“A way of making ghosts — on self-portraits, musical and otherwise.” (Full text forthcoming.) Originally presented as a guest lecture for Kulturstiftung Schloss Wiepersdorf. Zoom presentation to the foundation’s artistic fellowship recipients, June 10, 2020, published online June 19, 2020.
“Notes on The wreck of former boundaries.” Self-published, April 2016.
“Imagining a Non-Geometrical Rhythm.” Originally presented for my Inaugural Professorial Lecture, University of Huddersfield, March 2015.
“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.
“Francis Bacon, a painter of figures in rooms.” Notes prior to the premiere by EXAUDI of A painter of figures in rooms, Southbank Centre, London. July 2012.
“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.
Citations in Books and Articles by others
Malte Burba & Paul Hübner, Modern Times for Brass. Experimentelle Spieltechniken auf Blasinstrumenten. Breitopf & Härtel, BV 445, 2019.
Diego Castro Magaš, ‘Deleuze’s Fold in the Performing Practice of Aaron Cassidy’s The Pleats of Matter’, The Dark Precursor: Deleuze and Artistic Research, Paulo de Assis and Paolo Giudic, eds. Leuven University Press, 2017.
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.
Karen Loew, ‘Squiggles are the new quarter notes: why music looks different now’, The Atlantic. Oct 2013.
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.
Evan Johnson, “Aaron Cassidy.” Grove Dictionary of Music Online. www.oxfordmusiconline.com (added October 2009)
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.)
Web Profiles, Articles, and Interviews
Alinéa Ensemble, Everything But the Kitchen Sink summer festival (‘Composers-in-(their)-Residence’), Zoom interview 4 June 2020, broadcast online 10 July 2020.
‘Language Lost’, Zoom interview with Andrew Watts, University of California, Santa Barbara, 15 April 2020, published online 17 April 2020.
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.
“15 Questions with Aaron Cassidy.” www.tokafi.com August 2006.
The work has also been discussed in a significant number of PhD theses/dissertations, some of which are included amongst the citations listed via Google Scholar.