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Described as “intensely focused” by The New York Times, violinist Patti Kilroy is a modern-minded musician with eclectic musical interests based in New York City. Patti has performed with contemporary music ensembles like Alarm Will Sound, Argento New Music Project, ensemble mise-en, ETHEL, Hotel Elefant, Newspeak, Signal, The Wordless Music Orchestra, the avant-rock Burning City Orchestra led by Noam Faingold, metal string quartet seven)suns, and the disco band Escort. She has played in the company of a variety of artists spanning many genres, including Icelandic singer Björk, avant-jazz-funk band Medeski, Martin and Wood, Jonny Greenwood from Radiohead, the band Goldfrapp, Icelandic electronic artist Valgeir Sigurdsson, John Cale from the Velvet Underground, rock band Deep Purple, and Afro-Peruvian singer Eva Ayllón. Patti has performed in a variety of concert halls, bars, and living rooms, including Carnegie Hall, Sydney Opera House, Melbourne Recital Center, Muziekgebouw a’ant Ij in Amsterdam, the Etihad Towers in Abu Dhabi, (Le) Poisson Rouge, Merkin Hall, Roulette, Issue Project Room, Galapagos, Symphony Space, and Death by Audio. She was a Bang on a Can Summer Festival fellow in the summers of 2010 and 2011, and a New Horizons Fellowship Recipient at the Aspen Music Festival in 2013.
In addition to performing, Patti teaches violin and chamber music at Western Connecticut State University and New York University. She was a visiting faculty member at Hunter College’s Department of Music in Fall 2014 to Spring 2015, and continues to teach there as an adjunct lecturer. She is also a candidate for the Ph.D. in Violin Performance at NYU Steinhardt, studying violin with Naoko Tanaka and developing her dissertation topic with pianist Marilyn Nonken. Her dissertation research investigates performance practices in contemporary music, specifically in music for live performer(s) and electronics. Her research interests focus around contemporary chamber music from the 20th and 21st century, postmodern philosophy, music aesthetics, string quartet transcriptions, practice-based research, and the discursive role of the musical performer in society.

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