MUSIC & SOUND STUDIES
Instigators of Experimental Artwork: Resonances of Jane Addams in arts education, in Women in Pragmatism: Past, Present, and Future. ed. Núria Sara Miras Boronat and Michela Bella. (Cham: Springer Switzerland, in press)
Toward a Critical Technical Practice, in Sound Work: Composition as Critical Technical Practice, ed. Jonathan Impett. (Leuven: Leuven University Press / Orpheus Institute, in press), 89-103.
Peirce’s Aesthetic of Experiment, in Experience Music Experiment: Pragmatism and Artistic Research, ed. William Brooks. (Leuven: Leuven University Press / Orpheus Institute, 2021), 217-226. ISBN 978-94-6270-279-0 (print); 978-94-6166-392-4 (online);
Doubtful Sound: Points of View. Echo, Issue #2 – Networks, ed. Juan Parra Cancino. July 2021. Online journal project of the Music, Thought, Technology (MTT) research group, Orpheus Institute, Ghent, Belgium. https://echo.orpheusinstituut.be/article/doubtful-sound ISSN: 2736-5824 (online)
Spectromorphology, Animal Voices, Dynamic Soundscapes: Investigative Listening, in Sound Art and Music: Philosophy, Composition, Performance, ed. John Dack, Tansy Spinks and Adam Stanović. (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2020), 52-69. ISBN 978-1-5275-5781-9 (print).
Hidden Encounters: seeking unpredictable yet responsive interactivity, in The Global Composition 2018: Conference on sound, ecology, and media culture Proceedings, ed. Sabine Breitsameter and Cansu Karakiz. (Darmstadt: Printmedien, Hochschule Darmstadt, 2018), 466-469.
Contemporary Indonesian Composition: Elastic-edged experimentalism. Asian Music, 34 (1), 111-153, Fall/Winter 2002-03.
Reviews of Albert Glinsky, Theremin: Ether Music and Espionage and Mother Mallard’s Portable Masterpiece Co. 1974-1976: Like A Duck To Water. Computer Music Journal, 26 (3), 84-86, Fall 2002.
Review of The Poetics of Simple Mathematics in Music, by Pozzi Escot. Computer Music Journal, 25 (1), 67-68, Spring 2001.
Review of 40 Rooms, CD ROM, by Alvin Lucier. Computer Music Journal, 24 (2), 110, Summer 2000.
Change Over Time: Responsibility and power in the midst of catastrophe. Leonardo Music Journal, Vol. 9, 95-101, 1999.
Review of The Composer in the Computer Age: VI, CD. Computer Music Journal 22 (1), 79-80, Spring 1998.
Indonesian Metamorphosis: Synthesis and transformation in three compositions. International Alliance for Women in Music Journal, June 1994, 16-19.
– – – – -> selected Music PRESENTATIONS:
Collaboration and Experiment in Cage and Hiller’s HPSCHD: Messages for a future global world. ReVIEWING Black Mountain College 12: Revisiting John Cage. Black Mountain College Museum and Arts Center, Asheville, North Carolina. 2021
Divergent Sonic Cultures: Investigating the vocalizations of large whales and birds. Sound Instruments and Sonic Cultures: An interdisciplinary conference. National Science and Media Museum, Bradford, UK. 2020
Instigators of Experimental Artwork: Progressive traces of women arts educators. Feminist-Pragmatist Philosophy Colloquium, St. John Fisher College in Rochester, New York. 2019
Doubtful Sound. The Power of Musical Networks, Orpheus Institute, Ghent, Belgium. 2018
Non-Human Temporalities: Songs of Black-capped Vireos and Blue Whales. Out of Time, SLSA conference, Arizona State University, Tempe, AZ 2017
On Growth and Form in Experimental Music Composition and Analysis. On Growth and Form 100, Dundee, UK. 2017
Towards a Critical Musical Practice. Sound Work – Composition as Technical Practice, Orpheus Institute, Ghent, Belgium. 2016
Spectromorphology, human affinities, animal voices. MuSA, Karlsruhe, Germany. 2016
The Spaces of Animal Voices: in the ears of elephants and whales. Sounds in Space, University of Derby, UK. 2016
Scientific Listening: Representing and exploring dynamic animal soundscapes. University of York, University of St Andrews, Plymouth University, UK. 2016
Scientific Listening: Radical Perception? Performance, Subjectivity and Experimentation in Artistic Research, Orpheus Institute, Ghent, Belgium. 2016
“My God! What has sound got to do with music?” Gesture and relationship as compositional materials in two pieces by Christian Wolff. Christian Wolff Study Days, Orpheus Institute, Ghent, Belgium. 2015
Enigmatic Findings: Discovering large cetacean vocalizations. Listening to Nature: The sounds of conservation. American Society for Environmental History, Washington, D.C. 2015
Listening to Birds in Flight: Sonification of migration pathway data. With Sharinne Sukhnanand & Daniel Fink, Deep Listening Art/Science: The 2nd Annual International Conference, Troy, NY. 2014
Erasing the Glitch. f(Glitch): The function of Glitch Colloquia, Stony Brook, NY. 2014
Listeners are observers and musicians
& Round Table: Hearing vs. listening, artistic and scientific perspectives. Deep Listening Art/Science: The 1st Annual International Conference, Troy, NY. 2013
SOUNDSHAPE Soundscape. Listening to Birds Symposium, University of Aberdeen, UK. 2009
Natural Sound: Science, Music, Experiment–Early Macaulay Library recordings
and some listening they inspired. Cornell Lab of Ornithology Monday Night Seminar, Ithaca, NY. 2007
Nightingale Song: Musical analysis, scientific synthesis. Nightingalia conference, Sibelius Institute, Finland. 2007
Singing the notes between the keys. With Martin Hatch. Society for Ethnomusicology conference, Atlanta, GA. 2005
Composing music for electro-acoustic environments. Media Ecology conference, Rochester, NY. 2004
Towards a simultaneous differentiation of musical systems: the use of catastrophe theory, envelope structures, and real-time re-synthesis in an interactive performance environment
The 8th Biennial Symposium on Arts and Technology, New London, CT, 2001
Catastrophe theory and musical composition. Cornell University Society for the Humanities, Ithaca, NY, 2000
Women and music technology: Ada Lovelace, Daphne Oram, Pauline Oliveros, Hildegard Westerkamp, Lydia Kavina. Sigma Alpha Iota, Hartwick College, Oneonta, NY, 2000
I Nyoman Wenten’s Merapi: Investigating cultural boundedness through improvisation
Improvising Across Borders symposium, San Diego, CA, 1999
Anticipating the Unexpected: Using the computer to realize musical models. University of Illinois, Urbana-Champaign, IL, 1998
Composing Ammalagammala and Helios. University of Washington, Seattle, WA, 1998
Amy D. Whitt, M.E.M.; Ann M. Warde; Lenisa Blair; Ken J.P. Deslarzes; Claude-Henri Chaineau. Recent occurrence of marine mammals and sea turtles off Angola and first report of right whales since whaling era. in press. Marine Biodiversity Records.
Charles A. Muirhead, Ann M. Warde, Ingrid S. Biedron, A. Nicole Mihnovets, Christopher W. Clark, Aaron N. Rice. Seasonal acoustic occurrence of blue, fin, and North Atlantic right whales in the New York Bight. Aquatic Conservation: Marine and Freshwater Ecosystems, 1–10 (early view online), 2018. https://doi.org/10.1002/aqc.2874
Genevieve E. Davis, Mark F. Baumgartner, Julianne M. Bonnell, Joel Bell, Catherine Berchok, Jacqueline Bort Thornton, Solange Brault, Gary Buchanan, Russell A. Charif, Danielle Cholewiak, Christopher W. Clark, Peter Corkeron, Julien Delarue, Kathleen Dudzinski, Leila Hatch, John Hildebrand, Lynne Hodge, Holger Klinck, Scott Kraus, Bruce Martin, David K. Mellinger, Hilary Moors-Murphy, Sharon Nieukirk, Douglas P. Nowacek, Susan Parks, Andrew J. Read, Aaron N. Rice, Denise Risch, Ana Širović, Melissa Soldevilla, Kate Stafford, Joy E. Stanistreet, Erin Summers, Sean Todd, Ann Warde, Sofie M. Van Parijs. Long-term passive acoustic recordings track the changing distribution of North Atlantic right whales (Eubalaena glacialis) from 2004 to 2014. www.nature.com/ScientificReports, 7:13460, 2017. DOI:10.1038/s41598-017-13359-3
Charif, R., Rahaman, A., Muirhead, C., Pitzrick, M., Warde, A., Hall, J., Pyc, C., Clark, C. Bowhead whale acoustic activity in the southeast Beaufort Sea during late summer 2008-2010. Journal of the Acoustical Society of America, 134(6), 4323-4334, 2013.
Dugan, P., Ponirakis, D., Zollweg, J., Pitzrick, M., Morano, J., Warde, A., Rice, A., Clark, C., Van Parijs, S. SEDNA – Bioacoustic analysis toolbox. OCEANS 2011, 1-10, 2011.
Charif, R., Warde, A., Ponirakis, D., Murray, A., Muirhead, C., Pitzrick, M., Clark, C., Wisdom, S., Rea, C. Results and insights from operational acoustic monitoring networks in the Chukchi Sea, Summer-Fall 2006 and 2008. Journal of the Acoustical Society of America, 127(3), 1758, 2010.
Clark, C., Ellison, W., Southall, B., Frankel, A., Ponirakis, D., Tremblay, C., Warde, A., Spaulding, E. Results and insights from acoustic monitoring networks. Journal of the Acoustical Society of America, 125(4), 2457, 2009.
Tremblay, C., Calupca, T., Clark, C., Robbins, M., Spaulding, E., Warde, A., Kemp, J., and Newhall, K. Autonomous seafloor recorders and autodetection buoys to monitor whale activity for long‐term and near‐real‐time applications. Journal of the Acoustical Society of America, 125 (4), 2548-2548, 2009.
Clark, C., Tremblay, C., Fowler, M., Diamond, C., Ponirakis, D., McCarthy, C., Morano, J., Muirhead, C., Murray, A., Rowland, L., Vannicola, C., Warde, A. Monitoring, measuring and describing ocean noise over ecologically viable scales with applications to impacts on large whales. Journal of the Acoustical Society of America, 123(5), 2987, 2008.
Baumgartner, M., Van Parijs, S., Wenzel, F., Tremblay, C., Esch, H.C., Warde, A. Low frequency vocalizations attributed to sei whales (Balaenoptera borealis). Journal of the Acoustical Society of America, 124 (2), 1339-1349, 2008.
Determining seasonal occurrence and distribution of North Atlantic right whales (Eubalaena glacialis) off New York Harbor and Long Island using passive acoustic monitoring
presentation: North Atlantic Right Whale Consortium Annual Meeting, New Bedford, MA, 2008.
Broadband sound production by feeding blue whales (Balaenoptera musculus)
Lucia DiIorio, Manuel Castellote, Ann Warde, Christopher W. Clark
poster: Society for Marine Mammals conference, San Diego, CA, 2005.