“Noise and the Voice: exploring the thresholds of vocal transgression.” Noise In And As Music. Aaron Cassidy and Aaron Einbond, eds. Huddersfield University Press, October 2013.
“Introduction” (co-authored with Aaron Einbond). Noise In And As Music. Aaron Cassidy and Aaron Einbond, eds. Huddersfield University Press, October 2013.
“Constraint Schemata, Multi-axis Movement Modeling, and Unified, Multi-parametric Notation for Strings and Voices.” Search Journal for New Music and Culture. Forthcoming, Autumn 2013.
“The String Quartet as laboratory and playground for experimentation and tradition (or, opening out/closing in).” Contemporary Music Review. Zero to Four. Modernism and the String Quartet I. Daniel Albertson and Richard Toop, eds. Volume 32, Issue 4, 2013.
“I am an experimental composer.” Paper presented at the COMPOSITION‐EXPERIMENT‐TRADITION conference at the Orpheus Institute in Ghent, February 2012.
“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
Karen Loew, ‘Squiggles are the new quarter notes: why music looks different now’, The Atlantic. Oct 2013.
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. www.oxfordmusiconline.com (added October 2009)
“15 Questions with Aaron Cassidy.” www.tokafi.com August 2006.
Citations in Books and Articles by others
Nicholas Donin, ‘Finding the body in 20th-century musical notation: On gestures, tablatures, and performing without instruments’, in: Music/Dance: Sound and Motion in Contemporary Discourse and Practice, Gianmario Borio, Patrizia Veroli, Gianfranco Vinay (eds.), Farnham: Ashgate, 2017. Featuring discussion of The Crutch of Memory.
Tim Rutherford-Johnson, After the Fall: Music Since 1989. With discussions of numerous works, including The Crutch of Memory, A painter of figures in rooms, metallic dust, and What then renders these forces visible is a strange smile. University of California Press, 2017.
Jennie Gottschalk, Experimental Music Since 1970. Featuring discussions of Being itself a catastrophe, the diagram must not create a catastrophe, The Crutch of Memory, Second String Quartet, A painter of figures in rooms, as well as references to the Noise in and as Music book. Bloomsbury, 2016.
Michael Edgerton, The 21st Century Voice, 2nd ed. Featuring discussion of A painter of figures in rooms. Scarecrow Press, 2014.
Irvine Arditti and Robert HP Platz, The Techniques of Violin Playing/Die Spieltechnik der Violinei. Featuring discussion of The Crutch of Memory and Second String Quartet. Bärenreiter, 2013.
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 Memory. Perspectives 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.)