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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He comes to Dartmouth after having taught music theory and composition at Harvard University for eight years, and having held posts as Valentine Visiting Professor of Music at Amherst College and Visiting Research Fellow at the Royal Academy of Music, London.

He has given invited lectures at the Paris Conservatoire, the Centre for Music and Science at Cambridge University, Harvard University, The United States Consulate Shanghai Division, The Royal Academy of Music in London, The Shanghai Conservatory of Music, East China Normal University, The Steinhardt School at New York University, The New England Conservatory, Yale University, Boston University, Berklee College of Music, The University of York, and the Schweizerische Musikforschende Gesellschaft at the Hochscule, Luzern, Switzerland. Published articles appear in Music Theory OnlineThe Journal of Music Theory, The Journal of Aesthetics and Art Criticism, Perspectives of New Music, The Journal of Schenkerian Studies, Organized Sound, Divergence Press, and The Journal of the CeReNeM. Recent papers presented at SMT/AMS 2016 in Vancouver, SMT/AMS 2018 in San Antonio, SMT 2019 in Columbus, and SMT/AMS 2020.

Compositions involve the pioneering use of microtiming: iconic recordings are transcribed in minute detail, then treated as a palimpsest, forming a parchment over original material is woven to create innovative new works. Performances at the Amsterdam Concertgebouw, Wiener Konzerthaus, the Laeiszhalle in Hamburg, the Brucknerhaus in Linz, the Schwetzinger SWR Festspiele, The Kitchen, Weill Recital Hall, Boston's The Institute for Contemporary Art, Calderwood Pavilion, Sanders Theatre and Jordan Hall, and in London at the Royal Festival Hall, Duke’s Hall, The Forge, The Arcola Theatre, Wilton’s Music Hall, Pushkin House, and King’s Place. Commissions from Konzerthaus Dortmund, Staatstheater Kassel, the President of Harvard University, Sound Icon, and Boston Lyric Opera.

Ensembles and performers of these compositions include Claire Chase, Roomful of Teeth, Rohan de Saram, Neil Heyde, Boston Lyric Opera, the Kreutzer Quartet, the Chiara String Quartet, Sound Icon, Transient Canvas, Mark Knoop, Colin Davin, Constantine Finehouse, Wolfram Rieger, Ulrich Naudé, Jan Philip Schulze, Philip Howard, Serge Vuille, Carl Rosman, Peter Sheppard Skaerved, and Marilyn Nonken. Vocal music sung by artists including Annette Dasch, Dashon Burton, Estelí Gomez, Joseph Kaiser, Annika Sophie Ritlewski, Frank Kelley, and Kevin Burdette. Recent recordings include Another Woman of Another Kind (based on stories by Paul Griffiths), recorded by Claire Chase and Roomful of Teeth and released in December 2020.

Dartmouth courses include:
MUS 99 Proseminar: Loving Music Slowly
MUS 43 Modern Classical Music 
MUS 42 Early Classical Music
MUS 41.01 Debussy the Innovator 
MUS 40.02 Nineteenth-Century Music
MUS 23 Timbre & Form 
MUS 22 Harmony & Rhythm
MUS 16.01 Visual Music
MUS 3.02 American Music: Covers, Theft, and Musical Borrowing
MUS 1 Beginning Music Theory

[Beaudoin is pronounced bōd-win.]

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Room 46, Hopkins Center for the Arts, Department of Music
HB 6187
Ph.D. Brandeis University
M.Mus. The Royal Academy Music, London
B.A. Amherst College, summa cum laude

Selected Publications

Beaudoin, Richard. (forthcoming 2022). "Dashon Burton's Song Sermon: Corporeal Liveness and the Solemnizing Breath." Journal of the Society of American Music 16 (1). 

Beaudoin, Richard. 2021. "The Pen as Camera: Finnissy and Overexposure." Music Theory Online 27.3. 

Beaudoin, Richard. 2021. "Gould's Creaking Chair, Schoenberg's Metric Clarity." Music Theory Online 27.1. 

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.

Beaudoin, Richard. 2010. "You're There and You're Not There: Musical Borrowing and Cavell's 'Way'." Journal of Music Theory 54: 91-105.

Beaudoin, Richard, and Joseph Moore. 2010. "Conceiving Musical Transdialection." Journal of Aesthetics and Art Criticism 68 (2): 105-117.

Beaudoin, Richard. 2007. "Anonymous Sources: Finnissy Analysis and the Opening of Chapter Eight of The History of Photography in Sound.Perspectives of New Music 45 (2): 5-27.

Beaudoin, Richard. 2007. “Counterpoint and Quotation in Ussachevsky’s Wireless Fantasy.” Organised Sound 12 (2): 143–151.

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Selected Lectures & Presentations

SMT/AMS 2020 Minneapolis (virtual conference) — 14 November 2020 “Microtiming the Marginal: The Expressive Rhythm of ‘Insignificant Noises’ in ”Recordings by Claire Chase, Evgeny Kissin, and Maggie Teyte" [Session: Analyzing Recordings]

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: