Research

PUBLICATIONS

Refereed Articles

“Hearing Timbre at the Crossroads.” Article contributed to Symposium on The Race of Sound: Listening, Timbre, and Vocality (2019), by Nina Sun Eidsheim. Kalfou: A Journal of Comparative and Relational Ethnic Studies 8, nos. 1-2 (in press).

“Encoding Post-Spectral Sound: Kaija Saariaho’s Electronic Works at IRCAM, 1982–87.” Music Theory Online 27, no. 3 (2021).

“Pt I, Transmedial Aesthetics and Mimetic Models in the Music of Panayiotis Kokoras,” and “Pt II, Transmediation as Compositional Process: An Interview with Panayiotis Kokoras.” Nuove Musiche 5 (2021): 121–141.

“Reassembling Kaija Saariaho’s Vers le blanc (1982).” Mitteilungen der Paul Sacher Stiftung 33 (2020): 37–44.

“Playing with Shadows: Reinjection Loops and Historical Allusion in Georg Friedrich Haas’s Live-Electronic Music.” Circuit: musiques contemporaines 29, no. 2 (2019): 63–82.

“Strange Yet Familiar Sounds in Zosha Di Castri’s String Quartet No.1.” Circuit: musiques contemporaines 28, no. 2 (2018): 83–98.

Book Chapters

“Rhythm Quantization: Notes on the History of a Technocultural Practice.” Chapter for the Oxford Handbook of Time in Music, edited by Mark Doffmann, Emily Payne, and Toby Young, 347–372. Oxford: Oxford University Press (in press).

Conference Proceedings

“Graphic Music Representations: A Comparative Study Based on an Aural Analysis of Philippe Leroux’s M.É.Proceedings of the Electroacoustic Music Studies Network Conference (2014).

Book Reviews

Review of Sound Unseen: Acousmatic Sound in Theory and Practice, by Brian Kane. Music Theory Online 21, no. 1 (2015).

Audio Publications

“Making Orchestras Speak/ Making Computers Listen.” SMT-POD: The Society of Music Theory Podcast, Season 1 (in production).

Coauthored Publications

“Sensate Sovereignty: A Dialogue on Dylan Robinson’s Hungry Listening.” Coauthored with Sadie Couture, Jonathan Sterne et al. Amodern: Currents (2020).

Manuscripts In Preparation

“(Electro)Acoustics, Optics, and Ideology in the Music of Georg Friedrich Haas.” Chapter coauthored with Amy Bauer, in The Oxford Handbook of Spectral Music, edited by Amy Bauer and William Mason, forthcoming 2022.

“Formatting Timbre: Computer-Assisted Orchestration and the ACTOR Network.” Article to be submitted for review in Summer 2021.

“Distributed Creativity and Transductive Processes in Philippe Leroux’s Quid sit musicus?.” Article to be submitted for review in Summer 2021.

“Max for Live: Converging Cultures in New Musical Media.” Article to be submitted in Summer 2021.

PRESENTATIONS

Invited Lectures

“New Music, New Media: Two Moments in the History of Voice Synthesis.” Presented at the Musicology and Music Theory Colloquium Series at University of Colorado at Boulder, CO (February 24, 2020).

Refereed Conference Papers

“Computer-Assisted Orchestration, Format Theory, and the Social Construction of Timbre in New Media Culture.” Presented virtually at the IRCAM Forum Workshops–Hors les murs, Montreal, QC (February 4–12, 2021). An earlier version of this paper was delivered virtually at the annual meeting of the Music Theory Society of New York State, Long Island, NY (July 7, 2020).

“Digital Labor and the Musical Exchange Value of Max for Live Devices.” Presented virtually at the joint annual meeting of the American Musicological Society and the Society of Music Theory, Minneapolis, MN (November 7–15, 2020).

“Encoding Post-Spectral Thought: Kaija Saariaho’s Early Electronic Works at IRCAM, 1982–87.” Presented at the annual meeting of the Society of Music Theory, Columbus, OH (November 7–10, 2019). Earlier versions of this paper were presented at the International Conference on Spectralisms, 2nd Edition, Paris, FR (June 12–14, 2019) and the annual meeting of the Music Theory Society of New York State, Albany, NY (April 6–7, 2019).

“From Bell-Boy Chimeras to Speaking Orchestras: Spectral Modeling Techniques in the Music of Jonathan Harvey.” Presented at the annual meeting of the New England Conference of Music Theorists, Montreal, CA (April 13–14, 2019).

“On Re-assembling Transmedial Artifacts for the Study of Computer-based Music.” Presented at the annual meeting of the Society for Cinema and Media Studies, Seattle, WA (March 13–17, 2019).

“Stumbling onto the Grid: A Loose History of Rhythm Quantization.” Presented at the annual meeting of the American Musicological Society, Rochester, NY (November 9–12, 2017). An earlier version of this paper was presented at ‘Making Time in Music’: An International Conference, Oxford, UK (September 12–14, 2016).

“Playing with Shadows: Re-injection Loops in Georg Friedrich Haas’s Liveelektronische Musik.” Presented at the annual meeting of the Society of Music Theory, Arlington, VA (November 2–5, 2017). Earlier versions of this paper were presented at the 9th European Music Analysis Conference, Strasbourg, FR (June 28–July 1, 2017) and the West Coast Conference of Music Theory and Analysis, Santa Barbara, CA (April 21–23, 2016).

“Technomorphic Transcriptions in Philippe Leroux’s M (1997), m’M (2003), and AMA (2009).” Presented at the 4th International Conference on Tracking the Creative Process in Music, Huddersfield, UK (September 14–16, 2017).

“Copy-Paste Aesthetics, Distributed Creativity, and Max for Live Software.” Presented at the Toronto International Electroacoustic Symposium, Toronto, CA (August 10–13, 2016).

“Tools for Creating Graphic Music Representations: A Comparative Study Based on an Aural Analysis of Philippe Leroux’s M.É.” Presented at the International Conference for the Electroacoustic Music Studies Network, Berlin, DE (June 10–14, 2014).

“A Modified Approach for Grundgestalt Analysis: Developing Variation and Dissolution in Alban Berg’s String Quartet, Op. 3, mvt. 1.” Presented at the Rocky Mountain Society of Music Theory Conference, Greeley, CO (March 30–31, 2012).

Conference Panels and Workshops

Session Chair, “Performance as Technology/Analysis.” International Symposium on Dialogues: Analysis and Performance, Toronto, CA (October 7-9, 2021).

Lightning Talk and Panel Discussion, “Timbre Course Design.” Analysis, Creation, and Teaching of Orchestration (ACTOR) Project Year-3 Workshops, virtual meeting (July 16, 2021).

Session Chair, “Lecture Recitals on Music, Apocalypse, and Social Change.” Harvard Graduate Music Forum Conference, Cambridge, MA (February 19, 2021)

Lightning Talk, “Towards an Analytic of Transduction for Musical Media.” Presented virtually at the Music and Media Study Group/ Film and Multimedia IG session at the joint annual meeting of the American Musicological Society and the Society of Music Theory, Minneapolis, MN (November 7–15, 2020).

Session Chair, “Performance, Text, and Musical Mediation.” Harvard Graduate Music Forum Conference, Cambridge, MA (February 8, 2020).

Lightning Talk, “Sounds, Sketches, Software: Transmediation as Compositional Process in Post-Spectral Music.” Presented at the Autographs and Archival Documents IG session at the annual meeting of the Society of Music Theory, San Antonio, TX (November 1–4, 2018).

Lightning Talk, “Max for Live: On the Convergence of Two Music Software Paradigms.” Co-presented with Ian Hattwick and Victoria Simon at the annual symposium for the Centre for Interdisciplinary Research in Music Media and Technology, Montreal, QC (June 1, 2016).