City Research Online

Article

Anglade, A., Benetos, E., Mauch, M. and Dixon, S. (2010). Improving music genre classification using automatically induced harmony rules. Journal of New Music Research, 39(4), pp. 349-361. doi: 10.1080/09298215.2010.525654

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

Benetos, E. and Dixon, S. (2011). Joint Multi-Pitch Detection Using Harmonic Envelope Estimation for Polyphonic Music Transcription. IEEE Journal of Selected Topics in Signal Processing, 5(6), pp. 1111-1123. doi: 10.1109/JSTSP.2011.2162394

Benetos, E. and Dixon, S. (2013). Multiple-instrument polyphonic music transcription using a temporally constrained shift-invariant model. The Journal of the Acoustical Society of America (JASA), 133(3), pp. 1727-1741. doi: 10.1121/1.4790351

Benetos, E. and Dixon, S. (2012). A Shift-Invariant Latent Variable Model for Automatic Music Transcription. Computer Music Journal, 36(4), pp. 81-94. doi: 10.1162/COMJ_a_00146

Benetos, E., Dixon, S., Giannoulis, D., Kirchhoff, H. and Klapuri, A. (2013). Automatic music transcription: challenges and future directions. Journal of Intelligent Information Systems, pp. 1-28. doi: 10.1007/s10844-013-0258-3

Benetos, E., Ewert, S. and Weyde, T. (2014). Automatic transcription of pitched and unpitched sounds from polyphonic music. 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), pp. 3107-3111. doi: 10.1109/ICASSP.2014.6854172

Benetos, E. and Kotropoulos, C. (2010). Non-Negative Tensor Factorization Applied to Music Genre Classification. IEEE Transactions on Audio, Speech & Language Processing, 18(8), pp. 1955-1967. doi: 10.1109/TASL.2010.2040784

Benetos, E. and Stylianou, Y. (2010). Auditory Spectrum-Based Pitched Instrument Onset Detection. IEEE Transactions on Audio, Speech & Language Processing, 18(8), pp. 1968-1977. doi: 10.1109/TASL.2010.2040785

Cottrell, S.J. (2018). Big Music Data, Musicology, and the Study of Recorded Music: Three Case Studies. Musical Quarterly, gdy013. doi: 10.1093/musqtl/gdy013

Cottrell, S.J. ORCID: 0000-0003-4019-798X (2018). Charles Jean-Baptiste Soualle and the Saxophone. Journal of the American Musical Instrument Society,

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

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

Einbond, A. ORCID: 0000-0003-1734-6641 (2018). Disembodiment: Reproduction, Transcription, And Trace. Tempo, 73(287), pp. 83-90. doi: 10.1017/S0040298218000694

Elmsley (né Lambert), A., Weyde, T. and 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

Grant, P. ORCID: 0000-0002-2808-6219 (2019). ‘Remembering Popular Music’s Past’ book review. International Journal of Heritage Studies, doi: 10.1080/13527258.2019.1663240

Harper, A. (2017). How Internet Music is Frying Your Brain. Popular Music, 36(1), pp. 86-97. doi: 10.1017/S0261143016000696

Inskip, C., MacFarlane, A. and Rafferty, P. (2010). Creative professional users musical relevance criteria. Journal of Information Science, 36(4), pp. 517-529. doi: 10.1177/0165551510374006

Kotti, M., Benetos, E. and Kotropoulos, C. (2008). Computationally Efficient and Robust BIC-Based Speaker Segmentation. IEEE Transactions on Audio, Speech & Language Processing, 16(5), pp. 920-933. doi: 10.1109/TASL.2008.925152

Lee, D. ORCID: 0000-0002-5768-9262 (2019). Hornbostel-Sachs Classification of Musical Instruments. Knowledge Organization,

Lee, D., Robinson, L. ORCID: 0000-0001-5202-8206 and Bawden, D. ORCID: 0000-0002-0478-6456 (2018). Modelling the relationship between scientific and bibliographic classification for music. Journal of the Association for Information Science and Technology, doi: 10.1002/asi.24120

Lingas, A. (2015). Music in the Balkans. Ethnomusicology Forum, 24(1), pp. 134-136. doi: 10.1080/17411912.2014.980200

Lingas, A. ORCID: 0000-0003-0083-3347 (2018). The Oriental music broadcasts, 1936–1937: a musical ethnography of mandatory Palestine. Ethnomusicology Forum, 27(2), pp. 243-245. doi: 10.1080/17411912.2018.1508359

Lingas, A. (2013). The Past is Always Present: The Revival of the Byzantine Musical Tradition at Mount Athos. Ethnomusicology Forum, 22(1), pp. 121-124. doi: 10.1080/17411912.2012.753815

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

Mbaye, J. F. (2010). AURA ou de la production politique de la musique hip hop. Cahiers de recherche sociologique, 49, pp. 147-160. doi: 10.7202/1001415ar

Mera, M. ORCID: 0000-0002-0031-0629 (2019). Popular Music on Screen and the Road to Brexit. Cinema&Cie: International Journal of Film Studies, 8(31),

Mera, M. and 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.

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

Nooshin, L. ORCID: 0000-0001-8737-5224 (2018). “Our Angel of Salvation”- Towards an Understanding of Iranian Cyberspace as an Alternative Sphere of Musical Sociality. Ethnomusicology, 62(3), pp. 341-374. doi: 10.5406/ethnomusicology.62.3.0341

Nystrom, E. ORCID: 0000-0003-3628-540X (2017). Morphology of the Amorphous: Spatial texture, motion and words. Organised Sound, 22(03), pp. 336-344. doi: 10.1017/S1355771817000498

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

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. (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. (2019). Modernist Fantasias: The Recuperation of a Concept. Journal of the Royal Musical Association, 144(2),

Rennie, T. ORCID: 0000-0001-8937-2780 (2019). Muscle memory: The inimitable feel of the record. Tempo, 73(287), pp. 76-79. doi: 10.1017/s0040298218000670

Shipton, M. (2018). MUSIC IN EURIPIDES - (N.A.) Weiss The Music of Tragedy. Performance and Imagination in Euripidean Theater. Pp. xiv + 284, ill. Oakland, CA: University of California Press, 2018. Cased, £80, US$95. ISBN: 978-0-520-29590-2.. The Classical Review, doi: 10.1017/S0009840X18002032

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

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. (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.

Wolff, D. and Weyde, T. (2013). Learning music similarity from relative user ratings. Information Retrieval, 17(2), pp. 109-136. doi: 10.1007/s10791-013-9229-0

de Valk, R. and Weyde, T. (2015). Bringing 'Musicque into the tableture': machine-learning models for polyphonic transcription of 16th-century lute tablature. Early Music, 43(4), pp. 563-576. doi: 10.1093/em/cau102

Book Section

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

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

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

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

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

Grant, P. (2017). The First World War in Popular Music since 1958. In: Einhaus, A. and Baxter, I. (Eds.), The Edinburgh Companion to the First World War and the Arts. (pp. 216-229). Edinburgh University Press. ISBN 9781474401630

Harper, A. (2014). Composition, Change and Musical Objects in Infinite Music. In: Darmstädter Beiträge zur Neuen Musik. (pp. 15-28). Mainz: Schott Music. ISBN 978-3-7957-0866-5

Lambert, A., Weyde, T. and 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

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

Loya, S. ORCID: 0000-0002-9156-2804 (2018). Liszt’s National Compositions in the Year of the Franco-Prussian War. In: Kelly, E., Mantere, M. and Scott, D. B. (Eds.), Confronting the National in the Musical Past. (pp. 31-48). London: Routledge. ISBN 9781138287426

Loya, S. ORCID: 0000-0002-9156-2804 (2019). Virtuosity in Liszt's Late Works. In: Doran, R. (Ed.), Liszt and Virtuosity. . New York: University of Rochester Press.

Mera, M. ORCID: 0000-0002-0031-0629 (2020). Music Maketh Man: Meritocracy in Kingsman: The Secret Service. In: Peddie, I. (Ed.), The Bloomsbury Handbook of Popular Music and Social Class. . London, UK: Bloomsbury Academic. ISBN 9781501345364

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

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

Nystrom, E. ORCID: 0000-0003-3628-540X (2018). Topographic Synthesis: Parameter distribution in spatial texture. In: Proceedings of the 2018 International Computer Music Conference. (pp. 117-122). ICMC. ISBN 0-9845274-7-8

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

Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 83-101). Eindhoven, the Netherlands: Lecturis. ISBN 9789462263079

Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (2). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 153-173). Eindhoven, the Netherlands: Lecturis. ISBN 9789462263079

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Negotiating borrowing, genre and mediation in the piano music of Finnissy: strategies and aesthetics. In: Pace, I. ORCID: 0000-0002-0047-9379 and McBride, N. (Eds.), Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts. (pp. 57-103). London: Routledge. ISBN 978-1-138-49197-7

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

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

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

Wolff, D. and Weyde, T. (2013). Combining Sources of Description for Approximating Music Similarity Ratings. In: Detyniecki, M., García-Serrano, A., Nürnberger, A. and Stober, S. (Eds.), Adaptive Multimedia Retrieval. Large-Scale Multimedia Retrieval and Evaluation. Lecture Notes in Computer Science, 7836. (pp. 114-124). Springer. ISBN 9783642374241

Conference or Workshop Item

Benetos, E., Cherla, S. and Weyde, T. (2013). An efficient shift-invariant model for polyphonic music transcription. Paper presented at the MML 2013: 6th International Workshop on Machine Learning and Music, 23 Sep 2013, Prague, Czech Republic.

Benetos, E. and Dixon, S. (2010). Multiple-F0 estimation of piano sounds exploiting spectral structure and temporal evolution. Paper presented at the ISCA Tutorial and Research Workshop on Statistical and Perceptual Audition, 25 Sep 2010, Makuhari, Japan.

Benetos, E. and Dixon, S. (2011). Multiple-instrument polyphonic music transcription using a convolutive probabilistic model. Paper presented at the 8th Sound and Music Computing Conference, 6 - 9 Jul 2011, Padova, Italy.

Benetos, E. and Dixon, S. (2011). Polyphonic music transcription using note onset and offset detection. Paper presented at the 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), 22 - 27 May 2011, Prague, Czech Republic.

Benetos, E. and Dixon, S. (2011). A temporally-constrained convolutive probabilistic model for pitch detection. Paper presented at the Applications of Signal Processing to Audio and Acoustics (WASPAA), 2011 IEEE Workshop on, 16 - 19 Oct 2011, New Paltz, NY, US.

Benetos, E., Dixon, S., Giannoulis, D., Kirchhoff, H. and Klapuri, A. (2012). Automatic Music Transcription: Breaking the Glass Ceiling. Paper presented at the 13th International Society for Music Information Retrieval Conference (ISMIR 2012), 8 - 12 Oct 2012, Porto, Portugal.

Benetos, E. and Holzapfel, A. (2013). Automatic transcription of Turkish makam music. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curitiba, PR, Brazil.

Benetos, E., Holzapfel, A. and Stylianou, Y. (2009). Pitched Instrument Onset Detection based on Auditory Spectra. Paper presented at the 10th International Society for Music Information Retrieval Conference, ISMIR 2009, 26 - 30 Oct 2009, Kobe, Japan.

Benetos, E., Jansson, A. and Weyde, T. (2014). Improving automatic music transcription through key detection. Paper presented at the AES 53rd International Conference on Semantic Audio, 27 - 29 Jan 2014, London, UK.

Benetos, E., Klapuri, A. and Dixon, S. (2012). Score-informed transcription for automatic piano tutoring. European Signal Processing Conference, ISSN 2219-5491

Benetos, E. and Kotropoulos, C. (2008). A tensor-based approach for automatic music genre classification. Paper presented at the EUSIPCO 2008: 16th European Signal Processing Conference, 25 - 29 Aug 2008, Lausanne, Switzerland.

Benetos, E., Kotropoulos, C., Lidy, T. and Rauber, A. (2006). Testing supervised classifiers based on non-negative matrix factorization to musical instrument classification. Paper presented at the EUSIPCO 2006: 14th European Signal Processing Conference, 4 - 8 Sep 2006, Florence, Italy.

Benetos, E., Kotti, M. and Kotropoulos, C. (2006). Applying supervised classifiers based on non-negative matrix factorization to musical instrument classification. Paper presented at the IEEE International Conference on Multimedia and Expo (ICME 2006), 9 - 12 July 2006, Toronto, Canada.

Benetos, E., Kotti, M. and Kotropoulos, C. (2007). Large scale musical instrument identification. Paper presented at the 4th Sound and Music Computing Conference, 11 - 13 Jul 2007, Lefkada, Greece.

Benetos, E., Kotti, M. and Kotropoulos, C. (2006). Musical instrument classification using non-negative matrix factorization algorithms and subset feature selection. ICASSP, IEEE International Conference on Acoustics, Speech and Signal Processing - Proceedings, 5, pp. 221-224. ISSN 1520-6149

Benetos, E., Kotti, M., Kotropoulos, C., Burred, J. J., Eisenberg, G., Haller, M. and Sikora, T. (2005). Comparison of subspace analysis-based and statistical model-based algorithms for musical instrument classification. Paper presented at the 2nd Workshop On Immersive Communication And Broadcast Systems (ICOB 2005), 27 - 28 Oct 2005, Berlin, Germany.

Benetos, E., Lagrange, M. and Dixon, S. (2012). Characterisation of acoustic scenes using a temporally-constrained shift-invariant model. Paper presented at the 15th International Conference on Digital Audio Effects Conference (DAFx-12), 17 - 21 Sept 2012, University of York, York, UK.

Benetos, E. and Weyde, T. (2013). Explicit duration hidden Markov models for multiple-instrument polyphonic music transcription. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curitiba, Brazil.

Cherla, S., Weyde, T., Garcez, A. and Pearce, M. (2013). Learning Distributed Representations for Multiple-Viewpoint Melodic Prediction. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curtiba, PR, Brazil.

Dixon, S., Tidhar, D. and Benetos, E. (2011). The Temperament Police: The Truth, the Ground Truth, and Nothing but the Truth. Paper presented at the 12th International Society for Music Information Retrieval Conference, 24 - 28 Oct 2011, Miami, Florida, US.

Einbond, A. and 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. and 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. and 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. and 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.

Giannoulis, D., Benetos, E., Stowell, D., Rossignol, M., Lagrange, M. and Plumbley, M. D. (2013). Detection and classification of acoustic scenes and events: an IEEE AASP challenge. Paper presented at the IEEE Workshop on Applications of Signal Processing to Audio and Acoustics, 20 - 23 Oct 2013, New Paltz, NY, USA.

Giannoulis, D., Stowell, D., Benetos, E., Rossignol, M., Lagrange, M. and Plumbley, M. D. (2013). A database and challenge for acoustic scene classification and event detection. Paper presented at the The 21st European Signal Processing Conference, 9 - 13 Sep 2013, Marrakech, Morocco.

Kotti, M., Martins, L. P. M., Benetos, E., Cardoso, J. S. and Kotropoulos, C. (2006). Automatic speaker segmentation using multiple features and distance measures: a comparison of three approaches. Paper presented at the IEEE International Conference on Multimedia and Expo (ICME 2006), 9 - 12 July 2006, Toronto, Canada.

Lambert, A. J., Weyde, T. ORCID: 0000-0001-8028-9905 and Armstrong, N. ORCID: 0000-0002-1927-7371 (2016). Adaptive Frequency Neural Networks for Dynamic Pulse and Metre Perception. In: Mandel, M. I., Devaney, J., Turnbull, D. and Tzanetakis, G. (Eds.), Proceedings of the 17th International Society for Music Information Retrieval Conference, ISMIR 2016, New York City, United States, August 7-11, 2016. (pp. 60-66). Dagstuhl: Schloss Dagstuhl LZI,. ISBN 978-0-692-75506-8

Lee, D., Robinson, L. and Bawden, D. ORCID: 0000-0002-0478-6456 (2018). Global knowledge organization, "super-facets" and music; universal music classification in the digital age. In: Challenges and Opportunities for Knowledge Organization in the Digital Age: Proceedings of the Fifteenth International ISKO Conference 9-11 July 2018 Porto, Portugal. Advances in Knowledge Organization. (pp. 248-255). Baden-Baden: Ergon-Verlag. ISBN 978-3-95650-420-4

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.

Mearns, L., Benetos, E. and Dixon, S. (2011). Automatically detecting key modulations in J.S. Bach chorale recordings. Paper presented at the 8th Sound and Music Computing Conference, 6 - 9 Jul 2011, Padova, Italy.

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

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.

Panagakis, I., Benetos, E. and Kotropoulos, C. (2008). Music genre classification: a multilinear approach. Paper presented at the International Symposium Music Information Retrieval, 14 - 18 September 2008, Philadelphia, USA.

Stumpf, S. and Muscroft, S. (2011). When users generate music playlists: When words leave off, music begins?. Paper presented at the Third International Workshop on Advances in Music Information Research (AdMIRe) in conjunction with the IEEE International Conference on Multimedia and Expo (ICME), 11 - 15 July 2011, Barcelona, Spain.

Tidhar, D., Fazekas, G., Kolozali, S. and 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.

Weyde, T. (2007). Automatic Semantic Annotation of Music with Harmonic Structure. Paper presented at the 4th Sound and Music Computing Conference, 11 - 13 Jul 2007, Lefkada, Greece.

Weyde, T. (2002). Integrating Segmentation and Similarity in Melodic Analysis. Paper presented at the 7th International Conference on Music Perception & Cognition - ICMPC7, 17 - 21 Jul 2002, Sydney, Australia.

Weyde, T., Ng, K., Neubarth, K., Larkin, O., Koerselman, T. and Ong, B. (2007). A Systemic Approach to Music Performance Learning with Multimodal Technology. Paper presented at the Support E-Learning Conference, 2007, Quebec City, Canada.

Weyde, T. and Wolff, D. (2011). Adapting Metrics for Music Similarity Using Comparative Ratings. Paper presented at the 12th International Society for Music Information, 24 - 28 Oct 2011, Miami, FL, US.

Wissmann, Jens, Weyde, T. and Conklin, D. (2010). Representing chord sequences in OWL. Paper presented at the Sound and Music Computing Conference 2010, 21 - 24 June 2010, Barcelona, Spain.

Wolff, D., Stober, S., Nürnberger, A. and Weyde, T. (2012). A Systematic Comparison of Music Similarity Adaptation Approaches. Paper presented at the 13th International Society for Music Information Retrieval Conference (ISMIR 2012), 8 - 12 Oct 2012, Porto, Portugal.

de Valk, R., Weyde, T. and Benetos, E. (2013). A machine learning approach to voice separation in lute tablature. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curitiba, Brazil.

Book

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

Serra, X., Magas, M., Benetos, E., Chudy, M., Dixon, S., Flexer, A., Gomez, E., Gouyon, F., Herrera, P., Jorda, S., Paytuvi, O., Peeters, G., Schlüter, J., Vinet, H. and Widmer, G. (2013). Roadmap for Music Information ReSearch. London, UK: MIRES Consortium.

Thesis

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)

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)

Aristopoulos, M. (2017). A portfolio of recombinant compositions for the videogame Apotheon. (Unpublished Doctoral thesis, City, University of London)

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

Bailie, J. E. C. (2017). Transcribing Reality: how the nature of audio and visual media have affected culture, perception, and the role of the artist.. (Unpublished Doctoral thesis, City, University of London)

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)

Bhunnoo, S.A. (2018). What can a sonic assemblage do? A biopsychosocial approach to post-acousmatic composition. (Unpublished Doctoral thesis, City, University of 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)

Bucar, M. (2015). Aesthetic negativity and choreographic practice. (Unpublished Doctoral thesis, City, University of London)

Cherla, S (2016). Neural ProbabilisticModels for Melody Prediction, Sequence Labelling and Classification. (Unpublished Doctoral thesis, City, University of London)

Cole, W.D. (2018). Expanded musical form. (Unpublished Doctoral thesis, City, University of London)

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

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)

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)

Dimitrakopoulou, S. (2016). (Il)legitimate performance: copying, authorship, and the canon. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Dutta, W. (2018). The curating composer: mediating the production, exhibition and dissemination of non-classical music. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City, University of London)

Elmsley (né Lambert), A. (2017). Modelling metrical flux: an adaptive frequency neural network for expressive rhythmic perception and prediction. (Unpublished Doctoral thesis, City, University of London)

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

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)

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

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)

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)

Harman, G. (2018). Investigating the phenomenon of dance and music performance through the experience of the performer. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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)

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

Ingvarsson, H.R. (2018). Opening opera: developing a framework that allows for the interactive creative processes of improvised theatre in the productions of new music-dramas. (Unpublished Doctoral thesis, Guildhall School of Music & Drama)

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)

Inskip, C. (2010). Upbeat and Quirky, With a Bit of a Build: Communicating Meaning and Meeting Information Needs in the Music Industry. (Unpublished Doctoral thesis, City University London)

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

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)

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)

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)

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)

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

Lopez Jorge, M. (2016). Imagery and the composition of music: an insight into an original compositional method inspired by mental imagery. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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

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

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

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)

Needham-Beck, Sarah (2017). Cardiorespiratory fitness in contemporary dance training and performance. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Negishi, Yuki (2018). Haptic influences on Chopin pianism: case studies from the music of Szymanowska and Kessler. (Unpublished Masters thesis, Trinity Laban Conservatoire of Music and Dance)

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)

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

Ogonek, E.A. (2017). The effect of text on compositional decisions. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

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)

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)

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)

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)

Rosenfelder, Ruth (2003). Hidden voices : women's music in London's Lubavitch and Satmar Hasidic communities. (Unpublished Doctoral thesis, City, University of 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)

Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London)

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)

Sigurjónsson, N. (2009). Variations on the act of listening: Twenty-one orchestra audience development events in light of John Dewwy's 'art as experience' metaphor. (Unpublished Doctoral thesis, City University London)

Soares, Alexander (2015). Memorisation of atonal music. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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)

Styles, Luke (2016). Collaboration as Compositional Process; a Transdisciplinary Perspective.. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City University London)

Suckling, C (2015). The realisation of recitative by the Cello in Handelian Opera. (Unpublished Doctoral thesis, City, University of London)

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

Sylvanus, E. (2018). Nollywood film music: shades of identity. (Unpublished Doctoral thesis, City, University of London)

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

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)

Venables, P. (2016). 4.48 Psychosis: opera as music and text. (Unpublished Doctoral thesis, Guildhall School of Music & Drama / City, University of London)

Vinao, A. (1987). Magic realism in music : Four electroacoustic compositions. (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)

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)

Weissenbrunner, K. (2017). Experimental turntablism - live performances with second hand technology: Analysis and methodological considerations. (Unpublished Doctoral thesis, City, Universtiy of 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)

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)

Wissmann, Jens (2012). Chord Sequence patterns in OWL. (Unpublished Doctoral thesis, City University London)

Yakira, Hagit (2018). Relational Autobiographical Choreography – on new choreographic practice. (Unpublished Doctoral thesis, Trinity-Laban Conservative of Music and Dance)

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)

Yiu, R. (2013). A composer's imagining of musical tradition and the reinvention of heritage. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

de Valk, R. (2015). Structuring lute tablature and MIDI data: Machine learning models for voice separation in symbolic music representations. (Unpublished Doctoral thesis, City, University of London)

Composition

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

Armstrong, N. (2013). Nature pieces *

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

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

Armstrong, N. ORCID: 0000-0002-1927-7371 (2018). thread—surface *

Armstrong, N. (2010). unsaying *

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2018). Das hat Rrrrasss *

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Thirty for Grace *

Pace, I. ORCID: 0000-0002-0047-9379 (2018). auseinandergerissene Hälften *

Performance

Pace, I. ORCID: 0000-0002-0047-9379 (2019). 23 World Premieres of New Commissions for Ian Pace at 50 - 30 April 2018. Composers including Patricia de Almeida, James Dillon, Michael Finnissy, Christopher Fox, Sadie Harrison, Morgan Hayes, Wieland Hoban, Alwynne Pritchard, Lauren Redhead, Walter Zimmermann City University Concert Series. *

Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Anatomy of Melancholy - The Piano Music of Marc Yeats (CD Recording) Prima Facie Records. *

Pace, I. ORCID: 0000-0002-0047-9379 (2013). CD recording - David Felder, Rocket Summer Albany Records. *

Pace, I. ORCID: 0000-0002-0047-9379 (2015). Concert of contemporary works, York Late Music Concert Series, 7 March 2015, with premieres of new works by Steve Crowther and Edward Caine (Etude: Resonance) York Late Music Concert Series. *

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Eleven Concert Series of Complete Piano Works of Michael Finnissy, February 2016-January 2017 City, University of London; Royal Holloway, University of London; Goldsmiths College, University of London; Hollywell Music Room, Oxford. *

Pace, I. ORCID: 0000-0002-0047-9379 (2015). Gogol Fest, 27 September 2015 - Ukranian Premieres of works of Horatiu Radulescu, Pascal Dusapin, Rebecca Saunders, Brian Ferneyhough, Maxim Kolomiets Gogol Fest. *

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Homage to David Tudor - Recreation of combined programmes of avant-garde pianist David Tudor, Jacqueline du Pré Music Building, Oxford Oxford University. *

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Premieres of 16 New Piano Pieces, 13 May 2019 City, University of London. *

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Radio Broadcast of Volker Heyn 203 (55' piano piece) for Westdeutscher Rundfunk Westdeutscher Rundfunk. *

Pace, I. ORCID: 0000-0002-0047-9379 (2018). Three Concert Series - History of Contemporary Piano Music, York Late Music Festival York Late Music Festival. *

Pace, I. ORCID: 0000-0002-0047-9379 (2013). World Premiere 12 January 2013, Teatro Académico, Coimbra, Portugal - Patricia de Almeida, Reditus ad Vitam (2012) Teatro Académico de Gil Vicente. *

Pace, I. ORCID: 0000-0002-0047-9379 (2014). World Premiere 30 May 2014 - Adam de la Cour, Holy Toledo (2013-14) City University Concerts Series. *

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere 7 May 2016 - York Late Music - Andrew Toovey, First Out (2016) York Late Music Concerts. *

Pace, I. ORCID: 0000-0002-0047-9379 (2018). World Premiere Performance - Samuel Andreyev, Piano Pieces I-IV (2011-16) - 25 May 2018. With UK Premieres of piano works of Betsy Jolas. City University Concert Series. *

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance 29 October 2016 - Lauren Redhead, For Luc Brewaeys (2016) - commissioned by Transit New Music Festival, Leuven, Belgium Transit New Music Festival, Leuven, Belgium. *

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance 29 October 2016 - Luc Brewaeys, The Dale of Tranquility - Transit New Music Festival, Leuven, Belgium Transit New Music Festival, Leuven, Belgium. *

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance 29 October 2016 - Patrícia de Almeida, Vacuum Corporis (Piano Piece 4) - commissioned by Transit New Music Festival, Leuven, Belgium Transit New Music Festival, Leuven, Belgium. *

Pace, I. ORCID: 0000-0002-0047-9379 (2015). World Premiere Performance of Herman Vogt, Concordia Discors, Études - Ultima Oslo Contemporary Music Festival 10 - 19 September 2015 Ultima Festival. *

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance, 7 May 2016 - Michael Finnissy, Beethoven's Robin Adair (2016), co-commissioned by York Late Music and Transit Festival York Spring Festival. *

Pace, I. ORCID: 0000-0002-0047-9379 (2013). World Premiere, 24 March 2013 - Lauren Redhead - i am but one small instrument London Ear Festival. *

Pace, I. ORCID: 0000-0002-0047-9379 (2017). World Premieres - new commissions from Howard Skempton, John White, David Power, Edward Caine, Steve Crowther - Late Music Concerts, York, 6 May 2017 York Late Music Concerts. *

Pace, I. ORCID: 0000-0002-0047-9379 and Limbrick, S. (2018). Floating, Drifting (CD Recording) Louth Contemporary Music. *

Pace, I. ORCID: 0000-0002-0047-9379 and Tunnell, C. (2018). Horatiu Radulescu - first recording of L'Exil Intérieur for Cello and Piano, opus 98, with Catherine Tunnell - on Mode Records MOD-CD-313 Mode Records. *

Pace, Ian ORCID: 0000-0002-0047-9379 (2017). World Premiere Performance 2 June 2017 - Luc Brewaeys, completed Michael Finnissy, The Dale of Tranquillity (2004, completed 2017) City University Concert Series. *

Internet Publication

Pace, I. ORCID: 0000-0002-0047-9379 (2015). Multicultural Musicology for Monolingual Academics? *

Pace, I. ORCID: 0000-0002-0047-9379 (2016). On Canons (and teaching Le sacre du printemps) *

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Response to Anna Bull (on Stella Duffy and everyday creativity) *

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Response to Charlotte C. Gill article on music and notation – full list of signatories *

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Response to Stella Duffy on the arts, elitism, and communities *

Pace, I. ORCID: 0000-0002-0047-9379 (2016). Spinning Research *