Nate May (b. 1987) is a Cincinnati-based composer whose music draws on research and imagination, often treating contemporary issues of place, migration, environment, and identity with textural intricacy, rhythmic drive, and a taste for repurposed sounds. 

Raised in Huntington, West Virginia, much of his work stems from a “fascination, love, and respect for the people” of Appalachia (Soapbox), including his oratorio State—premiered by singer Kate Wakefield (Lung) and MUSE, Cincinnati's Women's Choir—and his monodrama, Dust in the Bottomland—set in present-day West Virginia and sung by lyric bass Andrew Munn, which has been performed twelve times in seven states and broadcast on radio and television.  Large-scale collaborations include the world-touring work Spiral by choreographer/dancer Wanjiru Kamuyu and Kalahari Waits, the debut album of indigenous experimental trio Khoi Khonnexion, produced during a year in South Africa.  His chamber and electronic works have been commissioned, performed, and/or recorded by Adam Sliwinski (Sō Percussion/New York), Quartetto Indaco (string quartet/Milan), Patchwork Duo (saxophone and drum set/Cleveland), Brianna Matzke and Hajnal Pivnick (piano and violin/New York/Cincinnati), and Thea Rossen (percussion/Melbourne).  He plays Fender Rhodes in the band Firemaggot and performs frequently as a keyboard improviser.  He holds degrees from the University of Michigan (B.F.A., Jazz and Contemplative Studies) and Cincinnati’s College-Conservatory of Music (M.M., Composition), and has studied with Geri Allen, Ellen Rowe, Stephen Rush, Miguel Roig-Francolí, and Michael Fiday.  His work has received support from the Telluride Association, ArtsWave, People’s Liberty, and the Berea College Appalachian Sound Fellowship.  He currently serves as an adjunct on the faculty of Cincinnati's College-Conservatory of Music.

For score purchase, booking, or other questions, contact Nate at nathaniel.p.may@gmail.com.