People
  1. Students
  2. Alumni
  3. Honorary Graduates
  4. Academic Experts
  1. Aaron Einbond
People

portrait of Dr Aaron Einbond

Dr Aaron Einbond

Lecturer in Music

School of Arts and Social Sciences, Department of Music

Contact Information

Contact

Visit Aaron Einbond

ALG12a, College Building

null

Postal Address

City, University of London
Northampton Square
London
EC1V 0HB
United Kingdom

About

Background

Aaron Einbond’s work explores the intersection of instrumental composition, sound installation, field recording, and technology, bringing the spontaneity of live performance together with computer interactivity. His recent music has focused on audio transcription as the center of a creative process bridging composition, improvisation, and interpretation, questioning the thresholds of perception between instrument, stage, room, and loudspeaker. Recently Chicago-based Ensemble Dal Niente released his portrait album Without Words on Carrier Records, SWR Experimentalstudio produced his Giga-Hertz prizewinning Cartographies for piano with two performers and electronics for the 47-loudspeaker Klangdom at ZKM in Karlsruhe, and the Académie du Festival d’Aix and Opera Lab Berlin co-produced his site-specific ambient chamber opera Hidden in Plain Sight in the streets of Aix-en-Provence. Upcoming projects include a concert-installation for Yarn/Wire and collaborations with TwoNewDuo and loadbang. He is Co-Artistic Director of Qubit New Music Initiative with whom he curates and produces experimental media in New York.

Einbond has received a John Simon Guggenheim Memorial Foundation Fellowship and an Artistic Research Residency at IRCAM in Paris; taught at Columbia University, the University of Huddersfield, and Harvard University; and currently teaches at City, University of London. He was born in New York in 1978 and studied at Harvard University, the University of Cambridge, the University of California Berkeley, and IRCAM with teachers including Mario Davidovsky, Julian Anderson, Edmund Campion, and Philippe Leroux.

Qualifications

University of California Berkeley, Ph.D. in Music, 2009.
Royal College of Music London, P.G.Dip. in Music Composition, 2002.
University of Cambridge, M.Phil. in Music Composition, 2002.
Harvard University, A.B. magna cum laude in Physics and Music, 2000.

Employment

Artistic Research Resident, IRCAM, Paris, 2014-15.
Fellow, John Simon Guggenheim Memorial Foundation, 2014-15.
Visiting Lecturer on Music, Harvard University, Cambridge, 2014.
Research Fellow, Centre for Research in New Music, University of Huddersfield, 2012-14.
Mellon Postdoctoral Fellow, Columbia University, New York, 2009-11.

Research

Artistic and Research Statement

My work explores the intersection of instrumental composition, sound installation, field recording, and technology, bringing the spontaneity of live performance together with computer interactivity to impact and challenge the listener. My recent music has focused on audio transcription as the center of a creative process bridging composition, improvisation, and interpretation, questioning the thresholds of perception between instrument, stage, room, and loudspeaker.

Artistic production and technological research support each other in my work to illuminate our experience of music. With the increasing advent of big data, Music Information Retrieval (MIR) is one of the most exciting fields in the digital humanities today, and the focus of my research and creative activity. As ever-larger databases of recorded sound become available through the internet and digital archives, I would like to open a dialogue between experimental and popular practices to address the pressing question of how to make sense of this data and harness it for research, teaching, and music making focusing on the key issues of timbre, improvisation, and spatial sound.

Publications

Book

  1. Cassidy, A. and Einbond, A. (Eds.), (2013). Noise In And As Music. Huddersfield: University of Huddersfield Press. ISBN 978-1-86218-118-2.

Chapters (4)

  1. Einbond, (2016). Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words. In Bresson, J., Agon, C. and Assayag, G. (Eds.), The OM Composer's Book (pp. 155–171). Paris: Editions Delatour/Ircam-Centre Pompidou.
  2. Einbond, A. (2013). Subtractive Synthesis: noise and digital (un)creativity. In Cassidy, A. and Einbond, A. (Eds.), Noise in and As Music (pp. 57–75). Huddersfield: University of Huddersfield Press ISBN 978-1-86218-118-2.
  3. MacCallum, J. and Einbond, A. (2008). Real-time analysis of sensory dissonance. (pp. 203–211). ISBN 3-540-85034-1.
  4. Einbond, (2003). Twelve-Note Roots: The fifth and sixth movements of The Death of Moses. In Latham, A. (Ed.), Sing, Ariel Essays and Thoughts for Alexander Goehr's Seventieth Birthday (pp. 217–237). London: Ashgate Publishing, Ltd.. ISBN 978-0-7546-3497-3.

Compositions (15)

  1. Einbond, (2016). Graphology for violoncello solo, bass flute, bass clarinet, violin, percussion, and electronics.
  2. Einbond, (2016). The Kind of Problem a City Is for two percussionists, two keyboard players, and electronics.
  3. Einbond, (2016). Hidden in Plain Sight for mezzo-soprano, baritone, clarinet/bass clarinet, violoncello, and electronics.
  4. Einbond, (2015). String Trio with Field Recording.
  5. Einbond, (2015). Xylography for violoncello and electronics.
  6. Einbond, (2014). Cartographies for piano with two performers and electronics.
  7. Einbond, (2013). Endangered Sound for orchestra and field recordings.
  8. Einbond, (2012). Resistance for bass clarinet and electronics.
  9. Einbond, (2012). Without Words for soprano, 11 instruments, and electronics.
  10. Einbond, (2011). Paläontologie for four baroque instruments and four modern instruments.
  11. Einbond, (2010). Passagework for two pianists, two percussionists and electronics.
  12. Einbond, (2009). What the Blind See for five players and electronics.
  13. Einbond, (2009). Starting Over for contrabass Paetzold recorder in F and electonics.
  14. Einbond, (2008). Beside Oneself for viola and electronics.
  15. Einbond, (2006). Temper for bass clarinet and electronics.

Conference Papers and Proceedings (7)

  1. Einbond, A., Schwarz, D., Borghesi, R. and Schnell, N. (2016). Introducing CatOracle: Corpus-based concatenative improvisation with the audio oracle algorithm. .
  2. Einbond, A., Trapani, C., Agostini, A., Ghisi, D. and Schwarz, D. (2014). Fine-tuned control of concatenative synthesis with CataRT using the bach library for Max. .
  3. Einbond, A., Trapani, C. and Schwarz, D. (2012). Precise pitch control in real time corpus-based concatenative synthesis. .
  4. Einbond, A. and Schwarz, D. (2010). Spatializing timbre with corpus-based concatenative synthesis. .
  5. Einbond, A., Schwarz, D. and Bresson, J. (2009). Corpus-based transcription as an approach to the compositional control of timbre. .
  6. MacCallum, J. and Einbond, A. (2007). Real-time analysis of sensory dissonance. .
  7. MacCallum, J., Hunt, J. and Einbond, A. (2005). Timbre as a psychoacoustic parameter for harmonic analysis and composition. .

Journal Article

  1. Einbond, (2017). Mapping the Klangdom Live: Cartographies for piano with two performers and electronics. Computer Music Journal, 41(1) .

    [publisher’s website]

Software

  1. Einbond, (2015). CatOracle. Paris: IRCAM Forum.

Other (5)

  1. Einbond, and van Cauwenberghe, K. (2015). Silent Screen on Give My Regards to 116th Street [CD].

    [publisher’s website]

  2. Einbond, and Roche, H. (2015). Resistance on Ptelea [CD].

    [publisher’s website]

  3. Einbond, and Ensemble Dal Niente, (2013). Without Words [CD].

    [publisher’s website]

  4. Einbond, , Politano, A. and PRIME Recorder Ensemble, (2012). Just Like Starting Over on Spray [CD].

    [publisher’s website]

  5. Einbond, and Yarn Wire, (2010). Passagework on Tone Builders [CD].

    [publisher’s website]

Find us

City, University of London

Northampton Square

London EC1V 0HB

United Kingdom

Back to top

City, University of London is an independent member institution of the University of London. Established by Royal Charter in 1836, the University of London consists of 18 independent member institutions with outstanding global reputations and several prestigious central academic bodies and activities.