City Research Online

Article

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

Banks, M., Baron, C., Buhler, J. , Cartier, N, Greene, L., Lopez, L., Mera, M. ORCID: 0000-0002-0031-0629 & Smith, J.view all authors (2018). Media Dialogues: A Scholarly Roundtable. The Velvet Light Trap: A Critical Journal of Film & Television, 82(Fall), pp. 43-60. doi: 10.7560/vlt8205

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). 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

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

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

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., 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.

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

Gaston-Bird, L. ORCID: 0000-0002-9109-3382 (2024). It’s immersive, but is it inclusive?. Representology: the Journal of Media and Diversity, 6(6), pp. 40-47.

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

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

Herbert, R. ORCID: 0000-0002-7878-9991 & Dibben, N. (2018). Making sense of music: Meanings 10- to 18-year-olds attach to experimenter-selected musical materials. Psychology of Music, 46(3), pp. 375-391. doi: 10.1177/0305735617713118

Herbert, R. ORCID: 0000-0002-7878-9991 & Walduck, J. ORCID: 0000-0002-2603-3404 (2024). Music, marbling and multisensory trancing. The Senses and Society, 19(3), pp. 351-365. doi: 10.1080/17458927.2024.2398916

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 (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

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 (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

McLaughlin, S., Kanga, Z. & Benjamin, M. (2021). Composing Technique, Performing Technique. Journal for Artistic Research, 23(23), doi: 10.22501/jar.711320

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. (2012). Outing the Score: Music, narrative and collaborative process in Little Ashes. Music, Sound and the Moving Image, 6(1), pp. 93-110. doi: 10.3828/msmi.2012.8

Mera, M. ORCID: 0000-0002-0031-0629 (2020). Professor Daddy has a zebra on his head. Ethnomusicology Forum, 29(3), pp. 300-306. doi: 10.1080/17411912.2020.1873560

Mera, M. & Stumpf, S. (2014). Eye-tracking Film Music. Music and the Moving Image, 7(3), pp. 3-23. doi: 10.5406/musimoviimag.7.3.0003

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

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. (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. & 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.

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

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. (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. (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

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. & 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 (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

Pace, I. ORCID: 0000-0002-0047-9379 (2023). AI may force a sharpening of educational conceptions of ‘creativity’ as relate to employability in the ‘creative industries’. Times Higher Education(3 July),

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. 61-73. doi: 10.1017/s0040298207000307

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

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

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 E´ tudes for Piano. Contemporary Music Review, 31(2-3), pp. 177-201. doi: 10.1080/07494467.2012.717359

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Music departments should resist the siren song of pop schools. Times Higher Education(11 Aug),

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Self-regulation is not enough to uphold academic freedom. Times Higher Education(22 Jul),

Pace, I. (2017). Tim Rutherford-Johnson, Music after the Fall: Modern Composition and Culture since 1989. Tempo, 71(282), pp. 101-103. doi: 10.1017/s0040298217000766

Pace, I. (2017). The new state of play in performance studies. Music and Letters, 98(2), pp. 281-292. doi: 10.1093/ml/gcx040

Pace, I. ORCID: 0000-0002-0047-9379 (2021). 9/11 inspired an outpouring of classical music – too much of it thoughtless and emotionless. The Conversation(10 Sep),

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Curricula should not be decolonised based on partial historical knowledge. Times Higher Education,

Pace, I. (2017). Darla Crispin and Bob Gilmore, eds, Artistic Experimentation in Music: An Anthology (Leuven: Leuven University Press, 2014). Tempo, 71(281), pp. 107-115. doi: 10.1017/S004029821700047X

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

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

Pace, I. (2006). Interview. International Piano, pp. 211-212.

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

Pace, I. ORCID: 0000-0002-0047-9379 (2022). Is classical colonial?. The Critic, pp. 42-43.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Modernist Fantasias: The Recuperation of a Concept. Journal of the Royal Musical Association, 144(2), pp. 473-493. doi: 10.1080/02690403.2019.1651512

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

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Music and Internationalism in Nazi Germany: Provenance and Post-War Consequences. Journal of the Royal Musical Association, 147(2), pp. 594-616. doi: 10.1017/rma.2022.28

Pace, I. ORCID: 0000-0002-0047-9379 (2020). Music and trauma – why the two have a fraught relationship. The Conversation,

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2020). O novo estado da arte dos estudos em performance. Revista Vórtex, 8(2), pp. 1-22. doi: 10.33871/23179937.2020.8.2.18

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

Pace, I. ORCID: 0000-0002-0047-9379 (2022). Performing arts need a research and practice excellence framework. Times Higher Education,

Pace, I. (2015). Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study. Search – Journal for New Music and Culture, Fall 2(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. (1997). Recent Sciarrino Premières. Tempo (London, 1939): a quarterly review of modern music(200), pp. 49-51.

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

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Review of Richard Stokes, The Complete Songs of Hugo Wolf: Life, Letters. Lieder. London Review of Books,

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. ORCID: 0000-0002-0047-9379 (2021). Roll over, Beethoven. The Spectator, 9 Oct, pp. 42-49.

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. ORCID: 0000-0002-0047-9379 (2023). Tár - an exploration of the flawed musicians behind decadent music. The Conversation,

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

Pace, I. ORCID: 0000-0002-0047-9379 (2022). The UK government must ensure core subjects are taught in every region. Times Higher Education,

Pace, I. ORCID: 0000-0002-0047-9379 (2022). University departments need a broad range of active performing artists. Times Higher Education,

Pace, I. ORCID: 0000-0002-0047-9379 (2022). We need a statutory qualification for practitioners in higher education. Times Higher Education,

Pace, I. ORCID: 0000-0002-0047-9379 (2022). Why cancel Tchaikovsky?. London Review of Books,

Pace, I. ORCID: 0000-0002-0047-9379 (2022). Why is post-colonial guilt only applied to Western classical traditions? Radio 3’s World of Classical reviewed. The Spectator,

Pace, I. ORCID: 0000-0002-0047-9379 (2022). The autoethnography masturbation outcry strikes a chord in music. Times Higher Education,

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

Pace, I. ORCID: 0000-0002-0047-9379 (2022). The political polyvalency of modernism. Spectator,

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

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

Shaughnessy, N., Herbert, R. ORCID: 0000-0002-7878-9991, Williams, E. , Walduck, J., von Jungenfeld, R. & Newman, H.view all authors (2024). Playing with data differently: engaging with autism and gender through participatory arts/music and a performative framework for analysis. Frontiers in Psychology, 15, article number 1324036. doi: 10.3389/fpsyg.2024.1324036

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 (2024). Welsh voices and the magical localization. Journal of Interdisciplinary Voice Studies, 9(1), pp. 49-61. doi: 10.1386/jivs_00091_1

Williams, E., Glew, S., Newman, H. , Kapka, A., Shaughnessy, N., Herbert, R. ORCID: 0000-0002-7878-9991, Walduck, J., Foster, A., Cooke, P., Pethybridge, R., Shaughnessy, C. & Hugh‐Jones, S.view all authors (2023). Practitioner Review: Effectiveness and mechanisms of change in participatory arts‐based programmes for promoting youth mental health and well‐being – a systematic review. Journal of Child Psychology and Psychiatry, 64(12), pp. 1735-1764. doi: 10.1111/jcpp.13900

Audio

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]

Book

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

Book Section

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.

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. (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. (2003). The Future of the Orchestra. In: Lawson, C. (Ed.), The Cambridge companion to the orchestra. . Cambridge.

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. (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. (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

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

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..

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.

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

Herbert, R. ORCID: 0000-0002-7878-9991 (2022). Musical Daydreaming and Kinds of Consciousness. In: Kussner, M., Taruffi, L. & Floridou, G. (Eds.), Music and Mental Imagery. SEMPRE Studies in the Psychology of Music. (pp. 167-177). London UK: Routledge. doi: 10.4324/9780429330070-18

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.

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 (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. (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. (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. (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.

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. (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. 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. 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

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

Mera, M. (2013). Inglo(u)rious Basterdization: Tarantino and the War Movie Mashup. In: Vernallis, C., Herzog,, A. & Richardson, J. (Eds.), The Oxford Handbook of Sound and Image in Digital Media. (pp. 437-461). New York: Oxford University Press. doi: 10.1093/oxfordhb/9780199757640.013.030

Mera, M. ORCID: 0000-0002-0031-0629 (2021). Listening–Feeling–Becoming: Cinema Surveillance. In: Cenciarelli, C. (Ed.), The Oxford Handbook of Cinematic Listening. (pp. 407-426). Oxford, UK: Oxford University Press. doi: 10.1093/oxfordhb/9780190853617.013.23

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. 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.

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

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

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

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 (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. 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. (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. (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. (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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2020). Ethnographic Approaches to the Study of Western Art Music: Questions of Context, Realism, Evidence, Description and Analysis. In: Wiley, C. & Pace, I. ORCID: 0000-0002-0047-9379 (Eds.), Researching and Writing on Contemporary Art and Artists: Challenges, Practices, and Complexities,. . Basingstoke: Palgrave Macmillan.

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.

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.

Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. & Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. doi: 10.1017/CHOL9780521896115.027

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 & McBride, N. (Eds.), Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts. (pp. 57-103). London: Routledge.

Pace, I. ORCID: 0000-0002-0047-9379 (2022). New Music: Performance Institutions and Practices. In: McPherson, G & Davidson, J (Eds.), The Oxford Handbook of Music Performance. . Oxford, UK: Oxford University Press.

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Sources, Aesthetics, and Performance in Rădulescu’s Piano Sonatas. In: Bauer, A., Cagney, L. & Mason, W. (Eds.), The Oxford Handbook of Spectral music. (C6S1-C6N74). New York: Oxford University Press. doi: 10.1093/oxfordhb/9780190633547.013.6

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

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

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.

Composition

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

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). 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

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

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

Molitor, C. (2017). Auricularis Superior

Molitor, C. (2015). Sonorama

Molitor, C. (2014). Und lass Dir…,

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Clothcomposers

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

Pace, I. ORCID: 0000-0002-0047-9379 (2022). Lancashire Rock (2022) for clarinet, percussion and piano

Pace, I. ORCID: 0000-0002-0047-9379 (2021). Matière: Le Palais de la mort

Pace, I. ORCID: 0000-0002-0047-9379 (2021). Pitter-Pottering

Pace, I. (2020). Schneeriss

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

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

Conference or Workshop Item

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. 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.

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.

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. & 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.

Herbert, R. ORCID: 0000-0002-7878-9991 (2022). Participation and Playing A/Part. In: Moran, N. & Kim, Y. (Eds.), Proceedings of the13th Conference on Interdisciplinary Musicology, CIM22: ‘Participation’. 13th Conference on Interdisciplinary Musicology, 8-10 Jun 2022, Edinburgh, UK.

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.

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.

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. (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. (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. (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.

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-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 (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 (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.

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Music, Musicology and the Surrender of Aesthetics to the Ideals of Social Justice. Paper presented at the The Pursuit of Beauty, 14-16 Sep 2023, Cambridge, United Kingdom.

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Why Classical Music Matters. Paper presented at the Living Freedom Summer School, 28-30 Jun 2023, London, UK.

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Academic Music in the United Kingdom and the Dalliance with Practice - Lecture at Faculty of Music, Oxford University, 25 April 2023. Paper presented at the Oxford University, 25 Apr 2023.

Pace, I. ORCID: 0000-0002-0047-9379 (2018). Autoethnography as Critically Engaged Practice: Methodological Concerns and Case Studies relating to Notation, Genre, and Aesthetic. Keynote Paper presented at the Orpheus Institute Research Summit, 29 Nov 2018, Ghent, Belgium.

Pace, I. ORCID: 0000-0002-0047-9379 (2016). Between Academia and Audiences - Some Critical and Methodological Reflections from a Performer Scholar. Paper presented at the Royal Musical Association Conference, 5 Sep 2016, London, K.

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

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. (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. ORCID: 0000-0002-0047-9379 (2022). Contribution to Round Table on 'The Legacy of Richard Taruskin'. Paper presented at the Performance Studies Conference, 2 Jul 2022, University of Surrey, UK.

Pace, I. ORCID: 0000-0002-0047-9379 (2020). The Ethnomusicology of Western Art Music and the Application of Meta-Critical Scholarship on Ethnography: Reinscribing Critical Distance. Paper presented at the Colloquium, 28 Oct 2020, Cambridge, UK.

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

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Ideological Constructions of ‘Experimental Music’ and Anglo-American Nationalism in the Historiography of post-1945 Music. Paper presented at the City, University of London, Mar 2017, London, UK.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). In Defence of Analytically-Informed Performance. Keynote Paper presented at the International encounters on Music Theory and Analysis Conference, 6 Nov 2019, São Paolo, Brazil.

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. ORCID: 0000-0002-0047-9379 (2019). Introduction to Panel on Rethinking Contemporary Musicologies: Disciplinary Shifts and the Risks of Deskilling. Paper presented at the Royal Musical Association Conference, 12 Sep 2019, London, UK.

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

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. ORCID: 0000-0002-0047-9379 (2016). Musical Performance as a Scholarly Practice - Critical Reflections from a Performer-Scholar, and a Case Study of the Dukas Piano Sonata. Keynote Paper presented at the Conference The Old in the New, 24 Nov 2016, Lisbon.

Pace, I. ORCID: 0000-0002-0047-9379 (2022). Musicology and Academic Freedom. Paper presented at the Music and the University Conference, 7 Jul 2022, London, UK.

Pace, I. ORCID: 0000-0002-0047-9379 (2020). My contribution to the debate on ‘Authoritarian Populism and Impure Futures: The Legacy of Stuart Hall’. Paper presented at the City School of Arts and Social Sciences Online Festival of Research, 23 Jun 2020, Online.

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. ORCID: 0000-0002-0047-9379 (2019). Position Statement: 'Questioning the Gap: Defining a Role for the SMA in Preparing Students for Music Degrees in Higher Education Today', SotonMAC, 30 July 2019. Paper presented at the Society for Music Analysis Annual Conference, 30 July 2019, Southampton, UK.

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. ORCID: 0000-0002-0047-9379 (2022). Response to Panel on 'Classical Music in Higher Education'. Paper presented at the Music and the University Conference, 8 Jul 2022, London, UK.

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

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Sensational Diaries, Creative Confessionals or Synthetic Exegeses? How 'Academic' Composers and Performers tell their Stories. Paper presented at the Royal Musical Association 2019 Conference, 12 Sep 2019, Manchester UK.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). A Short History of Key Noise. Keynote Paper presented at the Hands-On Research Conference, 1 Nov 2019, University of Aveiro, Portugal.

Pace, I. ORCID: 0000-0002-0047-9379 (2018). Spin, Self-Promotion, Institutional Recognition and Critical Performance: Notes from the Diary of a Performer-Scholar. Keynote Paper presented at the Beyond "Mesearch", 17 Apr 2018, London, UK.

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. ORCID: 0000-0002-0047-9379 (2022). The Two Traditions of 'Experimental Music': Implications for the Later Conceptual history. Paper presented at the Xperimus 2022 Conference, 16 Apr 2022, Porto, Portugal.

Pace, I. ORCID: 0000-0002-0047-9379 (2020). What does it mean to be a Self-Reflective Practitioner?. Paper presented at the Sir John Manduell Research Forum Series, 5 Feb 2020, Manchester, UK.

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.

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.

Internet Publication

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

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

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

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

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

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

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

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

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

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2018). The RAE and REF: Resources and Critiques

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

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2018). The Tory Government distrusts the arts and humanities – but what about academics?

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.

Monograph

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

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

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.

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

Other

Benjamin, M., McLaughlin, S. & Kanga, Z. (2024). we are environments for each other [Audio CD]. NMC Recordings.

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

Performance

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

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

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 (2012). CD recording - Lauren Redhead, Robin and Marian Point Engraved Edition.

Pace, I. ORCID: 0000-0002-0047-9379 (2013). CD recording - Michael Finnissy, The History of Photography in Sound (5 CD set) Divine Art 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 (2016). Michael Parkin - The Courting Rites of Cranes (CD recording) Prima Facie Records.

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 29 March 2014, Borealis Festival, Bergen - Alistair Zaldua, Spagyria (2013) for piano Borealis Festival.

Pace, I. ORCID: 0000-0002-0047-9379 (2013). World Premiere 3 August 2013, York Late Music Festival - Frederic Rzewski, Illusions perdus for solo piano York Late Music Festival.

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 (2014). World Premiere Performance 2 August 2014 - Ralph Bateman Studies York Late Music Festival.

Pace, I. ORCID: 0000-0002-0047-9379 (2017). World Premiere Performance 2 June 2017 - Marc Yeats, william mumler’s spirit photography (2016) City University Concert Series.

Pace, I. ORCID: 0000-0002-0047-9379 (2018). World Premiere Performance 27 November 2018 - Patrícia de Almeida, Desperatio (Piano Piece No. 5) (2017-18) with film by Daniel Antero 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 & Limbrick, S. (2018). Floating, Drifting (CD Recording) Louth Contemporary Music.

Pace, I. ORCID: 0000-0002-0047-9379 & 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). Sadie Harrison, Return of the Nightingales - CD Recording Prima Facie.

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.

Report

Kanga, Z., Dyer, M., Rowley, C. , Packham, J., Benjamin, M., Climent, R., Gioti, A-M., Gorton, D., Hayden, S., Howard, E., Edmund, H., Laidlow, R., McLaughlin, S., Nickel, L. & Redhead, L.view all authors (2024). Technology and Contemporary Classical Music: Methodologies in Practice-Based Research. National Centre for Research Methods.

Software

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

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)

Anderson, Elizabeth (2011). Materials, meaning and metaphor: Unveiling spatio-temporal 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)

Black, E. (2023). From fusion to stratification: Plurality of textural ideas. How can we examine textural relationships in instrumental composition?. (Unpublished Doctoral thesis, City, University of 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)

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)

Chadburn, L. (2023). Captions, Characters, Self-Portraits: Compositional Approaches to the Disembodied Speaking Voice and the Voice-Text-Music Relationship. (Unpublished Doctoral thesis, City, University of London)

Challenger, T. (2022). Improvised practice and tools for the unknown. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Chao, Y. (2000). Dance, Culture and Nationalism: the Socio-cultural Significance of Cloud Gate Dance Theatre in Taiwanese Society. (Unpublished Doctoral thesis, City University London)

Chapkanov, B (2022). Harmony and Tonality in the Late Piano Music of Franz Liszt – Functional and Transformational Analytical Perspectives. (Unpublished Doctoral thesis, City, University of London)

Chappell, K. (2005). Creativity within late primary age dance education: unlocking expert specialist dance teachers' conceptions and approaches. (Unpublished Doctoral thesis, City University 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)

Desain, P.W.M. (1991). Structure and expressive timing in music performance. (Unpublished Doctoral thesis, City, University of London)

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

Donaldson, A. (1993). The choreutic parameter: A key determinant of choreographic structural style. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Dos Santos Agostinho, G. (2021). The design of note-based algorithmic systems through the use of mental models. (Unpublished Doctoral thesis, City, University of London)

Dysers, C. (2019). Loop aesthetics: repetition in the work of Bernhard Lang. (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)

Forster, J. H. (2024). Canon as Cartella: Using Earlier Templates for Contemporary Pipe Organ Works. (Unpublished Doctoral thesis, City St George’s, University of 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)

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)

Gaston-Bird, L. ORCID: 0000-0002-9109-3382 (2024). Immersive but not Inclusive: Challenges Faced by Underrepresented Groups in Immersive Audio. (Unpublished Doctoral thesis, University of Surrey)

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)

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)

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)

Haustein, P. (2022). LOVE AT FIRST SOUND: Engaging with Western classical concert audiences through improvisation. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

Hensel, S. (1995). Dance therapy: Source and route to holistic action in the Erziehungsbeistandschaft. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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

Honing, H. (1991). Music and the representation of structure: From issues to microworlds. (Unpublished Doctoral thesis, City, University of 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)

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)

Jeffreys, A. (2023). Making, Dwelling, and ‘Discontinuous Continuities’: Finding Musical Form within the Inner Life of Materials. (Unpublished Doctoral thesis, City, University of 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)

Kaner, M. J. (2022). Composing narratives: Reimagining musical storytelling in new vocal and instrumental works. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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)

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

Lassiter, E. (2023). Co-composing an Endarkened Acoustemology: Sonic approaches towards breaking hegemonic hierarchy. (Unpublished Doctoral thesis, City, University of 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)

Liao, P. (2006). An Inquiry into the Creative Process of Butoh: With Reference to the Implications of Eastern and Western Significances. (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)

Lolavar, S (2021). Auto-ethnography and Composition as Epistemologies for Reconciling Double-Consciousness: an Interrogation of Hybridity and Diaspora. (Unpublished Doctoral thesis, City, University of 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)

Mackay, S. (2017). Musical culture and urban change in contemporary Marseille. (Unpublished Doctoral thesis, City, University of London)

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

McCormack, M. (1996). The Design and Evaluation of Computer Music Interfaces. (Unpublished Doctoral thesis, City, University of London)

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

Messeder, G. (2022). ‘Obrigada, Shukran’: Brazilian Musical Encounters in Beirut. (Unpublished Doctoral thesis, City, University of 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)

Morris, C. (2024). Metal Onna-bugeisha: Japanese women and the challenge to hegemonic masculinity in heavy metal’s transnational flow. (Unpublished Doctoral thesis, City, University of 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)

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

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

Ortiz, Gabriela (1999). Compositional techniques in acoustic and electroacoustic music. (Unpublished Doctoral thesis, City, University of London)

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

Pakes, A. (2001). Dance interpretation and the cultural institution: exploring the condition(s) of british and french contemporary dance in the 1990s. (Unpublished Doctoral thesis, City University London)

Palmer, J. (1994). Formal strategies in composition. (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)

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)

Penev, I. K. (2024). Towards a Syncretic Interpretation of Franz Liszt's 'Apres une Lecture du Dante': Philosophical, Analytic, and Performative Perspectives. (Unpublished Doctoral thesis, City, University of London)

Percival, R. (2021). Top B, or Not Top B, and Is That the Question? Creating a new repertoire of idiomatic and challenging arrangement for historical wind instruments. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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)

Ranyard, M. R. (1997). Transcontextual mechanisms in contemporary art music. (Unpublished Doctoral thesis, City, University of London)

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

Rimmer, V. (1998). Dance, History and Deconstruction: Giselle and Beach Birds for Camera as Contrasting Sites for a Discussion of Issues of Meaning in Dance. (Unpublished Doctoral thesis, City, University of London)

Rodgers, G. (2020). Listening to yourself listen: spatial experience in music for acoustic instruments and electronic sound. (Unpublished Doctoral thesis, City, University of 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)

Roustom, K. (2022). Two violin concerti: A study in non-duality. (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)

Simmons, A. (2020). Morphology of the score: the organisation of music in the films of Michael Giacchino and Pixar Animation Studios. (Unpublished Doctoral thesis, City, University of London)

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

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)

Stickney, P. F. (2021). Giant steps for harp: New approaches to the pedals. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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)

Vinao, 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)

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)

Wallis, L (2010). An exploration of the work of David Bintley, a very ‘English’ choreographer, with particular reference to his use of English Morris dance in Still Life at the Penguin Café and the process of translating ‘genuine’ English Morris dance to a theatrical environment.. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/ City, University of 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)

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

Wong, A CK. (2023). The History, Development and Global Dissemination of the Hang/Handpan. (Unpublished Doctoral thesis, City, University of London)

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)

van der Klis, J. M. (2022). Busoni’s ‘Beiträge zu einer Hochschule des Clavierspiels’ and the performance of Bach on the modern piano. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Ásmundsdóttir, L. M. (2023). Webs of Creative Openness: Collaborative creativity within artistic practices. (Unpublished Doctoral thesis, City, University of London)