Writing

Academic

Effaced, Reflected, Being: Documents and/of/as Musicking Bodies (2017) [PhD thesis: commentary, examples, portfolio / Huddersfield of University repository listing]

A thesis on the creative application of music performance documentation.

Reflections on Ephemerality and Notation in my Recent Work (2012) [Master’s by Research thesis*]

Two articles examining aspects of ephemerality and notation in music composition practices

*abridged thesis. Photographic documentation for the article on ephemerality is omitted. A partial collection of photographic documentation may be downloaded here. Write michael [at] michaelbaldwin.online for additional documentation.

Musical Expression Through Notation: The Formal Constructs of Klaus K. Hübler (2011) [standalone]

An essay on forms of musical expression and instrumental emancipation manifest by Klaus Hübler’s use of extended (multiparametric) tablature notation.

Reviews

Performance – Decontamination Double-Bill: #12 – fragmentation and distortion / #13 – Lecture about sad music and happy dance (2018) [TEMPO]
Record – Christopher Butterfield: Trip. Quatuor Bozzini. Collection QB. CQB 1719. (2018) [TEMPO]

Conferences

An Ephemeral Practice (2013) [Time Stands Still: Notation in Musical Practice]

This paper primarily discuss my exploration into ephemerality by examining my ephemeral mail-art project, S[h/c]attered Shards of Experience: Ephemera 1-n.

Creative Reflection

Underscoring Summer. (Forthcoming, October 2019) [Summer. Autumn. Winter. Spring. Retrospective. Quarantine. Manchester University Press.]

A text score/guide for reader performance with publication and derived from documentation of Summer.

Limbs Have Hearts and Eyes Hear (2016) [Personal Blog]

On composing and reading my video score for ]HoldingOn[.

Prattle & Babble (2015) [Personal Blog]

On the process of arriving at my performance-piece urtext.

On Renotation (2012) [Personal Blog]

Reapproaching and recoding multiparametric notation with my saxophone trio Disintegration. 

Performance Reflection

Beavan Flanagan’s No sweeter sound than my own name (2015) [Personal Blog]

A hub of writing and media related to work realising and developing Beavan Flanagan’s vocal solo No sweeter sound than my own name.

Charlie Sdraulig’s few (2014) [Personal Blog]

A hub of writing and media related to work realising Charlie Sdraulig’s vocal solo few.

Luke Nickel’s [factory] (2014) [Personal Blog]

A hub of writing and media related to work realising Luke Nickel’s composition [factory].

Sticky Singing (2015) [Personal Blog]

A short exploration of imitating time-stretched vocal recordings.

Interviews

This is a Score. This is a Another. This is a Third. Now Form a Band. (2017) [Sounds Like Now]

Robert Barry interviews a collection of experimental music concert organisers including me as co-curator of Weisslich.

An Interview with Mercé Bosch Sanfelix about Michael Baldwin’s French horn solo Buzzed (2016) [Mercé Bosch Sanfelix, Master’s Thesis]

Questions about my solo horn piece Buzzed

Questions to Performers: insight into this is not natural [transfiguration] (2015) [CeReNeM Journal 5]

Responses to questions regarding ways of moving, engagement with unfamiliar instruments, the function of listening and affects of technological mediation.

Guest Blogging

Retrospectively Arriving at Composition with the Sound of Its Own Découpage (2016) [Tempus Konnex]

An essay about retrospective composition, documentation, and the process/performance of production for my toy piano and video+audio playback piece Composition with the Sound of Its Own Découpage.

Contemporary Notation Project: Michael Baldwin (2014) [The Rambler]

A contribution to Tim Rutherford-Johnson’s Contemporary Notation Project detailing my use of video as a score form.

Better Know A Weisslich Series [WEISSLICH]

As part of co-curating WEISSLICH I wrote short articles and essays on featured artists and pieces.

Ensemble Pamplemousse (2016)

6 Benefits of Pamplemousses: or, my first listicle!

Antonia Barnett-McIntosh & Ilze Ikse (2016) 

Listening to Breath with breathing ears.

Louis d’Heudieres’ Laughter Studies (2016) 

A transcription, a representation, and a poetic response.

Cathy van Eck’s Music Stands (2016) 

On the use and significance of music stands in experimental music, performance art, and Cath van Eck’s work.

Carolyn Chen (2016) 

A psychogeographic reading of hearing faces in Carolyn Chen’s Adagio.

Samuel Stoll (2016)

A profile on French horn player Samuel Stoll and a description of our collaborative work with each other.

Beavan Flanagan (2015)

A profile on composer Beavan Flanagan and facets of post-humanism in his work.

Eleanor Cully (2015)

A profile on composer Eleanor Cully and elements of disappearance in her work.

Discussion of My Work in Articles, Books, and Magazines by Others

Rutherford-Johnson, Tim. “Unsettling Scores.” The Wire (403), 10 August 2017, 30-33. [subscriber reader] [excerpt]

Esptein, Nomi. “Musical Fragility: A Phenomenological Exploration.” Featuring discussion of ephemeral scores S[h/c]attered Shards of ExperienceTempo 71, no, 281 (2017). 39-52. doi:10.1017/S0040298217000432 [excerpt]

Fairbairn, Kevin. “Performing Diffraction: Reading Michael Baldwin’s Erasure through Karen Barad’s Agential Realism.” Research Catalogue (2017).

Packham, Jonathan. “Anti-virtuosity/anti-flow: a Czikszentmihalyian examination of Michael Baldwin’s a tenuous/tentative step towards performative awkwardness/clumsiness (2013).“Research paper written for module titled Developments in Virtuosity since 1960. Featuring discussion of a tenuous/tentative step towards performative awkwardness/clumsiness. 2017.

Edgerton, Michael. The 21st Century Voice, 2nd ed. Featuring discussion of Various Terrains (degrees of similarity). Scarecrow Press, 2015: 142-43.

Gottschalk, Jennie. “A Spectrum of Private Scores.” Featuring discussion of ephemeral scores S[h/c]attered Shards of Experience. Sound Expanse (2013).