City Research Online

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. (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. ORCID: 0000-0002-1927-7371 (2022). The Book of the Sediments

Armstrong, N. ORCID: 0000-0002-1927-7371 (2023). Fosc v0.9.0 GitHub.

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. ORCID: 0000-0002-1927-7371 (2019). Two Canons for Kathryn Huddersfield Contemporary Records.

Armstrong, N. ORCID: 0000-0002-1927-7371 (2019). The in-between of line and surface: A line alongside itself. Paper presented at the Bendigo International Festival of Exploratory Music, 6-8 September 2019, Bendigo, Australia.

Armstrong, N. ORCID: 0000-0002-1927-7371 (2019). A line alongside itself

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

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

Armstrong, N. (2010). unsaying

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

Browning, J. ORCID: 0000-0001-7013-7959 (2021). Decomposed: the political ecology of music. Ethnomusicology Forum, 30(1), pp. 172-175. doi: 10.1080/17411912.2021.1923549

Browning, J. ORCID: 0000-0001-7013-7959 & Lim, L. (2023). Sonic Figurations for the Anthropocene: A Musical Bestiary in the Compositions of Liza Lim. Journal of the Royal Musical Association, 148(1), pp. 1-34. doi: 10.1017/rma.2023.3

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

Browning, J. ORCID: 0000-0001-7013-7959 (2020). Emotion as Multiple: Rehearsing Voyage to the Moon. In: Davidson, J. W., Halliwell, M. & Rocke, S. (Eds.), Opera, Emotion and the Antipodes. (pp. 192-218). Routledge.

Browning, J. ORCID: 0000-0001-7013-7959 (2020). Involving experiences: audiencing and co-reception in Pleasure Garden. Journal of the Royal Musical Association, 145(1), pp. 191-227. doi: 10.1017/rma.2020.10

Browning, J. ORCID: 0000-0001-7013-7959 (2020). Meeting the Garden Halfway: Ethnographic Encounters with a Sound Installation Microculture. Ethnomusicology, 64(3), pp. 498-526. doi: 10.5406/ethnomusicology.64.3.0498

Browning, J. ORCID: 0000-0001-7013-7959 (2017). Mimesis stories: composing new nature music for the shakuhachi. Ethnomusicology Forum, 26(2), pp. 171-192. doi: 10.1080/17411912.2017.1350113

Browning, J. ORCID: 0000-0001-7013-7959 (2020). Remaking Classical Music: Cultures of Creativity in Pleasure Garden. Twentieth-Century Music, 17(1), pp. 23-61. doi: 10.1017/s1478572219000355

Browning, J. ORCID: 0000-0001-7013-7959 (2021). Sound and More-than-human Sociality in Catherine Clover’s Oh! Ah ah pree trra trra. Organised Sound: an international journal of music and technology, 26(2), pp. 179-189. doi: 10.1017/s1355771821000352

Browning, J. ORCID: 0000-0001-7013-7959 & Davidson, J. W. (2019). Between Realism and Re-enactment: Navigating Dramatic and Musical 'Problems' in Voyage to the Moon. Parergon, 36(2), pp. 17-38. doi: 10.1353/pgn.2019.0053

Can, L. (2024). Perspectives on Ferdinand David’s Violin Performance and Pedagogy in the context of 19th-Century Practice: A Study incorporating New Archival Sources from Uppingham Library. (Unpublished Doctoral thesis, City, University of London)

Carpentier, T. & Einbond, A. ORCID: 0000-0003-1734-6641 (2023). Spherical correlation as a similarity measure for 3-D radiation patterns of musical instruments. Acta Acustica, 7(40), article number 40. doi: 10.1051/aacus/2023033

Carpentier, T. & Einbond, A. ORCID: 0000-0003-1734-6641 (2022). Spherical correlation as a similarity measure for 3D radiation patterns of musical instruments. Paper presented at the 16ème Congrès Français d’Acoustique, 11-15 Apr 2022, Marseille, France.

Cottrell, S. ORCID: 0000-0003-4019-798X (2024). Musical Instruments and Palimpsestic Identity. Journal of Musicological Research, 43(2-3), pp. 141-158. doi: 10.1080/01411896.2024.2376343

Cottrell, S.J. ORCID: 0000-0003-4019-798X (2023). Charlie Parker, Massey Hall and Grafton 10265: Musical Instruments and the Telling of Tales. In: Cottrell, S.J. ORCID: 0000-0003-4019-798X (Ed.), Shaping Sound and Society: The Cultural Study of Musical Instruments. . Abingdon, UK: Routledge.

Cottrell, S.J. ORCID: 0000-0003-4019-798X (2023). Radio and the Music Confessional. In: Wilford, S., Tragaki, D. & Cottrell, S.J. ORCID: 0000-0003-4019-798X (Eds.), Ethnomusicology and Its Intimacies. (pp. 75-90). Abingdon, UK: Routledge. doi: 10.4324/9781003365792-9

Cottrell, S.J. ORCID: 0000-0003-4019-798X & Howell, J. (2019). Reproducing Musical Instrument Components from Manufacturers’ Technical Drawings using 3D Printing: Boosey & Hawkes as a Case Study. Journal of New Music Research, 48(5), pp. 449-457. doi: 10.1080/09298215.2019.1642362

Cottrell, S.J. (2019). Big Music Data, Musicology, and the Study of Recorded Music: Three Case Studies. Musical Quarterly, 101(2-3), pp. 216-243. 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, XLIV, pp. 179-208.

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.

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: Lawson, C. (Ed.), The Cambridge companion to the orchestra. . Cambridge.

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: Lawson, C. & Stowell, R. (Eds.), The Cambridge History of Musical Performance. . Cambridge.

Cottrell, S.J. (2017). Musicianly lives musically told: Oral history, classical music and Desert Island Discs. In: Brown, J., Cook, N. & Cottrell, S.J. (Eds.), Defining the Discographic Self: Desert Island Discs in Context. Proceedings of the British Academy (211). (pp. 257-284). Oxford: Oxford University Press.

Cottrell, S.J. (2017). Performing Civility: International Competitions in Classical Music. By Lisa McCormick. Music and Letters, 98(2), pp. 322-324. doi: 10.1093/ml/gcx032

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

Cottrell, S.J. (2017). The creative work of large ensembles. In: Rink, J., Gaunt, H. & Williamon, A. (Eds.), Musicians in the Making: Pathways to Creative Performance. (pp. 186-205). New York: Oxford University Press.

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: Bayley, A. (Ed.), Recorded Music: Performance, Culture and Technology. (pp. 15-36). Cambridge: Cambridge Univeristy Press.

Cottrell, S.J. & Impey, A. (2018). Community Music And Ethnomusicology. In: Bartleet, B-L. & Higgins, L. (Eds.), The Oxford Handbook of Community Music. (pp. 525-543). Oxford University Press. doi: 10.1093/oxfordhb/9780190219505.001.0001

Einbond, A. ORCID: 0000-0003-1734-6641 (2019). Disembodiment: Reproduction, Transcription, And Trace. Tempo, 73(287), pp. 83-90. doi: 10.1017/s0040298218000694

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. ORCID: 0000-0003-1734-6641, Carpentier, T., Schwarz, D. & Bresson, J.view all authors (2022). Embodying Spatial Sound Synthesis with AI in Two Compositions for Instruments and 3D Electronics. Computer Music Journal, 46(4), pp. 43-61. doi: 10.1162/comj_a_00664

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

Einbond, A. ORCID: 0000-0003-1734-6641, Bresson, J., Schwarz, D. & Carpentier, T.view all authors (2021). Instrumental Radiation Patterns as Models for Corpus-Based Spatial Sound Synthesis: Cosmologies for Piano and 3D Electronics. In: Proceedings of the International Computer Music Conference 2021. (pp. 148-153). San Francisco, USA: International Computer Music Association, Inc..

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

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.

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

Einbond, A., Trapani, C., Agostini, A. , Ghisi, D. & Schwarz, D.view all authors (2014). Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAX. In: ICMC. 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. In: ICMC. 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

Fakhraeirad, A., Nooshin, L. ORCID: 0000-0001-8737-5224 & Rezaie, A. (2023). A Sonic Tale of Two Cities: Memory, Trauma, and Auditory Scars in Tehran and Abadan-Khorramshahr. In: Chehabi, H. & Siamdoust, N. (Eds.), Music and Society in Iran. . Boston, USA: Ilex Foundation.

Gioti, A. M., Einbond, A. ORCID: 0000-0003-1734-6641 & Born, G. (2023). Composing the Assemblage: Probing Aesthetic and Technical Dimensions of Artistic Creation with Machine Learning. Computer Music Journal, 46(4), pp. 1-43. doi: 10.1162/comj_a_00658

Hall, T., Armstrong, N. ORCID: 0000-0002-1927-7371 & Hoadley, R. (2025). Notations and Score-making. In: The SuperCollider Book. (pp. 677-706). Massachusetts, USA: MIT Press.

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. (2014). Composition, Change and Musical Objects in Infinite Music. In: Darmstädter Beiträge zur Neuen Musik. (pp. 15-28). Mainz: Schott Music.

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.

Harper, A. (2017). How Internet Music is Frying Your Brain. Popular Music, 36(1), pp. 86-97. doi: 10.1017/s0261143016000696

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

Lambert, A., Weyde, T. & Armstrong, N. (2014). Beyond the Beat: Towards Metre, Rhythm and Melody Modelling with Hybrid Oscillator Networks. (2014 ed.) In: Georgaki, A. & Kouroupetroglou, G. (Eds.), Music Technology Meets Philosophy: from Digital Echos to Virtual Ethos. Proceedings of ICMC, SMC. (pp. 485-490). San Francisco: International Computer Music Association.

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.

Lambert, A., Weyde, T. & Armstrong, N. (2014). Studying the Effect of Metre Perception on Rhythm and Melody Modelling with LSTMs. Paper presented at the 3rd International Workshop on Musical Metacreation, held at the 10th Artificial Intelligence and Interactive Digital Entertainment Conference, 03-10-2014 - 07-10-2014, Raleigh, USA.

Lambert, A. J., Weyde, T. ORCID: 0000-0001-8028-9905 & 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. & Tzanetakis, G.view all authors (Eds.), Proceedings of the 17th International Society for Music Information Retrieval Conference, ISMIR 2016, New York City, United States, August 7-11, 2016. 17th International Society for Music Information Retrieval Conference, ISMIR 2016, 7 - 11 August 2016, New York City, United States.

Lingas, A. (2017). (Review of) Greek Orthodox Music in Ottoman Istanbul: Nation and Community in the Era of Reform. Music and Letters, 98(2), pp. 298-300. doi: 10.1093/ml/gcx036

Lingas, A. ORCID: 0000-0003-0083-3347 (2019). Canonising Byzantine Chant as Greek Art Music. In: Tambakaki, P., Vlagopoulos, P., Levidou, K. & Beaton, R.view all authors (Eds.), Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries. (pp. 31-53). Abingdon, UK: Routledge.

Lingas, A. ORCID: 0000-0003-0083-3347 (2012). Cappella Romana Live in Greece. From Constantinople to California: Renaissance Cretan Chant and Polyphony — Modern Choral Works by Adamis, Bogdanos, Cardiasmenos, Desby, Michaelides and Zes,. Portland, USA: Cappella Romana.

Lingas, A. ORCID: 0000-0003-0083-3347 (2020). Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt. In: Bouteneff, P., Engelhardt, J. & Saler, R. (Eds.), Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt. (pp. 220-231). New York, USA: Fordham University Press.

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

Lingas, A. ORCID: 0000-0003-0083-3347 (2008). The Divine Liturgy of St John Chrysostom according to the Byzantine Tradition: A New Musical Setting in English. Portland, USA: Cappella Romana.

Lingas, A. ORCID: 0000-0003-0083-3347 (2004). Epiphany: Medieval Byzantine Chant. Portland, USA: Cappella Romana.

Lingas, A. (2013). From Earth to Heaven: The Changing Musical Soundscape of Byzantine Liturgy. In: Experiencing Byzantium: Papers from the 44th Spring Symposium of Byzantine Studies, Newcastle and Durham, April 2011. (pp. 311-358). Abingdon, UK: Ashgate Publishing.

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: Moody, I. & Takala-Roszczenko, M. (Eds.), Creating Liturgically: Hymnography and Music. (pp. 17-28). Joensuu, Finland: International Society for Orthodox Church Music.

Lingas, A. ORCID: 0000-0003-0083-3347 (2019). In the Byzantine Empire. In: Grove Music Online. . UK: Oxford University Press.

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

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

Lingas, A. ORCID: 0000-0003-0083-3347 (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

Lingas, A. (2017). Singing the Lord’s Song in a Foreign Land—Teaching Orthodox Liturgical Music in Non-Orthodox Contexts. In: Bezzarides, A. & Prodromou, E. (Eds.), Eastern Orthodox Christianity and American Higher Education: Theological, Historical, and Contemporary Reflections. (pp. 279-314). USA: University of Notre Dame Press.

Lingas, A. ORCID: 0000-0003-0083-3347 (2020). Sir John Tavener and the Search for an English Orthodox Musical Language. In: Boyce-Tilman, J. (Ed.), The Spirituality of the Music of John Tavener. . Oxford: Peter Lang.

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

Lingas, A. ORCID: 0000-0003-0083-3347 (2019). Venice in the East: Renaissance Crete and Cyprus. Portland, USA: Cappella Romana.

Lingas, A. ORCID: 0000-0003-0083-3347, Pentcheva, B., Abel, J. , Cappella Romana, Eruçman, D., Antonopoulos, S. & Canfield-Dafilou, E.view all authors (2019). Lost Voices of Hagia Sophia: Medieval Byzantine Chant Sung in the Virtual Acoustics of Hagia Sophia. The Feast of the Exaltation of the Holy Cross in Constantinople. Cappella Romana.

Littler, J. (2017). Adrift or ashore? Desert Island Discs and celebrity culture. In: Brown, J., Cook, N. & Cottrell, S.J. (Eds.), Defining the Discographic Self: Desert Island Discs in Context. (pp. 93-106). Oxford, UK: Oxford University Press.

Loya, S. ORCID: 0000-0002-9156-2804 (2021). Lateness in Context. In: Cormac, J. (Ed.), Liszt in Context. Composer in Context. (pp. 271-281). Cambridge: Cambridge University Press. doi: 10.1017/9781108378253.034

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

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

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. & Scott, D. B. (Eds.), Confronting the National in the Musical Past. (pp. 31-48). London: Routledge.

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

Loya, S. ORCID: 0000-0002-9156-2804 (2020). Neither Major, nor Minor: The Affective Fluctuating Third in Central-European Art Music ca. 1840–1940. In: Hinrichsen, H-J. & Keym, S. (Eds.), Dur vs. Moll: zum semantischen Potenzial eines musikalischen Elementarkontrasts. . Cologne, Germany: Böhlau.

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. ORCID: 0000-0002-9156-2804 (2021). Nineteenth-Century Programme Music: Creation, Negotiations, Reception. Ad Paranassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music, 19(37), pp. 89-94.

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. ORCID: 0000-0002-9156-2804 (2020). Virtuosity in Liszt's Late Works. In: Doran, R. (Ed.), Liszt and Virtuosity. . New York: University of Rochester Press. doi: 10.1017/9781787448667

Molitor, C. ORCID: 0000-0002-3777-833X (2021). Composition as Hyperobject. APRIA (Artez PLatform for Research Interventions of the Arts), 3(2), pp. 57-64. doi: 10.37198/apria.03.02.a7

Molitor, C. ORCID: 0000-0002-3777-833X & Magnusson, T. (2021). Curating experience: Composition as cultural technology - a conversation. Journal of New Music Research, 50(2), pp. 184-189. doi: 10.1080/09298215.2021.1898646

Molitor, C. (2017). Auricularis Superior

Molitor, C. (2015). Sonorama

Molitor, C. (2014). Und lass Dir…,

Nooshin, L. ORCID: 0000-0001-8737-5224 (2021). Affective listening, sonic intimacy and the power of quiet voices in Rakhshan Banietemad’s the May Lady: Towards a cinema of empathy. In: Ghorbankarimi, M. (Ed.), ReFocus: The Films of Rakhshan Banietemad. . Edinburgh, UK: Edinburgh University Press.

Nooshin, L. ORCID: 0000-0001-8737-5224 (2020). Parenting and Music Studies Forum. Ethnomusicology Forum, 29(3), pp. 269-275. doi: 10.1080/17411912.2020.1873553

Nooshin, L. ORCID: 0000-0001-8737-5224 (2024). Shahnameh in the Classroom: Iranian Music and DIY Cultural Diplomacy in the UK. In: Lopes da Cunha, M. M. R., Shannon, J., Møller Sørensen, S. & Danielson, V.view all authors (Eds.), Music and Cultural Diplomacy in the Middle East: Geopolitical Re-Configurations for the 21st Century. (pp. 123-146). Palgrave Macmillan. doi: 10.1007/978-3-031-36279-8_6

Nooshin, L. ORCID: 0000-0001-8737-5224 (2023). The Sonic Intimacies of Khosrow Sinai’s A Lost Requiem (1983). In: Wilford, S., Tragaki, D. & Cottrell, S. (Eds.), Ethnomusicology and Its Intimacies. . Routledge. doi: 10.4324/9781003365792-16

Nooshin, L. (2005). Underground, Overground: Rock Music and Youth Discourses in Iran. Iranian Studies (Special Issue: Music and Society in Iran), 38(3), pp. 463-494. doi: 10.1080/00210860500300820

Nooshin, L. ORCID: 0000-0001-8737-5224 (2019). Windows onto Other Worlds: Music and the Negotiation of Otherness in Iranian Cinema. Music and the Moving Image, 12(3), pp. 25-57. doi: 10.5406/musimoviimag.12.3.0025

Nooshin, L. ORCID: 0000-0001-8737-5224 & Salavati, K. (2024). Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures. In: Ghorbankarimi, M., Langford, M. & Khosroshah, Z. (Eds.), The I.B.Tauris Handbook of Iranian Cinema. . Bloomsbury.

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. (2017). The Elephant and the Blind Men: Myth-Making, Musical Tracking and the Creative Process. Keynote Paper presented at the Tracking the Creative Process in Music, 14-16 Sep 2017, Huddersfield, UK.

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: Toynbee, J. & Dueck, B. (Eds.), Migrating Music. (pp. 92-111). Routledge.

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.

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

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

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

Nooshin, L. (2018). (Re-)imagining improvisation: discursive positions in Iranian music from classical to jazz. In: Clarke, E. F. & Doffman, M. (Eds.), Distributed Creativity: Collaboration and Improvisation in Contemporary Music. (pp. 214-235). Oxford University Press.

Nooshin, L. (2014). Re-Imagining Difference: Musical Analysis, Alterity and the Creative Process. Keynote Paper presented at the Analysis, Cognition and Ethnomusicology’ Third International Conference on Analytical Approaches to World Music (AAWM 2014)/Annual Conference of the British Forum for Ethnomusicology (BFE 2014), 01-07-2014 - 04-07-2014, London.

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

Nooshin, L. (2014). Two Revivalist Moments in Iranian Classical Music. In: Bithell, C. & Hill, J. (Eds.), The Oxford Handbook of Music Revival. (pp. 275-297). Oxford University Press. doi: 10.1093/oxfordhb/9780199765034.013.016

Nooshin, L. (2017). ‘Whose Liberation? Iranian Popular Music and the Fetishisation of Resistance’. Popular Communication, 15(3), pp. 163-191. doi: 10.1080/15405702.2017.1328601

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.

Nooshin, L. & Widdess, R. (2006). Improvisation in Iranian and Indian Music. Journal of the Indian Musicological Society, 36/37, pp. 104-119.

Nystrom, E. ORCID: 0000-0003-3628-540X (2017). Morphology of the Amorphous: Spatial texture, motion and words. Organised Sound, 22(3), pp. 336-344. doi: 10.1017/s1355771817000498

Nystrom, E. ORCID: 0000-0003-3628-540X (2024). Unformation and Information, more or less (than) human. Paper presented at the Noisefloor, 27-29 May 2024, Escola Superior de Musica de Lisboa.

Nystrom, E. ORCID: 0000-0003-3628-540X (2020). Intra-Action

Nystrom, E. ORCID: 0000-0003-3628-540X (2020). Intra-Actions: Experiments with Velocity and Position in Continuous Controllers. Poster presented at the NIME 2020, 21-25 Jul 2020, Birmingham, UK.

Nystrom, E. ORCID: 0000-0003-3628-540X (2019). Portrait Concert: Alchimie Musiques et Recherches.

Nystrom, E. ORCID: 0000-0003-3628-540X (2022). Sound as Synthesis: technological listening and intra-faces of sound. In: Electroacoustic Music Studies Network (EMS). EMS21 Conference, 10-13 Nov 2021, Leicester, UK. doi: 10.5281/zenodo.5981500

Nystrom, E. ORCID: 0000-0003-3628-540X (2021). Strange Posthuman Attractors: algorithmic improvisation as acousmatic poiēsis. Organised Sound: an international journal of music and technology, 26(1), pp. 31-41. doi: 10.1017/s1355771821000030

Nystrom, E. ORCID: 0000-0003-3628-540X (2019). Technological Listening and Intra-faces of Sound. Paper presented at the 11th Beyond Humanism Conference: Critical Posthumanism and Transhumanism : The posthuman paradigm shift,, 9-12 July 2019, Catholic University of Lille, France.

Nystrom, E. ORCID: 0000-0003-3628-540X (2020). Topographic Synthesis: A demonstration. Paper presented at the Virtual BEAST FEaST, 01-02 May 2020, Birmingham, UK.

Nystrom, E. ORCID: 0000-0003-3628-540X (2018). Topographic Synthesis: Parameter distribution in spatial texture. In: Proceedings of the 2018 International Computer Music Conference.

Nystrom, E. ORCID: 0000-0003-3628-540X, Kokoras, P., Gviniashvili, M. , Vasquez, J. C. & Kosecka, M.view all authors (2019). CECIA (Collaborative Electroacoustic Composition with Intelligent Agents). [Audio]

Rennie, T. ORCID: 0000-0001-8937-2780 (2020). Sociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices. Leonardo Music Journal, 30, pp. 113-117. doi: 10.1162/lmj_a_01102

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

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. (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. ORCID: 0000-0001-8937-2780 (2017). Shadows In The Field Recording. In: Out of Phase: Conference Proceeding. Sonologia: Out of Phase, 22-26 Nov 2016, Sao Paulo, Brazil.

Rennie, T. (2014). Socio-Sonic: An ethnographic methodology for electroacoustic composition. Organised Sound, 19(2), pp. 117-124. doi: 10.1017/s1355771814000053

Smith, J. ORCID: 0000-0002-5198-4076 (2025). ‘But the right words, never come': Transformative Identities, Female Agency, and Performance in Sayonara Wild Hearts. In: Haworth, C. & Carroll, B. (Eds.), Singing Out: The Musical Voice in Audiovisual Media. . Edinburgh, UK: Edinburgh University Press.

Smith, J. ORCID: 0000-0002-5198-4076 (2024). Early music in the ‘early game’. In: Cook, J., Kolassa, A., Robinson, A. & Whittaker, A.view all authors (Eds.), History as Fantasy in Music, Sound, Image, and Media. Music and Visual Culture. (pp. 83-101). New York, USA: Routledge. doi: 10.4324/9781003291725

Smith, J. ORCID: 0000-0002-5198-4076 (2024). "I must be beautiful”: becoming human through adaptive vocal soundscapes. In: Galloway, K. & Hambleton, E. (Eds.), Music and Sonic Environments in Video Games Listening to and Performing Ludic Soundscapes. Routledge Music and Screen Media Series. . Routledge.

Smith, J. ORCID: 0000-0002-5198-4076 (2019). Vocal disruptions in the aural game world: The female entertainer in The Witcher 3: Wild Hunt, Transistor and Divinity: Original Sin II. Soundtrack, The, 11(1), pp. 75-97. doi: 10.1386/ts_00006_1

Smith, J. ORCID: 0000-0002-5198-4076 (2021). Voices, Combat, and Music. Journal of Sound and Music in Games, 2(2), pp. 42-62. doi: 10.1525/jsmg.2021.2.2.42

Smith, J. ORCID: 0000-0002-5198-4076 Welsh Voices and the Magical Localisation.

Smith, J. ORCID: 0000-0002-5198-4076 (2024). Welsh voices and the magical localization. Journal of Interdisciplinary Voice Studies, 9(1), pp. 49-61. doi: 10.1386/jivs_00091_1

Smith, J. ORCID: 0000-0002-5198-4076 (2020). Worldbuilding Voices in the Soundscapes of Role-Playing Video Games. (Unpublished Doctoral thesis, University of Huddersfield)

Weyde, T., Cottrell, S.J., Dykes, J. , Benetos, E., Wolff, D., Tidhar, D., Gold, N., Abdallah, S., Plumbley, M. D., Dixon, S., Barthet, M., Mahey, M., Tovell, A. & Alancar-Brayner, A.view all authors (2014). Big Data for Musicology. Paper presented at the 1st International Digital Libraries for Musicology workshop, 12-09-2014 - 12-09-2014, London, UK.