Bibliography

Writings

“Gestural modeling and compositional constraints in Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion).” Sonic Ideas/Ideas Sónicas. CMMAS, Vol 3 – No.1, Spring 2011.

“Determinate Action/Indeterminate Sound: Tablature and chance in several recent works.” Facets of the Second Modernity. New Music and Aesthetics in the 21st Century, Volume 6. Mahnkopf, Schurig and Cox, eds. Wolke Verlag, June 2008.

“Physicality and Choreography as Morphological Determinants.” Musical Morphology. New Music and Aesthetics in the 21st Century, Volume 2. Mahnkopf, Schurig and Cox, eds. Wolke Verlag, 2004.

“Interconnectivity and Abstraction: metallic dust as a testing ground for monophonic and structural polyphonies.” Polyphony & Complexity. New Music and Aesthetics in the 21st Century, Volume 1. Mahnkopf, Schurig and Cox, eds. Wolke Verlag, 2002.

Web Profiles and Interviews

EXAUDI 2012, documentation of the process of learning, rehearsing, and performing A painter of figures in rooms, New Music 20×12. exaudi2012.wordpress.com

Simon Cummings, “Giving Voice to the Indescribable:  Aaron Cassidy – The Crutch of Memory.”  5:4  5against4.com , May 2012.

Jennie Gottschalk, “transference (5) – Aaron Cassidy,” sound expanse.  www.soundexpanse.com.  June 2011.

Tim Rutherford-Johnson, “A Journey to Aaron Cassidy’s Second String Quartet,” New Music Box (web magazine of the American Music Center) composer profile.  www.newmusicbox.org.  February 2011.

Evan Johnson, “Aaron Cassidy.”  Grove Dictionary of Music Online.  http://www.oxfordmusiconline.com  (added October 2009)

“15 Questions with Aaron Cassidy.”  www.tokafi.com  August 2006.

Citations in Books and Articles by others

Malte Burba, Experimentelle Spieltechniken.  Featuring discussion of What then renders these forces visible is a strange smile.  Breitkopf & Härtel, 2012.

Stuart Duncan, “Re-complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’.”  Featuring discussion of The Crutch of MemoryPerspectives of New Music Vol. 48, 2010,  p. 136-172.

Christopher Redgate, “Re-inventing the oboe.”  Featuring discussion of “the green is or”.  Contemporary Music Review.  (Vol 26, Issue 2, April 2007.  pp. 179-188.)

Mieko Kanno, “Prescriptive notation: Limits and challenges.”  Featuring discussion of The Crutch of Memory.  Contemporary Music Review.  (Vol 26, Issue 2, April 2007.  pp. 231 – 254.)