Aaron.firstname.lastname@example.org | 01484 47
Aaron Einbond joined the University of Huddersfield as a Research Fellow in 2012. From 2009-2011 he was Mellon Postdoctoral Fellow in Music at Columbia University and he received his Ph.D. in 2009 at The University of California, Berkeley where his teachers include Edmund Campion, David Wessel, and Andrew Imbrie.
His work explores the intersection of instrumental composition, sound installation, field recording, timbre, and technology. He was born in New York in 1978 and has studied at Harvard with Mario Davidovsky, at the University of Cambridge with Robin Holloway, at the Royal College of Music, London with Julian Anderson as a British Marshall Scholar, and in Paris with Philippe Leroux as a Fulbright Scholar. He participated in two years of the Cursus in Music Composition and Technologies at IRCAM in Paris where he studied with Yan Maresz as a recipient of Berkeleys Georges Ladd Prix de Paris.
He has received performances and commissions from Ensembles Recherche, Dal Niente, Cairn, Yarn/Wire, LInstant Donné, LItinéraire, Mosaik, Empyrean, SurPlus, Antonio Politano, the Left Coast Chamber Ensemble, the Aspen Contemporary Ensemble, the Nouvel Ensemble Moderne, the Cleveland Institute of Music Orchestra, the New York Chamber Symphony, the Long Island Philharmonic, the Cincinnati Symphony, the Festival MANCA, and IRCAM/Centre Pompidou for the Festival Agora.
Upcoming projects include a Giga-Herz Prize from ZKM to produce a new work for piano, percussion, and electronics at the SWR Experimentalstudio in Freiburg, and a Franz Liszt Prize to produce a sound installation in Weimar in celebration of John Cages hundredth birthday. Other awards for his compositions include a Fromm Music Foundation Commission, a Charles Ives Scholarship, two BMI awards, two ASCAP awards, scholarships from Voix Nouvelles, Domaine Forget, Yaddo, the Wellesley Composers Conference, Aspen Music Festival, Atlantic Center for the Arts, the French American Cultural Exchange, and the Staubach Honorarium for the Darmstädter Internationale Ferienkurse.
As a researcher in computer music he has presented his work at the International Computer Music Conference and Society for Music Theory, taught masterclasses at the Conservatoire Nationale de Nice, the Conservatoire du Rayonnement Départmental du Blanc Mesnil, and Berkeleys Center for New Music and Audio Technologies, and realized electronic works in performance with the San Francisco Contemporary Music Players, Ensemble Aleph, Ensemble Cairn, and the American Composers Orchestra.
My recent work features new composition for instruments and live interactive electronics focusing on an intensive investigation of timbre. Through collaboration with todays most adventurous performers, acoustic instruments can reveal an undiscovered wealth of nuanced sounds. So can audio recordings, from instrumental samples to ambient field recordings. The computer is an unprecedented resource to bring all of these sounds into new relationships, combining the spontaneity of live performance together with technological interactivity to impact and challenge the listener with new modes of perception.
My research in music technology aims to develop an approach to music informatics -- including audio feature analysis, mosaicking, and transcription -- as a formal model for analysis and composition of instrumental and electronic music. A variety of computer programs and platforms are enlisted and extended for these approaches, including Max/MSP, FTM&Co., CataRT, OpenMusic, bach, AudioSculpt, Spat, and ambisonic techniques, with emphasis placed on the fluid and flexible exchange of data and formats between programs to pilot sound synthesis, spatialisation, and computer-assisted composition.
These tools form an essential background for creative work, including new compositions for instrumental ensemble, voice, live electronics, and sound installation in which I wish to explore new interfaces between instruments, performers, audiences, and concert spaces, and engage broader issues of digital culture and acoustic ecology.
Giga-Hertz Förderpreis, Zentrum für Kunst une Medientechnologie (ZKM), Karlsruhe, to produce a new work in SWR Experimentalstudio, Freiburg in 2012.
Fromm Music Foundation Commission, Harvard University, 2012.
Franz Liszt Stipendium Förderpreis, Hochschule für Musik Franz Liszt Weimar, 2011.
Concertare 2011 Commission, Ensemble Recherche and Freiburger Barockorchester, 2011.
Staubach Honorarium, Harry and Alice Eiler Foundation, Internationale Ferienkurse für Neue Musik, Darmstadt, 2010.
Fulbright Grant, Paris, France, 2007-08.
Charles Ives Scholarship, American Academy of Arts and Letters, 2005.
BMI Student Composer Awards, 2004, 1994.
British Marshal Scholarship, 2000-02.
ASCAP Grants to Young Composers, 1996, 1995, honorable mention 1998, 1994, 1993.
Huddersfield Contemporary Records (HCR), sub-board member.
Qubit New Music, New York, co-curator.
Center for Research in New Music (CeReNeM), postgraduate seminars
Orchestration 1&2, module tutor
Computer Composition 2, tutor
Music in the 21st Century, lectures