Timothy C Bausch



2022    Ph.D. in Music Theory, University of Claifornia, Santa Barbara.                                                                       With an emphasis in cognitive sciences.

2018    M.M. in Music Theory, University of Louisville.                                                                                             Thesis: "The Spectral Atom: Cohesion of Spectral Particles in the Music of Alvin Lucier." Primary Advisor: Rebecca Jemian. Additional studies with Mark Yeary, Eric Hogrefe, and Christopher Brody.

2017   Education Abroad (theory and analysis), Eastman School of Music.                                                            ManiFest Académie, Istitut de Recherche et de Coordination Acoustique/Musique, Paris, France, directed by Robert Hasegawa.

2016    M.M. in Music Composition, State University of New York at Fredonia.                                                              Studies in composition with Paul Coleman, Jeremy Sagala, Robert Deemer, and Sean Doyle.

2015    M.M. in Percussion Performance, State University of New York at Fredonia.                                            Student of Karolyn Stonefelt.

2013    B.M. in Music Composition, State University of New York at Fredonia.


2019 “Spectral Atoms: An Extended Approach to the Analysis of Spectral Music.” Spectralisms 2019. Ircam: Paris, France (June 12–14). Video link: https://medias.ircam.fr/embed/media/x2f855a

2018   “Beyond the Effect: The Perceptual Effects of Reverberation.” The Fifteenth International Conference on Music Perception and Cognition and the tenth triennial conference of the European Society for the Cognitive Sciences of Music (ICMPC15-ESCOM10). Université Concordia: Montreal, Quebec, Canada (July 23–28).

2017   “Spectral Processes in the Music of Alvin Lucier.” The Ninth European Music Analysis Conference (EuroMAC). University of Strasbourg: Strasbourg, France (July 1).

2017   “Repetition as Catalyst: The Process of Creation in the Music of Alvin Lucier.” EMC2: Remembering the Experimental Music Catalogue. De Montfort University: Leicester, England (March 25).


Forthcoming   “Spectral Processes in the Music of Alvin Lucier.” In Proceedings of the Ninth European Music Analysis Conference. Edited by Pierre Couprie, Alexandre Freund-Lehmann, Xavier Hascher, and Nathalie Hérold.

2017                 “Reinterpreting the Role of Performer in the Music of Alvin Lucier.” Journal of Experimental Music Studies. http://www.experimentalmusic.co.uk/emc/Jems_files/bauschlucier.pd.

Teaching Experience

2018 Music Theory Teaching Assistant at the University of California, Santa Barbara

  • Instructor of four sections of MUS 11, Fundamentals of Music

2016– 2018   Music Theory Graduate Teaching Assistant at the University of Louisville.

  • Instructor of two sections of MUS 091, Fundamentals of Music (Fall 2016).

  • Instructor of one section of MUS 092, Fundamentals of Music II (Spring 2016).

  • Instructor of one section of MUS 141, Music Theory I (Fall 2017).

  • Instructor of one section of MUS 142, Music Theory II (Spring 2018).

  • Technology assistance with online section of MUS 547/647, chromatic harmony, and MUS 548/648, post-tonal harmony.

  • Theory and Keyboard Skill sessions.

  • Theory tutoring.

  • Grading for the theory department.

2016             Adjunct Instructor at the State University of New York (SUNY) at Fredonia.

  • Instructor of one section of MUS 221, Aural Skills III.

    • Material ranged from tonicization of closely related keys to chromatic modulation utilizing augmented and Neapolitan sixth chords.

    • Responsible for training students to sing, dictate, and aurally comprehend these concepts.

  • Proctor one-on-one exams testing students on fluency of selected melodic and rhythmic examples, intervals, scales, chord arpeggiations, and sight reading within the moveable Do and ta-ka-di-mi systems.

2013–2015   Teaching Assistant for the Music Theory department at SUNY Fredonia.

  • Instructor of one section of MUS 121, Aural Skills I (Spring 2014, Fall 2014, and Spring 2015).

    • Material ranged from establishing pitch class in a moveable Do system to note-to-note counterpoint.

    • Responsible for training students to sing, dictate, and aurally comprehend these concepts.

  • Maintaining database of grades for all freshman and sophomore students.

  • Proctoring audition placement exams.

  • Proctoring exams.

Work Experience

2018 Technical Engineer

  • Operating and maintaining levels for up to 25 wireless microphones for life performances using a Peavey AAM 3243 mixing console.

  • Building sets for musicals.

  • Supervising youth campers while using power-tools.

2015–2016   Editor and media expert for Musician’s Guide to Aural Skills: Ear Training and         Composition, 3rd Edition.

  • Correcting Roman numeral analyses using Finale.

  • Creating rhythms and melodies for students to practice.

  • Remastering of recorded examples for consistency.

2015             Cohen Studio Assistant at the Chautauqua Institute.

  • Recording both audio and video for lectures and special events.

  • Burning CDs and DVDs of lectures and special events.

  • Pre-screening recordings and video for music students’ applications.

2013–2016   Assistant House Manager for Rosch Recital Hall at SUNY Fredonia.

2010–2013   SUNY Fredonia School of Music computer lab proctor.

  • Assisting students with computer, MIDI, and other technological issues.

  • Maintaining the overall upkeep of the lab.

2011–2013   Student Assistant for the Music Theory Department at SUNY Fredonia.

  • Grading papers for aural skills and music theory classes.

2009–           Freelance recording engineer.


As a recording engineer:

2016   Invisible Cities: American Music for Soprano Saxophone (www.jacobswanson.com).    

2015   “Broken Branch Rag,” composed by John Bacon on The NYFA Collection, Volume 2 (innova, 253).

As a composer:

2017   “Mahogany,” performed by Jacob Swanson on Wired (www.jacobswanson.com).

Computing Skills

Music and Audio:

Finale, Logic Pro, Garage Band, Mainstage, OpenMusic, PureData (Pd), and The Composer’s Desktop Project.

Graphics and General:

Photoshop, Microsoft Office, Keynote, iMovie, and Final Cut Pro.


West Coast Conference of Music Theory and Analysis (WCCMTA)

Society for Music Perception and Cognition (SMPC)

Society for Music Theory (SMT)

American Society for Composers, Authors and Publishers (ASCAP)


2010–2016   Ethos New Music Society Technology Chair.

  • Live sound processing and recording of notable events and guests including: Roomful of Teeth, Third Coast Percussion, Akropolis Reed Quintet, Tony Arnold, Cornelius Dufallo, Chris Shultis, the Now Ensemble, Michael Mizrahi, Laura Koepke, the Baltimore-based Lunar Ensemble, Paola Prestini, Jeffrey Zeigler, Loadbang, the Colored Field Ensemble, Michael Lowenstern, Jamie Jordan, Modal Kombat, and the Mivos String Quartet, as well as various student recitals.


2017   Student Summer Travel Grant from University of Louisville.

2012   Ethos Laureate Prize in Composition for Storm.

2011   Poummit Concert Master Award.

2009   Donald Boland Scholarship Award in Composition.

Recent Compositions

2017 Redwood (Tree Suite) for bass trombone and electronics.

2017   Mahogany (Tree Suite) for soprano saxophone and tape.

2016   Perception for suspended cymbal and electronics.

2016   Tree Suite.

  1. Larch for bassoon and live electronics.

  2. Wisteria for flute and live electronics.

  3. Aspen for violin and live electronics.

2015   Perspective for cello and live electronics.

2014   Départ for solo piano.

2013   Tri Suite.

  1. Prologue for solo piano.

  2. Periods for flute, violin, cello, double bass, percussion, and piano.

  3. Pendulum for flute, clarinet, cello, double bass, percussion, and piano.

  4. Chaos for flute, clarinet, violin, cello, double bass, percussion, and piano.

2013   Ashes for vibraphone, violin, cello, and double bass.

2012   Storm for double bass and live electronics.

Notable Percussion Repertoire

Five Scenes from the Snow Country, Hans Werner Henze.

Liaisons, Roman Haubenstock-Ramati.

Six Japanese Gardens, movements I, II, and III, Kaija Saariaho.

Meditation No. 1, Casey Cangelosi.

Having Never Written a Note for Percussion, James Tenney.

Drumming: Part One, Steve Reich.

Silver Streetcar for the Orchestra, Alvin Lucier.

Still and Moving Lines of Silence in Families of Hyperbolas, ———.

Opera with Objects, ———.