Peer-review articles

Sudo, Marina. “Spatiotemporal Networks in Ryoji Ikeda’s Electronic Music: Loop, Variation and Re-contextualisation of Sound.” Organised Sound (2022).

Sudo, Marina. “Listening to Noise and Listening to Oneself: An Analysis of Peter Ablinger’s Orgel und Rauschen.” Musicologica Austriaca: Journal for Austrian Music Studies (December 22, 2020).

Sudo, Marina. “More than Meets the Eye: Derivation and Stratification in Boulez’s Don (1962).” Music Analysis 39, no. 3 (2020): 359–86.

Book chapters

Sudo, Marina. “Stretching Musicality to the Extreme: Vertical Composition in Merzbow’s Noise Music,” in Noise as a Constructive Element in Music: Theoretical and Music-Analytical Perspectives (“Musical Cultures of the Twentieth Century” series), 194–208, edited by Mark Delaere, London: Routledge, 2022.

Sudo, Marina. “Stratification of sound masses in Xenakis’s Gmeeoorh (1974).” In Exploring Xenakis: Performance, Practice, Philosophy, edited by Alfia Nakipbekova, 37–51, Wilmington: Vernon Press, 2019.

PhD Dissertation

Sudo, Maria. “The Nature of Noise. Aural Analytical Inquiry of Noise in Contemporary Musical Practice: Xenakis, Lachenmann, Ablinger and Merzbow.” University of Leuven, 2021. Download from this page.

Other writings 

Sudo, Marina. “Chris Dench.” MGG Online (forthcoming).

Sudo, Marina. “Franck Bedrossian.” MGG Online (forthcoming).

Sudo, Marina. “Raphaël Cendo.” MGG Online (forthcoming).

Sudo, Marina. “Saariaho Longread” (a text contribution to the online exhibition on Kaija Saariaho by the KU Leuven New Music Centre MATRIX), 2023.

Sudo, Marina. “De ‘Tombeau’ à ‘Don’: filiations par symétries voilées dans Pli selon pli de Pierre Boulez.” Mitteilungen der Paul Sacher Stiftung 29 (2016), 47–52.