Richard Beaudoin

|Assistant Professor of Music
Academic Appointments

Assistant Professor of Music

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.

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Contact

603.646.1391
Room 46, Hopkins Center for the Arts, Department of Music
HB 6187

Education

  • Ph.D. Brandeis University
  • M.Mus. The Royal Academy Music, London
  • B.A. Amherst College, summa cum laude

Selected Publications

  • Beaudoin, Richard. 2020. “After Ewell: Music Theory and 'Monstrous Men'.” The Journal of Schenkerian Studies 12 (1): 129–132.

  • Beaudoin, Richard, and Danick Trottier. 2013. "Conceiving Musical Photorealism." Perspectives of New Music 51 (1): 174-195.

  • Beaudoin, Richard, and Neil Hyde. 2013. "The Handless Watch: On Composing and Performing Flutter echoes." CeReNeM: Journal of the Centre for New Music Research 3: 7–20.

  • Beaudoin, Richard, and Andrew Kania. 2012. "A Musical Photograph?" Journal of Aesthetics and Art Criticism 70.2012: 115-127.

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Selected Lectures & Presentations

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