City Research Online

A

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

Armstrong, N. (2016). Partial objects

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

B

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 (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Browning, J. ORCID: 0000-0001-7013-7959 (2016). Assembled landscapes: The sites and sounds of some recent shakuhachi recordings. Journal of Musicology, 33(1), pp. 70-91. doi: 10.1525/JM.2016.33.1.70

C

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 (Unpublished Doctoral thesis, City, University of London)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

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 (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

E

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

Einbond, A., Schwarz, D., Borghesi, R. & Schnell, N.view all authors (2016). Introducing CatOracle: Corpus-based concatenative improvisation with the Audio Oracle algorithm. Proceedings of the International Computer Music Conference, pp. 140-146.

G

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 (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

H

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: Beyer, T. & Burkhalter, T. (Eds.), Seismographic Sounds - Visions of a New World. (pp. 478-483). Bern: Norient.

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 (Unpublished Doctoral thesis, City, University of London)

I

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 (Unpublished Doctoral thesis, City University London)

L

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)

Loya, S. (2016). Music and the Exotic from the Renaissance to Mozart by Ralph P. Locke. Notes, 73(2), pp. 289-292. doi: 10.1353/not.2016.0128

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

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

Mera, M. (2016). Towards 3-D Sound: Spatial Presence and the Space Vacuum. In: Greene, L. & Kulezic-Wilson, D. (Eds.), The Palgrave Handbook of Sound Design and Music in Screen Media. (pp. 91-111). Palgrave Macmillan UK. doi: 10.1057/978-1-137-51680-0

N

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

P

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

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

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. ORCID: 0000-0002-0047-9379 (2016). Michael Parkin - The Courting Rites of Cranes (CD recording) Prima Facie Records.

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

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

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

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

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

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 (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 (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.

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

R

Rennie, T. (2016). Recording, Representation & Responsibility: questions of authorship and agency when field recording for electroacoustic composition. Paper presented at the EMS15: The Art of Electroacoustic Music, 23-26 Jun 2016, Sheffield, UK.

Rennie, T. (2016). Shadows In The Field Recording. Paper presented at the Sonologia: Out of Phase, 22-26 Nov 2016, Sao Paulo, Brazil.

W

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

Y

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)