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Dr Aaron Einbond

Senior Lecturer in Music

School of Arts and Social Sciences Department of Music

Contact details

Address

Dr Aaron Einbond ALG12A, College Building
City, University of London
Northampton Square
London EC1V 0HB
United Kingdom

Personal links

About

Overview

Aaron Einbond’s work explores the intersection of instrumental music, field recording, sound installation, and interactive technology, focusing on collaboration and transcription at the center of a creative process questioning the thresholds of perception between instrument, loudspeaker, stage, and place. Chicago-based Ensemble Dal Niente released his portrait album Without Words on Carrier Records and he collaborated with Yarn/Wire and Matilde Meireles on the album Cities released on multi.modal distributed by NMC Recordings. Alvise Sinivia premiered Cosmologies for piano and three-dimensional electronics produced by Ircam at Centre Georges Pompidou in Paris, SWR Experimentalstudio produced Cartographies for piano with two performers and electronics for the 43.4-loudspeaker Kubus 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. Other recent projects include collaborations with the Riot Ensemble, soundinitiative, Two New Duo, loadbang, Samuel Stoll, and Marco Fusi. He teaches Music Composition, Sound, and Technology at City, University of London and is Co-Artistic Director of Qubit New Music with whom he curates and produces experimental media in New York.

Einbond has received a John Simon Guggenheim Memorial Foundation Fellowship, a Gigahertz Production Award and EASTN-DC Residency at ZKM, VERTIGO STARTS and Artistic Research Residencies at Ircam in Paris, and taught at Columbia University, the University of Huddersfield, and Harvard University. 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

  1. D.E.M. 1er Prix, Conservatoire du Rayonnement Départmental “Erik Satie", France, Sep 2007 – Jul 2009
  2. Ph.D., University of California, USA, Aug 2002 – Dec 2009
  3. P.G.Dip., Royal College of Music, London, United Kingdom, Sep 2001 – Jul 2002
  4. M.Phil., University of Cambridge, Cambridge, United Kingdom, Sep 2000 – Aug 2001
  5. A.B., Harvard University, Cambridge, United States, Sep 1996 – Jun 2000

Employment

  1. Visiting Lecturer, Harvard University, Cambridge, Jan – Jun 2014
  2. Research Fellow, University of Huddersfield, Huddersfield, Feb 2012 – Jan 2014
  3. Mellon Postdoctoral Fellow, Columbia University, New York, Aug 2009 – Aug 2011

Fellowships

  1. The Secret Inner Life of the Piano, ZKM EASTN-DC Residency, Aug – Sep 2020
  2. Cosmologies of the Concert Grand Piano, IRCAM STARTS Residency, May 2019 – Apr 2020
  3. A Factor Oracle for Timbre, IRCAM Artistic Research Residency, Oct 2014 – Apr 2015
  4. John Simon Guggenheim Memorial Foundation Fellowship, 2014 – 2015

Research

Artistic and Research Statement

My work explores the intersection of instrumental music, field recording, sound installation, and interactive technology, focusing on collaboration and transcription at the center of a creative process questioning the thresholds of perception between instrument, loudspeaker, stage, and place. Artistic practice and technological research support each other in my work to illuminate our experience of music. With the advent of big data, Music Information Retrieval (MIR) and Artificial Intelligence (AI) are some of the most exciting fields in the digital humanities today, and the focus of my research and creative activity at the intersection of instrumental composition and interactive technology. As ever-larger databases of recorded sound become available through the internet and digital archives, I would like to open a dialogue between musical 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 three key issues: spatial sound, musical timbre, and computer improvisation.

Publications

Featured publications

  1. Einbond, A. (2017). Mapping the Klangdom Live: Cartographies for Piano with Two Performers and Electronics. Computer Music Journal, 41(1), pp. 61–75. doi:10.1162/COMJ_a_00397.

Publications by category

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 978-3-540-85034-2.
  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 (23)

  1. Einbond, A. (2020). Cosmologies for piano and three-dimensional electronics.
  2. Einbond, A. (2020). Cosmologies III for three dimensional fixed electronics. (4th-order ambisonic fixed electronics)
  3. Einbond, A. (2019). Attempt at Exhausting a Place for flute, soprano saxophone, viola, percussion, piano, and electronics.
  4. Einbond, A. and Meireles, M. (2019). London Scenes for fixed stereo electronics. (Vinyl LP)
  5. Einbond, A., Meireles, M. and Yarn/Wire, (2019). Cities [LP]. (Vinyl LP)
  6. Einbond, A. (2018). Kate Frankenstein for for bass clarinet, trombone, violoncello, percussion, harp, piano and video.
  7. Einbond, A. (2017). Central Park for baritone, bass clarinet, trumpet, trombone, and electronics.
  8. Einbond, A. (2017). Central Park for trombone and electronics.
  9. Einbond, A. (2016). Hidden in Plain Sight for mezzo-soprano, baritone, clarinet/bass clarinet, violoncello, and electronics. (Site-specific music theatre)
  10. Einbond, (2016). The Kind of Problem a City Is for two percussionists, two keyboard players, and electronics.
  11. Einbond, (2016). Graphology for violoncello solo, bass flute, bass clarinet, violin, percussion, and electronics.
  12. Einbond, (2015). String Trio with Field Recording.
  13. Einbond, (2015). Xylography for violoncello and electronics.
  14. Einbond, (2014). Cartographies for piano with two performers and electronics.
  15. Einbond, (2013). Endangered Sound for orchestra and field recordings.
  16. Einbond, (2012). Without Words for soprano, 11 instruments, and electronics.
  17. Einbond, (2012). Resistance for bass clarinet and electronics.
  18. Einbond, (2011). Paläontologie for four baroque instruments and four modern instruments.
  19. Einbond, (2010). Passagework for two pianists, two percussionists and electronics.
  20. Einbond, (2009). Starting Over for contrabass Paetzold recorder in F and electonics.
  21. Einbond, (2009). What the Blind See for five players and electronics.
  22. Einbond, (2008). Beside Oneself for viola and electronics.
  23. Einbond, (2006). Temper for bass clarinet and electronics.

Conference papers and proceedings (10)

  1. Einbond, A. (2020). OpenMusic-Spat-Mubu. Ateliers du Forum 4-6 March, IRCAM (Institut de Recherche et Coordination Acoustique/Musique).
  2. Einbond, , Schwarz, D., Borghesi, R. and Schnell, N. (2016). Introducing CatOracle: Corpus-based concatenative improvisation with the Audio Oracle algorithm. International Computer Music Conference Utrecht.
  3. Einbond, A. (2014). Beyond Automatic Genre Classification: Creative music information retrieval. Music and Genre: New Directions 27-28 September, McGill University, Montreal.
  4. Einbond, A. (2014). Composer as Curator: Uncreativity in recent electroacoustic music. Electroacoustic Music Beyond Performance 10-14 June, Berlin.
  5. 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.
  6. Einbond, A., Trapani, C. and Schwarz, D. (2012). Precise pitch control in real time corpus-based concatenative synthesis.
  7. Einbond, A. and Schwarz, D. (2010). Spatializing timbre with corpus-based concatenative synthesis.
  8. Einbond, A., Schwarz, D. and Bresson, J. (2009). Corpus-based transcription as an approach to the compositional control of timbre.
  9. MacCallum, J. and Einbond, A. (2007). Real-time analysis of sensory dissonance.
  10. MacCallum, J., Hunt, J. and Einbond, A. (2005). Timbre as a psychoacoustic parameter for harmonic analysis and composition.

Journal article

  1. Einbond, A. (2019). Disembodiment: Reproduction, transcription, and trace. Tempo (United Kingdom), 73(287), pp. 83–90. doi:10.1017/S0040298218000694.

Media (6)

  1. Einbond, and Roche, H. (2015). Resistance on Ptelea [CD].
  2. Roche, H., Einbond, A., Morishita, C., Iddon, M., Bauck, M., Alvarez, P. … Murray, M. (2015). Patelea [CD].
  3. Einbond, and van Cauwenberghe, K. (2015). Silent Screen on Give My Regards to 116th Street [CD].
  4. Einbond, and Ensemble Dal Niente, (2013). Without Words [CD].
  5. Einbond, , Politano, A. and PRIME Recorder Ensemble, (2012). Just Like Starting Over on Spray [CD].
  6. Einbond, and Yarn Wire, (2010). Passagework on Tone Builders [CD].

Software

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