(2013) Trinity College, Dublin, B.A. (Mod.) Music and Mathematics
Eamonn Bell and Laurent Pugin, “Learning to extract handwritten annotations from digitized images of musical scores,” in International Journal on Digital Libraries, Special issue on Digital Libraries for Musicology, July 2018. [publisher free-to-view link][doi]
“Choosing, using, and building effective software tools for research with symbolic music corpora” in The Oxford Handbook of Music and Corpus Studies. Edited by Daniel Shanahan, Ashley Burgoyne, and Ian Quinn. New York, NY: Oxford University Press.
“Information theory at the keyboard: Henry Quastler’s ‘Studies of Human Channel Capacity’ (1956)” at Computational Auditory Perception Research Group, Max-Planck-Institut für empirische Ästhetik, Frankfurt am Main, Germany (22 January 2019) [abstract][talk outline]
“‘Syntax-Based Analytic Reading of Musical Scores’: Music theory at the MIT AI Group 1965 to 1968” SIGCIS 2018, St. Louis, MO (October 2018)
“Active listening and the appropriation of high technology: A close reading of Jeff Minter’s interactive audio visualizer, The Virtual Light Machine”, Music and the Moving Image 2018, NYU Steinhardt (26-28 May 2018)
“Forms as algorithms: The case of the ‘normal form’”, Sound and Sonorities: Form and Forms in Music, Buffalo State College (SUNY Buffalo State) (27 April 2018)
Eamonn Bell and Laurent Pugin, “Approaches to handwritten conductor annotation extraction in musical scores” at Digital Libraries for Musicology Workshop 2016, New York, NY (12 August 2016) [proceedings][slides]
Eamonn Bell and Jaan Altosaar, “Applications of Word Embedding Models to a Classical Music Corpus: Stylistic Analysis and Composer Classification” at Machine Learning for Music Discovery Workshop, International Conference on Machine Learning (ICML) 2016, New York, NY (23 June 2016) [paper][slides]
(Spring 2019) Teaching Assistant, Theory I (Prof. Ben Steege)
(Fall 2018) Instructor, Techniques and Tools for the Critique of Digital Music (New course!)
Course description: This course introduces students to topics in the digital production and reception of music since the introduction of digital computers, including: the history of digital speech synthesis, the importance of format to the study of digital media, file-sharing and music copyright, collaboration in twentieth-century music performance, the role of online communities and commercial algorithms in the emergence of new musical genres, the use of music in video games (“ludomusicology”), the challenges of designing improvising musical “agents” that use artificial intelligence, and the virtues and pitfalls of techno-optimism about music in the twenty-first century. Each weekly regular class meeting is paired with a practicum, in which students will learn how to use a number of research software packages to: visualize and compare audio recordings, analyze social networks of musicians and music consumers, extract meaning from text corpora originating in online music communities, emulate old and obsolete hardware using a modern desktop computer, and access useful—but not always easy-to-access—online data sources using server-side web APIs.