Academic Publications
Sdraulig, C., Fusi, M., Huang, W. & Rouger, G. (2023). A Fragility, which Connects: Music as a Social Encounter. CeReNeM Journal, 8, 13-30. https://cerenempostgraduates.files.wordpress.com/2023/12/cerenemjournal-issue8.pdf.
Sdraulig, C. (2022). One to One: Composing Social Dynamics. Perspectives of New Music, 60(2), 91-134. https://doi.org/10.1353/pnm.2022.a914771.
Sdraulig, C. & d’Heudières, L. (2022). Attending to attending: performing audience personae in contemporary music. Tempo, 76(300), 18-32. https://doi.org/10.1017/S0040298221000899.
Sdraulig, C. & Lortie, C. (2019). Recent Audio Scores: Affordances and Limitations. In C. Hope, N. Grant & L. Vickery (Eds.), Fifth International Conference on Technologies for Music Notation and Representation. Paper presented at TENOR ’19, Monash University, Melbourne, Australia, 23-27 July (pp. 38-45). Melbourne, VIC: Monash University.
Sdraulig, C. (2018). The Effect of Loudness on the Perceptual Representation of Voiceless Vowel and Fricative Timbres. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre Is a Many-Splendored Thing. Paper presented at Timbre 2018, McGill University, Montreal, Canada, 4-7 July (pp. 148-149). Quebec: McGill University.
Presentation
Sdraulig, C. (2021). ‘enfold’: Tracing networks. Paper presented at Vibrant Practices: Material Agency and Performative Ontologies, University of Leeds, UK.
Thesis
Sdraulig, C. (2020). Composing Social Dynamics. Stanford University.
Commentary
Sdraulig, C. (2022). Contribution to Matthew Sergeant’s und James Saunders’ ‘Was machen Komponistinnen den ganzen Tag?’ MusikTexte, 173, 18. (Contact me for the English version.)
Sdraulig, C. (2022). Detail. ADSR Zine 015.
Sdraulig, C. (2021). ELISION ensemble: Performance series. Resonate Magazine, Australian Music Centre.
Sdraulig, C. (2013). Interaction in line, breath and process.
Interviews
Sdraulig, C., Huang, W. & Karen, H. (2021). Fast Forward – A deeper look into Lucerne Festival Forward: one to one segment.
Sdraulig, C. & Huang, W. (2021). Looking forward: “tend” by Charlie Sdraulig. Short introduction to the project for Lucerne Festival Forward.
Sdraulig, C. & Baldwin, M. (2015). externalized traces – In Conversation with Charlie Sdraulig about ‘few’. See Michael’s performance and reflections on this piece here.
Sdraulig, C. & Rutherford-Johnson, T. (2013). ‘The risk of sound being produced’: Charlie Sdraulig.
Citations
Dyer, M. (2023). The Role of Smart, Haptic Wearables in the Performance of Mensura. Contemporary Music Review, 42(3), 351-362. https://doi.org/10.1080/07494467.2023.2279799
Accornero, G. (2022). What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music. Contemporary Music Review, 42(4), 337-357. https://doi.org/10.1080/07494467.2022.2087377
Saunders, J. (2022). Group behaviours as music. In R. Timmers, F. Bailes & H. Deffern (Eds.), Together in Music: coordination, expression, participation (pp. 13-23). UK: Oxford University Press.
Huang, W. (2021). Cutting Edge: Fast Forward. Limelight Magazine.
Rouger, G. (2021). Art écho. DOCUMENT(S), 2, 62-71.
Huang, W. (2021). The Pragmatic Musical-Gestural Performer. In W. Brooks (Ed.), Experience Music Experiment (pp. 35-60). Belgium: Leuven University Press.
Shockley, A. F. (2018). The contemporary piano: A performer and composer's guide to techniques and resources. Lanham: Rowman & Littlefield.
Rutherford-Johnson, T. (2017). Music after the fall: Modern composition and culture since 1989. Oakland, California: University of California Press.
Gottschalk, J. (2016). Experimental music since 1970. New York, NY; London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc.
Rutherford-Johnson, T. (2012). ‘The Contemporary Notation Project’.