Richard Beaudoin

Assistant Professor of Music

Richard Beaudoin comes to Dartmouth after having taught music theory and composition at Harvard University for eight years (2008-16), and having held positions as Valentine Visiting Professor of Music at Amherst College and Visiting Research Fellow at the Royal Academy of Music, London.

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Recent research involves spectrographic microtiming analysis of specific recordings, emphasizing the expressive content of the small — often overlooked — sounds made by the body of the performer and their instrument. This research is connected to both the psychological phenomenon of microexpressions and Barthes’ concept of the photographic punctum. It draws from, and contributes to, the fields of analytic aesthetics, music theory, composition, and sound studies.

Published articles on microtiming, musical borrowing, and analogies between between music notation and visual art appear in The Journal of Music Theory, The Journal of Aesthetics and Art Criticism, Perspectives of New Music, Organized Sound, Divergence Press, and The Journal of the CeReNeM. Recent papers presented at SMT/AMS 2016 in Vancouver, SMT/AMS 2018 in San Antonio, and SMT 2019 in Columbus.

Invited lectures at the Paris Conservatoire [CNSMDP], the Centre for Music and Science at Cambridge University, Harvard University, The United States Consulate Shanghai Division, The Royal Academy of Music in London, The Shanghai Conservatory of Music, East China Normal University, The Steinhardt School at New York University, The New England Conservatory, Yale University, Boston University, Berklee College of Music, The University of York, and the Schweizerische Musikforschende Gesellschaft at the Hochscule, Luzern, Switzerland.

Compositions involve the pioneering use of microtiming as a compositional technique: iconic recordings are transcribed in minute detail, then treated as a palimpsest, forming a parchment over which the composer manipulates, reorganizes, and interweaves original material to create innovative new works. Performances at the Amsterdam Concertgebouw, Wiener Konzerthaus, the Laeiszhalle in Hamburg, the Brucknerhaus in Linz, the Schwetzinger SWR Festspiele, The Kitchen, Weill Recital Hall, Boston's The Institute for Contemporary Art, Calderwood Pavilion, Sanders Theatre and Jordan Hall, and in London at the Royal Festival Hall, Duke’s Hall, The Forge, The Arcola Theatre, Wilton’s Music Hall, Pushkin House, and King’s Place. Commissions from Konzerthaus Dortmund, Staatstheater Kassel, the President of Harvard University, Sound Icon, and Boston Lyric Opera.

Ensembles and performers of these compositions include Claire Chase, Roomful of Teeth, Boston Lyric Opera, the Kreutzer Quartet, the Chiara String Quartet, Sound Icon, Transient Canvas, Mark Knoop, Colin Davin, Marilyn Nonken, Constantine Finehouse, Wolfram Rieger, Ulrich Naudé, Jan Philip Schulze, Philip Howard, Serge Vuille, Carl Rosman, Peter Sheppard Skaerved, Neil Heyde, and Rohan de Saram. Vocal music sung widely by artists including Annette Dasch, Dashon Burton, Estelí Gomez, Joseph Kaiser, Annika Sophie Ritlewski, Frank Kelley, and Kevin Burdette. Upcoming recordings include Another Woman of Another Kind, based on stories by Paul Griffiths, commissioned by Claire Chase and recorded at Meyer Sound by Claire Chase and Roomful of Teeth.

Dartmouth courses include:
MUS 43: Modern Classical Music 
MUS 42: Early Classical Music
MUS 41.01: Debussy the Innovator 
MUS 40.02: Topics in Music History: Nineteenth-Century Music
MUS 23: Timbre & Form 
MUS 16.01: Visual Music
MUS 3.02: American Music: Covers, Theft, and Musical Borrowing
MUS 1: Beginning Music Theory

NB: Beaudoin is pronounced bōd-win.

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Personal Website
Room 46, Hopkins Center for the Arts, Department of Music
HB 6187
Ph.D. Brandeis University
M.Mus. The Royal Academy Music, London
B.A. Amherst College, summa cum laude