Welcome to the website of musicologist Marina Sudo.

My research interests include theory and analysis of 20th- and 21st-century music, including serial and post-serial music, electronic/electroacoustic music and noise music. I completed my first degree and master’s in musicology at Tokyo University of the Arts. In 2015 I moved to Basel and subsequently to Nice to conduct a study of manuscript sketches and scores of Pierre Boulez. In 2017 I started a PhD at the University of Leuven with a project investigating the structural force of noise in contemporary music. In 2020 I won Musicologica Austriaca’s Best Paper Award for my article “Listening to Noise and Listening to Oneself: An Analysis of Peter Ablinger’s Orgel und Rauschen” and in the same year my article on Boulez was published in Music Analysis. In 2021 I completed my PhD dissertation: The Nature of Noise: An Aural Analytical Inquiry of Noise in Contemporary Musical Practice: Xenakis, Lachenmann, Ablinger and Merzbow. In 2022 I was awarded the Mgr. Renaat Lenaerts-prijs for my PhD dissertation by the Royal Flemish Academy of Belgium for Science and the Arts (KVAB). After working as a postdoctoral fellow at the University of Leuven for three years, in 2024 I started a postdoc project “Listening Beyond the Score: Integrated Analysis of Twentieth- and Twentieth-first-century Music” at the University of Music and Performing Arts in Graz (Kunstuniversität Graz), awarded an FWF ESPRIT grant by the Austrian Science Funded. In this project I examine the possibility of a new form of musical analysis for contemporary repertoire in which score-oriented, sound-based aural and computer-aided analyses are combined, focusing on the works of Kaija Saariaho, Pierre Boulez, Franck Bedrossian, Stefan Prins, Olga Neuwirth and Maki Ishii.