publications
Beaudoin, Richard. 2024. Sounds as They Are: The unwritten music in classical recordings. New York: Oxford University Press.
chapters include Sounds of Breath, Sounds of Touch, Sounds of Effort, Surface Noise, The Aesthetics and Ethics of Unwritten Music, and Inclusive Track Analysis (ITA)
Beaudoin, Richard. 2023. “Micro-temporal Measurements of Two Early Debussy Recordings as the Foundation for New Music.” In Early Recordings: Academic Research and Creative Practice, edited by Eva Moreda Rodriguez and Inja Stanovic. Routledge.
Beaudoin, Richard. 2022. “Dashon Burton’s Song Sermon: Corporeal Liveness and the Solemnizing Breath.” Journal of the Society for American Music 16 (1): 1–23.
Beaudoin, Richard. 2021b. “The Pen as Camera: Finnissy and Overexposure.” Music Theory Online 27.3.
Beaudoin, Richard. 2021a. “Gould’s Creaking Chair, Schoenberg’s Metric Clarity.” Music Theory Online 27.1.
Beaudoin, Richard. 2019. “After Ewell: Music Theory and ‘Monstrous Men’.” Journal of Schenkerian Studies 12 (1): 129–132.
Beaudoin, Richard and Danick Trottier. 2013. “Conceiving Music Photorealism: An Interview with Richard Beaudoin.” Perspectives of New Music 51 (1): 174–195.
Beaudoin, Richard and Neil Heyde. 2012. “The Handless Watch: On Composing and Performing Flutter echoes.” CeReNeM: Journal of the Centre for New Music Research 3: 7–20, republished 2013 in Divergence Press 1: 7–20.
Beaudoin, Richard and Andrew Kania. 2012. “A Musical Photograph?” The Journal of Aesthetics and Art Criticism 70 (1): 115-127.
Beaudoin, Richard. 2010. “You’re there and you’re not there: Musical Borrowing and Cavell’s ‘Way’.” Journal of Music Theory 54 (1): 91–105.
Beaudoin, Richard and Joseph Moore. 2010. “Conceiving Musical Transdialection.” The Journal of Aesthetics and Art Criticism 68 (2): 105–117.
Beaudoin, Richard. 2007b. “Anonymous Sources: Finnissy Analysis and the Opening of Chapter 8 of The History of Photography in Sound.” Perspectives of New Music 45(2): 1–23.
Beaudoin, Richard. 2007a. “Counterpoint and Quotation in Ussachevsky’s Wireless Fantasy.” Organised Sound 12 (2): 143–151.
invited lectures & paper presentations
AMS/SMT 2023 Conference
Denver, Colorado — 9 November 2023
“Sound, Sex, and Somaesthetics”
session title: Gender and Voice on Record
IIICON Conference—Instruments, Interfaces, Infrastructures—An Interdisciplinary Conference on Musical Media
Harvard University, Cambridge, Massachusetts — 13 May 2023
“Wax Cylinder Music: Surface Noise as Fluttering Wings in Anna Krushelnytska’s Ukrainian Lament”
THE ROYAL ACADEMY OF MUSIC, LONDON
London, UK — 10 March 2023
“Dialogues with Recordings: Digital Memory and the Archive”
Lecture-concert devoted to my music, presented with Professor Neil Heyde and Yanyan Lin in the Angela Burgess Recital Hall at the Royal Academy of Music, London
UNIVERSITÄT FÜR MUSIK UND DARSTELLENDE KUNST, WIEN
Vienna, Austria — 6 March 2023
“On Sounds as They Are”
Lecture at the Institut für Musikwissenschaft und Interpretationsforschung in Professor Stephanie Probst’s seminar: (New) Organologies: Theories of Bodies and Instruments
TUFTS UNIVERSITY
Medford, Massachusetts — 14 February 2023
“On Sounds as They Are”
Lecture in Professor Joseph Auner’s MUS 165: Sound Studies and Sound Art
SMT/AMS/SEM 2022 Conference
New Orleans, Louisiana — 12 November 2022
“On Sounds as They Are”
Society of Music Theory: Music & Philosophy Interest Group session devoted to my forthcoming book
NAMING, UNDERSTANDING, AND PLAYING WITH METAPHORS
Toronto, Canada (held virtually) — 29 April 2022
“Mars, Blemishes, and Indexed Taboos: Recasting Noise Metaphors in Recording Analysis”
A symposium hosted by the UCLA PEER Lab & Durham University Music Department
session title: Casting the Voice
SMT/AMS 2021 Conference
(held virtually) 4 November 2021
“‘We like no noise unless we make it ourselves’: Music Theory’s (Insidious) Norms”
session title: Whose Voices? Epistemic Injustice and Exclusion in Music Academia
convened by the Committee on Accessibility and Disability
DIALOGUES: ANALYSIS & PERFORMANCE
Toronto, Canada (held virtually) — 7 October 2021
“Dashon Burton’s Song Sermon: Corporeal Liveness and the Solemnizing Breath”
SMT/AMS CONFERENCE 2020
14 November 2020
“Microtiming the Marginal: The Expressive Rhythm of ‘Insignificant Noises’ in Recordings by Claire Chase, Evgeny Kissin, and Maggie Teyte”
session title: Analyzing Recordings, chaired by Bruno Alcalde
YOU ARE HERE: FINDING OURSELVES IN THE MAPS WE MAKE
Dartmouth College
Hanover, New Hampshire — 9 January 2020
“Cartographies of Sound: Microtiming, Transcription, and Composition”
SMT CONFERENCE 2019
Columbus, Ohio — 10 November 2019
“Beethoven Overexposed: From Source to Sketch to Autograph in Michael Finnissy’s The History of Photography in Sound”
session title: From the Source, chaired by Laura Emmery
EARLY RECORDINGS: PAST PERFORMING PRACTICES IN CONTEMPORARY RESEARCH
Pushkin House, London, UK — 22 June 2019
“Early Recordings as New Music: Microtiming, Transcription, and Composition in Richard Beaudoin’s Digital Memory & the Archive” talk given with Professor Neil Heyde of the Royal Academy of Music and Rohan de Saram, Distinguished Guest Artist; included performances Bacchante and Les deux lauriers
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 CONFERENCE 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 CONFERENCE 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, 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
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 Joseph Moore, Professor, Amherst College