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Items where Subject is "M Music and Books on Music"

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Article

Anderson, I. and 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

Cottrell, S.J. ORCID: 0000-0003-4019-798X and 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, doi: 10.1080/09298215.2019.1642362

Devine, K. (2013). Imperfect Sound Forever: Loudness Wars, Listening Formations and the History of Sound Reproduction. Popular Music, 32(2), pp. 159-176. doi: 10.1017/S0261143013000032

Einbond, A. ORCID: 0000-0003-1734-6641 (2018). 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., Schwarz, D., Borghesi, R. and Schnell, N. (2016). Introducing CatOracle: Corpus-based concatenative improvisation with the Audio Oracle algorithm. Proceedings of the International Computer Music Conference, pp. 140-146.

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),

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

Margree, P., MacFarlane, A., Price, L. and Robinson, L. (2014). Information behaviour of music record collectors. Information Research: an international electronic journal, 19(4),

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

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

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

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

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

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

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

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

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

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

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

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

Pace, I. (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. (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, pp. 55-90.

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

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

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

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

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

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

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

Pratt, A.C. (2010). Review essay: Simon Frith, Sound effects: youth, leisure and the politics of rock‘n’roll. International Journal of Cultural Policy, 16(1), pp. 66-67. doi: 10.1080/10286630902946738

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

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

Seymour, D. (2013). This is the Piece that Everyone Here Has Come to Experience: The Challenges to Copyright of John Cage’s 4’33”. Legal Studies, 33(4), pp. 532-548. doi: 10.1111/j.1748-121X.2012.00262.x

Sigtia, S., Benetos, E., Boulanger-Lewandowski, N., Weyde, T., Garcez, A. and Dixon, S. (2014). A Hybrid Recurrent Neural Network For Music Transcription. CoRR, 14(11), p. 1623.

Stowell, D., Giannoulis, D., Benetos, E., Lagrange, M. and Plumbley, M. D. (2015). Detection and Classification of Acoustic Scenes and Events. IEEE Transactions on Multimedia, 17(10), pp. 1733-1746. doi: 10.1109/TMM.2015.2428998

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

Book Section

Cherla, S., Weyde, T., Garcez, A. and Pearce, M. (2013). A Distributed Model For Multiple-Viewpoint Melodic Prediction. In: de Souza Britto Jr, A., Gouyon, F. and Dixon, S. (Eds.), Proceedings of the 14th International Society for Music Information Retrieval Conference. (pp. 15-20). International Society for Music Information Retrieval. ISBN 978-0-615-90065-0

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

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

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

Grant, P. (2017). From Brel to Black Metal: The First World War in Popular Music and Music Videos. In: Cohen, D. and Higbee, D. (Eds.), Teaching Representations of the First World War. (pp. 284-292). USA: Modern Language Association. ISBN 9781603293044

Grant, P. (2016). The Gospel According to St Wilfred. In: National Myth and the First World War in Modern Popular Music. (pp. 203-226). UK: Palgrave Macmillan. ISBN 1137601396

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

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. ISBN 1846949246

Lambert, A., Weyde, T. and Armstrong, N. (2014). Beyond the Beat: Towards Metre, Rhythm and Melody Modelling with Hybrid Oscillator Networks. (2014 ed.) In: Georgaki, A. and 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. ISBN 9780984527434

Lingas, A. ORCID: 0000-0003-0083-3347 (2019). Canonising Byzantine Chant as Greek Art Music. In: Tambakaki, P., Vlagopoulos, P., Levidou, K. and Beaton, R. (Eds.), Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries. (pp. 31-53). Abingdon, UK: Routledge. ISBN 9781138280021

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

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

Loya, S. ORCID: 0000-0002-9156-2804 (2019). Neither Major, nor Minor: The Affective Fluctuating Third in Central-European Art Music ca. 1840–1940. In: Hinrichsen, H-J. and Keym, S. (Eds.), Dur vs. Moll: zum semantischen Potenzial eines musikalischen Elementarkontrasts. . Cologne, Germany: Böhlau.

Mbaye, J. F. (2015). Géographies de l'économie de la musique hip hop au Sénégal. In: Roy-Valex, M. and Bellavance, G. (Eds.), Arts et territoires à l'ère du développement durable : vers une nouvelle économie culturelle? (pp. 231-258). Presses de l'Université Laval. ISBN 978-2-7637-2619-9

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

Mbaye, J. F. and Deme, A. (2015). Formidable comme Karim Wade. In: Beyer, T., Burkhalter, T. and Liechti, H. (Eds.), Seismographic Sounds: Visions of a New World. (pp. 42-44). Bern, Switzerland: Norient Books. ISBN 9783952449608

McDonagh, L. ORCID: 0000-0003-2085-5404 (2018). Protecting traditional music under copyright (and choosing not to enforce it). In: Bonadio, E. and Lucchi, N. (Eds.), Non-Conventional Copyright: Do New and Atypical Works Deserve Protection? (pp. 151-173). Cheltenham, UK: Edward Elgar. ISBN 9781786434067

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. ISBN 978-0-415-64147-0

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

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

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

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

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

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. ISBN 0415943647

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

Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge 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. ISBN 9789058677358

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.. ISBN 0754662608

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

Composition

Armstrong, N. (2016). Partial objects *

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

Conference or Workshop Item

Barthet, M., Plumbley, M. D., Kachkaev, A., Dykes, J., Wolff, D. and Weyde, T. (2014). Big Chord Data Extraction and Mining. Paper presented at the 9th Conference on Interdisciplinary Musicology – CIM14, 03-12-2014 - 06-12-2014, Staatliches Institut für Musikforschung, Berlin, Germany.

Benetos, E., Badeau, R., Weyde, T. and Richard, G. (2014). Template Adaptation for Improving Automatic Music Transcription. Paper presented at the 15th International Society for Music Information Retrieval Conference (ISMIR), 27-10-2014 - 31-10-2014, Taipei, Taiwan.

Benetos, E. and Holzapfel, A. (2014). Incorporating pitch class profiles for improving automatic transcription of Turkish makam music. Paper presented at the 4th International Workshop on Folk Music Analysis, 12-06-2014 - 13-06-2014, Istanbul, Turkey.

Giannoulis, D., Benetos, E., Klapuri, A. and Plumbley, M. D. (2014). Improving instrument recognition in polyphonic music through system integration. Paper presented at the 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), 04-05-2014 - 09-05-2014, Florence, Italy.

Kachkaev, A., Wolff, D., Barthet, M., Tidhar, D., Plumbley, M. D., Dykes, J. and Weyde, T. (2014). Visualising Chord Progressions in Music Collections: A Big Data Approach. Paper presented at the 9th Conference on Interdisciplinary Musicology – CIM14, 03-12-2014 - 06-12-2014, Staatliches Institut für Musikforschung, Berlin, Germany.

Lambert, A., Weyde, T. and 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.

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. (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.

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

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

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

Sigtia, S., Benetos, E., Boulanger-Lewandowski, N., Weyde, T., Garcez, A. and Dixon, S. (2015). A Hybrid Recurrent Neural Network For Music Transcription. Paper presented at the 40th IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP) 2015, 19-04-2015 - 24-04-2015, Brisbane, Australia.

Sigtia, S., Benetos, E., Cherla, S., Weyde, T., Garcez, A. and Dixon, S. (2014). An RNN-based Music Language Model for Improving Automatic Music Transcription. Paper presented at the 15th International Society for Music Information Retrieval Conference (ISMIR), 27-10-2014 - 31-10-2014, Taipei, Taiwan.

Taheri-Panah, S. and MacFarlane, A. (2004). Music Information Retrieval systems: why do individuals use them and what are their needs?. Paper presented at the 5th International Conference on Music Information Retrieval, 10-10-2004 - 14-10-2004, Barcelona, Spain.

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

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. and Alancar-Brayner, A. (2014). Big Data for Musicology. Paper presented at the 1st International Digital Libraries for Musicology workshop, 12-09-2014 - 12-09-2014, London, UK.

Wolff, D., Tidhar, D., Benetos, E., Dumon, E., Cherla, S. and Weyde, T. (2014). Incremental dataset definition for large scale musicological research. In: Page, K. and Fields, B. (Eds.), DLfM '14 Proceedings of the 1st International Workshop on Digital Libraries for Musicology. (pp. 1-8). New York: ACM. ISBN 978-1-4503-3002-2

de Valk, R. and Weyde, T. ORCID: 0000-0001-8028-9905 (2018). Deep neural networks with voice entry estimation heuristics for voice separation in symbolic music representations. Paper presented at the 19th International Society for Music Information Retrieval Conference (ISMIR 2018), 23-27 Sep 2018, Paris, France.

Internet Publication

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. (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. (2016). Quilting Points and Ethnomusicology *

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

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.

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. ..

Performance

Pace, I. ORCID: 0000-0002-0047-9379 (2012). CD recording - Lauren Redhead, Robin and Marian Point Engraved Edition. *

Report

Honingh, A. (2008). A geometrical approach to find the preferred intonation of chords (TR/2008/DOC/02). .

Honingh, A. and Weyde, T. (2008). Integrating Convexity and Compactness into the ISSM: Melodic Analysis of Music (TR/2008/DOC/03). .

Thesis

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)

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

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

Parsonage, Catherine Jane (2002). The evolution of jazz in Britain c. 1880-1927: antecedents, processes and developments. (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)

Wolff, D. (2014). Spot the Odd Song Out: Similarity Model Adaptation and Analysis using Relative Human Ratings. (Unpublished Doctoral thesis, City University London)

This list was generated on Wed Jan 22 04:19:31 2020 UTC.