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.
Performance – Decontamination Double-Bill: #12 – fragmentation and distortion / #13 – Lecture about sad music and happy dance (2018) [TEMPO]
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.
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.
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.
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.
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.
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!
Listening to Breath with breathing ears.
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
Esptein, Nomi. “Musical Fragility: A Phenomenological Exploration.” Featuring discussion of ephemeral scores S[h/c]attered Shards of Experience. Tempo 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).