Paul Nauert is a music theorist and composer whose areas of interest include rhythm and meter, music cognition, and mathematical and computer models of compositional resources and procedures.
His recent work stems from a view of music as "time organized by sound." Current projects include an essay on harmonic progression in posttonal music, a book (with the working title Rhythms and Algorithms) on computer-based strategies for generating and coordinating musical rhythms, and software tools to support both the harmony and the rhythm projects.
As a composer, Nauert has concentrated in recent years on chamber music, including a piano trio commissioned by the Peabody Trio and a solo piece composed for the guitarist David Tanenbaum. The pianist Marilyn Nonken recently toured the U.S. with a program including NauertÕs A Collection of Caprices, which she will perform again at the Resonances Festival in Paris in Fall 2003.
“Division- and Addition-Based Models of Rhythm in a Computer-Assisted Composition System,” Computer Music Journal 31.4 (2007): 56-70.
“Algorithmic Strategies in A Collection of Caprices,” in The OM Composer’s Book, ed. Carlos Agon, Gerard Assayag, and Jean Bresson (Paris: Editions Delatour France, 2006): 163-178.
“Timespan Hierarchies and Posttonal Pitch Structure: A Composer’s Strategies,” Perspectives of New Music (2005) 43.1: 34–53. Another version forthcoming (in English and in French translation) in Around Set Theory: A French-American Musicological Meeting, eds. Moreno Andreatta, Jean-Michel Bardez, John Rahn (Paris: Editions Delatour France).
“The Progression Vector: Modelling Aspects of Posttonal Harmony,” Journal of Music Theory 41.1 (2003): 103-124.
“Field Notes: A Study of Fixed Pitch Formations,” Perspectives of New Music41.1 (2003): 6-65.
“Two Kinds of Time in the Presto of Beethoven’s Op. 130,” Journal of the McGill Music Graduate Society 4 (1995): 65-80.
“Theory and Practice in Porgy and Bess: The Gershwin-Schillinger Connection,” Musical Quarterly 78.1 (1994): 9-33.
“A Theory of Complexity to Constrain the Approximation of Arbitrary Sequences of Timepoints,” Perspectives of New Music 32.2 (1994): 226-263.
OMTimePack/OMTP, library of functions for the computer-assisted composition and programming environmentOpenMusic (Paris: IRCAM Software Forum).
OMPitchField/OMPF, library of functions for the computer-assisted composition and programming environment OpenMusic (Paris: IRCAM Software Forum).
Please contact me directly for latest OMPF and OMPT source code and documentation.
- Etude with Inserts (digital audio), 2009
- Charged Particle (digital audio), 2006
- Gathering (flute, cello, piano, percussion, and digital audio), 2004, 8:30
- Chapter and Verse (alto saxophone, piano), 2003, 9:30
- A Collection of Caprices (solo piano), 2002, 12:00
- B-Sides, 2001 (digital audio), 11:30
- Three Baroque Miniatures (guitar, harpsichord), 2001, 8:45
- Flight Path; Soaring (flute, piano), 2000, 12:15
— audio excerpt (performed by Leta Miller and Paul Nauert)
- R.H. (in tribute to Raymond Herbert) (solo piano), 2000, 2:45
- Chemistry (violin, marimba), 1999, 11:00
- Subtext (solo guitar), 1999, 7:00
— audio excerpt (performed by David Tanenbaum)
- Spirit (alto flute, marimba), 1998, 9:45
- Close the Gates of Day (violin, cello, piano), 1998, 12:30
- Arabesque (solo flute), 1995, 6:00
1. On October 12, 2011, my multi-movement solo piano composition Episodes and Elegies will be premiered in New York by pianist Marilyn Nonken, in a recital at NYU's Frederick Loewe Theatre.
2. On November 4, 2011, my song cycle for tenor voice, piano, and string quartet, A Distant Music, will be premiered by an ensemble including tenor Brian Staufenbiel and pianist Michael McGushin, as part of UCSC's Friday Night Live concert series.