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Portrait of Dr  Aaron Cassidy Dr Aaron Cassidy

a.cassidy@hud.ac.uk | 01484 472011



Biography

Aaron Cassidy is Reader in Composition and serves as Research Coordinator for Music and Music Technology and Coordinator for the MA by Research.  He is part of the Directorate of the Centre for Research in New Music (CeReNeM).

Cassidy completed a Ph.D. in Composition in 2003 as a Presidential Fellowship recipient at the University at Buffalo (State University of New York) under the guidance of David Felder, where he was awarded a Dissertation Fellowship for advanced research. He studied additionally in masterclass and lesson settings with such composers as Richard Barrett, Chaya Czernowin, Brian Ferneyhough, Jonathan Harvey, Alvin Lucier, and Tristan Murail, among numerous others.

He joined the staff at the University of Huddersfield in 2007. He previously served as Lecturer of Composition at Northwestern University in Evanston, Illinois, where he also directed the New Music Northwestern concert series, and as Visiting Assistant Professor of Music at Buffalo State College.

Research & Scholarship

Aaron Cassidy’s work has been programmed by leading international contemporary music specialists including ELISION, Ensemble SurPlus, musikFabrik, EXAUDI, Ictus Ensemble, ensemble recherche, 175 East, Talea Ensemble, the Kairos, Diotima, and JACK string quartets, and soloists including Garth Knox, Ian Pace, Mieko Kanno, Ryan Muncy, and Christopher Redgate, at festivals including Donaueschingen, Ultraschall, Warsaw Autumn, Huddersfield, Darmstadt, Gaudeamus (Jurors Prize nominee, 2002 & 2004), Bludenz, June In Buffalo, and the ISCM World Music Days, and has been broadcast by BBC Radio 3, Radio France, Deutschlandradio Kultur, SWR-2, Kulturradio rbb, Österreichischer Rundfunk, and Polish National Radio. In July 2008, ELISION presented a portrait concert of his work for broadcast on ABC Classic FM, and in 2009-10 the ensemble completed an extensive recording project of his work in conjunction with Radio Bremen. He has received grants, stipends, and commissions from Südwestrundfunk, allerArt Bludenz, the Yvar Mikhashoff Trust for New Music, Haupstadtkulturfonds Berlin, New York Foundation for the Arts, ASCAP, the American Music Center, Arts and Humanities Research Council, British Council, and PRSF 20x12/London Cultural Olympiad 2012.  Recordings of his work are available on NEOS, NMC, HCR, and New Focus Records.

Also active as a conductor, Cassidy has led performances by student and professional ensembles in a diverse range of contemporary and traditional repertoire. He has conducted at the June in Buffalo festival, ICMC and in a variety of university settings, previously serving as conductor of the Symphony Orchestra and the New Music Ensemble at the University of Huddersfield. In 2009, he participated in the Herrenhaus Edenkoben Mastercourse with Peter Eötvös and Zsolt Nagy, conducting the International Ensemble Modern Academy (IEMA) in a radio broadcast for SWR-2.

As an author his contributions include chapters in the first, second, and sixth volumes of Wolke Verlag's New Music and Aesthetics in the 21st Century series and journals including Sonic Ideas/Ideas Sónicas, Search Journal for New Music and Culture, and Contemporary Music Review. He is the co-editor of the book Noise In And As Music, published by Huddersfield University Press. Additionally, he has been increasingly active as a CD producer, most notably with EXAUDI's critically acclaimed releases of Finnissy, Fox, and Skempton on NMC and Mode and ELISION's Ferneyhough disc on Kairos.

Publications and Other Research Outputs

2013

Cassidy, A. and Einbond, A. (2013) Noise in and as music . Huddersfield: University of Huddersfield. ISBN 978-1-86218-118-2

Cassidy, A (2013) ‘Noise and the Voice: exploring the thresholds of vocal transgression’. In: Noise in and as music. : University of Huddersfield Press. . ISBN 9781862181182

Cassidy, A (2013) ‘Constraint Schemata, Multi-axis Movement Modeling, and Unified, Multi-parametric Notation for Strings and VoicesSearch: Journal for New Music and Culture , 10.

Cassidy, A (2013) ‘The String Quartet as laboratory and playground for experimentation and tradition (or, opening out/closing in)Contemporary Music Review , 32 (4), pp. 305-323. ISSN 0749-4467

Cassidy, A (2013) A painter of figures in rooms [Audio]

Cassidy, A., Weeks, J., Harrison, B., Chase, S., Bailie, J., Glover, R. and Molitor, C. (2013) Exposure [Audio]

2012

Cassidy, A (2012) A painter of figures in rooms [Performance]

Cassidy, A (2012) A painter of figures in rooms [Composition]

Cassidy, A (2012) A painter of figures in rooms [Audio]

Cassidy, A (2012) ‘Francis Bacon, a painter of figures in roomsExaudi2012 .

Cassidy, A (2012) Asphyxia, for soprano saxophone [Audio]

Cassidy, A (2012) What then renders these forces visible is a strange smile, for solo trumpet [Audio]

Cassidy, A (2012) The Crutch of Memory, for solo string instrument [Audio]

Cassidy, A (2012) Metallic Dust, for amplified bass clarinet [Audio]

Cassidy, A (2012) Songs only as sad as their listener, for solo trombone [Audio]

Cassidy, A (2012) I, purples, spat blood, laugh of beautiful lips, for voice & live electronics [Audio]

Cassidy, A (2012) Because they mark the zone where the force is in the process of striking, for solo trombone [Audio]

Cassidy, A (2012) Being itself a catastrophe, the diagram must not create a catastrophe, for oboe, musette, English horn, E-flat clarinet, B-flat clarinet, bass clarinet [Audio]

Cassidy, A (2012) ‘Gestural modeling and compositional constraints in Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion)Sonic Ideas (Ideas Sonicas) , 4 (1). ISSN 2317-9694

Cassidy, A (2012) ‘I am an experimental composer’. In: Orpheus Institute ORCiM International Seminar 2012, 22nd-23rd February 2012, Ghent, Belgium

2011

Cassidy, A (2011) Being in itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion) [Performance]

Cassidy, A (2011) Second string quartet [Performance]

Cassidy, A (2011) Second string quartet [Composition]

Cassidy, A (2011) Second string quartet [Audio]

Cassidy, A (2011) the green is either [Performance] (Unpublished)

Cassidy, A (2011) String Quartet and Second String Quartet [Performance]

Cassidy, A (2011) Second String Quartet [Performance]

2010

Bellamy, M., Harrison, B., Cassidy, A. and Lim, L. (2010) Transference [Audio]

Cassidy, A., Barrett, R., Johnson, E., Hübler, K. and Lim, L. (2010) Strange forces [Audio]

Cassidy, A (2010) Second String Quartet [Performance]

Cassidy, A (2010) l.d._ p.c. (t.c.h.) [Composition]

Cassidy, A (2010) String Quartet [Performance]

Cassidy, A (2010) What then renders these forces visible is a strange smile (or First Study for Figures at the Base of a Crucifixion) [Performance]

Cassidy, A (2010) memento/memorial [Performance]

Cassidy, A (2010) And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion) [Performance]

Cassidy, A (2010) memento/memorial [Performance] (Unpublished)

Cassidy, A (2010) I, purples, spat blood, laugh of beautiful lips [Performance]

Cassidy, A (2010) String Quartet [Performance]

Cassidy, A (2010) And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion) [Composition]

Cassidy, A (2010) l.d._ p.c. (t.c.h.) [Composition]

Cassidy, A (2010) Memento/memorial [Composition]

2009

Cassidy, A (2009) Because they mark the zone where the force is in the process of striking (or Second Study for Figures at the Base of a Crucifixion [Performance]

Cassidy, A (2009) What then renders these forces visible is a strange smile (or First Study for Figures at the Base of a Crucifixion) [Performance]

Cassidy, A (2009) I, purples, spat blood, laugh of beautiful lips [Performance]

Cassidy, A (2009) Because they mark the zone where the force is in the process of striking (or, Second Study for Figures at the Base of a Crucifixion) [Composition]

Cassidy, A (2009) String Quartet [Performance]

Cassidy, A (2009) asphyxia [Performance] (Unpublished)

Cassidy, A (2009) The Crutch of Memory [Performance]

Cassidy, A (2009) Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion) [Performance]

Cassidy, A (2009) [Various] [Performance]

Cassidy, A (2009) Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion) [Composition]

2008

Cassidy, A (2008) String Quartet [Performance]

Cassidy, A (2008) String quartet [Performance] (Unpublished)

Cassidy, A (2008) Portrait Concert [Performance]

Cassidy, A (2008) asphyxia [Performance]

Cassidy, A (2008) Second Study for Figures at the Base of a Crucifixion [Composition]

Cassidy, A (2008) What then renders these forces visible is a strange smile (or, First Study for Figures at the Base of a Crucifixion) [Composition]

Cassidy, A (2008) ‘Determinate Action/Indeterminate Sound Tablature and Chance in Several Recent Works’. In: Facets of the Second Modernity. Hofheim: Wolke Verlag. pp. 17-32. ISBN 978-3-936000-17-7

2007

Cassidy, A (2007) The Pleats of Matter [Composition]

2004

Cassidy, A (2004) ‘Performative physicality and choreography as morphological determinants’. In: Musical Morphology. Germany: Published in collaboration with the Bludenzer Tage Zeitgemässer Musik. . ISBN 9783936000139

Cassidy, A (2004) ‘Interconnectivity and abstraction: metallic dust as a testing ground for monopnonic and structural polyphonies’. In: Polyphony & Complexity. Germany: Wolke. . ISBN 9783936000108

Cassidy, A (2004) The Crutch of Memory [Composition]

2003

Cassidy, A (2003) the green is either [Composition]

2002

Cassidy, A (2002) String Quartet [Composition]

Cassidy, A (2002) ten monophonic miniatures for solo pianist [Composition]

Esteem

Fellow of the Higher Education Academy, December 2012

PRSF 20x12 Commission in conjunction with the London Organising Committee for the Olympic Games (LOCOG) and BBC Radio 3 for the 2012 London Cultural Olympiad, November 2010

British Council Composer Bursary (administered by Sound & Music), September 2010

AHRC yearlong Research Grant on the Practice-Led and Applied scheme for work developing a new string tablature notation, in connection with the commission from the JACK Quartet and Südwestrundfuk for the Donaueschinger Musiktage 2010.

Invited Lectures including:  Künstuniversität Graz, Austria (2014); Orpheus Institute, ORCiM International Seminar, Ghent, Belgium (2012); University of Leeds (2011); Institute of Contemporary Arts, London (2011); University at Buffalo, Center for 21st Century Music, New York (2011); Brooklyn College, City University of New York (2011); Columbia University, New York (2011); California Institute of the Arts (CalArts) (2011); Goethe-Institut, Los Angeles (2011); Durham University (2010); Sussex University (2009); University of Queensland, Brisbane, Australia (2008); DePaul University Chicago, Illinois (2007); Southampton University (2004)

Research Degree Supervision

I am available to supervise all levels of postgraduate research students (MA by Research, MPhil, PhD) in a wide range of subjects connected to composition and new/experimental music. My primary research areas are:

  • Composition
  • Late 20th/21st Century Musicology and Analysis
  • Experimental Music
  • Post-structuralist theory (memory & complexity theory, theories of space, Deleuze/Guattari)
  • Instrument mechanisms, acoustics, and timbral analysis

While Composition forms the central thread of my research work, I am particularly interested in working with students who engage with larger issues of current musical, cultural, and philosophical thought and practice. In addition to compositional work, I am excited to supervise musicological and analytical projects in connection to recent repertoire, and am available to serve as a part of a supervisory team in Contemporary Music Performance.

Current and recent students include:

  • Beavan Flanagan (PhD, Composition), Primary Supervisor
  • Apostolos Charisis (MPhil, Composition), Primary Supervisor
  • Juan Pablo Vergara Valdes (PhD, Composition), Primary Supervisor
  • Eric Maestri (MPhil/PhD, Composition), Primary Supervisor
  • Michael Baldwin (MA by Research, Composition), Completed Autumn 2012; (PhD, Composition), Primary Supervisor
  • Julian Brooks (MPhil/PhD, Improvisation, Max/Msp coding, and post-structuralist theory) Joint Primary Supervisor
  • Seth Woods (PhD, Contemporary Music Performance), Joint Primary Supervisor
  • Chikako Morishita (PhD, Composition), Secondary Supervisor
  • Elizabeth Nicholas (MA by Research, Composition), Primary Supervisor
  • Marc Codina Contijoch (MA by Research, Composition), Primary Supervisor
  • Josh Dibble (MA by Research, Composition), Primary Supervisor
  • Alex Grimes (MA by Research, Composition), Primary Supervisor
  • Stephen Harvey (MA by Research, Composition), Primary Supervisor
  • Andy Isaac (MA by Research, Composition), Primary Supervisor, completed autumn 2013
  • Alex Jang (MA by Research, Composition), Primary Supervisor, completed autumn 2013
  • Lefteris Papadimitriou (PhD, Composition), Primary Supervisor, completed summer 2013
  • Ray Evanoff (PhD, Composition), Primary Supervisor, Completed Autumn 2012
  • Einar Torfi Einarsson (PhD, Composition), Primary Supervisor, Completed Autumn 2012
  • Maria Ackroyd (MA by Research, Composition), Primary Supervisor, Completed Autumn 2012
  • Robert Dahm (MPhil/PhD, Composition), Secondary Supervisor, Completed Spring 2012
  • Natalie Davies (MA by Research, Composition and Analysis), Primary Supervisor, Completed Autumn 2011
  • Colin Tucker (MPhil, Composition), Primary Supervisor, Completed Spring 2011
  • Timothy McCormack (MPhil, Composition), Primary Supervisor, Completed Autumn 2010
  • Richard Glover (PhD, Composition), Secondary Supervisor, Completed Autumn 2010

Administrative Responsibilities

Research Coordinator, Music and Music Technology

Coordinator, MA by Research, Music and Music Technology

Coordinator, CeReNeM Postgraduate Seminar/Workshop series

Directorate (Composition), Centre for Research in New Music (CeReNeM)

Teaching and Professional Activities

Undergraduate and Postgraduate teaching in Composition and Contemporary Musicology

Module Leader for Orchestration 1, Orchestration 2, and Music in the 21st Century

Coordinator, CeReNeM Postrgraduate Seminar series

Conductor, University Symphony Orchestra

Last updated Thursday 6 March 2014
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