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Number of items at this level: 280.

A

Alvarez, J. (1993). Compositional strategies in music for solo instruments and electroacoustic sounds. (Unpublished Doctoral thesis, City University London)

Anderson, E.L. (2011). Materials, meaning and metaphor: Unveiling spatiotemporal pertinences in acousmatic music. (Unpublished Doctoral thesis, City University London)

Anderson, Elizabeth (2011). Materials, meaning and metaphor: Unveiling spatio-temporal pertinences in acousmatic music. (Unpublished Doctoral thesis, City University London)

Anderson, I. & Rennie, T. (2016). Thoughts in the Field: 'Self-reflexive narrative' in field recording. Organised Sound: an international journal of music and technology, 21(3), pp. 222-232. doi: 10.1017/S1355771816000194

Ansdell, G. (1999). Music therapy as discourse and discipline : a study of 'music therapist's dilemma'. (Unpublished Doctoral thesis, City University London)

Antonopoulos, Spyridon (2014). The Life and Works of Manuel Chrysaphes the Lampadarios, and the Figure of Composer in Late Byzantium. (Unpublished Doctoral thesis, City, University of London)

Armstrong, N. (2014). ‘Bold Tendencies’: London Contemporary Music Festival, Peckham multi-storey car park, London, 25–28 July, 1–4 August 2013. Tempo, 68(267), pp. 63-65. doi: 10.1017/S0040298213001393

Armstrong, N. (2015). Listening as a material. Paper presented at the Troisième Biennale d'Analyse Musicale 2015, 26-27 March 2015, Conservatoire royal de Mons.

Armstrong, N. (2015). Modes of forgetting *

Armstrong, N. (2013). Nature pieces *

Armstrong, N. (2016). Partial objects *

Armstrong, N. (2011). Too slow, for Milton Perspectives of New Music. *

Armstrong, N. (2012). making one leaf transparent and then another *

Armstrong, N. (2010). unsaying *

Armstrong, N. (2016). The way to go out *

Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London)

B

Barrett, N.L. (1997). Structuring processes in electroacoustic composition. (Unpublished Doctoral thesis, City University London)

Bell, Jonathan (2016). Audio-scores, a resource for composition and computer-aided performance. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London)

Billing, S. (2006). Bacewicz : the violin concertos. (Unpublished Doctoral thesis, City University London)

Bohrer, J.C.S. (2002). Intonational strategies in ensemble singing. (Unpublished Doctoral thesis, City University London)

Brownell, A. (2010). The English piano in the Classical Period: Its Music, Performers, and Influences. (Unpublished Doctoral thesis, City University London)

C

Cottrell, S.J. (2006). The Clarinet and its Players in Eastern Europe and Greece. In: R. Heaton (Ed.), The versatile clarinet. (pp. 40-55). Routledge. ISBN 0415973171

Cottrell, S.J. (2010). Ethnomusicology and the Music Industries: an overview. Ethnomusicology Forum, 19(1), pp. 3-25.

Cottrell, S.J. (2003). The Future of the Orchestra. In: C. Lawson (Ed.), The Cambridge companion to the orchestra. . Cambridge. ISBN 0521001323

Cottrell, S.J. (2007). ‘Local Bimusicality among London’s freelance musicians’. Ethnomusicology, 51(1), pp. 85-105.

Cottrell, S.J. (2002). Music as Capital: Deputising Among London’s Freelance Musicians. British Journal of Ethnomusicology, 11(2), pp. 61-80.

Cottrell, S.J. (2007). Music, Time, and Dance in Orchestral Performance: The Conductor as Shaman. Twentieth-century Music, 3(1), pp. 73-96.

Cottrell, S.J. (2012). Musical Performance in the Twentieth Century: an overview. In: C. Lawson & R. Stowell (Eds.), The Cambridge History of Musical Performance. . Cambridge. ISBN 0521896118

Cottrell, S.J. (2004). Smoking and all that Jazz. In: S. L. Gilman & X. Zhou (Eds.), Smoke: A Global History of Smoking. (pp. 154-159). Reaktion Books. ISBN 9781861892003

Cottrell, S.J. (2011). The impact of Ethnomusicology. Ethnomusicology Forum, 20(2), pp. 229-232.

Cottrell, S.J. (2010). The rise and rise of phonomusicology. In: A. Bayley (Ed.), Recorded Music: Performance, Culture and Technology. . Cambridge. ISBN 9780521863094

Cross, I. (1989). The cognitive organisation of musical pitch. (Unpublished Doctoral thesis, City University London)

Cross, J. & Pace, I. (2001). Finnissy, Michael (Peter). In: Grove Music Online. . Oxford: Oxford University Press. ISBN 9781561592630

Crowdus, Miranda (2016). Hip hop in South Tel Aviv: third space, convergent dispossession(s), and intercultural communication in urban borderlands. (Unpublished Doctoral thesis, City, University of London)

D

Davidson, J.W. (1991). The perception of expressive movement in music performance. (Unpublished Doctoral thesis, City University London)

Dean-Lewis, T. (2001). Playing outside : excursions from the tonality in jazz improvisation. (Unpublished Doctoral thesis, City University London)

d'Escrivan Rincon, J.C. (1991). Creative Intuition as a Compositional Strategy in Electroacoustic Music. (Unpublished Doctoral thesis, City University London)

E

Einbond, A. (2017). Mapping the Klangdom Live: Cartographies for piano with two performers and electronics. Computer Music Journal, 41(1), pp. 61-75. doi: 10.1162/COMJ_a_00397

Einbond, A. (2016). Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words. In: J. Bresson, C. Agon & G. Assayag (Eds.), The OM Composer's Book. (pp. 155-171). France: Editions Delatour/Ircam-Centre Pompidou. ISBN 978-2-7521-0283-6

Einbond, A. (2013). Subtractive Synthesis: noise and digital (un)creativity. In: A. Cassidy & A. Einbond (Eds.), Noise in and as music. (pp. 57-75). Huddersfield, UK: University of Huddersfield Press. ISBN 9781862181182

Einbond, A. & Schwarz, D. (2010). Spatializing Timbre With Corpus-Based Concatenative Synthesis. Paper presented at the International Computer Music Conference, ICMC 2010, June 1–5, 2010, New York, USA.

Einbond, A., Schwarz, D., Borghesi, R. & Schnell, N. (2016). Introducing CatOracle: Corpus-based concatenative improvisation with the Audio Oracle algorithm. Paper presented at the 42nd International Computer Music Conference (ICMC 2016), 12-16 Sept 2016, Utrecht, The Netherlands.

Einbond, A., Schwarz, D. & Bresson, J. (2009). Corpus-Based Transcription as an Approach to the Compositional Control of Timbre. Paper presented at the International Computer Music Conference, ICMC 2009, August 15-21, 2009, Montreal, Quebec, Canada.

Einbond, A., Trapani, C., Agostini, A., Ghisi, D. & Schwarz, D. (2014). Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAX. Paper presented at the International Computer Music Conference, ICMC 2014, 14-20 September, 2014, Athens, Greece.

Einbond, A., Trapani, C. & Schwarz, D. (2012). Precise pitch control in Real Time Corpus-Based concatenative synthesis. Paper presented at the ICMC 2012: Non-Cochlear Sound, 9 September - 14 September 2012, Ljubljana, Slovenia.

Elmsley (né Lambert), A., Weyde, T. & Armstrong, N. (2017). Generating Time: Rhythmic Perception, Prediction and Production with Recurrent Neural Networks. Journal of Creative Music Systems, 1(2), doi: 10.5920/JCMS.2017.04

Evans, F.M. (1996). Aural image and the language of electroacoustic music. (Unpublished Doctoral thesis, City University London)

F

Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London)

Field, A. E. (1999). Electroacoustic Composition. (Unpublished Doctoral thesis, City University London)

Frengel, Mike (2005). Process and form: perspectives on the application of predetermined systems to sectional forms in music composition. (Unpublished Doctoral thesis, City University, London)

G

Gardner, Thomas (2011). The effect of electronically mediated sound on group musical interaction: A case study of the practice and development of the Automatic Writing Circle. (Unpublished Doctoral thesis, City University London)

Gato, Gonçalo (2016). Algorithm and Decision in Musical Composition. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Georgiou, Christina (2011). The historical editing of Mozart’s keyboard sonatas: History, Context and Practice. (Unpublished Doctoral thesis, City University London)

Goldberg, Tatjana (2015). Maud Powell, Marie Hall and Alma Moodie: A gendered re-evaluation of three violinists. (Unpublished Doctoral thesis, City University London)

Green, Owen (2013). User serviceable parts: Practice, technology, sociality and method in live electronic musicking. (Unpublished Doctoral thesis, City University London)

Guitry, Amy Beth (2010). The Baroque flute as a modern voice : Extended techniques and their practical integration through performance and improvisation. (Unpublished Doctoral thesis, City University London)

H

Hammond, C. (2012). To Conceal or Reveal: left-hand pianism with particular reference to Ravel's Concerto pour la main gauche and Britten's Diversions. (Unpublished Doctoral thesis, City University London)

Harper, A. (2016). "Backwoods": Rural Distance and Authenticity in Twentieth-Century American Independent Folk and Rock Discourse. Samples : Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung(14),

Harper, A. (2016). 'Dux Content: Life Style' and 'The New Hi-Tech Underground'. In: T. Beyer & T. Burkhalter (Eds.), Seismographic Sounds - Visions of a New World. (pp. 478-483). Bern: Norient. ISBN 978-3-9524496-0-8

Harper, A. (2011). Introduction. In: A. Harper (Ed.), Infinite Music: Imaging the Next Millennium of Human Music-Making. (pp. 1-14). Winchester, UK: John Hunt Publishing. ISBN 1846949246

Harries, Guy (2011). The Electroacoustic and its Double: Duality and Dramaturgy in Live Performance. (Unpublished Doctoral thesis, City University London)

Hasikou, Anastasia (2017). The social history of music development in the Greek Cypriot population during 1878-1945. (Unpublished Doctoral thesis, City, University of London)

Hassiotis, K. (2010). A critical edition of the 48 studies for oboe, op. 31 by Franz Wilhelm Ferling (1796-1874), based on original historical evidence and viewed within the context of the evolution of didactic material for oboe, with particular reference to nineteenth-century performing practices.. (Unpublished Doctoral thesis, City University London)

Hauge, P. (1997). English music theory c.1590-c.1690 : the modal systems, changing concepts, and the development of new classification systems. (Unpublished Doctoral thesis, City University London)

Henriksen, F.E. (2002). Space in electroacoustic music: composition, performance and perception of musical space. (Unpublished Doctoral thesis, City University London)

Holmes, P.A. (2011). The performer’s experience: psychological, philosophical and educational perspectives. (Unpublished Doctoral thesis, City University London)

Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London)

I

Ingleton, H (2015). Composing Paradoxes Feminist Process in Sound Arts and Experimental Musics. (Unpublished Doctoral thesis, City, University of London)

Inoguchi, Ikuko (2016). Concepts of time in the works of John Cage, George Crumb, and Toru Takemitsu and implications for performance. (Unpublished Doctoral thesis, City University London)

Ishii, H. (2006). Composing electroacoustic music relating to traditional Japanese music. (Unpublished Doctoral thesis, City University London)

J

Jones, K. (1980). Computer assisted application of stochastic structuring techniques in musical composition and control of digital sound synthesis systems. (Unpublished Doctoral thesis, City University London)

K

Kang, Ja Yeon (2011). Robert Schumann's notion of the cycle in Lieder Und Gesange Aus Goethes Wilhelm Meister, Op. 98a And Waldszenen, Op.82. (Unpublished Doctoral thesis, City University London)

Karpeyev, Alexander (2014). New light on Nikolay Medtner as pianist and teacher. (Unpublished Doctoral thesis, City University London)

Karydis, D. (2006). Beethoven's annotations to Cramer's twenty-one piano studies : context and analysis of performance. (Unpublished Doctoral thesis, City University London)

Khosravi, Peiman (2012). Spectral spatiality in the acousmatic listening context. (Unpublished Doctoral thesis, City University London)

Kreiling, J. (2017). Towards a performance of Scriabin's Sonata No. 6, Op. 62: a practice-led exploration. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

L

Lambert, A., Weyde, T. & Armstrong, N. (2015). Perceiving and predicting expressive rhythm with recurrent neural networks. In: Proceedings of the 12th International Conference in Sound and Music Computing. . Maynooth, Ireland: SMC15. ISBN 9780992746629

Lane, C.M. (2000). Space, motion and metaphor in electroacoustic music. (Unpublished Doctoral thesis, City University London)

Lawrence, Mark (2013). Veljo Tormis, Estonian composer. (Unpublished Doctoral thesis, City University London)

Lee, C.A. (1992). The analysis of therapeutic improvisatory music with people living with the virus HIV and AIDS. (Unpublished Doctoral thesis, City University London)

Li, C. (2007). Piano performance : strategies for score memorisation. (Unpublished Doctoral thesis, City University London)

Lim, Lemy Sungyoun (2010). The Reception of Women Pianists in London, 1950-60. (Unpublished Doctoral thesis, City University London)

Lingas, A. (2015). Cyprus: Between East and West. Portland, USA: Cappella Romana.

Lingas, A. (2015). Good Friday in Jerusalem, Medieval Byzantine Chant from the Church of the Holy Sepulchre. Portland, USA: Cappella Romana.

Lingas, A. (2017). Hymnography with(out) Music as Scripture and Prayer. In: I. Moody & M. Takala-Roszczenko (Eds.), Creating Liturgically: Hymnography and Music. (pp. 17-28). Joensuu, Finland: International Society for Orthodox Church Music. ISBN 9789529988365

Lingas, A. (2015). An Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946). In: V. Morosan & A. Lingas (Eds.), Maximilian Steinberg, Opus 13, Based on Early Russian Chants (Musical Score). (pp. vii-xviii). San Diego, CA, USA: Musica Russica. ISBN 978-0-9701767-5-2

Lingas, A. (2015). Maximillian Steinberg: Passion Week, Opus 13 / Nikolay Rimsky-Korsakov: Chants for Holy Week. Portland, USA: Cappella Romana.

Lingas, A. (2017). Review of Merih Erol, Greek Orthodox Music in Ottoman Istanbul: Nation and Community in the Era of Reform. Music and Letters, doi: 10.1093/ml/gcx036

Lingas, A. (2017). (Review of) Greek Orthodox Music in Ottoman Istanbul: Nation and Community in the Era of Reform. Music and Letters, doi: 10.1093/ml/gcx036

Lingas, A. (2013). Tikey Zes: The Divine Liturgy of St John Chrysostom (1991). Portland, USA: Cappella Romana.

Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London)

Loufopoulos, A. (2004). Nature in electroacoustic music. (Unpublished Doctoral thesis, City University London)

Loya, S. (2014). Liszt’s Legacy and the Paradoxes of Hungarian Musical Modernism. In: J. Deaville & M. Saffle (Eds.), Liszt Legacies. . Pendragon. ISBN 1576471691

Loya, S. (2015). The Mystery of the Seventeenth Hungarian Rhapsody. Quaderni dell’Instituto Liszt, 15, pp. 107-146.

Loya, S. (2015). Neither major, nor minor: The Affective Fluctuating Third in Central-European Art Music ca. 1840–1940. Paper presented at the Dur vs. Moll: Zum semantischen Potenzial eines musikalischen Elementarkontrasts. Kontinuitäten und Brüche in der neuzeitlichen Musik und Musiktheorie, 19 Nov 2015 - 22 Nov 2015, Institut für Musik wissenschaft Universität Leipzig, Germany.

Loya, S. (2016). Pesce Dolores , Liszt’s Final Decade (Rochester: University of Rochester Press, 2014). xiv 369 pp. £55.00. Nineteenth-Century Music Review, 13(2), pp. 320-323. doi: 10.1017/S147940981600015X

Loya, S. (2016). Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert. Journal of the American Musicological Society, 69(2), pp. 409-476. doi: 10.1525/jams.2016.69.2.409

M

Marti, Cécile (2017). Seven towers: an orchestral cycle focused on different musical temporalities. (Unpublished Post-Doctoral thesis, Guildhall School of Music and Drama)

Mbaye, J. F. (2014). Hip Hop Politics: Recognising a Southern Complexity. In: S. Parnell & S. Oldfield (Eds.), The Routledge Handbook on Cities of the Global South. (pp. 396-412). London, UK: Routledge. ISBN 9780415818650

Mbaye, J. F. (2015). Musical borderlands: A cultural perspective of regional integration in Africa. City, Culture and Society, 6(2), pp. 19-26. doi: 10.1016/j.ccs.2015.03.002

McIntosh, S.M. (1993). Gamaka and Alamkara : concepts of vocal ornamentation with reference to Bara Khayal. (Unpublished Doctoral thesis, City University London)

Mera, M. (2015). Agitprop Rap? "Ill Manors" and the Impotent Indifference of Social Protest. In: T. Miller (Ed.), The Routledge Companion to Global Popular Culture. (pp. 268-281). New York, USA: Routledge. ISBN 978-0-415-64147-0

Mera, M. (2013). Inglo(u)rious Basterdization: Tarantino and the War Movie Mashup. In: C. Vernallis, A. Herzog, & J. Richardson (Eds.), The Oxford Handbook of Sound and Image in Digital Media. (pp. 437-461). New York: Oxford University Press. ISBN 9780199757640

Mera, M. (2009). An Interview with Canadian-Armenian Filmmaker Atom Egoyan. Ethnomusicology Forum, 18(1), pp. 73-82. doi: 10.1080/17411910902790416

Mera, M. (2009). Invention/Re-invention. Music, Sound and the Moving Image, 3(1), pp. 1-20. doi: 10.3828/msmi.3.1.1

Mera, M. (2016). Materialising Film Music. In: M. Cooke & F. Ford (Eds.), The Cambridge Companion to Film Music. . Cambridge, UK: Cambridge University Press. ISBN 9781316146781

Mera, M. (2012). Outing the Score: Music, narrative and collaborative process in Little Ashes. Music, Sound and the Moving Image, 6(1), pp. 93-109. doi: 10.3828/msmi.2012.8

Mera, M. (2009). Reinventing Question Time. In: D. B. Scott (Ed.), The Ashgate research companion to popular musicology. (pp. 59-83). Aldershot: Ashgate Pub Co. ISBN 9780754664765

Mera, M. (2013). Review of Peter Franklin, Seeing Through Music: Gender and Modernisms in Classic Hollywood Film. Music, Sound and the Moving Image, 7(2), pp. 195-218. doi: 10.3828/msmi.2013.9

Mera, M. (2017). Screen Music and the Question of Originality. In: M. Mera, R. Sadoff & B. Winters (Eds.), The Routledge Companion to Screen Music and Sound. (pp. 38-49). Oxford, UK: Routledge. ISBN 1138855340

Mera, M. (2016). Towards 3-D Sound: Spatial Presence and the Space Vacuum. In: L. Greene & D. Kulezic-Wilson (Eds.), The Palgrave Handbook of Sound Design and Music in Screen Media. (pp. 91-111). Palgrave Macmillan UK. ISBN 978-1-137-51679-4

Mera, M., Mathez, B. & Thatcher, T. (2014). Morriña *

Mera, M., Mathez, B. & Thatcher, T. (2015). Morriña *

Mera, M. & Stumpf, S. (2014). Eye-tracking Film Music. Music and the Moving Image, 7(3), pp. 3-23.

Mera, M. & Winters, B. (2009). Film and Television Music Sources in the UK and Ireland. Brio: Journal of the International Association of Music Libraries, Archives and Documentation Centres., 46(2), pp. 37-65.

Metaxaki, M. (2005). Considerations for pedalling Debussy's piano music. (Unpublished Doctoral thesis, City University London)

Michael, C. (2017). Contemplating identity and genre in Greek popular song: The Theatrical Compositions of Manos Hadjidakis Between 1944 and 1966. (Unpublished Doctoral thesis, City, University of London)

Miranda- Perez, R. (1992). Jose Rolon: a study of his life and music. (Unpublished Doctoral thesis, City University London)

Moschos, P. (2006). Performing Classical-period music on the modern piano. (Unpublished Doctoral thesis, City University London)

N

Nelson, S.J. (2001). Melodic improvisation on a twelve bar blues model : an investigation of physical and historical aspects and their contribution to performance. (Unpublished Doctoral thesis, City University London)

Nooshin, L. (2017). ‘BME’ Perspectives on Music Higher Education. Paper presented at the ‘BME’ Perspectives on Music Higher Education, 2 May 2017, Cambridge, UK.

Nooshin, L. (2013). Beyond the Radif: New Forms of Improvisational Practice in Iranian Music. Music Theory Online, 19(2),

Nooshin, L. (2016). 'Happy Families? Convergence, Antagonism and Disciplinary Identities or "We’re all God knows what now" (Cook 2016)'. Paper presented at the City Debate, 'Are we all Ethnomusicologists now?', City University London.

Nooshin, L. (2011). Hip-hop Tehran: Migrating Styles, Musical Meanings, Marginalised Voices. In: J. Toynbee & B. Dueck (Eds.), Migrating Music. (pp. 92-111). Routledge. ISBN 0415594480

Nooshin, L. (2016). Jazz and its Social Meanings in Iran: From Cultural Colonialism to the Universal. In: P. Bohlman, P. Goffredo & T. Jackson (Eds.), Jazz Worlds/World Jazz. (pp. 125-149). USA: Chicago University Press. ISBN 9780226236032

Nooshin, L. (2008). The Language of Rock: Iranian Youth, Popular Music, and National Identity. In: M. Semati (Ed.), Media, culture and society in Iran. (pp. 69-93). Oxford: Psychology Press. ISBN 0415772168

Nooshin, L. (1996). The Processes of Creation and Recreation in Persian Classical Music. (Unpublished Doctoral thesis, Goldsmiths' College)

Nooshin, L. (2005). 'Subversion and Countersubversion: Power, Control and Meaning in the New Iranian Pop Music. In: A. J. Randall (Ed.), Music, power, and politics. (pp. 231-272). USA: Psychology Press. ISBN 0415943647

Nooshin, L. (2014). Two Revivalist Moments in Iranian Classical Music. In: C. Bithell & J. Hill (Eds.), The Oxford Handbook of Music Revival. (pp. 275-297). Oxford University Press. ISBN 0199765030

Nooshin, L. (2017). ‘Whose Liberation? Iranian Popular Music and the Fetishisation of Resistance’. Popular Communication, doi: 10.1080/15405702.2017.1328601

Nooshin, L. (2017). Windows onto other Worlds. Musical Exoticism in Iranian Cinema: Between National Imaginary and Global Circulation. Paper presented at the Exoticism in Contemporary Transnational Cinema: Music and Spectacle, 16 Jun 2017, London, UK.

Nyström, Erik (2013). Topology of spatial texture in the acousmatic medium. (Unpublished Doctoral thesis, City University London)

O

Ostroff, N (2009). The Influence of Weimar Culture on Pop Music in the 1970s and ‘80s. (Unpublished Doctoral thesis, City, University of London)

P

Pace, I. (2014). Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange *

Pace, I. (1997). Archetypal Experiments. The Musical Times(1856), pp. 9-14.

Pace, I. (2007). “The Best Form of Government…”: Cage’s Laissez-Faire Anarchism and Capitalism. The Open Space Magazine(8/9), pp. 91-115.

Pace, I. (2008). Between Adorno and HIP: Possibilities of Synthesis. Paper presented at the Adorno and Musical Reproduction Conference, 13-09-2008 - 14-09-2008, Manchester, UK.

Pace, I. (2015). Between Worlds: the dangers of transforming 9/11 into stylised art. The Conversation,

Pace, I. (2014). Beyond Werktreue: Ideologies of New Music Performance and Performers. Paper presented at the Lecture, 14-01-2014, Royal College of Music.

Pace, I. (2014). Book Review: Music in Germany Since 1968 by Alastair Williams. Tempo (London, 1939): a quarterly review of modern music, 68(268), pp. 116-121. doi: 10.1017/S0040298213001940

Pace, I. (2007). Book Reviews: Towards a Theory of Musical Reproduction by Theodor W. Adorno, Henri Lonitz, WielandHoban; Philosophy of New Music by Theodor W. Adorno, Robert Hullot-Hentor; Letters to his Parents by Theodor W. Adorno, Christoph Gödde, Wieland Hoban, Henri Lonitz. Tempo (London, 1939): a quarterly review of modern music, 61(242), pp. 61-68. doi: 10.1017/S0040298207000307

Pace, I. (2014). Child abuse and identity politics – the normalisation of abuse on such grounds *

Pace, I. (2014). Clifford Hindley: Pederasty and Scholarship *

Pace, I. (2011). The Cold War in Germany as ideological weapon for anti-modernists. Paper presented at the Radical Music History Conference, 08-12-2011, Helsinki, Finland.

Pace, I. (2009). Coldness and Cruelty as Performance in Deleuze's Proust. In: M. Bryden & M. Topping (Eds.), Beckett's Proust/Deleuze's Proust. (pp. 183-198). Palgrave Macmillan. ISBN 0230201415

Pace, I. (2007). Complexity as Imaginative Stimulant: Issues of Rubato, Barring, Grouping, Accentuation and Articulation in Contemporary Music, with Examples from Boulez, Carter, Feldman, Kagel, Finnissy. Paper presented at the Tempo, Meter, Rhythm. Time in Music after 1950, 11-04-2007 - 14-04-2007, Ghent, Belgium.

Pace, I. (2015). Composition and Performance as Research: some wider responses to John Croft and others *

Pace, I. (2016). Composition and Performance can be, and often have been, Research. Tempo, 70(275), pp. 60-70. doi: 10.1017/S0040298215000637

Pace, I. (2006). Conventions, Genres, Practices in the Performance of Liszt’s Piano Music. Liszt Society Journal, 31, pp. 70-103.

Pace, I. (2017). Darla Crispin and Bob Gilmore, eds, Artistic Experimentation in Music: An Anthology (Leuven: Leuven University Press, 2014). Tempo,

Pace, I. (1997). 'Die Soldaten' in London. Tempo (London, 1939): a quarterly review of modern music(200), pp. 41-42.

Pace, I. (2015). Does elite music teaching leave pupils open to abuse?. Daily Telegraph,

Pace, I. (2016). Ethnographically sourced experiences of Ethnomusicology – a further response to the debate *

Pace, I. (2015). Ferneyhough Hero: Scholarship as Promotion. Music and Letters, 96(1), pp. 99-112. doi: 10.1093/ml/gcu111

Pace, I. (2013). The Fetish of the 'Contemporary' *

Pace, I. (2012). Frank Cox on Richard Taruskin's The Oxford History of Western Music *

Pace, I. (2007). Gordon Downie and Ian Pace: A Dialogue. The Open Space Magazine(8 & 9), pp. 181-208.

Pace, I. (2007). Graphic Notation. Paper presented at the Lecture, 13-06-2007, Hochschule für Musik, Freiburg, Germany.

Pace, I. (2001). The Harpsichord Works of Iannis Xenakis. Contemporary Music Review, 20(1), pp. 125-140. doi: 10.1080/07494460100640121

Pace, I. (2013). Hierarchies in New Music: Composers, Performers, and 'Works' *

Pace, I. (2016). How to negotiate the tricky territory of ‘fascist music’. The Conversation,

Pace, I. (2011). Instrumental Technique and Scholarly Enquiry: Issues and Methods. Paper presented at the The Art of Artistic Research, 06-05-2011, Norwegian Academy of Music, Oslo, Norway.

Pace, I. (2012). Instrumental performance in the nineteenth century. In: C. Lawson & R. Stowell (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press.

Pace, I. (2006). Interview. International Piano, pp. 36-38.

Pace, I. (2001). Interview with Marc Bridle. Seen & Heard,

Pace, I. (2005). Lachenmann’s Serynade—Issues for Performer and Listener. Contemporary Music Review, 24(1), pp. 101-112. doi: 10.1080/0749446042000293646

Pace, I. (2017). Luigi Dallapiccola and Musical Modernism in Fascist Italy. By Ben Earle. Music and Letters, 98(1), pp. 163-167. doi: 10.1093/ml/gcx013

Pace, I. (2012). Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti's Etudes for Piano. Contemporary Music Review, 31(2-3), pp. 177-201. doi: 10.1080/07494467.2012.717359

Pace, I. (2007). Making possible the irrational: strategies and aesthetics in the music of Stockhausen, Cage, Ligeti, Xenakis, Ferneyhough, Barrett. Paper presented at the Tempo, Meter, Rhythm. Time in Music after 1950, 11-04-2007 - 14-04-2007, Orpheus Institute, Ghent, Belgium.

Pace, I. (2013). Marcel Gazelle and the Culture of the Early Yehudi Menuhin School *

Pace, I. (2006). The Marxist programme note: The logic of the supplement in the textual accompaniment. Paper presented at the Society for Music Analysis Autumn Study Day, 25-11-2006, University of Sussex, Sussex, UK.

Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. .

Pace, I. (2005). Michael Finnissy - Verdi Transcriptions. ..

Pace, I. (2016). Michael Finnissy at 70: The piano music (1). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (2). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (3). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (4). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (5). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (6). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (7). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (8). .

Pace, I. (2016). Michael Finnissy at 70: The piano music (9). .

Pace, I. (2013). Michael Finnissy's "The History of Photography in Sound": A Study of Sources, Techniques and Interpretation. London, UK: Divine Art.

Pace, I. (2010). Militarisation, Industrialisation and the growth of the Symphony Orchestra in the Nineteenth Century. Paper presented at the The Symphony Orchestra as Cultural Phenomenon, 01-07-2010 - 03-07-2010, Institute of Musical Research, London, UK.

Pace, I. (1999). Modulor by Ian Willcock. .,

Pace, I. (1999). Modulor von Ian Willcock. Musik & Ästhetik(10), pp. 47-58.

Pace, I. (1997). Music of the Absurd? Thoughts on Recent Kagel. Tempo (London, 1939): a quarterly review of modern music(200), pp. 29-34.

Pace, I. (2015). Music teacher sentenced to 11 years in prison as abuse film Whiplash prepares for Oscars. The Conversation,

Pace, I. (2013). Musicology is not Musical PR *

Pace, I. (2016). My contribution to the debate ‘Are we all ethnomusicologists now?’ *

Pace, I. (1997). Never to Be Naught. The Musical Times, 138(1857), pp. 17-20.

Pace, I. (2014). New article on abuse and classical music by Damian Thompson in the Spectator, and some wider reflections on classical music and abuse *

Pace, I. (1998). Northern Light. The Musical Times, 139(1863), pp. 33-44.

Pace, I. (2009). Notation, Time and the Performer’s Relationship to the Score in Contemporary Music. In: D. Crispin (Ed.), Unfolding Time. (pp. 151-192). Leuven University Press. ISBN 9789058677358

Pace, I. (1996). The Panorama of Michael Finnissy (I). Tempo (London, 1939): a quarterly review of modern music(196), pp. 25-35.

Pace, I. (1997). The Panorama of Michael Finnissy (II). Tempo (London, 1939): a quarterly review of modern music(201), pp. 7-16.

Pace, I. (2009). Performance as Analysis, Analysis as Performance. Paper presented at the From Analysis to Music, 27-05-2009, Orpheus Institute, Ghent, Belgium.

Pace, I. (2005). Performance as ideology. Paper presented at the Radical Philosophy Conference, 19-03-2005, Birkbeck College, London, UK.

Pace, I. (2007). Performing Liszt in the Style Hongroise. Liszt Society Journal, 32, pp. 55-90.

Pace, I. (1998). The Piano Music. In: I. Pace, C. Fox & H. Brougham (Eds.), Uncommon Ground: the music of Michael Finnissy. (pp. 43-134). Farnham: Ashagate.

Pace, I. (2015). Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study. Search – Journal for New Music and Culture, 2015(11),

Pace, I. (1998). Positive or negative 1. The Musical Times, 139(1859), pp. 9-17.

Pace, I. (1998). Positive or negative 2. The Musical Times, 139(1860), pp. 4-15.

Pace, I. (2016). Quilting Points and Ethnomusicology *

Pace, I. (1997). Recent Sciarrino Premières. Tempo (London, 1939): a quarterly review of modern music(200), pp. 49-51.

Pace, I. (2008). Recording, Ideology and Critical Approaches to Interpretation. Paper presented at the CHARM, 11-09-2008 - 13-09-2008, Royal Holloway College, Egham, Surrey.

Pace, I. (1996). Repertoire Guide: Richard Barrett. Classical Music, p. 29.

Pace, I. (2016). Responses to Simon Zagorski-Thomas’s talk on ‘Dead White Composers’ *

Pace, I. (2003). Rethinking Romanticism. Paper presented at the Lecture, 12-11-2003, King's College, London, UK.

Pace, I. (2003). Review, Serge Prokofiev – Fiftieth Anniversary Set (Warner Classics). Three Oranges Journal(5), pp. 32-34.

Pace, I. (2004). Review: Shining City - Conor McPherson, Royal Court Theatre. .,

Pace, I. (2013). Robert Waddington, Former Dean of Manchester Cathedral, and Chetham's School of Music *

Pace, I. (2015). Some final thoughts on composition, performance, the REF, and teaching *

Pace, I. (2012). Tempo and its modifications in the music of Brahms from primary sources and evidence of early performers. Paper presented at the Symposium 'Über das Forteilen und Zurückhalten. Zur Tempogestaltung in der Musik des frühen 19. Jahrhunderts', 31-03-2012, Berlin, Germany.

Pace, I. (1998). The Theatrical Works. In: I. Pace, C. Fox & H. Brougham (Eds.), Uncommon Ground: the music of Michael Finnissy. . Ashgate. ISBN 9781859283561

Pace, I. (2015). Those 300-word statements on Practice-as-Research for the RAE/REF – origins and stipulations *

Pace, I. (2017). Tim Rutherford-Johnson, Music after the Fall: Modern Composition and Culture since 1989. Tempo,

Pace, I. (2015). To do justice to Arnold’s enviable legacy, we should reverse the tendency towards the de-skilling of a discipline. Society for Musical Analysis Newsletter, 2015, pp. 28-29.

Pace, I. (2003). Tradition and Invention: A personal response to The Book of Elements and contemporary culture. ..

Pace, I. (1999). UK Gold?. The Musical Times, 140(1869), pp. 2-3.

Pace, I. (2009). Verbal Discourse as Aesthetic Arbitrator in Contemporary Music. In: B. Heile (Ed.), The Modernist Legacy. (pp. 81-99). Farnham: Ashgate Publishing, Ltd.. ISBN 0754662608

Pace, I. (2014). Yefim Golyshev, Arnold Schoenberg, and the Origins of Twelve-Tone Music *

Pace, I. (2013). The culture of music education lends itself to abuse Times Educational Supplement. *

Pace, I. (2017). The insidious class divide in music teaching. The Conversation,

Pace, I. (2017). The new state of play in performance studies. Music and Letters,

Pace, I. & Bruce, D. (2005). Ian Pace Interview 528. Composition Today,

Papadopoulos, M. (1996). Motion in music: a study of movement and time through musical interpretation. (Unpublished Doctoral thesis, City University London)

Papapetrou, Andreas (2015). Acts of making and receiving: A compositional practice. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City University of London)

Parry, Aneurin Stefan (2000). Limits of Abstraction in Electroacoustic Music. (Unpublished Doctoral thesis, City University London)

Parsonage, Catherine Jane (2002). The evolution of jazz in Britain c. 1880-1927: antecedents, processes and developments. (Unpublished Doctoral thesis, City University London)

Pasoulas, Aki (2011). The perception of timescales in electroacoustic music. (Unpublished Doctoral thesis, City University London)

Peat, Richard (2007). Representing children in opera. (Unpublished Doctoral thesis, City University)

Pick, Edward (2013). Tonality in Schoenberg's music with particular reference to the Piano Concerto. (Unpublished Doctoral thesis, City University London)

Picknett, Michael (2014). Devising music: applying creative approaches from dance and theatre to music composition. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Pratt, A.C. (2013). The Cultural and Creative Industries: new engines for the city? In: W. Wang (Ed.), Culture: City. (pp. 36-42). Lars Muller Publishers. ISBN 978-3-03778-335-1

Pratt, A.C. (2016). Music rights: towards a material geography of musical practices in the 'Digital Age'. In: B. Hracs, M. Seman & T. E. Virani (Eds.), The Production and Consumption of Music in the Digital Age. (pp. 206-222). USA: Routledge. ISBN 9781138851658

R

Rakitzis, Vasileios (2015). Alfred Cortot's response to the music for solo piano of Franz Schubert: a study in performance practice. (Unpublished Doctoral thesis, City, University of London)

Rennie, T. (2015). Power Struggles: The Politics of Composing with Sounds of Protest. Leonardo Music Journal, 25, pp. 17-20. doi: 10.1162/LMJ_a_00927

Rennie, T. (2014). Socio-Sonic: An ethnographic methodology for electroacoustic composition. Organised Sound, 19(02), pp. 117-124. doi: 10.1017/S1355771814000053

Richardson, Joanne (2014). The piano quintet: Influence of medium on genre. (Unpublished Doctoral thesis, City University London)

Rogalsky, M.R. (2006). Idea and community : the growth of David Tudor's Rainforest, 1965-2006. (Unpublished Doctoral thesis, City University London)

Rosas Cobian, Michael (1997). Electroacoustic music composition: myth, symbol and image. (Unpublished Doctoral thesis, City University, London)

Rowden, C. (2001). Massenet, Marianne and Mary : Republican morality and Catholic tradition at the opera. (Unpublished Doctoral thesis, City University London)

Rubin, J.E. (2001). The art of the klezmer: improvisation and ornamentation in the commercial recordings of New York clarinettists Naftule Brandwein and Dave Tarras 1922-1929. (Unpublished Doctoral thesis, City University London)

S

Seddon, Ambrose (2013). Recurrence in acousmatic music. (Unpublished Doctoral thesis, City University London)

Seddon, Laura (2011). The instrumental music of British Women Composers in the Early Twentieth Century. (Unpublished Doctoral thesis, City University London)

Sefchovich, J.R.S. (2003). Compositional strategies in electroacoustic music. (Unpublished Doctoral thesis, City University London)

Spagnolo, Simone (2015). Each tale chases another. Metaphorical representations, non-linearity and openness of narrative structure in Italian opera from post-WWII to It makes no difference. (Unpublished Doctoral thesis, City University London)

Sparks, P.R. (1989). A history of the Neapolitan mandoline from its origins until the early nineteenth century, with a thematic index of published and manuscript music for the instrument. (Unpublished Doctoral thesis, City University London)

Stanley, D. (1989). English Gypsy Singing. (Unpublished Doctoral thesis, City University London)

Stansbie, Adam (2013). The Acousmatic Musical Performance: An Ontological Investigation. (Unpublished Doctoral thesis, City University London)

Steiner, T.J. (1992). Composition: interaction and collaboration. (Unpublished Doctoral thesis, City University London)

Swindells, R. (2004). Klasik, kawih, kreasi : musical transformation and the gamelan degung of Bandung, West Java, Indonesia. (Unpublished Doctoral thesis, City University London)

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Thomas, J.M. (2005). Electroacoustic composition indicative of human agency. (Unpublished Doctoral thesis, City University London)

Tidhar, D., Fazekas, G., Kolozali, S. & Sandler, M. (2009). Publishing Music Similarity Features on the Semantic Web.. Paper presented at the 10th International Society for Music Information Retrieval Conference, ISMIR 2009, 26 - 30 Oct 2009, Kobe, Japan.

Tidhar, D., Mauch, M. & Dixon, S. (2010). High precision frequency estimation for harpsichord tuning classification. Paper presented at the 2010 IEEE International Conference on Acoustics, Speech, and Signal Processing, 14-03-2010 - 19-03-2010, Dallas, USA.

Tkachenko, Paul (2013). The real deal: professional klezmer musicians on a London world music scene. (Unpublished Doctoral thesis, City University London)

Trewin, A.M. (1995). Rhythms of the gods: the musical symbolics of power and authority in the Tibetan Buddhist Kingdom of Ladakh. (Unpublished Doctoral thesis, City University London)

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Velarde, G., Weyde, T. & Meredith, D. (2013). An approach to melodic segmentation and classification based on filtering with the Haar wavelet. Journal of New Music Research, 42(4), pp. 325-345. doi: 10.1080/09298215.2013.841713

Viiiao, A. (1987). Magic realism in music : Four electroacoustic compositions. (Unpublished Doctoral thesis, City University London)

Vishnick, Martin Lawrence (2014). A Survey of Extended Techniques on the Classical Six-String Guitar with Appended Studies in New Morphological Notation. (Unpublished Doctoral thesis, City University London)

Voss, A. (1992). Magic, astrology and music: the background to Marsilio Ficino's astrological music therapy and his role as a Renaissance magus. (Unpublished Doctoral thesis, City University London)

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Walduck, J.S. (1997). Role-taking in free improvisation and collaborative composition. (Unpublished Doctoral thesis, City University London)

Walker, S.E. (1995). Eclecticism, postmodernism, subversion: new perspectives on English experimental music. (Unpublished Doctoral thesis, City University London)

Weng, Chih-Hung (2007). Symbolism and Chinese culture: conceptual and practical resources in the composition of electroacoustic music. (Unpublished Doctoral thesis, City University London)

Wiley, C. (2014). Academic Leadership in Learning and Teaching in Higher Education: A Personal Reflection on one Programme Director’s Professional Development. Learning at City Journal, 4(2), pp. 39-49.

Wiley, C. (2008). Andrew Lloyd Webber at 60. Musical stages: The world of musical theatre, 57, p. 7.

Wiley, C. (2010). Biography and the New Musicology. Paper presented at the (Auto)Biography as a Musicological Discourse: The Ninth International Conference of The Departments of Musicology and Ethnomusicology, Faculty of Music, 19 - 22 April 2008, Belgrade, Serbia.

Wiley, C. (2014). Divided by a Common Language? Evaluating Students’ Understanding of the Vocabulary of Assessment and Feedback at a Single UK Higher Education Institution. International Journal of Assessment and Evaluation, 20,

Wiley, C. (2012). Marianna Martines: A woman composer in the Vienna of Mozart and Haydn. Journal for Eighteenth-Century Studies, 35(2), pp. 285-286. doi: 10.1111/j.1754-0208.2011.00404.x

Wiley, C. (2007). Musical biography: Towards new paradigms. Biography: An Interdisciplinary Quarterly, 30(2), pp. 215-219. doi: 10.1353/bio.2007.0044

Wiley, C. (2012). Putting the Music Back into Michael Jackson Studies. In: C. R. Smit (Ed.), Michael Jackson: Grasping the Spectacle. (pp. 101-116). Farnham, UK: Ashgate.

Wiley, C. (2008). 'Rewriting Composers’ Lives: Critical Historiography and Musical Biography. (Unpublished Doctoral thesis, Royal Holloway, University of London)

Wiley, C. (2011). Theorizing Television Music as Serial Art: Buffy the Vampire Slayer and the Narratology of Thematic Score. In: KP Leonard (Ed.), Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon. (pp. 23-67). Scarecrow Press. ISBN 0810869454

Wiley, C. (2004). “When a woman speaks the truth about her body”: Ethel Smyth, Virginia Woolf, and the challenges of lesbian auto/biography. Music and Letters, 85(3), pp. 388-414. doi: 10.1093/ml/85.3.388

Wiley, C. (2003). “A relic of an age still capable of a Romantic outlook”: Musical biography and The Master Musicians Series, 1899-1906. Comparative Criticism, 25, pp. 161-202.

Wilford, Stephen (2016). Bledi Cockneys: music, identity and mediation in Algerian London. (Unpublished Doctoral thesis, City, University of London)

Windsor, W.L. (1995). A perceptual approach to the description and analysis of acousmatic music. (Unpublished Doctoral thesis, City University London)

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Yim, Annie (2016). A comparative and contextual study of Schumann's piano trio in D minor, Op. 63 and Brahms' piano trio in B major, Op. 8 (1854 version): from musical aesthetics to modern performances. (Unpublished Doctoral thesis, City University London)

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