Thomas Patteson is a scholar and musician who studies experimental music and its connections to intellectual history, technology, and society.
Thomas is Professor of Music History at the Curtis Institute of Music, where he has been a member of the faculty since 2013. He has studied at New College of Florida (BA, 2004), the Universität zu Köln (Fulbright Scholar, 2005), and at the University of Pennsylvania (PhD, 2013). He is the author of Instruments for New Music (University of California Press, 2016), a study of the musical, social, and political ramifications of sound technologies developed in Germany during the Weimar Republic. His book received the 2017 Lewis Lockwood Award from the American Musicological Society, which recognizes "a musicological book of exceptional merit produced by a scholar in the early stages of their career." Thomas' current research project (working title: Sound/Systems) explores the use of radical constraints in music after 1945, from machines and algorithms to improvisation and chance procedures. Other major areas of interest include synthesizer culture, cybernetics, and alternative education.
An avid supporter of the digital humanities, Thomas is the author of the music blog Acousmata and co-curator of an online archive of speculative organology, the Museum of Imaginary Musical Instruments. Beyond his scholarly work, Thomas is an associate curator at Bowerbird, and has collaborated with groups such as <fidget>, Philadelphia Sound Forum, Data Garden, and Network for New Music. He has also given numerous talks and presentations for general audiences.
Thomas is Professor of Music History at the Curtis Institute of Music, where he has been a member of the faculty since 2013. He has studied at New College of Florida (BA, 2004), the Universität zu Köln (Fulbright Scholar, 2005), and at the University of Pennsylvania (PhD, 2013). He is the author of Instruments for New Music (University of California Press, 2016), a study of the musical, social, and political ramifications of sound technologies developed in Germany during the Weimar Republic. His book received the 2017 Lewis Lockwood Award from the American Musicological Society, which recognizes "a musicological book of exceptional merit produced by a scholar in the early stages of their career." Thomas' current research project (working title: Sound/Systems) explores the use of radical constraints in music after 1945, from machines and algorithms to improvisation and chance procedures. Other major areas of interest include synthesizer culture, cybernetics, and alternative education.
An avid supporter of the digital humanities, Thomas is the author of the music blog Acousmata and co-curator of an online archive of speculative organology, the Museum of Imaginary Musical Instruments. Beyond his scholarly work, Thomas is an associate curator at Bowerbird, and has collaborated with groups such as <fidget>, Philadelphia Sound Forum, Data Garden, and Network for New Music. He has also given numerous talks and presentations for general audiences.