SELECTED CITATIONS BY OTHERS, books, articles, theses/dissertations, etc
A list of citations (incomplete) may be found on my CV, 2017_12_edgerton_CV_with list of compositions
I. REFERENCING MY MUSIC
c.134. Beck, Georg (2017). Auf Schwing dich Sopran, ins Klingsorland. Neue Musik Zeitung, 7/2017, 66.
· Discussing my piece abaGar baRatur and its performance by AuditivVokal with soloist Angela Wingerath – “extended vocal techniques gliding through all the layers and registers, actually found new territory. Witchcraft?” “No”, says the singer and vocal performer (Wingerath): “it’s simply hours of intense concentrated study with the score.” So long until the doctor comes? “Again wrong. Until the kick comes.”
c.124. Barabási, Albert-László (2016). Network Science. Cambridge University Press. Cambridge: U.K.
· From a leading Professor of Network Theory, discussing the use of scale-free networks in my 1 sonata for piano
c.116. Zatorski, Anthony (2016). Extended Vocal Techniques: Anaphora: An Interprative Analysis. Honours Thesis, The Elder Conservatorium of Music. Adelaide: The University of Adelaide.
· An Honors Thesis entirely focused on my Anaphora for solo voice
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.
· Discussing the theory and science of vocal reinforced harmonic production from my book The 21st Century Voice, which leads to a discussion of overtone singing and other, more experimental vocal techniques found in my piece Azure Suite.
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
· Discussing my composition, The Book of One Man Dead, for free-base accordion
c.100. Josel, Seth and Ming Tsao (2014). The Techniques of Guitar Playing. Kassel: Bärenreiter Verlag.
· Discussing my composition, Tempo Mental Rap, winner of the prestigious Kompositionspreis der Landeshauptstadt Stuttgart 2007
c.84. Giovanazzi, Lena (2012). Stimmig – 10 Vokalexkursionen. diploma thesis. Mainz: University of Applied Sciences Mainz.
· My work as composer (Anaphora), performer and pedagogue of voice was documented in a 2012 thesis & film titled “Stimmig” by Lena Giovanazzi and Daniel Büche. The film is a documentary about the variety of human vocal expression: Yodeling, overtone singing, buccal speech, laughter yoga, the contemporary classical music´s sound repertoire, esophageal speech, beatboxing and animal voice imitation. The singers featured in the film included: Christian Zehnder, Arjopa, Wolfgang Saus, Angela Mecking, Peter Krause, Michael Edward Edgerton, Angela Wingerath, Kehlkopflosenchor León, Uwe Westphal, 4xSample, PerformanceChor für Experimentellen Gesang Berlin.
c.61. Ritahuhta, Heikki (2009). Valoa Kulttuurisiilossa. Valo, 1/2009, 24-25.
· A Finnish architectural journal discussing a sound & light installation in Oulu, Finland.
c.23. Sramek, Christoph (2004). 4. Sende(r)musik. Neue Musik im MDR-Studio, Tuesday 11 May 2004.
· Discussing my String Quartet #1, “… The many-layered nuanced colors of the string sound may possibly be associated with the diffusion of light through a prism, to awaken the impression of the existence of a larger string ensemble.”
c.12. Wilson, Steven (2002). Information Arts, Intersections of Art, Science, Technology. Cambridge: The MIT Press.
· Mentioning my work with voice research and experimental composition
c.01. Chandra, Arun (1989). On the construction of the passing of time in music. Thesis (D. M. A.)–University of Illinois at Urbana-Champaign.
· Discussing my piano trio, Unspoken Crime
II. THE FOLLOWING SELECT PUBLICATIONS CITE MY WORK WITH VOICE SCIENCE, NONLINEAR DYNAMICS AND MY BOOK THE 21ST CENTURY VOICE.
c.133. Thomaidis, Konstantinos (2017). Theatre and Voice. Dordrecht: Springer Publishing.
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.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.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.115. Hodgkinson, Tim (2016). Music and the Myth of Wholeness: Toward a New Aesthetic Paradigm. Cambridge: MIT Press, 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.110. Baars, Girilal (2015) Ballads and Ohms: Vocal traditions, electronics and compositional strategies. Doctoral thesis, University of Huddersfield.
c.108. Aichinger, Philipp (2015). Diplophonic Voice – Definitions, models, and detection. Ph.D. Thesis. Graz University of Technology, Austria.
c.105. Beahrs, Robert Oliver (2014). Post-Soviet Tuvan Throat-Singing (Xöömei) and the Circulation of Nomadic Sensibility. Ph.D. dissertation, University of California, Berkeley.
c.102. Castellengo, Michèle 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.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.94. Murphy, Patrick (2013). Extended Techniques for Saxophone: An Approach Through Musical Examples. D.M.A. Thesis. Tempe: Arizona State 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.85. Bader, Rolf (2013). Musical Instruments. In book: Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, January 2013, pp.157-284
c.81. DeBoer, Amanda (2012). Ingressive Phonation in Contemporary Vocal Music. D.M.A. dissertation. Bowling Green: Bowling Green State University.
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.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.70. Kallastu, Kai (2010). Soprano in Contemporary Music. Choices of Vocal Production and Music Notation in “Cassandra” by Sohrab Uduman and “Encore!” by Jürg Wyttenbach. Master’s Thesis, Metropolia Ammattikorkeakoulu.
c.69. Potter, John (2009). Tenor: History of a Voice. New Haven: Yale University Press, 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.54. Crump, Melanie Austin (2008). When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. DMA Dissertation. The University of North Carolina at Greensboro.
c.52. Regner, C.J., Y. Zhang, H. Song, J.J. Jiang (2008). Perturbation and Nonlinear Dynamic Analysis of Different Singing Styles. Journal of voice, 23(6):647-52
c.51. Titze, I.R., T. Riede, P. Popolo (2008). Nonlinear source-filter coupling in phonation: Vocal exercises. The Journal of the Acoustical Society of America 123(4):1902-15.
c.50. Tokuda, I.T., J. Horácek, J.G. Svec, H. Herzel (2008). Bifurcations and chaos in register transitions of excised larynx experiments. Chaos 18(1):013102
c.48. Švec, J.G., J. Sundberg, S. Hertegård (2008). Chest, head and whistle registers in an untrained female singer analyzed by videokymography, strobolaryngoscopy and sound spectrography. The Journal of the Acoustical Society of America 123(5):32-43
c.42. Tokuda, I.T., J. Horácek, J.G. Svec, H. Herzel (2007). Comparison of biomechanical modeling of register transitions and voice instabilities with excised larynx experiments. The Journal of the Acoustical Society of America 122(1):519-31.
c.38. Hatzikirou, H., W.T. Fitch, H. Herzel (2006). Voice Instabilities due to Source-Tract Interactions. Acta Acustica united with Acustica 92(3):468-475.
c.35. Levin, Theodore Craig and Süzükei, Valentina (2006). Where rivers and mountains sing : sound, music, and nomadism in Tuva and beyond. Bloomington: Indiana Univ. Press, 2006.
c.32. Bader, Rolf (2005) Computational Mechanics of the Classical Guitar. Berlin: Springer-Verlag.
c.31. Beeman, William O. (2005). Making Grown Men Weep. In book: Aesthetics and Performance: The Art of Rite, Edition: 1st, Chapter: 1, Publisher: Berghahn Books, Editors: Angela Hobart, Bruce Kapferer, pp.23-42
c.30. Harrison, K. David (2005). A Tuvan hero tale, with commentary, morphemic analysis, and translation. Journal of the American Oriental Society, 125(1):1-30.
c.26. Van Deusen, Kira (2004). Singing Story, Healing Drum: Shamans and Storytellers of Turkic Siberia. Montreal: McGill-Queen’s Press.
c.25. van Tongeren, Mark C (2004). Overtone Singing: Physics and Metaphysics of Harmonics in East and West. Amsterdam: Fusica.
c.21. Weber-Lucks, Theda (2008). KörperStimmen. Eine Untersuchung zur Ästhetik Vokaler PerformanceKunst mit einer gendervergleichenden Perspektive. Technische Universität Berlin.
c.18. Grawunder, Sven (2003). Comparison of voice production types of ‘western’ overtone singing and South Siberian throat singing. 15th ICPhs, Barcelona.
c.14. Ternström, Sten and Duane Richard Karna (2002). Choir. In book: The Science & Psychology of Music Performance, 269-283.
c.05. Lindestad, P.A., M. Södersten, B. Merker, S. Granqvist (2001). Voice Source Characteristics in Mongolian “Throat Singing” Studied with High-Speed Imaging Technique, Acoustic Spectra, and Inverse Filtering. Journal of Voice 15(1):78-85
III. WHAT OTHERS SAY
“I listen to your recording of Prana and the voice is surprising: it sounds like an oboe. There is not European tradition there. I find interesting your work (with) common interests as continuum and voice. I like what you do and now I’m more convinced about your music writing. It seems to me several coincidences on the same interest with my work; your optics are extremely useful and interesting because they provide the acoustical and psycho-acoustical tools, both indispensable to understand what exactly happens when we deal with a multiplicity of components on which I call the macro-timbre, a fusion of rhythm and sound. … your string quartet and I like it…”
Julio Estrada, COMPOSER
“a gifted composer, he successfully, and compellingly, utilizes the fruits of his research. For instance, in the striking String Quartet #1, he deliberately focuses on the ‘origins of organized sound,’ in both physical and spiritual dimensions. This music has elements of Xenakis-like textures, melded with the sensitive acoustical manipulations of spectral composers such as Grisey, and yet sounds essentially new, not derivative. … from the awards and performances that he has accumulated, he is obviously making an impact among performers and other musicians, especially in Europe.”
Anne LeBaron, COMPOSER
2 SONATA (#86, 2012)
“I sense very strongly that you are taking flute music (and thus the art of music as a whole) in a new direction, which I find admirable. There are so many new or newish pieces for flute which have what I can only describe as aeolian sound/tongue ram overload. Your piece completely sidesteps this and plunges the listener into a new world of sound.”
James Erber, composer
CATAPHORA (#82, 2009)
Cataphora performance by Jan Heinke: Obertontage in Dresden 2009 – 16. September 2009
“It was exciting when Jan Heinke premiered a piece of the composer Michael Edward Edgerton. Composed specially for these Overtone Days – great thanks to the Saxon Cultural Foundation – the audience was treated to an impressive, contemporary vocal solo piece, which existed beyond known singing habits. The audience reflected to this with a thunderous applause.”
Jens Mügge, Overtone Music Network (http://www.overtone.cc/)
TEMPO MENTAL RAP (#72, 2006)
“I received with some delay here in Salzburg your very impressive work TEMPO MENTAL RAP. This is indeed a piece I´d love to address to see if I could penetrate its mysteries …I certainly admire Mr. Östersjö for learning it…and I wish I had time in my life right now for this type of pure artistic exploration. … Your idea of taking techniques from this world (Zappa /Vai kind of cutting edge rock derived modernism) and bringing them back to the classical guitar in a way involving a very complicated rhythmic notation is extremely interesting. I … hope our paths will cross some day so that you can help me to more quickly get inside the new world you have found all on your own.”
Eliot Fisk, GUITARIST. 15 NOVEMBER 2009
“Search for new styles of expression”
“The Swedish guitarist Stefan Östersjö performed the Tempo Mental Rap of the prizewinner Michael Edgerton, a highly virtuosic work. The well-known expressive possibilities and techniques of this instrument were blown up and thus new sound possibilities were developed. Hans-Peter Jahn, director of new music at SWR, had personally assisted Mr. Östersjö in performance by turning pages of the oversized musical score. The intrinsic rhythmic speech-song (of the Frank Zappa rap) remained exciting with both hands gripping, knocking, hitting and stroking until the conclusion.”
Hans-Jörg Lund. Reutlinger General-Anzeiger 29.04.08
RE: Tempo Mental Rap – Prize-winning concert of the Kompositionspreis der Landeshauptstadt Stuttgart 2007, April 25, 2008.
“Eloquent gestures full of tension”
“The guitarist Stefan Östersjö whistled along the strings, whispered fleeting noise-clusters and coaxed long drawn out tones from his instrument, sometimes similar to improvised, hectic gestures at dangerously fast speeds.
The “Tempo Mental Rap” was seen to be a ghostly or disembodied piece, in which conventional musical expressions were thrown out, … Throughout the piece, innovative extensions involving sound production .. hinted at an otherworldly expression.”
Ulrich Köppen, Stuttgarter Nachtrichten 28.04.08
“Edgerton’s piece is one of the most ambitious and wide-ranging solo guitar works in the contemporary literature. The work features quite an unusual expressive range and a great variety of technical means, that include not only traditional performance techniques, such as rasgueado and strumming techniques and tapping, but also using other means to produce sustained source characteristics, such as using metal, wooden and glass objects, small fans and dishwashing pads on the strings. … Edgerton takes a Frank Zappa transcription by Steve Vai as material for variations where the outer boundaries of guitar playing are questioned and re-considered. … Edgerton’s work is truly one of the most significant and explorative works to have ever been written for the acoustic guitar. It also gives an idea of how the complexity in procedures of compositional work within modernism can be brought in dialectic relations to a great variety of different modes of expression in contemporary music on the one hand and recent research in different disciplines on the other. In addition, the Tempo Mental Rap gives a strong idea of how strategies and instrumental approaches from experimental free improvisation can be brought into play in structured composition.”
Stefan Östersjö, DIRECTOR ENSEMBLE ARS NOVA
STRING QUARTET #1 (#64, 2002)
“… Edgerton looked after performance practice and tradition of the string quartet, with only a few pauses were intricate figurations with new means of articulation reorganized – such as finely differentiated rules for bow angle and the intensity of the finger pressure. After the first movement I was curious to see how Edgerton applies the findings of his research when referencing Giacinto Scelsi (third movement) and Helmut Lachenmann (fifth Movement). ” (translated by M. Edgerton)
SÜDWESTPRESSE ROTTENBURGER POST, 6 APRIL 2004
“… Edgerton, in his 1 Stringquartet writes a complex music that one can either simply intuitively understand, or can parse out a deeper understanding from the composers’ instructions. … is a recent heir to a venerable tradition, in which the last word has not yet been spoken.”
Michael Eidenbenz, RADIOMAGAZIN 25/2004 (SWIZERLAND, JUNE 2004)
(translated by M. Edgerton)
“… Edgerton’s Quartet #1 … virtuosic special effects and calculated dramaturgy.”
Walter M. Grimmel, NEUE ZEITSCHRIFT FÜR MUSIK 3 – MAI/JUNI 2004
(translated by M. Edgerton)
Michael Edgerton: Streichquartett Nr. 1, 1. Satz (2002) “… The many-layered nuanced colors of the string sound may possibly be associated with the diffusion of light through a prism, to awaken the impression of the existence of a larger string ensemble.”
Christoph Sramek, 4. SENDE(R)MUSIK; NEUE MUSIK IM MDR-STUDIO; LEIPZIG–MDR-STUDIO AM AUGUSTUSPLATZ; 11 MAY 2004
(translated by M. Edgerton)
ANAPHORA (#62, 2001)
Regarding the performance of Anaphora by Almut Kühne in the Leonhardi-Museum Dresden aus: “Licht-Risse” 2011.04.29 in the ProgrammeTexte by Olaf Katzer, Artistic Director, AUDITIVVOKAL DRESDEN (translated by M. Edgerton)
“Forty years after Luciano Berio’s “Sequenza” the American composer Michael Edward Edgerton has illuminated in his study “Anaphora” the expressive potential of the human voice. A kaleidoscope of 56 different categories of vocal multiphonics shows the wealth that the human carries in vocal expression. It pays to listen closely because simply there are many never heard before sound landscapes, in which multiphonic and polyphonic sound cosmos appears, although they are given by only one woman. These sounds are based neither on witchcraft, nor cast by a mystical spell, but are the result of scientifically based research in the field of voice, made by the composer himself and in his book The 21st Century Voice.”
“Since the publication of his book The 21st Century Voice (2004), the American composer Michael Edgerton has become one of the leading experts in the search for the expressive possibilities of contemporary voice. No other composer has so systematically and unconditionally applied a compositional approach to every possibility of the human voice. “Anaphora” is at the same time a sound study, in which is presented his research on 56 different classes of vocal multiphonics, opening up a new sound universe. In this system, Edgerton categorizes multiphonics in three large tone and noise groups: voiced-voiced, voiced-unvoiced and unvoiced-unvoiced (with further amendments).”
“Within the auspices of the program “Licht Risse” Michael Edward Edgerton gave a well-attended public workshop held in the Hochschule für Musik Carl Maria von Weber Dresden, regarding his research and inspiring insights of voice. Almut Kühne Is only the world’s third singer to overcome the enormous difficulties in the execution of “Anaphora”.”
Paul Renan Zelezniak
“This unaccompanied solo utilises hitherto untapped resources of the human voice. In achieving this, the central concern in this work was, in the words of the composer,” to maintain a sense of coherence that would carry through the procedure of kaleidoscopic change”. In addition, Edgerton refers to the “convention of repetition at phrase inception” employed by Shakespeare in Richard II.This not only comprises the constant variation of a single germinal idea (in this case the gamut of emotions expressed by John of Gaunt for the England he loved) but the dramatic effect of repetition itself. Silence between the repetitions functions as the space in which the sound lives.Thus, rather than segregating the repetitions, the pauses maintain a subtle and cohesive impetus throughout.The innate pathos of the work seems to derive from the archaic symbols that embody primal emotions that are integral to the piece.A high degree of intensity is generated, often where dynamics are quieter.The listener is compelled to look inward, to respond rather than to project, and to become aware of the multiplicity of events that occur within a single sound.”
Regarding the performance of Anaphora by Almut Kühne in Hellerau (Europäisches Zentrum der Künste Dresden) aus: “Wohlfühlabend mit Musik” 2011.04.01 in Dresdner Neueste Nachrichten by Alexander Keuk,
“Modern compositions were given by Jürg Wyttenbach, Georges Aperghis and Paul Barker, which featured a sharp transition between the excerpts from Josquin’s Missa da Pacem to Aperghis “Jactation No. 2” – however, in terms of composition, a connection was revealed that lay far beyond the ages. While these three pieces revealed a more playful approach to dealing with the voice, a two-part performance of Michael Edward Edgerton’s “Anaphora” for soprano solo burst over, in every respect, the borders of our experience.”
“Edgerton meticulous vocal acrobatics was performed by Almut Kuehne with full risk, yet tense calm, so that there was in the audience breathless silence…”
DIVERGENCE (#61, 2001)
“Divergence by Michael Edwards Edgerton followed and this was performed by Stephanie Aston and Argenta Walther. High, bird-like sounds mingled with a low rumbling from the electronics and this soon took on a more frighteningly aggressive character reminiscent of the distant howling of wolves. This increased in savagery as well as loudness, with scratching and baying that gradually morphed into a series of pure pitches that increased in frequency – like a spaceship taking off. These were the result of a weather simulation applied to electronic sounds, a process that allows, according to the program notes, “miniscule irregularities in the initial conditions [to] become responsible for potentially large changes over time.” Low, raspy moaning was added and this made a nice organic contrast with the sterile sine waves. Towards the end, the relatively benign tones in the electronics became a series of explosions, as if some battle was occurring. Divergence is an evocative metamorphosis in sound between earthly, natural elements and remote cerebral coolness.”
Review at Sequenza21 after the performance of “Divergence” by Argenta Walther & Stephanie Aston of the the contemporary vocal chamber ensemble Accordant Commons, presented by People Inside Electronics in concert at the Neighborhood Church in Pasadena, California on 2015_11-21
APPOSTE MESSE (#36, 1997)
“Artists in the 20th Century became interested not only in color itself as a means of expression, free from the representational, but also in the actual physical process of painting. Composers of music also became interested not only in the new forms having little or nothing to do with the traditional forms of sonata, rondo, etc., but also in the actual physical process of making music. Michael Edgerton, for example, became very interested in the in-between steps of this process, the stages in which the pipe does not speak to its fullest potential, and worked with these stages expressively, in other words formed these processes into a musical into a musical statement. This interest was one of two which contributed to the making of this piece.”
“The title refers to a piece by Lorenzo da Firenze for two voices in canon to a text which is concerned with the hunt, a caccia. Intense caccia composition took place for a period of about 40 years, ca 1340-1380, and is a type of composition which forms a striking contrast to the idyllic madrigals being composed about the same time. Firenze composed his piece ca. 1370 The caccia music is quoted by Edgerton, but mostly in a manner which only allows us to intimate the source, not recognize it outright. Both interests/influences complement and fructify each other to the extent that they give up their own single identities and become, actually generate, something else: Apposte Messe: Caccia.”
(Professor Gary Verkade re: Apposte Messe for the premiere performance)
“Dr. Edgerton is one of the most dedicated, knowledgeable, and inquiring contemporary musicians I have come to know. He is a composer of originality. I have played his Apposte Messe: Caccia for organ, premiered it at Carthage in October of 1998. It is a composition which engenders thought about organ composition and organ performance, what it means to use the instrument organ as a vehicle for compositional thought. The timbral innovations, the rhythmic complexity, and the use of previous material (a Renaissance caccia) necessitated on my part a re-thinking of both playing technique and philosophical attitude towards the instrument and its literature.”
Gary Verkade, ORGANIST & COMPOSER.