My research interests are most directly focused on the composition and performance of modern music; as a result my research primarily implicates artistic and creative applications of (mostly) systematically acquired information.
The relative applications might be best described as performative and theoretical – how performers and composers might develop deeper structural connections to the sounds and structures of nonconventional sounds within complex contexts.
Current Research Interests Include:
A) Brass, String and Voice Acoustics
B) Contemporary, Historical, Non-western and Experimental Methods of Performance Practice
C) Complexity
D) Pedagogy of Extra-Normal Sound Production Methods
E) Music Theory – focused on developing an harmonic theory of the extra-complex sonority (A tone featuring a perceptual shift from an ord single pitch, to sonorities featuring 2 or more pitches, subharmonics, unusual timbral change, independent ratios of pitch/noise, etc), guided through spectral typology and morphology criteria and resting upon perceptual criteria (consonance/dissonance, resolution, proximity, fission/fusion)
F) Perception and Cognition of Music
G) Music Notation
H) Mapping Desynchronized and Multidimensional Topologies in Instrumental and Vocal Sound Production
I) Biomimesis and the application of nonlinear phenomenon in sonification
J) Experimental Linguistics
b.3. Edgerton, M.  Music within the Continuum. Lambert Academic Publishing (72 pp.). Saarbrücken: Germany, 2015.
b.2. Edgerton, M.  The 21st  Century Voice, 2nd edition.  Rowman & Littlefield (324 pp.).  Lanham: MD, December 2014.
b.1. Edgerton, M.  The 21st  Century Voice.  Scarecrow Press (224 pp.).  Lanham: MD, February 2005.
a.23. Edgerton, M.E. (2018). The influence of “scale-free” networks in the 1 sonata. Leonardo. In Review.
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 Música Hodie, Goiânia, 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 Música Hodie, Goiânia, 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) (
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 Obertonsänger von Tuwa.  Spektrum der Wissenschaft.
a.06. Levin, T., and Edgerton, M. (1999). Los cantores diafónicos de Tuva. Investigación 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
bc.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.
bc.04. Edgerton, M.E. (2014). Party Pieces Project, excerpt #74. In Book for No-Thing (ed. TC Heyde and Sebastian Vaske). Leipzig: Forum Zeitgenössischer Musik Leipzig.
bc.03. Edgerton, M.E. (2014). The Extra-Normal Voice. In The Oxford Handbook of Singing (ed. John Nix). Oxford: Oxford University Press.
bc.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.
bc.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 Jähnichen 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.