Michael Edward Edgerton Associate Professor of Music Composition Guangxi Arts University; 7th Jiaoyu Rd. Nanning, Guangxi 530022 P.R.China cell: 0086-157 7840 1925 edgertonmichael@hotmail.com http://michaeledwardedgerton.wordpress.com/ http://en.wikipedia.org/wiki/michael_edward_edgerton https://soundcloud.com/user-756388517/sets EDUCATION The National Center for Voice and Speech, 1996 to 1999 Postdoctoral Fellow Subjects: studied voice science for my book, The 21st-Century Voice topics included reinforced harmonics, chant, ingressive airflow phonation, vocal violence completed five papers and preliminary text to The 21st -Century Voice The University of Illinois, 1994 Doctorate of Musical Arts in Composition Dissertation: Fracture Zone: Clipperton et Ragusii an underwater music theatre work Two thesis papers: Sonatina Seconda of Ferrucio Busoni, and The Late Piano Works of Franz Liszt Composition Studies with William Brooks and Morgan Powell Michigan State University, 1987 Master of Music in Composition Master s Thesis Composition: A Penny for the Young Guy for chamber ensemble, voices and narrator Composition Studies with Jere Hutcheson The University of Wisconsin-Parkside, 1984 Bachelor of Arts in Vocal Performance Composition Studies with August Wegner TEACHING EXPERIENCE Current and Previous Positions The Guangxi Arts University, Department of Music, 2015 to current Associate Professor Teach courses in composition and new music literature Composer-in-Residence The University of Malaya, Department of Music, 2011 to 2014 Associate Professor Teach courses in Composition I & II, Form & Analysis (incl. species counterpoint), Contemporary Vocal Ensemble, Introduction to Psychoacoustics; direction of graduate theses. Introduce international contemporary music performance series; direct Merle Noir, a voice group dedicated to contemporary music; and supervise new music performances by student composers. Academic Service includes Higher Degrees Committee (JIT), Academic Committee Member (JKA) and Music Division Committee. Tasked with development of DMA and MM degree programs in composition and performance. Led Musicology Search Committee. Served on PhD Committee Viva Voce (Oral Examination). Tasked with implementation and development of an innovative High Impact Research Center, The ICVR (International Center for Voice Research), a multi-site consortium devoted to the interdisciplinary study of voice. Supervision of graduate and undergraduate theses, topics including: localization in blind, blinded and sighted persons (audiology); acoustics of the angklung; acoustics of the ukulele; timing characteristics in piano performance emotion; singer s formant in Chinese-Malaysian classically trained singers; classification scheme of reinforced harmonic production; investigation of subharmonic production of the violin; multimodal tracking of bowed string instruments. 1 Of 19_Edgerton _2017 December
University of Teesside (Middlesbrough, England), 2007 Institute of Digital Innovation, Composer-in-Residence Acoustic Ecology: delivered lectures on acoustic ecology (listening comprehension, The World Soundscape Project, perceptual categories, sound design, acoustic design) Contemporary Vocal Ensemble: led a small group of participants in exploring contemporary/ethnic/experimental vocal techniques and performance practice which led to the production of a dada cabaret at the Python Gallery in Middlesbrough. University of Abertay Dundee (Dundee, Scotland), 2006-07 Leverhulme Composer-in-Residence Cognitive Psychology (PS0802A): delivered lectures covering aural perception (Gestalt grouping, stream segregation, fission/fusion, illusions), acoustics (music and voice, pressure waves, influence of environment) and audology. All lectures included many musical and/or aural examples. Contemporary Vocal Ensemble: similar to previous work, based upon principles of voice science, but adding elements of perception and sensing (Gaburo and Oliveros); ensemble is planned to present concerts and release a commercial recording featuring my piece in the spring of 2007. Conservatory of Music (Joensuu, Finland), 2001 Visiting Faculty of Music Contemporary Vocal Ensemble: based upon principles of voice science, the course examined vocal potential (including multiple methods for producing more than one tone simultaneously in a single voice) and recent trends in vocal performance that culminated in a concert of compositions from Scho nberg to Edgerton, plus one improvisation. Unaffiliated, 2000-2011 Private Instruction Composition and extra-normal voice instruction in England, Estonia, Finland, France, Germany, Sweden The University of California San Diego (CRCA), 1999 Visiting Scholar Conduct research for The 21st Century Voice (Scarecrow Press, 2005) Directed a chamber vocal group Southwestern College (San Diego, CA), 1999 Instructor of Music Electronic Music (MUS 155): Introduction to electronic music theory and techniques. Experience includes use of the Putney, Moog and Oberheim synthesizers. Musicianship for General Elementary Teachers (MUS 103): Elementary music theory and skills including performance with autoharp and voice; developing elementary piano keyboard facility. The University of Wisconsin Madison, 1996 to 1999 Postdoctoral Fellow and Faculty Assistant Contemporary Vocal Ensemble: expanding extended vocal techniques by using concepts of voice science. Concerts were performed at the University of Wisconsin and other performance spaces in and around Madison, including the Wisconsin Alliance of Composers Annual Composition Festival in 1998 at Carthage College, from which the composition Sirens by Edgerton was voted as the best performance and composition by the organizer of that year s festival - composer and organist Dr. Gary Verkade. Public Speaking (CA 105): Development of fundamental skills in the preparation, delivery, and evaluation of the common forms of public address. Yonsei University (Seoul, South Korea), 1995 Visiting Instructor in Music Private Composition Lessons: An upper division composition course focusing on independent projects, private composition lessons, and self-directed research. Contemporary Vocal Ensemble: An upper division performance course focused on extended vocal techniques and improvisation. The University of Illinois (Urbana, Il), 1988 to 1991 Instructor and Teaching Assistant Music Theory and Practice I (MUS 101): Fundamental theory including terminology and notation; visual analysis of music elements, procedures and forms; written applications in short projects. Music Theory and Practice II (MUS 102): Continuation of MUS 101. 2 Of 19_Edgerton _2017 December
Aural Skills I (MUS 107): Beginning aural skills training in the areas of intervals, scales, chords, rhythm, melody, and harmony. Aural Skills II (MUS 108): Continuation of aural skills training from MUS 107. Development of performance, notational, and listening skills in the areas of rhythm, melody, harmony, counterpoint, and formal aspects of musical structure; emphasizes tonal pitch structures. Music Theory and Practice III (MUS 201): Continuation of MUS 102. Gradually increased emphasis on contrapuntal techniques, dissonance in tonal music, and musical form. Music Theory and Practice IV (MUS 202): Continuation of MUS 201. Study of twentieth century compositional methods. Aural Skills III (MUS 207): Continuation of MUS 108. Emphasis on extensions of tonality by means of changing tonal centers and altered chords. Contemporary Chamber Players (MUS): assisting with organization of concerts, programs, rehearsals, etc. Rhetoric (RHET 100): Tutoring in writing skills. Michigan State University (East Lansing), 1986 to 1989 Teaching Assistant Fundamentals of Music (MUS 180): Conceptual and notational presentation of the basic components of musical structure. Musicianship I (MUS 181): Hierarchical musical structure through species counterpoint and figured bass. Linear and vertical aspects of tonality. Ear Training and Sight Singing I (MUS 182): Dictation, melody singing using solfege (movable do) syllables, intervals to octave, error detection, quarter note values in rhythm, part singing. Ear Training and Sight Singing II (MUS 183): Dictation, singing melodies in major and minor keys. Simple modulation, chromatic alteration, error detection, rhythms, triads and components, part singing. Musicianship II (MUS 280): Techniques of diatonic modulation and soprano harmonization. Chromatic techniques. Musicianship III (MUS 281): Research base for formal categorization. Large-scale principles of musical organization. Chromatic substitution and chords derived from voice-leading. Advanced Ear Training and Sight Singing I (MUS 282): Dictation including recognition of triads, functions, cadences, seventh-chord harmonies, chord components. Two-and four-part dictation and singing. Advanced Ear Training and Sight Singing II (MUS 283): Recognition of harmonic functions in major keys, minor keys, and modulations. Dictation in two-and four-part textures including augmented-sixth chords and nonharmonic tones. Courses Taught Composition, Contemporary Vocal Ensemble, Contemporary Chamber Players, Introduction to electronic music theory & techniques, Introduction to Psychoacoustics, Acoustic Ecology (listening comprehension, The World Soundscape Project, perception, sound & acoustic design), Modules within Cognitive Psychology (aural perception, acoustics, audiology), Music Theory and Practice I IV, Aural Skills I IV, Form & Analysis (including species counterpoint), Fundamentals of Music, Musicianship I IV, Musicianship for General Elementary Teachers, New Music Literature, Public Speaking, Rhetoric (RHET 100 - tutoring in writing skills), Private instruction in voice (Students of contemporary voice included soloists: Almut Ku hne, Kornelia Brugmann, Angela Rademacher-Wingerath, Rebekka Uhlig, Jan Heinke, among others) AWARDS, HONORS & RECOGNITION Recognition for Composition 2016 1ST EXCELLENT AWARD, 5th China-Asean Composition Competition, THRUSH 2007 FIRST PRIZE, Kompositionspreis der Landeshauptstadt Stuttgart, Tempo Mental Rap 2007 SEMIFINALIST, Composition Contest of the Netherlands Radio Choir, Kalevi Matus 2003 SE LECTION, 5 th Dutilleux International Composition Compe tition, 1 Sonata 2001 SE LECTION, 31 st Festival Synthese Bourges, The Elements of Risk in Creation 1996 FIRST PRIZE, MacDowell Club, Unspoken Crime 1993 SELECTION, Friends and Enemies of New Music, Net/Byrinth: Rec. Study I 1989 SELECTION, Midwest Composers Symposium, A Penny for the Young Guy 1987 THIRD PRIZE, National Federation of Music Clubs, Ai 1987 HONORABLE MENTION, National Federation of Music Clubs, Dwellers of the Southwest 1986 FIRST PRIZE, Michigan State Univ-Orchestral Composition Contest, The Final Diary of a Branch 3 Of 19_Edgerton _2017 December
Commission 2016 Commission for new work. Proxima Centauri and Musicacoustica Festival. Commission for new work for percussion and electronics (Hawking Radiation) to be premiered during the Musicacoustica Festival in 2016 in Beijing. 2015 Commission for new work. Guangxi Symphony Orchestra. A new composition (Concerto for Orchestra). To be premiered by the Guangxi Symphony Orchestra; Cai Yang, conductor at the Guangxi National Palace Concert Hall in January 2016 2015 Commission for new work. Guangxi Arts University. New work to be premiered during the 2015 China-ASEAN Music Week (Intitulata Fontegara, for fl., vl. & pno) 2015 Commmission for new work. Guangxi Arts University. New work to be premiered during the 2015 China-ASEAN Music Week (In silence, I hide my loudest scream) by the China-Asean Youth Orchestra, conducted by Michael Edward Edgerton. Guangxi National Palace concert hall. 2009 City of Oulu (Finland): commissioned The Book of One Man Dead, for Timo Kinnunen 2009 Kulturstiftung Dresden: commission of Cataphora & stipend to train vocalist Jan Heinke 2009 Kulttuurivoimala Culture Power Station: commission for installation at Oulu city Silo 2008 Ku ng Blockflo te (Schaffhausen): Commissioned Balkan Dances for Quartet New Generation 2007 Institute for Digital Innovation (The University of Teesside): Commission for AVFest08 2002 The European Union, State of Sachsen & Capitol City Dresden: Commissioned a new work 2001 Fo rderband e.v./kulturbu ro in Berlin: Commission for Ur-Sprung, an excerpt from Creation of the World, premiered during RESERVOIR V in Der Kleiner Wasserspeicher in Berlin 1998 to 1999 Scientific American: Commissioned article The Throat Singers of Tuva 1998 American Composers Forum Chicago: Composers Commissioning Program recipient 1987 American Composers Forum Chicago: Composers Commissioning Program recipient 1995 David Billman: Composed Songs of Vent for multi-percussion on commission from Billman. Invitation 2018 Invited Speaker. Conference, Female Voice in the 20th Century. Institute for Music at the Fondazione Cini; Venice: San Giorgio Maggiore. 2018_03_16-18. 2016 Acceptance to International Symposium (competitive award). My composition Wassermann was accepted for performance. 2016 Toronto International Electroacoustic Symposium (unable to attend). 2016 Invitation for performance and Lecture. The Art of Voice Synthesis conference & expert meeting, workshop & concert (11, 12 & 14 May 2016) in Amsterdam. Organized by Dr. Julia Kursell & Dr. Hannah Bosma. Support was provided by University of Amsterdam: Computational Linguistics, Musicology, Amsterdam School for Cultural Analysis ASCA; Royal Netherlands Academy of Arts and Sciences KNAW; Orgelpark, Organ Studies Vrije Universiteit Amsterdam; STEIM, Amsterdam. 2012 to 2013 Forum of Contemporary Music Leipzig FZML (Germany & USA): Invitation to compose new work for John Cage centenary - The»Party Piece Project«2005 International Congress of Voice Teachers 6 th Conference: Invited Presenter (did not attend) 2004 Visualization of Context Driven Topologies-Digitizing the Non-Digital: Participant 1999 The University of California San Diego (CRCA): Served as Visiting Scholar to conduct research for The 21st Century Voice (Scarecrow Press, 2005) and directed a chamber vocal group. Grant/Stipend 2016 Recipient Major Grants (2nd party support). Via Loadbang, The Guangxi Arts University & the 2016 China-ASEAN Music Week received support from by Mid Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation. 2016 Recipient Major Grants (2nd party support). Via Chris Tonelli & the International Institute for Critical Studies in Improvisation at Memorial University, Edgerton received funding (travel, stipend, per diem) for a week-long residency to train a choir and give concerts from the Social Sciences and Humanities Research Council of Canada. 2015 Grant to attend and participate in the 2015 International Gugak Workshop in Seoul. 2013 University of Malaya Research Grant under the umbrella Exploring New Theories, Concepts and Pedagogical Insights Between Sound And Gesture, research looking at Vortices in Phonation 2011 Deltart residency (Romania): Travel and Residential Grant 2010 Maisons Daura in St-Cirq-Lapopie (France): Travel and Residential Grant 2009 Ku nstlerhaus Eckernfo rde (Germany): stipend to compose The Garden of Risk 2009 Visiokonsultit Ay: Grant to assist performance of light/sound installation at Oulu city Silo 2009 City of Oulu, Technical and Social Dept: Grant to assist installation at Oulu city Silo 4 Of 19_Edgerton _2017 December
2008 Kemi City Council: Grant to assist commission sound design for triennale Kontakt Bastu 2009 2008 Nelimarkka Museum (Alaja rvi): Residential Grant (composed two works and gave 3 seminars) 2008 Ku nstlerwohnung Chretzeturm (Stein am Rhein, Switzerland): Stipend to prepare A Marriage of Shadows for premiere 2007 Knowledge Transfer Grant: Assisted AHRC Standard Grant Application (Bristol & Abertay) 2006 to 2007 The Leverhulme Trust: Stipend - Artist-in-Residence at the University of Abertay Dundee 2006 University of New Mexico: Stipend travel/lodging at SCI conference for premiere & lecture 2006 Univ of Cal-Santa Cruz: Stipend travel/lodging support for performance at Music for the Third Ear 2006 California Institute of the Arts: Stipend for travel/lodging for performance and lectures 2005 Paul Sacher Stiftung: Research Grant of the Paul Sacher Foundation 2005 Baldreit Stipendium (Baden-Baden): Stipend for Finalist Presentation Travel & Accommodation 2005 Borderl-ne, New Music Festival Malmo, & the Malmo Academy of Music: Stipend for travel & accomodation to attend premiere of Regret of a Noiseless Sundering by the Stockholm Saxophone Quartet 2003 The American-Scandinavian Foundation: Grant to support performance of excerpts of Creation of the World in the School of Music at the Lulea University of Technology (Sweden). Grant involved training student performers, conducting rehearsals and presenting two seminars 2003 Visby International Center for Composers (Island of Gotland): Grant recipient 2003 Cons Superior de Mu sica Joaquín Rodrigo (Valencia): Support for Lectures, travel and lodging 2001 The Arts Council of North Karelia: Residential grant to compose StringQuartet #1 and Koli; Presented one lecture at the University of Joensuu and directed a semester-long vocal ensemble at the Joensuu Conservatory of Music 2001 Humboldt University: Grant to conduct research on Nonlinear Phenomena 2000 Polli Talu Arts Center: Stipend and residential grant to compose Kalevi Matus & offer workshops 2000 Akademie Schloss Solitude: Residential grant to conduct research on extended vocal techniques in Germany, ca. 1965 to 1990 primarily with Hanna Aurbacher-Liska, author of Die Stimme in der Neuen Musik and member of the Schola Cantorum Stuttgart, directed by Clytus Gottwald. The research was intended as primary source material for The 21st-Century Voice 1996 to 1999 The National Center for Voice and Speech: A 3-year Postdoctoral Fellowship. Studied voice science (acoustics and physiology) for The 21 st -Century Voice. Applied research projects were focused on topics: reinforced harmonics, chant, ingressive airflow phonation, vocal violence. 1996 Arts Midwest: Recipient of a Meet-The Composer grant 1996 Kittredge Fund: Grant recipient Inclusion 2014-18 Biographical Inclusion in Marquis Who s Who in the World 2013 BabelScores Reading Panel 2013: Compositions selected for inclusion in catalogue 2013 GfZK Galerie fu r Zeitgeno ssische Kunst Leipzig: Exhibition of music score in Art Gallery Party Pieces Project - Exhibition of the scores in the Museum of Contemporary Art in Leipzig 2013 Forum Zeitgeno ssischer Musik Leipzig [FZML]: Composition in the Party Pieces Project included in a publication titled Book for No-Thing Prize for Publication 2014 Deutscher Musikeditionspreis»Best Edition 2014«(this is an award to the organizers of the Party Pieces Project to honor the centenary of John Cage, for which I composed part #74 of the meta-composition) Selection 2013 FAS PR 2013 (Puerto Rican sound art fair, Oct 3-26, 2013): Anaphora selected for performance and exhibition 2013 SNIM Call for Works: The Oak of Mambre shortlisted Exchange 2012 NYFA/Stichting RIO New York/Netherlands composer exchange: Ensemble Ekmeles performed the world premiere of Azure Suite by Edgerton in Brooklyn 5 Of 19_Edgerton _2017 December
Residencies 2011 Deltart residency (Romania): Composed 2 sonata & did an audio-visual reinterpretion of I Am Sitting in a room by Alvin Lucier 2011 Steim (Amsterdam): Developed prototype of lingual-palatal controller 2010 Maisons Daura in St-Cirq-Lapopie: Composed Folk Songs 2010 Hotel25 (Berlin): Developed Blood-Sugar-Breath, a performance of the extra-normal voice 2009 Ku nstlerhaus Eckernfo rde (Germany): Composed The Garden of Risk 2009 Culture Power Station in Kemi, Finland: Composed The Book of One Man Dead 2008 Nelimarkka Museum in Alaja rvi, Finland: Composed Yellow Room, Desolate Land, le Critérion (revision) & offered semester-long course on modern music at local school, culminating in a performance at the Nelimarkka Museum 2008 Ku nstlerwohnung Chretzeturm (Stein am Rhein): Composed A Marriage of Shadows 2007 The University of Teesside, Institute of Digital Innovation: Composed A Marriage of Shadows 2006 to 2007 The University of Abertay Dundee, Scotland: Composed fragmenta Scotia, conducted psychoacoustic research with Dr Ken Scott-Brown, gave seminars and led a performance group culminating in a performance at St. Paul s Cathedral in Dundee. 2005 Paul Sacher Stiftung in Basel (research stipend): Studied the spectral research of Grisey 2003 Lulea University, School of Music (Pitea): Performed excerpts from Creation of the World 2001 The Arts Council of North Karelia (Finland): Composed String Quartet #1 and Koli 2000 Polli Talu Arts Center in Vatla, Estonia: Composed Kalevi Matus and offered workshops 2000 Akademie Schloss Solitude (Stuttgart): Conducted research for The 21 st Century Voice 1999 The University of California - San Diego, CRCA: Did research for The 21 st Century Voice 1996 to 1999 The University of Wisconsin Madison: Conducted research for The 21 st Century Voice 1996 Atlantic Center for the Arts: Recipient of Associate Artist (did not attend) 1995 Hanyang University (Seoul): Composed XHAIN, wrote three papers and gave three lectures 1994 Indiana University, Latin American Music Center: Directed A Broken Collaboration 1994 Southold Dance Theater: Served as guest composer/performer and offered lectures GUEST LECTURES, WORKSHOPS, SEMINARS, CONFERENCES, EXHIBITION 2018 Invited Speaker. Conference, Female Voice in the 20th Century. Institute for Music at the Fondazione Cini; Venice: San Giorgio Maggiore. 2017 Lecture. On my compositions. Experimental Music Space (No. 27 Lane 189 Giang vo.), 10:30; Hanoi, Vietnam. 2016 Lecture. Pre-concert lecture in Chengdu (NuSpace) preceding the performance of THRUSH. 2016 Lecture during The Art of Voice Synthesis conference & expert meeting, workshop & concert (11, 12 & 14 May 2016) in Amsterdam. Organized by Dr. Julia Kursell & Dr. Hannah Bosma. 2016 Lectures and workshops at Memorial University (St. John s, Canada). Edgerton received funding (travel, stipend, per diem) for a week-long residency to train a choir and give concerts from the Social Sciences and Humanities Research Council of Canada. 2014 1 Sonata (video recording by Moritz Ernst) played during Arts, Humanities, and Complex Networks 5th Leonardo satellite symposium at NetSci2014, taking place in Berkeley at the Clark Kerr Campus of the University of California, on Tuesday, June 3, 2014. 2014 Shanghai Conservatory of Music: Presented compositions & research; gave composition lessons 2013 University of Malaya: Presentation at ISEE_2nd International Symposium on Ethnomusicology and Ethnochoreology, November 27 2013 Miller Theater in NYC Exhibition of the scores in the Party Pieces Project on 17th of October 2013; http://www.cage100.com/english/projects/exhibition/infoseite/ 2013 FAS PR 2013 (Puerto Rican sound art fair, October 3-26, 2013) - Composition (Anaphora) selected for performance/exhibition (INTERNATIONAL) Sala de las Artes, Universidad del Sagrado Corazo n, San Juan, PR. 2013 GfZK Galerie fu r Zeitgeno ssische Kunst Leipzig - Exhibition of music score in Art Gallery - Party Pieces Project - Exhibition of the scores in the Museum of Contemporary Art in Leipzig, from 22 August to 15 September 2013 2013 SEGI College (Kuala Lumpur): Directed performance and participated in discussion, June 14 2012 UiTM (Kuala Lumpur): Presented seminar to composition students, November 5 2011 KreativAgentur (Berlin): Presented at Pecha Kucha - 20 Frames x 20 Seconds, November 11 2011 SEGi College (Kuala Lumpur). Lectured on my music, July 5th 6 Of 19_Edgerton _2017 December
2011 Universiti Putri Malaysia: Presented at International Conference on Music Research 2011 'Music and Memory 2011 KreativAgentur (Berlin): Gave workshop on the extra-normal voice, August 17 2011 Karl v Maria Weber Hochschule (Dresden): Presented two lectures - Extra-normal voice & musical tension, March 16 2011 Quiet Cue (at Staalplaat Records, Berlin): Gave workshop on modern vocal technique, March 2010 Freie Universita t (Berlin) in Languages of Emotion - Voice, Mimesis, and Emotion: Presented lecture on Musical Tension in Nonharmonic Sonorities, December 2010 Maisons Daura (Saint Cirq Lapopie): Gave lecture on composition and performance, August 2010 Elektroakustische Musik ho ren, Technische Uni (Berlin): Lectured on Electronic Voices, April 2010 Hotel25 (Berlin): Gave weekly Seminars on the creative use of the extra-normal voice, spring 2009 Koskullskulle Ko ren (Sweden): Led seminars focused on contemporary voice, September 2009 The University of Oulu (Finland): Presented seminar focused on the extra-normal voice, April 2008 Alaja rvi Folk High School: Delivered three presentations: 1 st Edgerton compositions; 2 nd overview of contemporary music; 3 rd the extra-normal voice, October November 2008 Music Institute in Alaja rvi (Finland): Directed a community group, October - November 2008 The conservatory of Music in Lugano: Presented activities with practice-led research, February 2007 York University: Presented my compositions and research, October 2007 Conservatory of Music in Malmo : Presented my compositions and research, September 2006 The University of Abertay: Lectured on composition, November 2006 Music for the Third Ear April in Santa Cruz, Festival: Lectured on my compositions 2006 John Donald Robb Composers Symposium, U of New Mexico (2006 SCI): Lectured on my compositions and research, April 2006 California Institute of the Arts: Gave three Presentations, April 2005 Borderl-ne, New Music Festival Malmo, at the Malmo Academy of Music: Gave presentation 2005 Baldreit Stipendium: Gave presentation on my compositions 2003 Lulea University, School of Music (Pitea, Sweden): Presented two lectures: Controlled use of nonlinear phenomena and scaled multidimensional phase space in contemporary music & Extra-normal voice production 2003 Conservatorio Superior de Mu sica Joaquí n Rodrigo (Valencia) Conference I Curso de Teoria y Composicion Musical: Presented on multidimensional networks, acoustics, perception 2002 3 rd Biennial International Conference on Voice Physiology and Bioacoustics (ICVPB in Denver): Presented Controlled Use of Nonlinear Phenomena in Contemporary Vocal Music 2002 Trans_Media Academy Real-Time & Presence: Presented creative and research activities 2001 4th International Conference-Generative Art (Milan): Presented The Influence of Nonlinear Dynamics and the Scaling of Multidimensional Parameter Spaces in Instrumental, Vocal and Electronic Composition and Rebekka Uhlig performed Anaphora 2001 Technischen Universita t (Berlin): Presented electronic/computer interfaces with voice 2000 Music Academy (Tallinn, Estonia): Lectured on art & science and voice 2000 University of North London, One Culture conference: Gave presentation on palatal mapping 2000 York University: Presented seminars on my compositions and research 2000 College Art Association, National Conference (NYC): Served as Panelist on Impact of the Arts on Sciences, and presented collaboration with scientist Steven Tasko 1999 Center for Research in Computing and the Arts (CRCA), University of California San Diego: Presented lecture on the use of voice research on musical composition 1999 EAA/ASA/DAGA Joint Conference: Gave poster presentation on overtone singing 1998 National Center for Voice and Speech Conference: Presented talk on (imitated-tibetan) chant 1998 International Phonosurgery Conference, appointed as Guest Faculty: Presented research on extended voice and a poster on overtone singing; co-hosted workshops on overtone singing with Rollin Rachele 1998 Northwestern University: Led colloquium on extended vocal techniques 1997 CSU-Stanislaus, Constructions of the Human Conference: Presented talk on Corporeality of the Embodied Voice 1996 Mount San Jacinto College: Presented two-day seminar on contemporary voice 1996 University of Redlands, Composers Forum: Gave presentation of composition and research 1995 Hanyang University (Seoul, South Korea): Lectured on contemporary music and voice 1994 Indiana University, Latin American Music Center the 1 st Inter-American Composition Workshop Words and Music Conference: Gave workshops on contemporary voice & presented music theater work, A Broken Collaboration 1994 Southold Dance Theater: Gave lecture on my work and performance 7 Of 19_Edgerton _2017 December
PUBLICATION & PRESS Compositions Babelscores #86 2 Sonata, for alto flute (2011-12) #85.a_Ari(rang), for soprano sax (2010) #80 Keltainen huone, for choir (2008) #77 A Marriage of Shadows, for flute (a.fl), Alto (tenor) sax, percussion, gtr, voice (2008) #74 illusions, for e.hn, cl, bn, hn, tpt, tbn, pno, vla (2006) #73 adjusting to beams falling, for flute and violoncello (2006) #72 Tempo Mental Rap, for guitar (2005) #70 1 sonata, for piano (2004) #66 Sangītaśiromani, for 7 strings (vln & vla) (2002) #65 Tractatus I, for solo oboe (2002) #64 String Quartet #1, for string quartet (2002) #62 Anaphora, for solo voice (2001) #58 Kalevi Matus, for choir (2000) #56 le Critérion, for woodwind quartet (fl, ob, cl, bsn) (2000/2008) #55 Mamre, for violin (2000) #54 Friedrich s Comma, for two voices (1999) #39 A Holy Person Falls into the Nile as a Pelican, for clarinet and horn (1997) #35 Apposte Messe, for air-driven organ (1996) #23 XHAIN, for piano duo (1995/2008) #22 Regret of a Noiseless Sundering, for saxophone quartet (1995) C. Allen Publications #25 Songs of Vent (6 00), instrumentation: multi-percussion solo (1995) Componistenwerk #80.b. Keltainen huone (Yellow Room), for choir (2008) Conners Publications/C.P. Press Publications #49 KOSMOS, volume two on reinforced harmonics, for one to four voices (1998) #48 KOSMOS, volume one on articulation, for one to four voices (1998) #46 Azure Suite (4 30) for soprano and overtone singer (1998) #45 Taffy Twisters (6 05) for voice and percussion (1998) #43 Sirens (8 21) for four to forty voices (1998) #41 Lingua-Palatal #1 (3 28), for two voices (1997) #27 Mountain Songs (4 01), for solo voice (1995) Forum Zeitgeno ssischer Musik Leipzig [FZML] #87 Party Pieces Project, for orchestra (2013) Neue Dresdner Vokalschule (New Dresden Vocal School). Sa chsische Landesbibliothek Staats- Und Universita tsbibliothek Dresden (SLUB) #88 AbaGa baratur (4 47), for choir (2014) PRB Production #78 Balkan Dance, for 4 blockflöte (tenor, bass F, grossbass C, Subbass F) (2008) T.U.B.A. Press #05 Ai, for trumpet, trombone, tuba (1987) Uetz Verlag #09 Unspoken Crime, for violin, violoncello and piano (1988) Scarecrow Press #62 Anaphora, for solo voice (2001) [excerpt in The 21 st Century Voice] 8 Of 19_Edgerton _2017 December
#54 Friedrich s Comma, for two voices (1999) [in The 21 st Century Voice] Recordings MODERN CHORAL MASTERPIECES. 441 Hz Chamber Choir, Dux Records, 2015 (incl. #80, Yellow Room). THE 21ST CENTURY VOICE AUDIO EXCERPTS. Rowman & Littlefield (324 pp.). Lanham: MD, November 2014. 128 excerpts illuminating principles outlined in book @: https://soundcloud.com/the21stcenturyvoice/sets RAVEN, LE CORBEAU. Escargot ma non troppo, Paris, 2012 (with Frederique Bruyas). ALLES AUΒER GEWO HNLICH. Auditivvokal Dresden, Dresden 2012 (incl. Anaphora) ELECTRONIC VOICES. Galerie SPHN, Berlin, 2001. Books Edgerton, M. Music within the Continuum. Lambert Academic Publishing (72 pp.). Saarbru cken: Germany, 2015. Edgerton, M. The 21 st Century Voice, 2nd edition. Rowman & Littlefield (324 pp.). Lanham: MD, December 2014. Edgerton, M. The 21 st Century Voice. Scarecrow Press (224 pp.). Lanham: MD, February 2005. Articles a.22. Edgerton, M.E., Hashim, N., Auhagen, W. (2014) A case study of scaling multiple parameters by the violin. Musicae Scientiae, Vol. 18(4) 473 496. a.21. Edgerton, M.E. (2013). The Oak of Mambre #79 for double bass (text and score). Revista Mu sica Hodie, Goia nia, 13:1, 341-349. a.20. Edgerton, M.E., Tan, S., Evans, G., Jang, M. H., Kim, B. K., Loo, F. Y., Pan, K. C., Hashim, N., Amin, J. (2013). Pitch profile of the Glottal Whistle. Malaysian Journal of Science, 32:1, 78-85. a.19. Edgerton, M.E. (2012). Notational Practice of Complex Music. Revista Mu sica Hodie, Goia nia, 12:2, 258-273. a.18. Edgerton, M.E. (2008). Zappa Speaks Again_the Tempo Mental Rap Variations. In New Music and Aesthetics in the 21st Century, (ed. Claus-Steffen Mahnkopf). Hofheim/Taunus: Wolke Verlag, 6, 135-156. a.17. Neubauer, J, Edgerton. M, and Herzel, H. (2004). Non-Linear Phenomena in Contemporary Vocal Music. Journal of Voice, 18:1, 1-12. a.16. Edgerton, M.E., Neubauer, J., Herzel, H. (2003). Nonlinear Phenomena in Contemporary Musical Composition and Performance. Perspectives of New Music, 41:2, 30-65. a.15. Edgerton, M.E. (2003). A Short Description Of The Influence Of Scale-Free Networks In The 1 Sonata, For Piano. Complexity Digest, 2003:51 (Dec. 22, 2003) (http://www.comdig.org). a.14. Edgerton, M., Bless, D., Thibeault, S., Fagerholm, M., Story, B. (2002). The Acoustic Analysis of Reinforced Harmonics. Unpublished. a.13. Levin, T., and Edgerton, M. (2000). Four videofluroscopic images from the article, The Throat Singers of Tuva (originally published in Scientific American, September 1999). P.M. Magazine. a.12. Edgerton, M.E. (1999). Multiple Sound Sources of the Vocal Tract. National Center for Voice and Speech; Status and Progress Report, 13, 131-140. a.11. Edgerton, M.E. (1999). Palatal Sound: A Comprehensive Model of Vocal Tract Articulation. Organized Sound, 4:2, 93-110. a.10. Edgerton, M.E. (1999). Energy, Power, Wisdom: Examined Sound Production, Form, Process. Unpublished manuscript. a.09. Levin, T., and Edgerton, M. (1999). The Throat Singers of Tuva. Scientific American, 281:3, 70-77. a.08. Levin, T., and Edgerton, M. (1999). Le Chant des Touvas. Pour la Science (Paris), 265, 50-58. a.07. Levin, T., and Edgerton, M. (1999). Die Obertonsa nger von Tuwa. Spektrum der Wissenschaft. a.06. Levin, T., and Edgerton, M. (1999). Los cantores diafo nicos de Tuva. Investigacio n y Ciencia, 278, 70-77. a.05. Edgerton, M.E. (1996). Physiology of the Vocal Tract. Hanyang University Music Research Journal. a.04. Edgerton, M.E. (1996). Suprasegmental Elements. Hanyang University Music Research Journal. a.03. Edgerton, M.E. (1996). Extended Vocal Techniques. Hanyang University Music Research Journal. a.02. Edgerton, M.E. (1994). Sonatina Seconda of Ferrucio Busoni. Unpublished Doctorate of Musical Arts dissertation project. a.01. Edgerton, M.E. (1994). The Late Piano Works of Franz Liszt. Unpublished Doctorate of Musical Arts dissertation project. Book Chapters b.05. Edgerton, M.E. (2018). Finding the Ingredients towards Yummy, Unusual Tastes: Extra-Normal Voice. In The Vocal Teacher s Cookbook (ed. Brian Winnie). Delray Beach: Meredith Music Publications. b.04. Edgerton, M.E. (2014). Party Pieces Project, excerpt #74. In Book for No-Thing (ed. TC Heyde and Sebastian Vaske). Leipzig: Forum Zeitgeno ssischer Musik Leipzig. b.03. Edgerton, M.E. (2014). The Extra-Normal Voice. In The Oxford Handbook of Singing (ed. John Nix). Oxford: Oxford University Press. 9 Of 19_Edgerton _2017 December
b.02. Edgerton, M.E. (2014). The Extra-Normal Voice: EVT in Singing. In Perspectives on Teaching Singing: a celebration of Vocal Pedagogy in the 21 Century (ed. Scott Harrison and Jessica O Bryan), Dordrecht: Springer Publishing. b.01. Edgerton, M.E. (2010). Messiaen and Birdsong A Consideration of Avian Dynamics. In Olivier Messiaen: The Centenary Papers (ed. Judith Crispin and Karey Harrison). Newcastle upon Tyne: Cambridge Scholars Press, 2010, 80-101. Conference Proceedings p.02. Edgerton, M.E. (2012). Desynchronized and Scaled, Multidimensional Networks: Acoustics and Perception. Music and Memory. UPM Book Series on Music Research IV. Edited by Gisa Ja hnichen and Julia Chieng. Serdang: UPM Press. p.01. Edgerton, M.E., Neubauer, J., Herzel, H. (2001). The Influence of Nonlinear Dynamics and the Scaling of Multidimensional Parameter Spaces in Instrumental, Vocal and Electronic Composition. In Proceedings of the 4th intl conference Generative Art 2001, (ed. Celestino Soddu) Milano: Milan Polytechnic University Press. Festschrift/Tribute f.02. Edgerton, M.E. (2012). AuditivVokal. In Festschrift 5 Jahre AuditivVokal Dresden. Dresden: Verein KunstAuditiv Dresden e.v., 2012. f.01. Edgerton, M.E. (2010). Works-in-Progess ensemble brochure. Berlin: Works-in-Progress, 2010. CITATIONS BY OTHERS Books, Articles & Press c.140. Aichinger, P., M. Hagmueller, B. Schneider-Stickler, J. Schoentgen, and F. Pernkopf (2017). Tracking of Multiple Fundamental Frequencies in Diplophonic Voices. IEEE/ACM Transactions on Audio, Speech, and Language Processing 1, October 2017, 1-12. c.139. Bartsch, Michael (2017). Dresdner musizieren zur Bu rgersingstunde im Albertinum. Dresdner Neueste Nachrichten, 14 September 2017. c.138. Udaya, Eman (2017). Shaping Indigenous Identity: The Power of Music. Masters Thesis. The Arctic University of Norway c.137. M.H. Walter and H.U. Schnitzler (2017). Spectral call features provide information about the aggression level of greater mouse-eared bats ( Myotis myotis ) during agonistic interactions. Bioacoustics, August 2017. c.136. Moerman, M., F. Vanhecke, L. Van Assche, J. Vercruysse (2017). Vocal Tract Morphology in Inhaling Singing: Characteristics during Vowel Production A Case Study in a Professional Singer. Journal of Voice, 05 September 2017. c.135. Blumstein, D.T., J. Whitaker, J. Kennen, G.A. Bryant (2017). Do birds differentiate between white noise and deterministic chaos?. Ethology, 123 (12). c.134. Beck, Georg (2017). Auf Schwing dich Sopran, ins Klingsorland. Neue Musik Zeitung, 7/2017, 66. c.133. Thomaidis, Konstantinos (2017). Theatre and Voice. Dordrecht: Springer Publishing. c.132. Todoriki, Masahiko (2017). Archaic Oirat Substratum of the Circa-Altai Musical Kulturkreis in Tuva. The New Research Of Tuva, 3, 147-208. c.131. Beahrs R. O. (2017). Nomads in the Global Soundscape: Negotiating Aesthetics in PostSoviet Tuva s Traditional Music Productions. The New Research of Tuva, 2017, no. 2 c.130. Hsu, Shen-Mou (2017). Social and Cognitive Functions of Music Based on the Example of Tuvan Throat Singing. The New Research of Tuva, 2017, no. 2 c.129. Vanhecke, F., M. Moerman, F. Desmet, J. Six, K. Daemers, G.W. Raes, M. Leman (2017). Acoustical properties in inhaling singing: A case-study. Physics in Medicine 3, 9-15. c.128. Keuk, Alexander (2017). Hauch will ins Ohr, Mann! Musik in Dresden, 1 June 2017. c.127. Gasc, A., D. Francomano, J.B. Dunning, B.C. Pijanowski (2017). Future directions for soundscape ecology: The importance of ornithological contributions. The Auk 134(1):215-228 c.126. Strait, Nathan (2017). Crossing the Sacred Sea = Cruzando el mar sagrado (An ongoing personal sampling of the universal recorded-knowledge base). Self-published manuscript (http://sea.nathanstrait.com/). c.125. Nowitz, Alex (2016). Designing and Playing the Strophonion: Extending vocal art performance using a custom digital musical instrument. econtact! 18.3 Sonic DIY: Repurposing the Creative Self (December 2016). Montre al: Communaute e lectroacoustique canadienne / Canadian Electroacoustic Community. c.124. Baraba si, Albert-La szlo (2016). Network Science. Cambridge University Press. Cambridge: U.K. c.123. Echternach, M., F. Burk, M. Burdumy, C. Herbst, M. Ko berlein, M. Do llinger, B. Richter (2016). The influence of vocal fold mass lesions on the passaggio region of professional singers. The Laryngoscope 127(6), October 2016. c.122. Bell, Gelsey (2016). Extended vocal technique and Joan La Barbara: The relational ethics of voice on the edge of intelligibility. Journal of Interdisciplinary Voice Studies, Volume 1, Number 2, 1 May 2016, pp. 143-159(17). c.121. Wilson, Terrel (2016). In the age of the Cyborg, Unpublished. c.120. Herbst, C. T., S. Hertegard, D. Zangger-Borch, P.A. Lindestad (2016). Freddie Mercury acoustic analysis of speaking fundamental frequency, vibrato, and subharmonics. Logopedics Phoniatrics Vocology, Apr 2016, 1-10. 10 Of 19_Edgerton _2017 December
c.119. Thompson, Marie (2016) Creaking, Growling: feminine noisiness and vocal fry in the music of Joan La Barbara and Runhild Gammelsæter. N.Paradoxa, 37. pp. 5-11. ISSN 1461-0434 c.118. Lindau, Elizabeth Ann (2016). Mother Superior: Maternity and Creativity in the Work of Yoko Ono. Women and Music: A Journal of Gender and Culture, 20, 57-76. c.117. Furic Leibovici, Ste phane (2016). Innerland. CD Booklet. Los Angeles: ArpaViva Recordings. c.116. Zatorski, Anthony (2016). Extended Vocal Techniques: Anaphora: An Interprative Analysis. Honours Thesis, The Elder Conservatorium of Music. Adelaide: The University of Adelaide. c.115. Hodgkinson, Tim (2016). Music and the Myth of Wholeness: Toward a New Aesthetic Paradigm. Cambridge: MIT Press, 2016. c.114. Finn, Christie (2016). The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice (2nd edition) by Michael Edward Edgerton. Rowman & Littlefield, 2015. Article in Tempo 70(275):111-113 (January 2016) c.113. Havrøy, Frank (2015). Alone Together: Vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart. Ph.D. Dissertation. Norwegian Academy of Music, Oslo: NMH-publikasjoner 2015:3. c.112. Roche, Gerald (2015). The Tibetanization of Henan s Mongols: ethnicity and assimilation on the Sino-Tibetan frontier. Asian Ethnicity, 17(1):1-22 c.111. Kohl, Marie-Anne (2015). Vokale Performancekunst als feministische Praxis: Meredith Monk und das ku nstlerische Kra ftefeld in Downtown New York, 1964-1979. Musik und Klangkultur (vol. 15). Bielefeld; transcript Verlag, 2015. c.110. Baars, Girilal (2015) Ballads and Ohms: Vocal traditions, electronics and compositional strategies. Doctoral thesis, University of Huddersfield. c.109. D. Sciamarella, D., G. Artana (2015). Relaxation to one-dimensional postglottal flow in a vocal fold model. Speech Communication, 66 c.108. Aichinger, Philipp (2015). Diplophonic Voice - Definitions, models, and detection. Ph.D. Thesis. Graz University of Technology, Austria. c.107. O Toole, Caitlin (2015). Tuvan Throat Singing: The Globalization of the Tuvan Spirit. Unpublished paper. c.106. Doolittle, E.L., B. Gingras, D.M. Endres, W.T. Fitch (2014). Overtone-based pitch selection in hermit thrush song: Unexpected convergence with scale construction in human music. Proceedings of the National Academy of Sciences 111(46). c.105. Beahrs, Robert Oliver (2014). Post-Soviet Tuvan Throat-Singing (Xo o mei) and the Circulation of Nomadic Sensibility. Ph.D. dissertation, University of California, Berkeley. c.104. Winnie, Brian J. (2014). Contemporary Vocal Technique in the Choral Rehearsal: Exploratory Strategies for Learning. D.M.A. Dissertation. University of Washington. c.103. Perez, Sara Isabel (2014). Voice in Alternative Application: An Examination of Culture Tuning and Aesthetic. UCSD Master of Arts in Music Thesis. San Diego: University of California at San Diego. c.102. Castellengo, Miche le and Nathalie Henrich Bernardoni (2014). Interplay between harmonics and formants in singing : when vowels become music. International Symposium on Musical Acoustics, July 7-12, 2014 - Le Mans, France, 433-438. c.101. Jacomucci, Claudio, ed. Modern Accordion Perspectives #2 Critical selection of accordion works composed between 1990 and 2010 (2014, Edizioni Tecnostampa, Loreto) ISBN: 978-88-87651-54-6 c.100. Josel, Seth (2014/5). The Techniques of Guitar Playing. Ba renreiter Verlag Kassel [discuss #72, Tempo Mental Rap] c.99. Poppe, Edwin (2014). A Hotspot of Intergroup Relations. Russians and Tuvans in Tuva. In book: Culture and Conflict. Liber Amicorum for Louk Hagendoorn, Chapter: 18, Publisher: Aksant, Editors: Edwin Poppe & Maykel Verkuyten, 325-344 c.98. Aggett, Cathy (2014). Australian art song: Pedagogical learning and teaching strategies framed for singers and singing teachers. Ph.D. Thesis. University of Western Sydney. c.97. Barabasi, Laszlo (2014). Network Science. Published as Creative Commons at: barabasilab.neu.edu/networksciencebook/ (discussing my composition the 1 sonata, for piano; accessed 2013_05_15) c.96. Lauterborn, W., T. Kurz, I.S. Akhatov (2014). Nonlinear Acoustics in Fluids. In book: Springer Handbook of Acoustics, January 2014. c.95. Pocci, Vincenzo (2013). Pocci Catalog: the Guide to the Guitarist s Modern and Contemporary Repertoire. Catalog of the repertoire since 1900 for guitar solo, guitar in chamber music and guitar with orchestra. VP Music Media. (re: #72. Tempo Mental Rap) c.94. Murphy, Patrick (2013). Extended Techniques for Saxophone: An Approach Through Musical Examples. D.M.A. Thesis. Tempe: Arizona State University. c.93. Nickel, Luke (2013). Analysis of Whole beauty now lies in memory. Master s Thesis. Montreal: Schulich School of Music, McGill University. c.92. Bhagwati, Sandeep (2013). Imagining the Other s Voice: On Composing across Vocal Traditions. Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West (eds. C. Utz and F. Lau). New York: Routledge Research in Music, p. 91. c.91. Wan, N., D.D. Peng, M. Sun, D. Zhang (2013). Nonlinear oscillation of pathological vocal folds during vocalization. Science China: Physics, Mechanics and Astronomy, 56(7). 11 Of 19_Edgerton _2017 December
c.90. Herbst, C.T., H. Herzel, J.G. Svec, M.T. Wyman and W. Tecumseh Fitch (2013). Visualization of system dynamics using phasegrams. J. R. Soc. Interface, 2013: 10, published 22 May 2013. c.89. Utz, Christian and Frederick Lau (2013). Introduction: Voice, Identities, and Reflexive Globalization in Contemporary Music. Vocal Music and Contemporary Identities: (eds. C. Utz and F. Lau). New York: Routledge Research in Music, p. 6. Unlimited Voices in East Asia and the West c.88. Warshaw, Andrew (2013). Locomotion-Encoded Musical Patterns in Self-Organizing Structures and Transitions. Conference: 10th International Symposium on Computer Music Multidisciplinary Research (CMMR): Sound, Music and Motion, At Marseille, October 2013. c.87. Hinds, Stuart (2013). Overtone Singing: Not Just for Monks and Shamans Anymore. c.86. Herbst, C., J.G. Svec, J. Lohscheller, W.T. Fitch (2013). Complex vibratory patterns in an elephant larynx. Journal of Experimental Biology 216(Pt 21):4054-4064 c.85. Bader, Rolf (2013). Musical Instruments. In book: Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, January 2013, pp.157-284 c.84. Giovanazzi, Lena (2012). Stimmig 10 Vokalexkursionen. diploma thesis. Mainz: University of Applied Sciences Mainz. c.83. Grey, Susan and Herr, Martha (2012). A Voz Flexível Na Mu sica Performa tica Contempora nea (The Flexible Voice In The Contemporary Performatic Music). Sa o Paulo: Instituto de Artes, Licenciatura em Educaça o Musical, PIBIC/CNPq. c.82. Di Corcia, Antonio, and Franco Fussi (2012). Whistle Register of the Singing Voice. HSDI Evidence. Proceedings of SPIE - The International Society for Optical Engineering, February 201, 61- c.81. DeBoer, Amanda (2012). Ingressive Phonation in Contemporary Vocal Music. D.M.A. dissertation. Bowling Green: Bowling Green State University. c.80. Blumstein, D.T., G.A. Bryant, P. Kaye (2012). The sound of arousal in music is context-dependent. Biology letters 8(5):744-7 c.79. Baldwin, Michael Stephen (2012). Reflections on Ephemerality and Notation in my Recent Work. M.M. Thesis. The University of Huddersfield. c.78. Baum, Peter (2012). Thought Forms - The Structure, Power, and Limitations of Thought: Volume 1 - Introduction to the Theory. Pennsauken, NJ: Book Baby. c.77. Padovani, Jose Henrique and Silvio Ferraz (2011). Proto-history, evolution and current stuation of the extended technique in the musical creation. Musica Hodie, 11(2):11-35. c.76. Bulut, Zeynep (2011). La voix-peux : understanding the physical, phenomenal, and imaginary limits on the human voice through contemporary music. PhD dissertation. LaJolla: University of California, San Diego. c.75. Popolo, P.S., I.R Titze, E.J. Hunter (2011). Towards a Self-Rating Tool of the Inability to Produce Soft Voice Based on Nonlinear Events: A Preliminary Study. Acta Acustica united with Acustica 97(3), May 2011. c.74. Kob, M., N. Henrich, H. Herzel, D. Howard, I. Tokuda, J. Wolfe (2011). Analysing and Understanding the Singing Voice: Recent Progress and Open Questions. Current Bioinformatics, 6, 362-374. c.73. Kreiman, Jody and Diana Van Lancker Sidtis (2011). Perception of Emotion and Personality from Voice. In book: Foundations of Voice Studies: An Interdisciplinary Approach to Voice Production and Perception. Wiley-Blackwell, April 2011, 302-360. c.72. Tsai, C.G., L.C. Wang, S.F. Wang, W. Auhagen (2010). Aggressiveness of the Growl-Like Timbre: Acoustic Characteristics, Musical Implications, and Biomechanical Mechanisms. Music Perception 27(3):209-222. c.71. Svec, Jan G. and Svante Granqvist (2010). Guidelines for Selecting Microphones for Human Voice Production Research. American Journal of Speech-Language Pathology 19(4):356-68 c.70. Kallastu, Kai (2010). Soprano in Contemporary Music. Choices of Vocal Production and Music Notation in Cassandra by Sohrab Uduman and Encore! by Ju rg Wyttenbach. Master s Thesis, Metropolia Ammattikorkeakoulu. c.69. Potter, John (2009). Tenor: History of a Voice. New Haven: Yale University Press, 2009. c.68. Mu gge, Jens (2009). Obertontage in Dresden 2009. webblog (http://overtonenetwork.wordpress.com/), 16. September 2009. c.67. Himonides, E. (2009). Mapping a beautiful voice: theoretical considerations. Journal of Music Technology and Education 2(1):25-54 c.66. Krumova, Kremena (2009). Accordian Composition by American Premieres in Japan. The Epoch Times. May 26, 2009, p. 82. c.65. Sarrala, Hannu and Helena Laakso (2009). Amerikkalainen Kemissa. Pohjolan Sanomat. May 3, 2009, 3 + 13. c.64. Aiheesta, Lisa a (2009). Toppilan kulttuurisiilon rahoitus viela auki. Kaleva.Plus.Kulttuuri. March 17, 2009. c.63. Unknown (2009). Yhteiso llisyys asuinalueen voimavarana Kulttuurikahvit Toppilan monipalvelukeskuksessa. Oulu 15, March 6, 2009. c.62. Butte, C.J., Y. Zhang, H. Song, J.J. Jiang (2009). Perturbation and Nonlinear Dynamic Analysis of Different Singing Styles. J Voice, 23(6): 647 652. c.61. Ritahuhta, Heikki (2009). Valoa Kulttuurisiilossa. Valo, 1/2009, 24-25. c.60. Fallowfield, Ellen (2009). Cello Map: A Handbook of Cello Technique for Performers and Composers. Ph.D. Thesis. The University of Birmingham. 12 Of 19_Edgerton _2017 December