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
NECMT 2024 ANNUAL CONFERENCE [Northeast Conference of Music Theorists] Boston University, Boston, Massachusetts — 20 April 2024 Keynote address titled “Inclusive Track Analysis”
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