Curriculum Vitae - G. Douglas Barrett

G Douglas Barrett, Ph.D.
1296 Pacific St. #110
Brooklyn, NY 11216
Phone: 617.372.0737
Email: [email protected]
Website: http://gdouglasbarrett.com
Education
State University of New York at Buffalo • 2006 – 2010, Ph.D. Presidential Fellowship
Universität der Künste Berlin • 2009 – 2010, DAAD Research Grant
California Institute of the Arts • 2004 – 2006, MFA
Berklee College of Music • 2001 – 2004, BM
Publications
Books
Barrett, G Douglas. After Sound: Toward a Critical Music. New York: Bloomsbury, 2016 (forthcoming).
---. “A Text Score Manifesto” in Word Events: Perspectives on Verbal Notation. Eds. James Saunders, John
Lely. London: Continuum, 2012. 95-6.
Articles
Barrett, G Douglas. “The Limits of Performing Cage: Ultra-red’s SILENT|LISTEN.” Postmodern Culture
23.2 (2014).
---. “Speaking Volumes: On Melissa Dubbin and Aaron S. Davidson’s Volumes for Sound at Recess.” Recess
Art Critical Writing Series. May 2013. <http://www.recessart.org/activities/7725>
---. “The Silent Network—The Music of Wandelweiser.” Contemporary Music Review 30.6 (2011): 449470.
---. “Echoes of Narcissus: Erin Gee’s Voice of Echo at Contrary Projects.” Echo Made Proximate Exhibition Catalogue. Contrary Projects, May 2011.
---. “Translating Innova: The New Opera Work of Object Collection.” NewMusicBox. 13 April 2011. Web.
<http://newmusicbox.org/article.nmbx?id=6870>.
---. “The Impossible Image: The Photographic Worlds of Ruud van Empel.” Ruud van Empel – Worlds
Exhibition Catalogue. Stux Gallery, April 2011.
---. “Kus pro výlohu: Jak vidĕt alysĕt hudbu Petera Ablingera” (“Window Piece: Seeing and Hearing the
Music of Peter Ablinger”). HIS Voice, časopis o jiné hudbĕ 2 (2010): 26-31.
---. “Between Noise and Language: The Sound Installations and Music of Peter Ablinger.” Mosaic, a journal
for the interdisciplinary study of literature 42. 4 (2009): 147-164.
Barrett, G Douglas, Lindsey Lodhie. “Hearing Things Through Things: Hong-Kai Wang’s Music While We
Work.” Ear Wave Event Issue One (2014): 1-6.
Barrett, G Douglas, M. Winter. “LiveScore: Real-Time Notation in the Music of Harris Wulfson.”
Contemporary Music Review 29.1 (2010): 55-62.
Selected Performances and Exhibitions
Everything is purged from this composition but Melody, no ideas have entered this work (after John
Baldessari) • Commissioned by Devin Maxwell and Katie Porter (Red Desert Ensemble), to be
featured on album Chamber Music from Listen/Space. June 28, 2015.
Three Films About Walking • Score featured in “Walking from Scores,” an exhibition and performance series
curated by Elena Biserna. Bologna, Italy. October 26, 2014
Two Transcriptions • Round-table discussion and release of Two Transcriptions/Ode to Schoenberg, Curated by
Justin Luke and Audio Visual Arts gallery. Incubator Arts Project, New York, NY. May 25, 2013
Hence Where Labour • Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater.
Organized by Panoply Performance Lab, with Gayatri Spivak. Glasshouse Projects, Brooklyn, NY.
March 23, 2013
We Connect John with Julius • Performance presented with Adam Overton as part of BESHT. Pomona College
Museum. Pomona, CA. Dec. 6, 2012
Worktreue/Truework • Evening-length curated performance event. Invisible Dog gallery. Brooklyn, NY. Feb. 17,
2012
G Douglas Barrett • Curriculum Vitae
Selected Performances and Exhibitions (cont.)
Hence Where Labour • Fahad Siadat, voice. Presents Gallery, Brooklyn, NY. January 27, 2012
Head Music • Tomomi Adachi, Ensemble for Experimental Music and Theater. Esorabako Gallery. July 10,
2011. Tokyo, Japan
Violin Tuned D.E.E.D. • Performance/video installation work in “Non-Cochlear Sound,” a group exhibition
curated by Seth Kim-Cohen. Diapason Gallery. October 2010. Brooklyn, NY
A Few Silence • Manfred Werder. Galerie Mark Müller. July 5, 2010. Zürich, Switzerland.
A Few Transcriptions, A Place or Two, Some Recordings • Evening-length Curated Concert Performance
and Artist Talk. Neutral Ground, April 24, 2010. Regina, Saskatchewan.
A Few Rooms • Architectures of Sound. David Kant, curator. Issue Project Room. Jan. 13, 2010. Brooklyn, NY
Derivation III a, b, c • Philip Thomas. Huddersfield Contemporary Music Festival. November 24, 2009.
Huddersfield, UK
A Few Silence • Huddersfield Contemporary Music Festival. November 23, 2009. Huddersfield, UK
Derivation X. • Edges Ensemble, Joseph Kudirka, director. Nothing New? Understanding Newness in Medieval
and Contemporary Music Conference. University of Huddersfield. April 25, 2009. Huddersfield, UK
Improvisation for Hertzian Rain • Mark Shepard, Dan Perlin, Al Laufeld, Craig Shepard, Sean Meehan. Mixer:
Expo, Eyebeam. March 6,7, 2009. New York, NY
Derivation XI. • Katie Porter, James Moore, Kevin Farrell, Devin Maxwell. Rattlestick Listen/Space MiniFestival. Rattlestick Playwrights Theater. July 16, 2008. New York, NY
Bibliography
Priest, eldritch. Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure. New York:
Bloomsbury, 2013.
---. “Listening to Nothing in Particular: Boredom and Contemporary Experimental Music.” Postmodern
Culture 21. 2 (2012).
Saunders, James. “Commentary: A Few Silence” in Word Events: Perspectives on Verbal Notation. Eds.
James Saunders, John Lely. London: Continuum, 2012. 96-103.
Cox, Christoph. “Christoph Cox on Non-Cochlear Sound.” Artforum International 49.5 (2011): 224-5.
Conferences and Symposia
Tuning Speculation II: Auralneirics and Imaginary Networked Futures, Nov. 7-9, 2014. Arraymusic,
Toronto, Canada. Paper Presentation: “IDEAS MATTER: Žižek Sings Pussy Riot.”
Tuning Speculation: Experimental Aesthetics and the Sonic Imaginary. Nov. 1-2, 2013. Arraymusic,
Toronto, Canada. Paper Presentation: “The Debt of Philosophy—Cassie Thornton's Debt 2 Space
Program and the New Materialism.”
The Future of Cage: CREDO Conference, University of Toronto, Centre for Drama, Theater, and
Performance Studies. Oct. 25, 2012. University of Toronto. Paper Presentation: “At the Limits of
Performing Cage: 4'33" and the Art Activism of Ultra-red.”
Conference of Works: Operations and Participations, Panoply Performance Laboratory.Vaudeville Park,
Nov. 11, 2011. Brooklyn, NY. Artist presentation and performance.
Re-thinking Music of Today, April 6-8, 2011. Université de Paris-Est Marne-La-Vallée. Paris, France. Paper
Presentation: “Postconceptual Music.”
Biennial Symposium for Arts and Technology, March 6, 2010. Connecticut College, New London,
Connecticut. Paper Presentation: “The Interdisciplinary Performances of the Maulwerker
Ensemble.”
Sound Studies – Akustische Kommunikation. Sound Studies Lecture Series. January 18, 2010. Universität
der Künste Berlin. Paper Presentation: “Listening to Language: Text Scores, Recording Technology
and Experimental Music.”
De Uitwerking I: “A few silence.” Nov. 13, 2009. Performance and round-table discussion. Amsterdam, NL.
Nothing New? Understanding Newness in Medieval and Contemporary Music, April 25, 2009. University of
Huddersfield. Huddersfield, UK. Music Performance: Derivation X.
International Computer Music Conference (ICMC 08 Belfast, Ireland), Aug. 24, 2008, Belfast, Northern
Ireland. Paper Presentation: Performing the City: An Urban Performance Workshop
Society for Electro-Acoustic Music (SEAMUS) 2008 National Conference, April 3, 2008, Salt Lake City,
Utah. Paper Presentation: “Spectore: Generating Notated Music Using Spectral Analysis”
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G Douglas Barrett • Curriculum Vitae
Conferences and Symposia (cont.)
18th Annual Pacific Northwest Music Graduate Students Conference, Jan. 11, 2008, Seattle, Washington.
Lecture-Recital: “Documenting the Present”
International Computer Music Conference (ICMC 07 Copenhagen, Denmark), August 27, 2007,
Copenhagen, Denmark. Paper Presentation: “Automatic Notation Generators”
New Interfaces For Musical Expression Conference (NIME 07 New York), June 6-10, 2007, New York, NY.
Poster Presentation: “Automatic Notation Generators”
Society of Automatic Music Notators (SAMN) Forum and Performance. Sept. 18, 2006. CiNE Studio Space,
New York, NY. Music Performance: Derivation IV.
Programming Digital Media Class, Feb. 26, 2006. Machine Project Gallery. Los Angeles, CA. Presentation:
“Procedural Music Composition and Engraving”
Awards and Grants
Franklin Furnace Fund Award, 2012-13 • $5,000 artist grant awarded for record project Two Transcriptions/
Ode to Schoenberg.
DAAD (German Academic Exchange Service) Research Grant • Four-month grant to the Universität der
Künste Berlin for musicology research project “The Interdisciplinary Performances of the
Maulwerker Ensemble.” Oct. 2009 – Feb. 2010
Presidential Fellowship Award, State University of New York at Buffalo • 2006 – 2010
Plainsong and Medieval Society Composition Prize for Derivation X., part of Nothing New? Understanding Newness
in Medieval and Contemporary Music 2009 conference, Huddersfield, UK.
International Computer Music Association (ICMA) Scholarship • (ICMC 2008), August 24, 2008, Belfast, Ireland.
Residencies and Festivals
Artist in Residence (AiR) Bergen at USF Verftet • April – June 2015, Bergen, Norway
Huddersfield Contemporary Music Festival (HCMF) • November 20 – 29, 2009, Huddersfield, UK
Ostrava Days New Music Festival • August 13 – September 2, 2007; August 10 – August 30, 2009, Ostrava, Czech
Republic
Atlantic Center for the Arts • Residency Session with Alvin Lucier. Atlantic Center for the Arts at Harris
House. May 18 – June 7, 2009. New Smyrna Beach, Florida.
June in Buffalo 2008, “Music and Computers.” SUNY at Buffalo Music Department. June 6-12, 2008. Buffalo, NY
Visiones Sonoras 2007 New Technologies International Music Festival. National Center for the Arts
(CENART, Mexico City). Mexican Center for Music and Sonic Arts. November 20 – 29, 2007.
Wandelweiser Festspiel • July 8 – July 28, 2007, Düsseldorf, Germany
CEAIT Festival of Electronic Music and Media at REDCAT, January 30, 2005. REDCAT, Los Angeles, CA
Teaching Experience
PI Art Center (New York) • Faculty Instructor. 2014 — present.
Music for Visual Artists: Course covering theory, history, and practices of postwar interdisciplinary art
practices in which music plays an important role. Primary topics include conceptualism, performance art,
Fluxus, noise, synaesthesia, experimentalism, text scores, graphic scores, and film/video.
Pratt Institute Department of Digital Arts • Adjunct Faculty. 2011 — 2012.
Sound for the Digital Arts: Course covering sound composition in digital, performing, and media arts.
Advanced Interactive Media: Hands-on creation of interactive sound and media installations. Covered
programming languages (Pure Data, Max) for real-time interactive art and music.
SUNY at Buffalo Music Department • Teaching Assistant. 2006 — 2009.
A History of Music and Machines: Music history course covering technology and related trends of the 20th
and 21st centuries. Topics included tape music and recording technology; electronic music and performance;
computer music and algorithmic composition.
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