Jared's music and doctoral research involve the exploration and application of hauntological practices into composition—a concept that examines the persistence of the past as it intertwines with the present.

As a result, much of his music focuses on the role memory plays on perception, especially from the perspective of textural interconnection and novel technique. The appearance of the uncanny, false, broken, or half-remembered are all important facets in different ways.

Crucial to this pursuit are the malleability of memory and its ability to habituate or disintegrate, the failure of perfection, and the impact of musical camouflage on direction and perception.

The ultimate goal is to articulate the foundational generative power of imperfection in a variety of useful ways, not just for composers in practice, but also for enriching the listener’s experience, often in ways that are subtle.

Recent works that have explored some of these areas include the String Quartet No. 2, Piano Ballade No. 1, and Piano Sonata No. 3.