recent research

Latest work uses microtiming analysis to investigate the expressive content of all sounds captured within specific recordings — including non-scored sounds made by the performer’s body and their instrument. This research is connected to both the psychological phenomenon of microexpressions and Barthes’ concept of the photographic punctum.

Recent papers include “Creaking Chairs and Metric Clarity: Microtiming Glenn Gould Recording Schoenberg Op. 19/1” given at SMT/AMS Vancouver on 5 November 2016, and “Solti Recording Time in Mahler: Microtiming and Phrase Rhythm Annotations in Two Conducting Scores of the Fourth Symphony” given at SMT/AMS San Antonio on 4 November 2018. Gave lecture on microtiming as the guest of the University of British Columbia at its March 2018 symposium “Microtiming and Musical Motion.”

Member of the Society of Music Theory [SMT] interest groups within SMT include Performance & Analysis (Commissioning Editor for the PAIG blog) and Autographs & Archival Documents. Member of the New England Conference of Music Theorists [NECMT].

publications

Perspectives of New Music 51, no. 1 (2013): 174–195.
“Conceiving Music Photorealism: An Interview with Richard Beaudoin” interview conducted by Professor Danick Trottier, UQÀM, Montréal

CeReNeM: Journal of the Centre for New Music Research 3 (2012): 7–20. republished in Divergence Press 1 (2013): 7–20.
“The Handless Watch: On Composing and Performing Flutter echoes” co-author: Professor Neil Heyde, Royal Academy of Music, London

The Journal of Aesthetics and Art Criticism 70, no. 1 (2012): 115-127.
“A Musical Photograph?”co-author: Professor Andrew Kania, Trinity University

The Journal of Music Theory 54, no. 1 (2010): 91-105.
“You’re there and you’re not there: Musical Borrowing and Cavell’s ‘Way’”

The Journal of Aesthetics and Art Criticism 68, no. 2 (2010): 105–117.
“Conceiving Musical Transdialection” co-author: Professor Joseph Moore, Amherst College

Perspectives of New Music 45, no. 2 (2007): 1–23.
“Anonymous Sources: Finnissy Analysis and the Opening of Chapter 8 of The History of Photography in Sound”

Organised Sound 12, no. 2 (2007): 143–151.
“Counterpoint and Quotation in Ussachevsky’ s Wireless Fantasy”

invited lectures & paper presentations

THE PARIS CONSERVATOIRE [CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANCE DE PARIS] — 21 & 22 March 2019
Two invited lectures in the classes of Professor Yves Balmer (Analyse musicale B)

SMT/AMS 2018 San Antonio, Texas — 4 November 2018
“Solti Recording Time in Mahler: Microtiming and Phrase Rhythm Annotations in Two Conducting Scores of the Fourth Symphony”
at the formal session Recorded Sound I

MICROTIMING & MUSICAL MOTION A Symposium at The University of British Columbia— 6 March 2018
“Microtiming as a Compositional Material”
guest of The Rhythm Research Cluster

RIMS LECTURE SERIES The University of Massachusetts Amherst, Massachusetts — 14 April 2017
“Creaking Chairs and Metric Clarity: Microtiming Glenn Gould Recording Schoenberg op. 19/1”

SMT/AMS 2016 Vancouver, British Columbia — 5 November 2016
“Creaking Chairs and Metric Clarity: Microtiming Glenn Gould Recording Schoenberg Op. 19/1”

PERFORMANCE SCIENCE NETWORK CONFERENCE Bath, UK — 15 July 2016
“Bacchante: an analysis of a production of a performance of a composition based on a transcription of a recording”
Given with Simon Zagorski-Thomas, Neil Heyde, Andrew Bourbon & Amy Blier-Carruthers
In absentia: my talk given as pre-recorded audio with slides

THE LONDON SCHOOL OF ECONOMICS London, England — 2 June 2016
International Conference “The Transformation of Rhetoric in the 21st Century ”
Lecture: "The tenor, the vehicle, the naked base"

UNIVERSITY OF CALIFORNIA, BERKELEY Berkeley, California — 4 March 2016
Composition colloquium: "Ideas about Microtiming, with selections from the Études d'un prélude, The Artist and his Model, Ebenbild and Digital Memory and the Archive"

NORTHEAST MUSIC COGNITION GROUP 2016 Meeting, Harvard University, Cambridge, Massachusetts — 16 January 2016
“Creaking Chairs and Musical Form: Microtiming Glenn Gould playing Schoenberg Op. 19/1”

BOSTON UNIVERSITY Boston, Massachusetts — 20 October 2015
Colloquium: “On Pacing, Performance and Composition”

BRANDEIS UNIVERSITY Waltham, Massachusetts — 17 September 2015
Colloquium: “On Pacing, Performance and Composition”

UNITED STATES CONSULATE : THE SHANGHAI AMERICAN CENTER Shanghai, China — 12 May 2015
Lecture: "What Makes Music Beautiful?"
Host: The U.S. Consulate General Shanghai Public Affairs Section

EAST CHINA NORMAL UNIVERSITY Shanghai, China — 8 May 2015
Lecture: "自然VS人类 – Nature Versus Man: Linear Analysis of Lieder by Schubert and Schumann"
part of the research program Study on Chinese and Western Modern Music from Perspective of Semiotics
Host: Yan Zheng, Associate Professor of Music, East China Normal University

SHANGHAI CONSERVATORY OF MUSIC Shanghai, China — 6 May 2015
Lecture: “Composition and Microtiming”
Host: Professor Zhang Wei, and Professor Zhou Qian, Shanghai Conservatory of Music

HARVARD GROUP FOR NEW MUSIC Cambridge, Massachusetts — 27 April 2015
Colloquium: “On Ebenbild, Bacchante, and my Recent Music”

BERKLEE COLLEGE OF MUSIC Boston, Massachusetts — 8 April 2015
Colloquium: "Microtiming: Borrowing, Measuring, Composing"

HARVARD UNIVERSITY Cambridge, Massachusetts — 20 January 2015
Lecture: "Microtiming: Borrowing, Measuring, Composing", part of Sensing the Data
FAS Group Expanding the Boundaries of Authorship, Martin Shreiner, Harvard University

BOSTON UNIVERSITY COMPOSERS FORUM Boston, Massachusetts — 4 November 2014
Colloquium: “On my Music"

THE UNIVERSITY OF YORK York, UK — 4 June 2014
Lecture: “Recent Developments in Microtiming as a Compositional Material"

YALE UNIVERSITY New Haven, Connecticut — 10 April 2014
Lecture: “Rhythm and Temporality” in the class of Ève Poudrier, Yale University

THE LONDON SCHOOL OF ECONOMICS London, England — 7 June 2013
International Conference “Copies, Casts and Replicas”
Invited lecture/recital on my compositions, with pianist Mark Knoop

HARVARD UNIVERSITY Cambridge, Massachusetts — 26 March 2013
Lecture: “Writing Across Music” as part of the Seminar Series Rethinking Translation,
invited by Professors Stephanie Sandler and Sandra Naddaff

YALE UNIVERSITY New Haven, Connecticut — 12 December 2012
Lecture: “The Concept of Time” in the class of Paul North, Associate Professor, Yale University

HOCHSCHULE, LUZERN - MUSIK Lucerne, Switzerland — 3 May 2012
Guest of the Schweizerische Musikforschende Gesellschaft
Lecture: "On the Art of Composing with Micro-Temporal Data"

THE AMERICAN SOCIETY FOR AESTHETICS Tampa, Florida — 26 October 2011
Lecture: (in absentia) with Dr Andrew Kania, Professor, Trinity University: “A Musical Photograph?”

DARTMOUTH COLLEGE Hanover, New Hampshire — 6 October 2011
Lecture: “On Time in my Recent Music” to the Dartmouth Composers Forum

HARVARD UNIVERSITY Cambridge, Massachusetts — 17 February 2011
Harvard Thinks Big: “Experiencing Time in Music”
Chosen in campus-wide poll as one of 10 professors to address 1000 undergraduate students on a general topic

HARVARD GROUP FOR NEW MUSIC Cambridge, Massachusetts — 20 September 2010
Colloquium: “Micromeasured Interpretations as Compositional Material”

UNIVERSITY OF CAMBRIDGE The Centre for Music and Science Cambridge, England — 23 March 2010
Lecture: “Some Account of the Process of Microtiming and Musical Photorealism”
Invited by Nicholas Cook, 1684 Professor of Music, University of Cambridge

UNIVERSITY OF CAMBRIDGE The Faculty of Music Composition Cambridge, England — 23 March 2010
Lecture: “On my Recent Music”

THE ROYAL ACADEMY OF MUSIC London, England — 13 March 2010
Research Event devoted to the Étude d’un prélude series
Lecture: “Micro-measured Interpretations as Compositional Material”
with additional talks by Dr Olivier Senn and Lorenz Kilchenmann (Hochschule, Luzern)
and performances by the Kreutzer String Quartet and Mark Knoop

NEW YORK UNIVERSITY The Steinhardt School of Music New York — 7 February 2010
Research Event devoted to the Étude d’un prélude series
Lecture: “Some Account of the Process of Microtiming and Musical Photorealism”

THE AMERICAN SOCIETY FOR AESTHETICS Northampton, Massachusetts — 16 November 2008
Paper: “Conceiving Musical Transdialection”; co-authored with Dr Joseph Moore, Professor, Amherst College