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

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Number of items at this level: 219.

A

Anderson, I. & Rennie, T. (2016). Thoughts in the Field: 'Self-reflexive narrative' in field recording. Organised Sound: an international journal of music and technology, 21(3), pp. 222-232. doi: 10.1017/s1355771816000194

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

Armstrong, N. (2016). Partial objects

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

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

B

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. In: Wang, H-M, Yang, Y-H & Lee, JH (Eds.), http://www.terasoft.com.tw/conf/ismir2014//proceedings%5CISMIR2014_Proceedings.pdf. 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. In: Holzapfel, A (Ed.), Proceedings of the Fourth International Workshop on Folk Music Analysis (FM. 4th International Workshop on Folk Music Analysis, 12-06-2014 - 13-06-2014, Istanbul, Turkey.

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, 22, article number 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

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. Eurovis 2022, 13-17 Jun 2022, Rome, Italy. doi: 10.2312/evs20221102

C

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, 43(13), pp. 2703-2741. doi: 10.1002/smj.3436

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. ORCID: 0000-0003-4019-798X (2024). Musical Instruments and Palimpsestic Identity. Journal of Musicological Research,

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

Cottrell, S.J. ORCID: 0000-0003-4019-798X (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. (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. 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

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

D

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

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. In: Proceedings of the 19th International Society for Music Information Retrieval Conference. 19th International Society for Music Information Retrieval Conference (ISMIR 2018), 23-27 Sep 2018, Paris, France.

E

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. (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..

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.

F

Fatsis, L. ORCID: 0000-0002-3082-951X (2023). Arresting Sounds What UK Soundsystem Culture Teaches Us about Police Racism and Public Life. In: Charles, M. & Gani, M. W. (Eds.), Black Music in Britain in the 21st Century. (pp. 181-198). Liverpool, USA: Liverpool Studies in the Polit.

Fatsis, L. ORCID: 0000-0002-3082-951X (2023). Decriminalising Rap Beat by Beat Two Questions in Search of Answers. In: Peters, E. (Ed.), Music in Crime, Resistance, and Identity. (pp. 63-77). Abingdon, Oxford: Routledge. doi: 10.4324/9781003186410-6

Fatsis, L. ORCID: 0000-0002-3082-951X (2023). From Overseer to Officer: A Brief History of British Policing Through Afro-Diasporic Music Culture. In: Cavalcanti, R. P., Squires, P. & Waseem, Z. (Eds.), Southern and Postcolonial Perspectives on Policing, Security and Social Order. (pp. 45-61). Bristol, UK: Policy Press.

Fatsis, L. ORCID: 0000-0002-3082-951X (2023). The Road, in Court: How UK Drill Music Became a Criminal Offence. In: Levell, J., Young, T. & Earle, R. (Eds.), Exploring Urban Youth Culture Outside of the Gang Paradigm: Critical Questions of Youth, Gender and Race On-Road. (pp. 100-114). Bristol, UK: Policy Press.

Fatsis, L. ORCID: 0000-0002-3082-951X (2021). Sounds Dangerous: Black Music Subcultures as Victims of State Regulation and Social Control. In: Persak, N. & Di Ronco, A. D. (Eds.), Harm and Disorder in the Urban Space: Social Control, Sense and Sensibility. (pp. 30-51). Abingdon, Oxford: Routledge.

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

G

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

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, 13(1), pp. 98-100. doi: 10.1080/19475020.2022.2078597

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.

Grant, P. ORCID: 0000-0002-2808-6219 (2020). Obituary: Vera Lynn, 1917-2020. Popular Music and Society, 43(5), pp. 582-585. doi: 10.1080/03007766.2020.1843307

H

Harper, A. (2016). "Backwoods": Rural Distance and Authenticity in Twentieth-Century American Independent Folk and Rock Discourse. Samples : Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung(14),

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

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.

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)

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). .

Howes, H. ORCID: 0000-0002-7105-0414 (2021). Blood and Water. In: Transformative Waters in Medieval Devotional Literature. (pp. 175-217). Suffolk, UK: Boydell & Brewer.

J

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

K

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.

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

L

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. (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, J. & Mimler, M. ORCID: 0000-0002-9457-2506 (2023). ‘Do the Right Thing ’ or ‘ Fight the Power ? ’ : Hip-Hop Music, Sampling and Copyright Law. In: Bonadio, E. & Zhu, C. W. (Eds.), Music Borrowing and Copyright. 127. (pp. 127-144). London, UK: Bloomsbury.

Lee, D., Robinson, L. & Bawden, D. (2020). Operatic knowledge organisation: an exploration of the domain and bibliographic interface in the classification of opera subgenres. In: Knowledge organization at the interface: Proceedings of the 16th International ISKO conference. Sixteenth International ISKO Conference, 6-8 Jul 2020, Aalborg, Denmark.

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, 72(5), pp. 570-582. doi: 10.1002/asi.24426

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

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

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

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

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

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

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

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

Lingas, A. (2015). 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.

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

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

M

Margree, P., MacFarlane, A., Price, L. & Robinson, L. (2014). Information behaviour of music record collectors. Information Research: an international electronic journal, 19(4), article number 652.

Mbaye, J. F. ORCID: 0000-0003-2225-6077 (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. 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))

Mbaye, J. F. ORCID: 0000-0003-2225-6077 & 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. (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. (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.

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

N

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. (2017). ‘BME’ Perspectives on Music Higher Education. Paper presented at the ‘BME’ Perspectives on Music Higher Education, 2 May 2017, Cambridge, UK.

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

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

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

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

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

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

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

Nooshin, L. (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.

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

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

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

O

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

P

Pace, I. ORCID: 0000-0002-0047-9379 (2021). Autoethnography as Critically Engaged Practice: Methodological Concerns and Case Studies relating to Notation, Genre, and Aesthetic. presented at the Music Diaries Conference, 7 Jul 2021, Thessaloniki, Greece.

Pace, I. (1997). Archetypal Experiments. The Musical Times(1856), pp. 9-14.

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

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

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

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

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

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

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

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

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

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

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

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

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. (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. (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. (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. (2013). Musicology is not Musical PR

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

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

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

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

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. (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. (2016). Quilting Points and Ethnomusicology

Pace, I. (1997). Recent Sciarrino Premières. Tempo (London, 1939): a quarterly review of modern music(200), pp. 49-51.

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

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

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

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

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

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..

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.

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

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.

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,

Parsonage, Catherine Jane (2002). The evolution of jazz in Britain c. 1880-1927: antecedents, processes and developments. (Unpublished Doctoral thesis, City University London)

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.

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

R

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

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

S

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), article number 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(1), article number 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), article number 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

Schwarze, T. & Fatsis, L. ORCID: 0000-0002-3082-951X (2022). Copping the blame: the role of YouTube videos in the criminalisation of UK drill music. Popular Music, 41(4), pp. 463-480. doi: 10.1017/s0261143022000563

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. (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., Boulanger-Lewandowski, N. , Weyde, T., Garcez, A. & Dixon, S. (2014). A Hybrid Recurrent Neural Network For Music Transcription. CoRR, 14(11), article number 1623.

Sigtia, S., Benetos, E., Cherla, S. , Weyde, T., Garcez, A. & Dixon, S. (2014). An RNN-based Music Language Model for Improving Automatic Music Transcription. In: Wang, H-M, Yang, Y-H & Lee, JH (Eds.), http://www.terasoft.com.tw/conf/ismir2014//proceedings%5CISMIR2014_Proceedings.pdf. 15th International Society for Music Information Retrieval Conference (ISMIR), 27-10-2014 - 31-10-2014, Taipei, Taiwan.

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

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

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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. In: ICASSP. 2010 IEEE International Conference on Acoustics, Speech, and Signal Processing, 14-03-2010 - 19-03-2010, Dallas, USA. doi: 10.1109/ICASSP.2010.5496213

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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

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)

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

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. 1st International Digital Libraries for Musicology workshop, 12-09-2014 - 12-09-2014, London, UK.

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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

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