{"id":1283,"date":"2022-02-22T12:10:45","date_gmt":"2022-02-22T12:10:45","guid":{"rendered":"https:\/\/zsonics.org\/?page_id=1283"},"modified":"2024-03-13T01:02:35","modified_gmt":"2024-03-13T01:02:35","slug":"acoustic-research-sound-and-music-writings","status":"publish","type":"page","link":"https:\/\/zsonics.org\/?page_id=1283","title":{"rendered":"Research"},"content":{"rendered":"

MUSIC & SOUND STUDIES
\n<\/strong><\/p>\n

(scroll down for selected PRESENTATIONS<\/strong><\/a>, and BIOACOUSTICS publications<\/strong><\/a>)<\/p>\n

selected publications:<\/strong><\/em><\/p>\n

John Cage, Pianist <\/strong>(in press, Leuven: Leuven University Press \/ Orpheus Institute)<\/p>\n

Instigators of Experimental Artwork: Resonances of Jane Addams in arts education<\/a>. <\/strong>2022. In Women in Pragmatism: Past, Present, and Future,<\/em> edited by Nu\u0301ria Sara Miras Boronat and Michela Bella. Cham: Springer Switzerland. 199-212.<\/p>\n

Toward a Critical Technical Practice<\/a>.<\/strong> 2021. In Sound Work: Composition as Critical Technical Practice,<\/em> edited by Jonathan Impett. Leuven: Leuven University Press \/ Orpheus Institute. 89-103.<\/p>\n

Peirce\u2019s Aesthetic of Experiment<\/a>. <\/em><\/strong>2021. In Experience Music Experiment: Pragmatism and Artistic Research<\/em>, edited by William Brooks. Leuven: Leuven University Press \/ Orpheus Institute. 217-226.
\nISBN 978-94-6270-279-0 (print); 978-94-6166-392-4 (online);
\nDOI 10.11116\/978-94-616-6392-4.<\/p>\n

Doubtful Sound: Points of View<\/a>.<\/strong> Echo, Issue #2 – Networks<\/em>, edited by Juan Parra Cancino. July 2021. Online journal project of the Music, Thought, Technology (MTT)<\/em> research group, Orpheus Institute, Ghent, Belgium.
\nISSN: 2736-5824 (online)<\/p>\n

Spectromorphology, Animal Voices, Dynamic Soundscapes: Investigative Listening. <\/strong><\/a>2020. In Sound Art and Music: Philosophy, Composition, Performance<\/em>, edited by John Dack, Tansy Spinks, and Adam Stanovic\u0301. Newcastle Upon Tyne: Cambridge Scholars Publishing. 52-69.
\nISBN 978-1-5275-5781-9 (print).<\/p>\n

Hidden Encounters<\/a>: seeking unpredictable yet responsive interactivity. <\/strong>2018. In The Global Composition 2018: Conference on sound, ecology, and media culture Proceedings<\/em>, edited by Sabine Breitsameter and Cansu Karakiz. Darmstadt: Printmedien, Hochschule Darmstadt. 466-469.<\/p>\n

Contemporary Indonesian Composition: Elastic-edged experimentalism<\/a>. <\/strong>Fall\/Winter 2002-03. Asian Music<\/em> 34 (1): 111-153.<\/p>\n

Reviews of Albert Glinsky, Theremin: Ether Music and Espionage<\/em> and Mother Mallard’s Portable Masterpiece Co. 1974-1976: Like A Duck To Water. <\/em><\/strong>Fall 2002. Computer Music Journal<\/em> 26 (3): 84-86.<\/p>\n

Review of The Poetics of Simple Mathematics in Music, <\/em>by Pozzi Escot. <\/em><\/strong>Spring 2001. Computer Music Journal<\/em> 25 (1): 67-68.<\/p>\n

Towards a Simultaneous Differentiation of Musical Systems: The Use of Catastrophe Theory, Envelope Structures, and Real Time Resynthesis in an Interactive Performance Environment. <\/em><\/strong>2001. Proceedings of the Eighth Biennial Symposium on Arts and Technology,\u00a0<\/em>compiled by Libby Friedman. Center for Arts and Technology, Connecticut College, New London, CT. 163-179.<\/p>\n

Review of 40 Rooms, CD ROM, <\/em>by Alvin Lucier. <\/strong>Computer Music Journal, 24 (2), 110, Summer 2000.<\/p>\n

Change Over Time: Responsibility and power in the midst of catastrophe. <\/strong><\/a>Leonardo Music Journal, Vol. 9, 95-101, 1999.<\/p>\n

Review of The Composer in the Computer Age: VI, CD. <\/em><\/strong>Computer Music Journal 22 (1), 79-80, Spring 1998.<\/p>\n

Indonesian Metamorphosis: Synthesis and transformation in three compositions. <\/strong>International Alliance for Women in Music Journal, June 1994, 16-19.<\/p>\n

<\/a>Ways of Hearing.<\/strong> Furnitures: The Magazine of North American Ideophonics, Fall 1993.<\/p>\n

– – – – -> <\/strong><\/em>selected<\/em> Music PRESENTATIONS:<\/strong><\/p>\n

John Cage, Pianist<\/strong>.\u00a0<\/strong>The Performer Composer in the Second Half of the 20th Century. Orpheus Institute, Ghent, Belgium. 2022<\/p>\n

Book Symposium Panel Discussion:
\nWomen in Pragmatism: Past, Present, Future
\nInstigators of Experimental Artwork: Resonances of Jane Addams in arts education <\/strong>ReVIEWING Black Mountain College 12: Revisiting John Cage. Black Mountain College Museum and Arts Center, Asheville, North Carolina. 2021<\/p>\n

Collaboration and Experiment in Cage and Hiller\u2019s HPSCHD<\/em>: <\/strong>Messages for a future global world. <\/strong>ReVIEWING Black Mountain College 12: Revisiting John Cage. Black Mountain College Museum and Arts Center, Asheville, North Carolina. 2021<\/p>\n

Divergent Sonic Cultures: Investigating the vocalizations of large whales and birds.<\/strong> Sound Instruments and Sonic Cultures: An interdisciplinary conference. National Science and Media Museum, Bradford, UK. 2020<\/p>\n

Instigators of Experimental Artwork: Progressive traces of women arts educators<\/strong>. <\/em>Feminist-Pragmatist Philosophy Colloquium, St. John Fisher College in Rochester, New York. 2019<\/p>\n

Doubtful Sound. <\/strong>The Power of Musical Networks, Orpheus Institute, Ghent, Belgium. 2018<\/p>\n

Non-Human Temporalities: Songs of Black-capped Vireos and Blue Whales. <\/strong>Out of Time, SLSA conference, Arizona State University, Tempe, AZ 2017<\/p>\n

On Growth and Form in Experimental Music Composition and Analysis. <\/strong>On Growth and Form 100, Dundee, UK. 2017<\/p>\n

Towards a Critical Musical Practice. <\/strong>Sound Work – Composition as Technical Practice, Orpheus Institute, Ghent, Belgium. 2016<\/p>\n

Spectromorphology, human affinities, animal voices.\u00a0 <\/strong>MuSA, Karlsruhe, Germany. 2016<\/p>\n

The Spaces of Animal Voices: in the ears of elephants and whales<\/strong>. <\/strong>Sounds in Space, University of Derby, UK. 2016<\/p>\n

Scientific Listening: Representing and exploring dynamic animal soundscapes.<\/strong> University of York, University of St Andrews, Plymouth University, UK. 2016<\/p>\n

Scientific Listening: Radical Perception? <\/strong>Performance, Subjectivity and Experimentation in Artistic Research, Orpheus Institute, Ghent, Belgium. 2016<\/p>\n

“My God! What has sound got to do with music?” <\/strong>Gesture and relationship as compositional materials in two pieces by Christian Wolff.\u00a0 <\/strong>Christian Wolff Study Days, Orpheus Institute, Ghent, Belgium. 2015<\/p>\n

Enigmatic Findings: Discovering large cetacean vocalizations. <\/strong>Listening to Nature: The sounds of conservation. American Society for Environmental History, Washington, D.C. 2015<\/p>\n

Listening to Birds in Flight: Sonification of migration pathway data. <\/strong>With Sharinne Sukhnanand & Daniel Fink, Deep Listening Art\/Science: The 2nd Annual International Conference, Troy, NY. 2014<\/p>\n

Erasing the Glitch.\u00a0<\/strong>f(Glitch): The function of Glitch Colloquia, Stony Brook, NY. 2014<\/p>\n

Listeners are observers and musicians<\/strong>
\n& Round Table: Hearing vs. listening, artistic and scientific perspectives.<\/strong> Deep Listening Art\/Science: The 1st Annual International Conference, Troy, NY. 2013<\/p>\n

SOUNDSHAPE Soundscape. <\/strong>Listening to Birds Symposium, University of Aberdeen, UK. 2009<\/p>\n

Natural Sound: Science, Music, Experiment–Early Macaulay Library recordings
\nand some listening they inspired.<\/strong> Cornell Lab of Ornithology Monday Night Seminar, Ithaca, NY. 2007<\/p>\n

Nightingale Song: Musical analysis, scientific synthesis.<\/strong> Nightingalia conference, Sibelius Institute, Finland. 2007<\/p>\n

Singing the notes between the keys. <\/strong>With Martin Hatch. Society for Ethnomusicology conference, Atlanta, GA. 2005<\/p>\n

Composing music for electro-acoustic environments.\u00a0<\/strong>Media Ecology conference, Rochester, NY. 2004<\/p>\n

Towards a simultaneous differentiation of musical systems: the use of catastrophe theory, envelope structures, and real-time re-synthesis in an interactive performance environment
\n<\/strong>The 8th Biennial Symposium on Arts and Technology, New London, CT, 2001<\/p>\n

Catastrophe theory and musical composition.<\/strong> Cornell University Society for the Humanities, Ithaca, NY, 2000<\/p>\n

Women and music technology: Ada Lovelace, Daphne Oram, Pauline Oliveros, Hildegard Westerkamp, Lydia Kavina. <\/strong>Sigma Alpha Iota, Hartwick College, Oneonta, NY, 2000<\/p>\n

I Nyoman Wenten’s Merapi<\/em>: Investigating cultural boundedness through improvisation<\/strong>
\nImprovising Across Borders symposium, San Diego, CA, 1999<\/p>\n

Anticipating the Unexpected: Using the computer to realize musical models. <\/strong>University of Illinois, Urbana-Champaign, IL, 1998<\/p>\n

Composing Ammalagammala <\/em>and Helios. <\/em><\/strong>University of Washington, Seattle, WA, 1998<\/p>\n

NewSpectPro: A new computer program for modifying sounds using user-defined envelopes. <\/a><\/strong>University of Illinois, Urbana-Champaign, IL, 1997<\/p>\n

BIOACOUSTICS<\/strong><\/p>\n

selected publications:<\/strong>
\n<\/em>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<\/a>.<\/strong> Journal of the Marine Biological Association of the United Kingdom<\/span><\/a>. 2023.<\/p>\n

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<\/a>. <\/strong>Aquatic Conservation: Marine and Freshwater Ecosystems, 1\u201310 (early view online), 2018<\/strong>. https:\/\/doi.org\/10.1002\/aqc.2874<\/p>\n

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 \u0160irovi\u0107, 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<\/a>. <\/strong>www.nature.com\/ScientificReports, 7:13460, 2017<\/strong>. DOI:10.1038\/s41598-017-13359-3<\/p>\n

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. <\/strong>Journal of the Acoustical Society of America, 134(6), 4323-4334, 2013<\/strong>.<\/p>\n

Dugan, P., Ponirakis, D., Zollweg, J., Pitzrick, M., Morano, J., Warde, A., Rice, A., Clark, C., Van Parijs, S. SEDNA – Bioacoustic analysis toolbox.<\/strong> OCEANS 2011, 1-10, 2011<\/strong>.<\/p>\n

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. <\/strong>Journal of the Acoustical Society of America, 127(3), 1758, 2010<\/strong>.<\/code><\/strong><\/p>\n

Clark, C., Ellison, W., Southall, B., Frankel, A., Ponirakis, D., Tremblay, C., Warde, A., Spaulding, E.\u00a0 Results and insights from acoustic monitoring networks. <\/strong>Journal of the Acoustical Society of America, 125(4), 2457, 2009<\/strong>.<\/p>\n

Tremblay, C., Calupca, T., Clark, C., Robbins, M., Spaulding, E., Warde, A., Kemp, J., and Newhall, K.\u00a0 Autonomous seafloor recorders and autodetection buoys to monitor whale activity for long\u2010term and near\u2010real\u2010time applications. <\/strong>Journal of the Acoustical Society of America, 125 (4), 2548-2548, 2009<\/strong>.<\/p>\n

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. <\/strong>Journal of the Acoustical Society of America, 123(5), 2987, 2008<\/strong>.<\/p>\n

Baumgartner, M., Van Parijs, S., Wenzel, F., Tremblay, C., Esch, H.C., Warde, A. Low frequency vocalizations attributed to sei whales (Balaenoptera borealis). <\/strong>Journal of the Acoustical Society of America, 124 (2), 1339-1349, 2008<\/strong>.<\/p>\n

selected presentations:<\/strong>
\n<\/em>Determining seasonal occurrence and distribution of North Atlantic right whales (Eubalaena glacialis)<\/em> off New York Harbor and Long Island using passive acoustic monitoring
\n<\/strong>presentation: North Atlantic Right Whale Consortium Annual Meeting, New Bedford, MA, 2008<\/strong>.<\/p>\n

Broadband sound production by feeding blue whales (Balaenoptera musculus<\/em>)<\/strong>
\nLucia DiIorio, Manuel Castellote, Ann Warde, Christopher W. Clark
\nposter: Society for Marine Mammals conference, San Diego, CA, 2005<\/strong>.<\/p>\n

<\/h5>\n","protected":false},"excerpt":{"rendered":"

MUSIC & SOUND STUDIES (scroll down for selected PRESENTATIONS, and BIOACOUSTICS publications) selected publications: John Cage, Pianist (in press, Leuven: Leuven University Press \/ Orpheus Institute) Instigators of Experimental Artwork: Resonances of Jane Addams in arts education. 2022. In Women … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"onecolumn-page.php","meta":{"footnotes":""},"class_list":["post-1283","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages\/1283","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/zsonics.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1283"}],"version-history":[{"count":120,"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages\/1283\/revisions"}],"predecessor-version":[{"id":3310,"href":"https:\/\/zsonics.org\/index.php?rest_route=\/wp\/v2\/pages\/1283\/revisions\/3310"}],"wp:attachment":[{"href":"https:\/\/zsonics.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1283"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}