bassists Solo Composition Competition, ASCA/National Symphony Orchestra/Kennedy Center Commission Competition, G. Schirmer 1997 Young Americans Choral Competition, an Alabama State Council on the Arts Individual Artist Fellowship, and the NACUSA Young Composers Competition.

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

Her music appears on ten CDs, including her critically acclaimed solo CD Tapping the Furnace (2014), submitted for Grammy consideration. “Hindman offers extraordinary glimpses into interesting topics, concepts of modernity and structured complexity. … for many listeners the composer’s first CD Tapping The Furnace represents a remarkable discovery,” says Kulturni Magazin UNI. Most recently, her work is the title track on Corona Guitar Kvartet’s Taut (2015) on Albany Records.  Her next solo CD Tightly Wound, a collection of string works, will be released on innova in Summer, 2017.  Other labels include Capstone and Living Artists. Scores are available from Subito Music, NoteNova, and dorn/Needham.

A native of Miami, Florida, Hindman is Associate Professor of Composition at the Frost School of Music, University of Miami.  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.