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

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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

Anglada-Tort, M. & Sanfilippo, K. R. ORCID: 0000-0003-2236-3307 (2019). Visualizing Music Psychology: A Bibliometric Analysis of Psychology of Music, Music Perception, and Musicae Scientiae from 1973 to 2017. Music & Science, 2, doi: 10.1177/2059204318811786

Annesley, L., McKeown, E. ORCID: 0000-0002-4183-5376 & Curtis-Tyler, K. ORCID: 0000-0002-8212-1134 (2020). Parents’ perspectives on their children’s music therapy: A synthesis of qualitative literature. British Journal of Music Therapy, 34(1), pp. 39-52. doi: 10.1177/1359457520907636

Asano, R., Bornus, P., Craft, J. , Dolscheid, S., Faber, S., Haase, V., Heimerich, M., Kopparti, R. M., Lobben, M., Osawa, A., Oudyk, K., Trettenbrein, P., Varelmann, T., Wehrle, S., Ya, R., Grice, M. & Vogeley, K. (2018). Spring School on Language, Music, and Cognition: Organizing Events in Time. Music & Science, 1, pp. 1-17. doi: 10.1177/2059204318798831

Bennett, T. ORCID: 0000-0003-0078-9315 (2020). The Justification of a Music City: Handbooks, intermediaries and value disputes in a global policy assemblage. City, Culture and Society, 100354. doi: 10.1016/j.ccs.2020.100354

Bennett, T. ORCID: 0000-0003-0078-9315 (2017). The Production and Consumption of Music in the Digital Age. Popular Music and Society, 40(2), pp. 242-244. doi: 10.1080/03007766.2017.1276332

Bennett, T. ORCID: 0000-0003-0078-9315 (2018). Towards 'Embedded Non-creative Work'? Administration, digitisation and the recorded music industry. International Journal of Cultural Policy, 26(2), pp. 223-238. doi: 10.1080/10286632.2018.1479399

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 (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 (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

Cancellieri, G., Cattani, G. & Ferriani, S. ORCID: 0000-0001-9669-3486 (2022). Tradition as a Resource: Robust and Radical Interpretations of Operatic Tradition in the Italian Opera Industry, 1989-2011. Strategic Management Journal, doi: 10.1002/smj.3436

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, 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. & Schnell, N. (2016). Introducing CatOracle: Corpus-based concatenative improvisation with the Audio Oracle algorithm. Proceedings of the International Computer Music Conference, pp. 140-146.

Formilan, G., Cattani, G. & Ferriani, S. ORCID: 0000-0001-9669-3486 (2021). Trajectories of Consecration: Signature Style and the Pace of Category Spanning. Research in the Sociology of Organizations, 75, pp. 39-63. doi: 10.1108/S0733-558X20210000075005

Grant, P. ORCID: 0000-0002-2808-6219 (2020). Obituary: Vera Lynn, 1917-2020. Popular Music and Society, doi: 10.1080/03007766.2020.1843307

Grant, P. ORCID: 0000-0002-2808-6219 (2022). Over here over there: transatlantic conversations on the music of World War I. First World War Studies, doi: 10.1080/19475020.2022.2078597

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),

Jansson, A., Bittner, R. M., Ewert, S. & Weyde, T. ORCID: 0000-0001-8028-9905 (2019). Joint singing voice separation and F0 estimation with deep U-net architectures. 2019 27th European Signal Processing Conference (EUSIPCO), 2019-S, doi: 10.23919/EUSIPCO.2019.8902550

Lee, D. ORCID: 0000-0002-5768-9262, Robinson, L. ORCID: 0000-0001-5202-8206 & Bawden, D. ORCID: 0000-0002-0478-6456 (2020). Orthogonality, dependency and music: an exploration of the relationship between music facets. Journal of the Association for Information Science and Technology, doi: 10.1002/asi.24426

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

Margree, P., MacFarlane, A., Price, L. & 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

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

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. & 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

Sanfilippo, K. R. ORCID: 0000-0003-2236-3307 (2021). Book Review: Music therapy in neonatal intensive care: Influences of culture (Shoemark & Ettenberger, Eds.). Approaches: An Interdisciplinary Journal of Music Therapy,

Sanfilippo, K. R. ORCID: 0000-0003-2236-3307, McConnell, B., Cornelius, V. , Darboe, B., Huma, H., Gaye, M., Ceesay, H., Ramchandani, P., Cross, I., Glover, V. & Stewart, L. (2020). Community psychosocial music intervention (CHIME) to reduce antenatal common mental disorder symptoms in The Gambia: a feasibility trial. BMJ Open, 10(11), e040287. doi: 10.1136/bmjopen-2020-040287

Sanfilippo, K. R. ORCID: 0000-0003-2236-3307, McConnell, B., Cornelius, V. , Darboe, B., Huma, H., Gaye, M., Ramchandani, P., Ceesay, H., Glover, V., Cross, I. & Stewart, L. (2019). A study protocol for testing the feasibility of a randomised stepped wedge cluster design to investigate a Community Health Intervention through Musical Engagement (CHIME) for perinatal mental health in The Gambia. Pilot and Feasibility Studies, 5, 124. doi: 10.1186/s40814-019-0515-5

Sanfilippo, K. R. ORCID: 0000-0003-2236-3307, Spiro, N., Molina-Solana, M. & Lamont, A. (2020). Do the shuffle: Exploring reasons for music listening through shuffled play. PLoS One, 15(2), e0228457. doi: 10.1371/journal.pone.0228457

Sanfilippo, K. R. ORCID: 0000-0003-2236-3307, Stewart, L. & Glover, V. (2021). How music may support perinatal mental health: an overview. Archives of Women's Mental Health, 24(5), pp. 831-839. doi: 10.1007/s00737-021-01178-5

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. & Dixon, S. (2014). A Hybrid Recurrent Neural Network For Music Transcription. CoRR, 14(11), 1623.

Stowell, D., Giannoulis, D., Benetos, E. , Lagrange, M. & 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. & 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

Yoeli, H. ORCID: 0000-0001-5505-9366, Durant, S., McLusky, S. & Macnaughton, J. (2021). ‘We’re all in the same boat’: How participatory songwriting might enhance Singing for Breathing’s psychosocial benefits. Journal of Applied Arts & Health, 12(2), pp. 125-144. doi: 10.1386/jaah_00060_1

Book Section

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

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.

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

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. (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..

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

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.

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.

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.

Lingas, A. ORCID: 0000-0003-0083-3347 (2019). Canonising Byzantine Chant as Greek Art Music. In: Tambakaki, P., Vlagopoulos, P., Levidou, K. & 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.

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. (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.

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.

Mbaye, J. F. (2015). Géographies de l'économie de la musique hip hop au Sénégal. In: Roy-Valex, M. & 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.

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

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

McDonagh, L. ORCID: 0000-0003-2085-5404 (2018). Protecting traditional music under copyright (and choosing not to enforce it). In: Bonadio, E. & Lucchi, N. (Eds.), Non-Conventional Copyright: Do New and Atypical Works Deserve Protection? (pp. 151-173). Cheltenham, UK: Edward Elgar. doi: 10.4337/9781786434074.00016

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. (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.

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

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

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. & 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. & 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. & 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.

Bunks, C., Weyde, T. ORCID: 0000-0001-8028-9905, Slingsby, A. ORCID: 0000-0003-3941-553X & Wood, J. ORCID: 0000-0001-9270-247X (2022). Visualization of Tonal Harmony for Jazz Lead Sheets. In: EuroVis 2022 - Short Papers. (pp. 109-113). The Eurographics Association: Eindhoven, The Netherlands. ISBN 978-3-03868-184-7 doi: 10.2312/evs20221102

Giannoulis, D., Benetos, E., Klapuri, A. & 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. doi: 10.1109/ICASSP.2014.6854599

Kachkaev, A., Wolff, D., Barthet, M. , Tidhar, D., Plumbley, M. D., Dykes, J. & 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. & 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.

Lee, D., Robinson, L. & Bawden, D. (2020). Operatic knowledge organisation: an exploration of the domain and bibliographic interface in the classification of opera subgenres. Paper presented at the Sixteenth International ISKO Conference, 6-8 Jul 2020, Aalborg, Denmark.

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.

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 (2020). Topographic Synthesis: A demonstration. Paper presented at the Virtual BEAST FEaST, 01-02 May 2020, Birmingham, 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. (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. & 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. & 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. & 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. & 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. doi: 10.1109/ICASSP.2010.5496213

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. (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. & Weyde, T. (2014). Incremental dataset definition for large scale musicological research. In: Page, K. & 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. & 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

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

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. & 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)

Mbaye, J. F. ORCID: 0000-0003-2225-6077 (2011). Reconsidering cultural entrepreneurship: hip hop music economy and social change in Senegal, francophone West Africa. (Unpublished Doctoral thesis, The London School of Economics and Political Science (LSE))

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 Nov 30 04:22:34 2022 UTC.