Writing

2021 · Masters thesis (Universität der Künste Berlin)
This essay documents some initial speculations regarding how harmonies (may) evolve in extended just intonation, connecting back to various practices from two perspectives that have been influential to my work. The first perspective, which is the primary investigation, concerns itself with an intervallic conception of just intonation, centring around Harry Partch’s technique of Otonalities and Utonalities interacting through Tonality Flux – close contrapuntal proximities bridging microtonal chordal structures. An analysis of Partch’s 1943 composition Dark Brother, one of his earliest compositions to use this technique extensively, is proposed, contextualised within his 43-tone Monophonic system and greater aesthetic interests. This is followed by further approaches to just intonation composition from the perspective of the extended harmonic series and spectral interaction in acoustic sounds. Recent works and practices from composers La Monte Young, Éliane Radigue, Ellen Fullman, and Catherine Lamb are considered, with a focus on the shifting modalities and neighbouring partials in Lamb’s string quartet Divisio Spiralis (2019). Finally, I connect this discussion to my current compositional interests, which have been exploring a method of microtonal modulation through arbitrarily near enharmonic connections in Harmonic Space called “enharmonic proximities.”

2020 · Živá hudba, issue 11
Collaboration with Marc Sabat
While temperament may present some apparent advantages, it necessarily sacrifices the distinct “JI fusion sonority” of intervals that are precisely tuneable by ear. These manifest a vast gradation of consonance and dissonance, as yet largely unexplored and with fascinating potential for new compositions. This article proposes a novel approach, based on a mathematical structure called the Stern-Brocot Tree, allowing a finite set of pitches to be generated in just intonation within which music may modulate freely without relying on temperament.

2020 · Plainsound
Collaboration with Marc Sabat
This revision of the Helmholtz–Ellis Just Intonation Pitch Notation improves mathematical consistency and extends the system to include symbols for prime numbers up to 47. It is accompanied by a comprehensive legend that explains each symbol in detail, along with illustrative examples drawn from both the harmonic and subharmonic series to demonstrate the practical applications of the notation.

2019 · TEMPO 74, issue 291
Collaboration with Marc Sabat
Natural harmonics, i.e. partials and their harmonic series, may be isolated on a vibrating string by lightly touching specific points along its length. In addition to the two endpoints, stationary nodes for a given partial n present themselves at n−1 locations along the string, dividing it into n parts of equal length. It is not the case, however, that touching any one of these nodes will necessarily isolate the nth partial and its integer multiples. The subset of nodes that will activate the nth partial (termed playable nodes by the authors) may be derived by following a mathematically predictable pattern described by so-called Farey sequences. The authors derive properties of these sequences and connect them to physical phenomena. This article describes various musical applications: locating single natural harmonics, forming melodies of neighbouring harmonics, sounding multiphonic aggregates, as well as predicting the relative tuneability of just intervals.

2018 · Scoring Notes
This software review of Dorico 2 focuses on its capabilities for microtonal playback in just intonation. The review includes technical demonstrations and examples to evaluate the accuracy, flexibility, and practicality of the software’s handling of non-standard tuning systems.

2018 · Plainsound
Collaboration with Marc Sabat
Bringing together theory, notation, and compositional practices, this compendium offers a comprehensive introduction to just intonation and microtonality. It approaches tuning not simply as a mathematical framework, but as a perceptual and creative discipline, developing a “language of ratios” in the tradition of Harry Partch. Concepts like commas, enharmonics, prime limits and harmonic distance are situated within wider discussions of consonance and dissonance, linking abstract principles to concrete musical practice. Clear notational strategies and analyses of equal division systems are complemented by score excerpts that demonstrate practical applications in composition. Designed as both a pedagogical guide and a reference for ongoing research, the text provides students, musicians and scholars with a foundation for engaging with tuning theory and contemporary microtonal composition.