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Richard Beaudoin studies audio recordings, investigating the expressive rhythm of the (often overlooked) sounds made by the body of the performer, their instrument, and the recording medium itself. His book-in-progress on the subject — Sounds as They Are — contributes to the fields of analytic aesthetics, music theory, and sound studies.
Beaudoin, Richard. (forthcoming 2022). "Dashon Burton's Song Sermon: Corporeal Liveness and the Solemnizing Breath." Journal of the Society of American Music 16 (1).
Beaudoin, Richard. 2021. "The Pen as Camera: Finnissy and Overexposure." Music Theory Online 27.3.
Beaudoin, Richard. 2021. "Gould's Creaking Chair, Schoenberg's Metric Clarity." Music Theory Online 27.1.
Beaudoin, Richard. 2020. “After Ewell: Music Theory and 'Monstrous Men'.” The Journal of Schenkerian Studies 12 (1): 129–132.
SMT/AMS 2020 Minneapolis (virtual conference) — 14 November 2020 “Microtiming the Marginal: The Expressive Rhythm of ‘Insignificant Noises’ in ”Recordings by Claire Chase, Evgeny Kissin, and Maggie Teyte" [Session: Analyzing Recordings]
SMT 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: From the Source]
THE PARIS CONSERVATOIRE [Conservatoire national supérieur de musique et de dance de Paris] — 21 & 22 March 2019 "Le microminutage et la technique de l’emprunt dans ma musique" [Two invited lectures to the Analyse musicale B of Professor Yves Balmer]
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” [Session: Recorded Sound]
UNIVERSITY OF BRITISH COLUMBIA Vancouver, British Columbia— 6 March 2018 “Microtiming as a Compositional Material” at the conference Microtiming and Musical Motion
SMT/AMS 2016 Vancouver, British Columbia — 5 November 2016 “Creaking Chairs and Metric Clarity: Microtiming Glenn Gould Recording Schoenberg Op. 19/1” [Session: Performing Meter]
THE LONDON SCHOOL OF ECONOMICS London, United Kingdom — 2 June 2016 "The tenor, the vehicle, the naked base" at the conference The Transformation of Rhetoric in the 21st Century
UNITED STATES CONSULATE The Shanghai American Center, Shanghai, China — 12 May 2015 "What Makes Music Beautiful?" Hosted by The U.S. Consulate General Shanghai Public Affairs Section
EAST CHINA NORMAL UNIVERSITY Shanghai, China — 8 May 2015 "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
SHANGHAI CONSERVATORY OF MUSIC Shanghai, China — 6 May 2015 “Composition and Microtiming”
HARVARD UNIVERSITY Cambridge, Massachusetts — 20 January 2015 "Microtiming: Borrowing, Measuring, Composing", part of "Sensing the Data" FAS Group Expanding the Boundaries of Authorship
THE UNIVERSITY OF YORK York, United Kingdom — 4 June 2014 “Recent Developments in Microtiming as a Compositional Material"
HARVARD UNIVERSITY Cambridge, Massachusetts — 26 March 2013 “Writing Across Music” as part of the Seminar Series Rethinking Translation
HOCHSCHULE LUZERN MUSIK Lucerne, Switzerland — 3 May 2012 "On the Art of Composing with Micro-Temporal Data" at the Schweizerische Musikforschende Gesellschaft
THE AMERICAN SOCIETY FOR AESTHETICS Tampa, Florida — 26 October 2011 “A Musical Photograph?” with Andrew Kania (in absentia)
THE CENTRE FOR MUSIC AND SCIENCE at UNIVERSITY OF CAMBRIDGE Cambridge, United Kingdom — 23 March 2010 “Some Account of the Process of Microtiming and Musical Photorealism”
Complete list of lectures & presentations: http://www.richardbeaudoin.com/research