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Agawu, K., Bhogal, G. K., Cavett, E. , Dunsby, J., Horton, J., Monchick, A., Pace, I. ORCID: 0000-0002-0047-9379, Stobart, H. & Zagorski‐Thomas, S.view all authors (2023). Valuing the Surplus: Perspectives on Julian Horton's Article ‘On the Musicological Necessity of Music Analysis’, Musical Quarterly, 3/i–ii, pp. 62–104.Contributors: Kofi Agawu, Gurminder K. Bhogal, Esther Cavett, Jonathan Dunsby, Julian Horton, Alexandra Monchick, Ian Pace, Henry Stobart and Simon Zagorski‐Thomas, compiled and edited by Esther Cavett. Music Analysis, 42(3), pp. 412-471. doi: 10.1111/musa.12221

Anglade, A., Benetos, E., Mauch, M. & Dixon, S.view all authors (2010). Improving music genre classification using automatically induced harmony rules. Journal of New Music Research, 39(4), pp. 349-361. doi: 10.1080/09298215.2010.525654

Armstrong, N. (2014). ‘Bold Tendencies’: London Contemporary Music Festival, Peckham multi-storey car park, London, 25–28 July, 1–4 August 2013. Tempo, 68(267), pp. 63-65. doi: 10.1017/s0040298213001393

Bao, J. ORCID: 0000-0002-9583-1696, He, Y-H. ORCID: 0000-0002-0787-8380 & Zahabi, A. (2022). Mahler Measure for a Quiver Symphony. Communications in Mathematical Physics, 394(2), pp. 573-624. doi: 10.1007/s00220-022-04404-y

Benetos, E. & Dixon, S. (2011). Joint Multi-Pitch Detection Using Harmonic Envelope Estimation for Polyphonic Music Transcription. IEEE Journal of Selected Topics in Signal Processing, 5(6), pp. 1111-1123. doi: 10.1109/jstsp.2011.2162394

Benetos, E. & Dixon, S. (2013). Multiple-instrument polyphonic music transcription using a temporally constrained shift-invariant model. The Journal of the Acoustical Society of America (JASA), 133(3), pp. 1727-1741. doi: 10.1121/1.4790351

Benetos, E. & Dixon, S. (2012). A Shift-Invariant Latent Variable Model for Automatic Music Transcription. Computer Music Journal, 36(4), pp. 81-94. doi: 10.1162/comj_a_00146

Benetos, E., Dixon, S., Giannoulis, D. , Kirchhoff, H. & Klapuri, A.view all authors (2013). Automatic music transcription: challenges and future directions. Journal of Intelligent Information Systems, 41(3), pp. 407-434. doi: 10.1007/s10844-013-0258-3

Benetos, E., Ewert, S. & Weyde, T. (2014). Automatic transcription of pitched and unpitched sounds from polyphonic music. 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), pp. 3107-3111. doi: 10.1109/ICASSP.2014.6854172

Benetos, E. & Kotropoulos, C. (2010). Non-Negative Tensor Factorization Applied to Music Genre Classification. IEEE Transactions on Audio, Speech & Language Processing, 18(8), pp. 1955-1967. doi: 10.1109/tasl.2010.2040784

Benetos, E. & Stylianou, Y. (2010). Auditory Spectrum-Based Pitched Instrument Onset Detection. IEEE Transactions on Audio, Speech & Language Processing, 18(8), pp. 1968-1977. doi: 10.1109/tasl.2010.2040785

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

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

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

Browning, J. ORCID: 0000-0001-7013-7959 & Lim, L. (2021). Sonic Figurations for the Anthropocene: A Musical Bestiary in the Compositions of Liza Lim. Journal of the Royal Musical Association,

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

Chen, T. ORCID: 0000-0003-2450-277X (2021). Flying with two wings or coming of age of copyrightisation? A historical and socio-legal analysis of copyright and business model developments in the Chinese music industry. Global Media and China, 6(2), pp. 191-206. doi: 10.1177/2059436421998466

Cottrell, S.J. (2019). Big Music Data, Musicology, and the Study of Recorded Music: Three Case Studies. Musical Quarterly, 101(2-3), pp. 216-243. doi: 10.1093/musqtl/gdy013

Cottrell, S.J. ORCID: 0000-0003-4019-798X (2018). Charles Jean-Baptiste Soualle and the Saxophone. Journal of the American Musical Instrument Society, XLIV, pp. 179-208.

Cottrell, S.J. (2010). Ethnomusicology and the Music Industries: an overview. Ethnomusicology Forum, 19(1), pp. 3-25.

Cottrell, S.J. (2007). ‘Local Bimusicality among London’s freelance musicians’. Ethnomusicology, 51(1), pp. 85-105.

Cottrell, S.J. (2002). Music as Capital: Deputising Among London’s Freelance Musicians. British Journal of Ethnomusicology, 11(2), pp. 61-80.

Cottrell, S.J. (2007). Music, Time, and Dance in Orchestral Performance: The Conductor as Shaman. Twentieth-century Music, 3(1), pp. 73-96.

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

Einbond, A. ORCID: 0000-0003-1734-6641, Carpentier, T., Schwarz, D. & Bresson, J.view all authors (2024). Embodying Spatial Sound Synthesis with AI in Two Compositions for Instruments and 3D Electronics. Computer Music Journal, doi: 10.1162/comj_a_00664

Einbond, A. ORCID: 0000-0003-1734-6641 (2018). Disembodiment: Reproduction, Transcription, And Trace. Tempo, 73(287), pp. 83-90. doi: 10.1017/s0040298218000694

Elmsley (né Lambert), A., Weyde, T. & Armstrong, N. (2017). Generating Time: Rhythmic Perception, Prediction and Production with Recurrent Neural Networks. Journal of Creative Music Systems, 1(2), doi: 10.5920/jcms.2017.04

Fatsis, L. ORCID: 0000-0002-3082-951X (2019). Grime: Criminal subculture or public counterculture? A critical investigation into the criminalization of Black musical subcultures in the UK. Crime, Media, Culture, 15(3), pp. 447-461. doi: 10.1177/1741659018784111

Fatsis, L. ORCID: 0000-0002-3082-951X (2013). Policing the beats: The criminalisation of UK drill and grime music by the London Metropolitan Police. Sociological Review, 67(6), pp. 1300-1316. doi: 10.1177/0038026119842480

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

Grant, P. ORCID: 0000-0002-2808-6219 (2022). Sounds of War: Music in the British Armed Forces during the Great War. English Historical Review, 137(584), pp. 297-298. doi: 10.1093/ehr/ceab312

Grant, P. ORCID: 0000-0002-2808-6219 (2019). ‘Remembering Popular Music’s Past’ book review. International Journal of Heritage Studies, 26(3), pp. 321-323. doi: 10.1080/13527258.2019.1663240

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

Hills, E., Hynard, L., Deierl, A. , Aloysius, A. & Harding, C. ORCID: 0000-0002-5192-2027view all authors (2023). Enhancing therapeutic support for inpatient infants and families by introducing Lullaby Hour to the neonatal unit. Infant, 19(2), pp. 68-70.

Inskip, C., MacFarlane, A. & Rafferty, P. (2010). Creative professional users musical relevance criteria. Journal of Information Science, 36(4), pp. 517-529. doi: 10.1177/0165551510374006

Kotti, M., Benetos, E. & Kotropoulos, C. (2008). Computationally Efficient and Robust BIC-Based Speaker Segmentation. IEEE Transactions on Audio, Speech & Language Processing, 16(5), pp. 920-933. doi: 10.1109/tasl.2008.925152

Lee, D. ORCID: 0000-0002-5768-9262 (2019). Hornbostel-Sachs Classification of Musical Instruments. Knowledge Organization, 47(1), pp. 72-91. doi: 10.5771/0943-7444-2020-1-72

Lee, D., Robinson, L. ORCID: 0000-0001-5202-8206 & Bawden, D. ORCID: 0000-0002-0478-6456 (2019). Modelling the relationship between scientific and bibliographic classification for music. Journal of the Association for Information Science and Technology, 70(3), pp. 230-241. doi: 10.1002/asi.24120

Leung, F. Y. N., Sin, J. ORCID: 0000-0003-0590-7165, Dawson, C. , Ong, J. H., Zao, C., Veic, A. & Liu, F.view all authors (2022). Emotion recognition across visual and auditory modalities in autism spectrum disorder: A systematic review and meta-analysis. Developmental Review, 63, article number 101000. doi: 10.1016/j.dr.2021.101000

Lingas, A. ORCID: 0000-0003-0083-3347 (2015). Music in the Balkans. Ethnomusicology Forum, 24(1), pp. 134-136. doi: 10.1080/17411912.2014.980200

Lingas, A. ORCID: 0000-0003-0083-3347 (2018). The Oriental music broadcasts, 1936–1937: a musical ethnography of mandatory Palestine. Ethnomusicology Forum, 27(2), pp. 243-245. doi: 10.1080/17411912.2018.1508359

Lingas, A. (2013). The Past is Always Present: The Revival of the Byzantine Musical Tradition at Mount Athos. Ethnomusicology Forum, 22(1), pp. 121-124. doi: 10.1080/17411912.2012.753815

Loveday, C., Woy, A. & Conway, M. A. (2020). The self-defining period in autobiographical memory: Evidence from a long-running radio show.. Quarterly Journal of Experimental Psychology, 73(11), pp. 1969-1976. doi: 10.1177/1747021820940300

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

Loya, S. (2016). Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert. Journal of the American Musicological Society, 69(2), pp. 409-476. doi: 10.1525/jams.2016.69.2.409

Mason, K., Marshall, C. R. & Morgan, G. ORCID: 0000-0002-9495-1274 (2021). Executive Function Training for Deaf Children: Impact of a Music Intervention. Journal of Deaf Studies and Deaf Education, 26(4), pp. 490-500. doi: 10.1093/deafed/enab026

Mbaye, J. F. (2010). AURA ou de la production politique de la musique hip hop. Cahiers de recherche sociologique, 49(49), pp. 147-160. doi: 10.7202/1001415ar

Mera, M. ORCID: 0000-0002-0031-0629 (2019). Popular Music on Screen and the Road to Brexit. Cinema&Cie: International Journal of Film Studies, 8(31),

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

Mera, M. & Winters, B. (2009). Film and Television Music Sources in the UK and Ireland. Brio: Journal of the International Association of Music Libraries, Archives and Documentation Centres., 46(2), pp. 37-65.

Mimler, M. ORCID: 0000-0002-9457-2506 (2017). ‘Metall auf Metall’ – the German Federal Constitutional Court discusses the permissibility of sampling music tracks. Queen Mary Journal of Intellectual Property, 7(1), pp. 119-127. doi: 10.4337/qmjip.2017.01.06

Nooshin, L. (2013). Beyond the Radif: New Forms of Improvisational Practice in Iranian Music. Music Theory Online, 19(2),

Nooshin, L. ORCID: 0000-0001-8737-5224 (2018). “Our Angel of Salvation”- Towards an Understanding of Iranian Cyberspace as an Alternative Sphere of Musical Sociality. Ethnomusicology, 62(3), pp. 341-374. doi: 10.5406/ethnomusicology.62.3.0341

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

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Don't stop the music. The Critic,

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Fanfares for the common man. The Critic,

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

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Synopsis. Music Analysis, 42(3), pp. 412-414. doi: 10.1111/musa.12221

Pace, I. ORCID: 0000-0002-0047-9379 (2023). Territorial Disputes, Analysis and Performance and Redefining the 'Surplus'. Music Analysis, 42(3), pp. 424-429. doi: 10.1111/musa.12221

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

Pace, I. (2014). Book Review: Music in Germany Since 1968 by Alastair Williams. Tempo (London, 1939): a quarterly review of modern music, 68(268), pp. 116-121. doi: 10.1017/s0040298213001940

Pace, I. (2007). Book Reviews: Towards a Theory of Musical Reproduction by Theodor W. Adorno, Henri Lonitz, WielandHoban; Philosophy of New Music by Theodor W. Adorno, Robert Hullot-Hentor; Letters to his Parents by Theodor W. Adorno, Christoph Gödde, Wieland Hoban, Henri Lonitz. Tempo (London, 1939): a quarterly review of modern music, 61(242), pp. 61-73. doi: 10.1017/s0040298207000307

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

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

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

Pace, I. (2005). Lachenmann’s Serynade—Issues for Performer and Listener. Contemporary Music Review, 24(1), pp. 101-112. doi: 10.1080/0749446042000293646

Pace, I. (2012). Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti’s E´ tudes for Piano. Contemporary Music Review, 31(2-3), pp. 177-201. doi: 10.1080/07494467.2012.717359

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

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

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

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

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

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

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

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

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

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

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

Proutskova, P., Wolff, D., Fazekas, G. , Frieler, K., Hoeger, F., Velichkina, O., Solis, G., Weyde, T. ORCID: 0000-0001-8028-9905, Pfleiderer, M., Crayencour, H. C., Peeters, G. & Dixon, S.view all authors (2022). The Jazz Ontology: A semantic model and large-scale RDF repositories for jazz. Journal of Web Semantics, 74, article number 100735. doi: 10.1016/j.websem.2022.100735

Rennie, T. ORCID: 0000-0001-8937-2780 (2019). Muscle memory: The inimitable feel of the record. Tempo, 73(287), pp. 76-79. doi: 10.1017/s0040298218000670

Sanfilippo, K. R. ORCID: 0000-0003-2236-3307 & Spiro, N. (2016). Conference report: The Third Nordoff Robbins Plus Conference ‘Exploring music in therapeutic and community settings’. Approaches: An Interdisciplinary Journal of Music Therapy, 9(1), pp. 159-163.

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Sinnreich, A. & Carmi, E. (2019). Sonic Publics| Introduction and Audio Transcript. International Journal of Communication, 13, pp. 359-382.

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Wiley, C. (2008). Andrew Lloyd Webber at 60. Musical stages: The world of musical theatre, 57, 7-.

Wiley, C. (2012). Marianna Martines: A woman composer in the Vienna of Mozart and Haydn. Journal for Eighteenth-Century Studies, 35(2), pp. 285-286. doi: 10.1111/j.1754-0208.2011.00404.x

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Williams, T. I., Loucas, T., Sin, J. ORCID: 0000-0003-0590-7165 , Jeremic, M., Meyer, S., Boseley, S., Fincham-Majumdar, S., Aslett, G., Renshaw, R. & Liu, F.view all authors (2024). Using music to assist language learning in autistic children with minimal verbal language: The MAP feasibility RCT. Autism, doi: 10.1177/13623613241233804

Williams, T., Loucas, T., Sin, J. ORCID: 0000-0003-0590-7165 , Jeremic, M., Aslett, G., Knight, M., Fincham-Majumdar, S. & Liu, F.view all authors (2021). A randomised controlled feasibility trial of music-assisted language telehealth intervention for minimally verbal autistic children-the MAP study protocol. Pilot and Feasibility Studies, 7(1), article number 182. doi: 10.1186/s40814-021-00918-9

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Audio

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

Book

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

Serra, X., Magas, M., Benetos, E. , Chudy, M., Dixon, S., Flexer, A., Gomez, E., Gouyon, F., Herrera, P., Jorda, S., Paytuvi, O., Peeters, G., Schlüter, J., Vinet, H. & Widmer, G.view all authors (2013). Roadmap for Music Information ReSearch. London, UK: MIRES Consortium.

Book Section

Bennett, T. ORCID: 0000-0003-0078-9315 (2018). “Essential—Passion for Music”: Affirming, Critiquing, and Practising Passionate Work in Creative Industries. In: The Palgrave Handbook of Creativity at Work. (pp. 431-459). Cham: Palgrave Macmillan. doi: 10.1007/978-3-319-77350-6_21

Bennett, T. ORCID: 0000-0003-0078-9315 (2020). Re-Rewind: Heritage, Representation and Music City Aspiration in Southampton. In: Music Cities. New Directions in Cultural Policy Research. (pp. 19-42). Cham: Palgrave Macmillan. doi: 10.1007/978-3-030-35872-3_2

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

Cottrell, S.J. (2006). The Clarinet and its Players in Eastern Europe and Greece. In: Heaton, R. (Ed.), The versatile clarinet. (pp. 40-55). Routledge.

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

Cottrell, S.J. (2012). Musical Performance in the Twentieth Century: an overview. In: Lawson, C. & Stowell, R. (Eds.), The Cambridge History of Musical Performance. . Cambridge.

Cottrell, S.J. (2010). The rise and rise of phonomusicology. In: Bayley, A. (Ed.), Recorded Music: Performance, Culture and Technology. . Cambridge.

Einbond, A. (2016). Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words. In: Bresson, J., Agon, C. & Assayag, G. (Eds.), The OM Composer's Book. (pp. 155-171). France: Editions Delatour/Ircam-Centre Pompidou.

Fatsis, L. ORCID: 0000-0002-3082-951X (2024). Beat(s) for Blame: UK Drill Music, ‘Race’, and Criminal Justice. In: Dale, P., Burnard, P. & Travis, R. (Eds.), Music for Inclusion and Healing in Schools and Beyond Music for Inclusion and Healing in Schools and Beyond. . Oxford University Press.

Grant, P. (2017). The First World War in Popular Music since 1958. In: Einhaus, A. & Baxter, I. (Eds.), The Edinburgh Companion to the First World War and the Arts. (pp. 216-229). Edinburgh University Press.

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

Lambert, A., Weyde, T. & Armstrong, N. (2015). Perceiving and predicting expressive rhythm with recurrent neural networks. In: Proceedings of the 12th International Conference in Sound and Music Computing. . Maynooth, Ireland: SMC15.

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

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

Loya, S. ORCID: 0000-0002-9156-2804 (2018). Liszt’s National Compositions in the Year of the Franco-Prussian War. In: Kelly, E., Mantere, M. & Scott, D. B. (Eds.), Confronting the National in the Musical Past. (pp. 31-48). London: Routledge.

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

Mera, M. ORCID: 0000-0002-0031-0629 (2020). Music Maketh Man: Meritocracy in Kingsman: The Secret Service. In: Peddie, I. (Ed.), The Bloomsbury Handbook of Popular Music and Social Class. . London, UK: Bloomsbury Academic.

Mera, M. (2016). Towards 3-D Sound: Spatial Presence and the Space Vacuum. In: Greene, L. & Kulezic-Wilson, D. (Eds.), The Palgrave Handbook of Sound Design and Music in Screen Media. (pp. 91-111). Palgrave Macmillan UK. doi: 10.1057/978-1-137-51680-0

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

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

Nooshin, L. (2011). Hip-hop Tehran: Migrating Styles, Musical Meanings, Marginalised Voices. In: Toynbee, J. & Dueck, B. (Eds.), Migrating Music. (pp. 92-111). Routledge.

Nooshin, L. ORCID: 0000-0001-8737-5224 & Salavati, K. (2023). Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures. In: Ghorbankarimi, M., Langford, M. & Khosroshah, Z. (Eds.), The I.B.Tauris Handbook of Iranian Cinema. . Bloomsbury.

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 83-101). Eindhoven, the Netherlands: Lecturis.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (2). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 153-173). Eindhoven, the Netherlands: Lecturis.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Negotiating borrowing, genre and mediation in the piano music of Finnissy: strategies and aesthetics. In: Pace, I. ORCID: 0000-0002-0047-9379 & McBride, N. (Eds.), Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts. (pp. 57-103). London: Routledge.

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

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

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

Wiley, C. (2011). Theorizing Television Music as Serial Art: Buffy the Vampire Slayer and the Narratology of Thematic Score. In: Leonard, KP (Ed.), Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon. (pp. 23-67). Scarecrow Press.

Wolff, D. & Weyde, T. (2013). Combining Sources of Description for Approximating Music Similarity Ratings. In: Detyniecki, M., García-Serrano, A., Nürnberger, A. & Stober, S.view all authors (Eds.), Adaptive Multimedia Retrieval. Large-Scale Multimedia Retrieval and Evaluation. Lecture Notes in Computer Science, 7836. (pp. 114-124). Springer. doi: 10.1007/978-3-642-37425-8_9

Composition

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

Armstrong, N. (2015). Modes of forgetting

Armstrong, N. (2013). Nature pieces

Armstrong, N. (2011). Too slow, for Milton Perspectives of New Music.

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

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

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

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

Armstrong, N. (2010). unsaying

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

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

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

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

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

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

Pace, I. (2020). Schneeriss

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

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

Conference or Workshop Item

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

Benetos, E., Cherla, S. & Weyde, T. (2013). An efficient shift-invariant model for polyphonic music transcription. In: 6th International Workshop on Machine Learning and Music. MML 2013: 6th International Workshop on Machine Learning and Music, 23 Sep 2013, Prague, Czech Republic.

Benetos, E. & Dixon, S. (2010). Multiple-F0 estimation of piano sounds exploiting spectral structure and temporal evolution. In: ISCA Tutorial and Research Workshop on Statistical and Perceptual Audition. ISCA Tutorial and Research Workshop on Statistical and Perceptual Audition, 25 Sep 2010, Makuhari, Japan.

Benetos, E. & Dixon, S. (2011). Multiple-instrument polyphonic music transcription using a convolutive probabilistic model. In: 8th Sound and Music Computing Conference. 8th Sound and Music Computing Conference, 6 - 9 Jul 2011, Padova, Italy.

Benetos, E. & Dixon, S. (2011). Polyphonic music transcription using note onset and offset detection. In: ICASSP. 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), 22 - 27 May 2011, Prague, Czech Republic. doi: 10.1109/ICASSP.2011.5946322

Benetos, E. & Dixon, S. (2011). A temporally-constrained convolutive probabilistic model for pitch detection. In: IEEE Workshop on Applications of Signal Processing to Audio and Acoustics. Applications of Signal Processing to Audio and Acoustics (WASPAA), 2011 IEEE Workshop on, 16 - 19 Oct 2011, New Paltz, NY, US.

Benetos, E., Dixon, S., Giannoulis, D. , Kirchhoff, H. & Klapuri, A.view all authors (2012). Automatic Music Transcription: Breaking the Glass Ceiling. Paper presented at the 13th International Society for Music Information Retrieval Conference (ISMIR 2012), 8 - 12 Oct 2012, Porto, Portugal.

Benetos, E. & Holzapfel, A. (2013). Automatic transcription of Turkish makam music. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curitiba, PR, Brazil.

Benetos, E., Holzapfel, A. & Stylianou, Y. (2009). Pitched Instrument Onset Detection based on Auditory Spectra. In: Hirata, K, Tzanetakis, G & Yoshii, K (Eds.), ISMIR. 10th International Society for Music Information Retrieval Conference, ISMIR 2009, 26 - 30 Oct 2009, Kobe, Japan.

Benetos, E., Jansson, A. & Weyde, T. (2014). Improving automatic music transcription through key detection. In: Dittmar, C, Fazekas, G & Ewert, S (Eds.), http://www.aes.org/conferences/53/technical_programme.cfm. AES 53rd International Conference on Semantic Audio, 27 - 29 Jan 2014, London, UK.

Benetos, E., Klapuri, A. & Dixon, S. (2012). Score-informed transcription for automatic piano tutoring. In: European Signal Processing Conference. Signal Processing Conference (EUSIPCO), 2012 Proceedings of the 20th European, 27 - 31 Aug 2012, Bucharest, Romania.

Benetos, E. & Kotropoulos, C. (2008). A tensor-based approach for automatic music genre classification. In: 16th European Signal Processing Conference. EUSIPCO 2008: 16th European Signal Processing Conference, 25 - 29 Aug 2008, Lausanne, Switzerland.

Benetos, E., Kotropoulos, C., Lidy, T. & Rauber, A.view all authors (2006). Testing supervised classifiers based on non-negative matrix factorization to musical instrument classification. In: 14th European Signal Processing Conference. EUSIPCO 2006: 14th European Signal Processing Conference, 4 - 8 Sep 2006, Florence, Italy.

Benetos, E., Kotti, M. & Kotropoulos, C. (2006). Applying supervised classifiers based on non-negative matrix factorization to musical instrument classification. In: ICME. IEEE International Conference on Multimedia and Expo (ICME 2006), 9 - 12 July 2006, Toronto, Canada. doi: 10.1109/ICME.2006.262650

Benetos, E., Kotti, M. & Kotropoulos, C. (2007). Large scale musical instrument identification. In: 4th Sound and Music Computing Conference. 4th Sound and Music Computing Conference, 11 - 13 Jul 2007, Lefkada, Greece.

Benetos, E., Kotti, M. & Kotropoulos, C. (2006). Musical instrument classification using non-negative matrix factorization algorithms and subset feature selection. In: ICASSP, IEEE International Conference on Acoustics, Speech and Signal Processing - Proceedings. IEEE International Conference on Acoustics, Speech and Signal Processing, 14 - 19 May 2006, Toulouse, France.

Benetos, E., Kotti, M., Kotropoulos, C. , Burred, J. J., Eisenberg, G., Haller, M. & Sikora, T.view all authors (2005). Comparison of subspace analysis-based and statistical model-based algorithms for musical instrument classification. In: 2nd Workshop On Immersive Communication And Broadcast Systems. 2nd Workshop On Immersive Communication And Broadcast Systems (ICOB 2005), 27 - 28 Oct 2005, Berlin, Germany.

Benetos, E., Lagrange, M. & Dixon, S. (2012). Characterisation of acoustic scenes using a temporally-constrained shift-invariant model. In: 15th International Conference on Digital Audio Effects, DAFx 2012 Proceedings. 15th International Conference on Digital Audio Effects Conference (DAFx-12), 17 - 21 Sept 2012, University of York, York, UK.

Benetos, E. & Weyde, T. (2013). Explicit duration hidden Markov models for multiple-instrument polyphonic music transcription. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curitiba, Brazil.

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

Cherla, S., Weyde, T., Garcez, A. & Pearce, M.view all authors (2013). Learning Distributed Representations for Multiple-Viewpoint Melodic Prediction. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curtiba, PR, Brazil.

Dixon, S., Tidhar, D. & Benetos, E. (2011). The Temperament Police: The Truth, the Ground Truth, and Nothing but the Truth. In: Klapuri, A & Leider, C (Eds.), ISMIR. 12th International Society for Music Information Retrieval Conference, 24 - 28 Oct 2011, Miami, Florida, US.

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

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

Einbond, A., Trapani, C., Agostini, A. , Ghisi, D. & Schwarz, D.view all authors (2014). Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAX. In: ICMC. International Computer Music Conference, ICMC 2014, 14-20 September, 2014, Athens, Greece.

Einbond, A., Trapani, C. & Schwarz, D. (2012). Precise pitch control in Real Time Corpus-Based concatenative synthesis. In: ICMC. ICMC 2012: Non-Cochlear Sound, 9 September - 14 September 2012, Ljubljana, Slovenia.

Emerson, K., Williamson, V. & Wilkinson, R. (2017). Seeing the music in their hands: How conductors' depictions shape the music. In: Van Dyck, E. (Ed.), Proceedings of the 25th Anniversary Conference of the European Society for the Cognitive Sciences of Music. ESCOM 2017 25th Anniversary Conference of the European Society for the Cognitive Sciences of Music, 31 July - 04 August 2017, Ghent, Belgium.

Giannoulis, D., Benetos, E., Stowell, D. , Rossignol, M., Lagrange, M. & Plumbley, M. D.view all authors (2013). Detection and classification of acoustic scenes and events: an IEEE AASP challenge. Paper presented at the IEEE Workshop on Applications of Signal Processing to Audio and Acoustics, 20 - 23 Oct 2013, New Paltz, NY, USA.

Giannoulis, D., Stowell, D., Benetos, E. , Rossignol, M., Lagrange, M. & Plumbley, M. D.view all authors (2013). A database and challenge for acoustic scene classification and event detection. In: 21st European Signal Processing Conference. The 21st European Signal Processing Conference, 9 - 13 Sep 2013, Marrakech, Morocco.

Kotti, M., Martins, L. P. M., Benetos, E. , Cardoso, J. S. & Kotropoulos, C.view all authors (2006). Automatic speaker segmentation using multiple features and distance measures: a comparison of three approaches. In: ICME. IEEE International Conference on Multimedia and Expo (ICME 2006), 9 - 12 July 2006, Toronto, Canada. doi: 10.1109/ICME.2006.262727

Lambert, A. J., Weyde, T. ORCID: 0000-0001-8028-9905 & Armstrong, N. ORCID: 0000-0002-1927-7371 (2016). Adaptive Frequency Neural Networks for Dynamic Pulse and Metre Perception. In: Mandel, M. I., Devaney, J., Turnbull, D. & Tzanetakis, G.view all authors (Eds.), Proceedings of the 17th International Society for Music Information Retrieval Conference, ISMIR 2016, New York City, United States, August 7-11, 2016. 17th International Society for Music Information Retrieval Conference, ISMIR 2016, 7 - 11 August 2016, New York City, United States.

Lee, D., Robinson, L. & Bawden, D. ORCID: 0000-0002-0478-6456 (2018). Global knowledge organization, "super-facets" and music; universal music classification in the digital age. In: Challenges and Opportunities for Knowledge Organization in the Digital Age: Proceedings of the Fifteenth International ISKO Conference 9-11 July 2018 Porto, Portugal. Fifteenth International ISKO Conference, 09 - 11 July 2018, Porto, Portugal.

Loya, S. (2015). Neither major, nor minor: The Affective Fluctuating Third in Central-European Art Music ca. 1840–1940. Paper presented at the Dur vs. Moll: Zum semantischen Potenzial eines musikalischen Elementarkontrasts. Kontinuitäten und Brüche in der neuzeitlichen Musik und Musiktheorie, 19 Nov 2015 - 22 Nov 2015, Institut für Musik wissenschaft Universität Leipzig, Germany.

Mearns, L., Benetos, E. & Dixon, S. (2011). Automatically detecting key modulations in J.S. Bach chorale recordings. In: 8th Sound and Music Computing Conference. 8th Sound and Music Computing Conference, 6 - 9 Jul 2011, Padova, Italy.

Nooshin, L. (2016). 'Happy Families? Convergence, Antagonism and Disciplinary Identities or "We’re all God knows what now" (Cook 2016)'. Paper presented at the City Debate, 'Are we all Ethnomusicologists now?', City University London.

Nooshin, L. (2017). Windows onto other Worlds. Musical Exoticism in Iranian Cinema: Between National Imaginary and Global Circulation. Keynote Paper presented at the Exoticism in Contemporary Transnational Cinema: Music and Spectacle, 16 Jun 2017, London, UK.

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

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

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

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

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

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

Pace, I. (2008). Between Adorno and HIP: Possibilities of Synthesis. Paper presented at the Adorno and Musical Reproduction Conference, 13-09-2008 - 14-09-2008, Manchester, UK.

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

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

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

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

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

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

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

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

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

Panagakis, I., Benetos, E. & Kotropoulos, C. (2008). Music genre classification: a multilinear approach. In: Bello, JP, Chew, E & Turnbull, D (Eds.), ISMIR. International Symposium Music Information Retrieval, 14 - 18 September 2008, Philadelphia, USA.

Perez-Lapillo, J., Galkin, O. & Weyde, T. ORCID: 0000-0001-8028-9905 (2020). Improving Singing Voice Separation with the Wave-U-Net Using Minimum Hyperspherical Energy. In: ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). doi: 10.1109/icassp40776.2020.9053424

Stumpf, S. & Muscroft, S. (2011). When users generate music playlists: When words leave off, music begins?. Paper presented at the Third International Workshop on Advances in Music Information Research (AdMIRe) in conjunction with the IEEE International Conference on Multimedia and Expo (ICME), 11 - 15 July 2011, Barcelona, Spain.

Tidhar, D., Fazekas, G., Kolozali, S. & Sandler, M.view all authors (2009). Publishing Music Similarity Features on the Semantic Web. In: Hirata, K, Tzanetakis, G & Yoshii, K (Eds.), ISMIR. 10th International Society for Music Information Retrieval Conference, ISMIR 2009, 26 - 30 Oct 2009, Kobe, Japan.

Weyde, T. (2007). Automatic Semantic Annotation of Music with Harmonic Structure. Paper presented at the 4th Sound and Music Computing Conference, 11 - 13 Jul 2007, Lefkada, Greece.

Weyde, T. (2002). Integrating Segmentation and Similarity in Melodic Analysis. In: Proceedings of the International Conference on Music Perception and Cognition 2002. 7th International Conference on Music Perception & Cognition - ICMPC7, 17 - 21 Jul 2002, Sydney, Australia.

Weyde, T., Ng, K., Neubarth, K. , Larkin, O., Koerselman, T. & Ong, B.view all authors (2007). A Systemic Approach to Music Performance Learning with Multimodal Technology. Paper presented at the Support E-Learning Conference, 2007, Quebec City, Canada.

Weyde, T. & Wolff, D. (2011). Adapting Metrics for Music Similarity Using Comparative Ratings. In: Proceedings of the 12th International Society for Music Information. 12th International Society for Music Information, 24 - 28 Oct 2011, Miami, FL, US.

Wissmann, Jens, Weyde, T. & Conklin, D. (2010). Representing chord sequences in OWL. Paper presented at the Sound and Music Computing Conference 2010, 21 - 24 June 2010, Barcelona, Spain.

Wolff, D., Stober, S., Nürnberger, A. & Weyde, T.view all authors (2012). A Systematic Comparison of Music Similarity Adaptation Approaches. In: Gouyon, F, Herrera, P, Martins, LG & Müller, Mview all authors (Eds.), ISMIR. 13th International Society for Music Information Retrieval Conference (ISMIR 2012), 8 - 12 Oct 2012, Porto, Portugal.

de Valk, R., Weyde, T. & Benetos, E. (2013). A machine learning approach to voice separation in lute tablature. Paper presented at the 14th International Society for Music Information Retrieval Conference, 4 - 8 Nov 2013, Curitiba, Brazil.

Internet Publication

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

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

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Response to Anna Bull (on Stella Duffy and everyday creativity)

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Response to Charlotte C. Gill article on music and notation – full list of signatories

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Response to Stella Duffy on the arts, elitism, and communities

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

Monograph

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

Performance

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

Pace, I. ORCID: 0000-0002-0047-9379 (2019). 23 World Premieres of New Commissions for Ian Pace at 50 - 30 April 2018. Composers including Patricia de Almeida, James Dillon, Michael Finnissy, Christopher Fox, Sadie Harrison, Morgan Hayes, Wieland Hoban, Alwynne Pritchard, Lauren Redhead, Walter Zimmermann City University Concert Series.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Anatomy of Melancholy - The Piano Music of Marc Yeats (CD Recording) Prima Facie Records.

Pace, I. ORCID: 0000-0002-0047-9379 (2013). CD recording - David Felder, Rocket Summer Albany Records.

Pace, I. ORCID: 0000-0002-0047-9379 (2015). Concert of contemporary works, York Late Music Concert Series, 7 March 2015, with premieres of new works by Steve Crowther and Edward Caine (Etude: Resonance) York Late Music Concert Series.

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Eleven Concert Series of Complete Piano Works of Michael Finnissy, February 2016-January 2017 City, University of London; Royal Holloway, University of London; Goldsmiths College, University of London; Hollywell Music Room, Oxford.

Pace, I. ORCID: 0000-0002-0047-9379 (2015). Gogol Fest, 27 September 2015 - Ukranian Premieres of works of Horatiu Radulescu, Pascal Dusapin, Rebecca Saunders, Brian Ferneyhough, Maxim Kolomiets Gogol Fest.

Pace, I. ORCID: 0000-0002-0047-9379 (2017). Homage to David Tudor - Recreation of combined programmes of avant-garde pianist David Tudor, Jacqueline du Pré Music Building, Oxford Oxford University.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Premieres of 16 New Piano Pieces, 13 May 2019 City, University of London.

Pace, I. ORCID: 0000-0002-0047-9379 (2019). Radio Broadcast of Volker Heyn 203 (55' piano piece) for Westdeutscher Rundfunk Westdeutscher Rundfunk.

Pace, I. ORCID: 0000-0002-0047-9379 (2018). Three Concert Series - History of Contemporary Piano Music, York Late Music Festival York Late Music Festival.

Pace, I. ORCID: 0000-0002-0047-9379 (2013). World Premiere 12 January 2013, Teatro Académico, Coimbra, Portugal - Patricia de Almeida, Reditus ad Vitam (2012) Teatro Académico de Gil Vicente.

Pace, I. ORCID: 0000-0002-0047-9379 (2014). World Premiere 29 March 2014, Borealis Festival, Bergen - Alistair Zaldua, Spagyria (2013) for piano Borealis Festival.

Pace, I. ORCID: 0000-0002-0047-9379 (2014). World Premiere 30 May 2014 - Adam de la Cour, Holy Toledo (2013-14) City University Concerts Series.

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere 7 May 2016 - York Late Music - Andrew Toovey, First Out (2016) York Late Music Concerts.

Pace, I. ORCID: 0000-0002-0047-9379 (2018). World Premiere Performance - Samuel Andreyev, Piano Pieces I-IV (2011-16) - 25 May 2018. With UK Premieres of piano works of Betsy Jolas. City University Concert Series.

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance 29 October 2016 - Lauren Redhead, For Luc Brewaeys (2016) - commissioned by Transit New Music Festival, Leuven, Belgium Transit New Music Festival, Leuven, Belgium.

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance 29 October 2016 - Luc Brewaeys, The Dale of Tranquility - Transit New Music Festival, Leuven, Belgium Transit New Music Festival, Leuven, Belgium.

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance 29 October 2016 - Patrícia de Almeida, Vacuum Corporis (Piano Piece 4) - commissioned by Transit New Music Festival, Leuven, Belgium Transit New Music Festival, Leuven, Belgium.

Pace, I. ORCID: 0000-0002-0047-9379 (2015). World Premiere Performance of Herman Vogt, Concordia Discors, Études - Ultima Oslo Contemporary Music Festival 10 - 19 September 2015 Ultima Festival.

Pace, I. ORCID: 0000-0002-0047-9379 (2016). World Premiere Performance, 7 May 2016 - Michael Finnissy, Beethoven's Robin Adair (2016), co-commissioned by York Late Music and Transit Festival York Spring Festival.

Pace, I. ORCID: 0000-0002-0047-9379 (2013). World Premiere, 24 March 2013 - Lauren Redhead - i am but one small instrument London Ear Festival.

Pace, I. ORCID: 0000-0002-0047-9379 (2017). World Premieres - new commissions from Howard Skempton, John White, David Power, Edward Caine, Steve Crowther - Late Music Concerts, York, 6 May 2017 York Late Music Concerts.

Pace, I. ORCID: 0000-0002-0047-9379 & Limbrick, S. (2018). Floating, Drifting (CD Recording) Louth Contemporary Music.

Pace, I. ORCID: 0000-0002-0047-9379 & Tunnell, C. (2018). Horatiu Radulescu - first recording of L'Exil Intérieur for Cello and Piano, opus 98, with Catherine Tunnell - on Mode Records MOD-CD-313 Mode Records.

Pace, Ian ORCID: 0000-0002-0047-9379 (2017). World Premiere Performance 2 June 2017 - Luc Brewaeys, completed Michael Finnissy, The Dale of Tranquillity (2004, completed 2017) City University Concert Series.

Thesis

Alvarez, J. (1993). Compositional strategies in music for solo instruments and electroacoustic sounds. (Unpublished Doctoral thesis, City University London)

Anderson, E.L. (2011). Materials, meaning and metaphor: Unveiling spatiotemporal pertinences in acousmatic music. (Unpublished Doctoral thesis, City University London)

Ansdell, G. (1999). Music therapy as discourse and discipline : a study of 'music therapist's dilemma'. (Unpublished Doctoral thesis, City University London)

Antonopoulos, Spyridon (2014). The Life and Works of Manuel Chrysaphes the Lampadarios, and the Figure of Composer in Late Byzantium. (Unpublished Doctoral thesis, City, University of London)

Aristopoulos, M. (2017). A portfolio of recombinant compositions for the videogame Apotheon. (Unpublished Doctoral thesis, City, University of London)

Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London)

Bailie, J. E. C. (2017). Transcribing Reality: how the nature of audio and visual media have affected culture, perception, and the role of the artist.. (Unpublished Doctoral thesis, City, University of London)

Baines, Emily Joye (2017). The Ghost in the Machine: The role of mechanical musical instruments as primary sources for eighteenth-century performance practice in England, and an examination of the style(s) contained therein.. (Unpublished Doctoral thesis, Guildhall School of Music & Drama / City, University of London)

Barrett, N.L. (1997). Structuring processes in electroacoustic composition. (Unpublished Doctoral thesis, City University London)

Bell, Jonathan (2016). Audio-scores, a resource for composition and computer-aided performance. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London)

Bhunnoo, S.A. (2018). What can a sonic assemblage do? A biopsychosocial approach to post-acousmatic composition. (Unpublished Doctoral thesis, City, University of London)

Billing, S. (2006). Bacewicz : the violin concertos. (Unpublished Doctoral thesis, City University London)

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

Bohrer, J.C.S. (2002). Intonational strategies in ensemble singing. (Unpublished Doctoral thesis, City University London)

Brown, T. (2000). English Vernacular Performing Arts in the Late Twentieth Century. (Unpublished Doctoral thesis, City, University of London)

Brownell, A. (2010). The English piano in the Classical Period: Its Music, Performers, and Influences. (Unpublished Doctoral thesis, City University London)

Bucar, M. (2015). Aesthetic negativity and choreographic practice. (Unpublished Doctoral thesis, City, University of London)

Byrne, L. (2022). Playing With the Viola da Gamba. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

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

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

Cherla, S (2016). Neural ProbabilisticModels for Melody Prediction, Sequence Labelling and Classification. (Unpublished Doctoral thesis, City, University of London)

Cole, W.D. (2018). Expanded musical form. (Unpublished Doctoral thesis, City, University of London)

Conibere, Nicola (2015). Audiences, choreography, publics: the politics & practice of spectatorship. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Cross, I. (1989). The cognitive organisation of musical pitch. (Unpublished Doctoral thesis, City University London)

Crowdus, Miranda (2016). Hip hop in South Tel Aviv: third space, convergent dispossession(s), and intercultural communication in urban borderlands. (Unpublished Doctoral thesis, City, University of London)

Davidson, J.W. (1991). The perception of expressive movement in music performance. (Unpublished Doctoral thesis, City University London)

Davis, Daniel (2021). Musical Composition portfolio. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

De Villiers, N. (2018). The becoming of a song composer: a critical re-evaluation of Richard Hageman and his songs. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Dean-Lewis, T. (2001). Playing outside : excursions from the tonality in jazz improvisation. (Unpublished Doctoral thesis, City University London)

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

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

Dodds, C. (2021). The Composer as Fiction Maker: The Weird, the Magical, and the Speculative in the work of Cameron Dodds. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Dons, K. S. K. (2019). Musician, friend and muse: an ethnographic exploration of emerging practices of musicians devising co-creative musicking with elderly people. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

Dutta, W. (2018). The curating composer: mediating the production, exhibition and dissemination of non-classical music. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City, University of London)

Dysers, C. (2019). Loop aesthetics: repetition in the work of Bernhard Lang. (Unpublished Doctoral thesis, City, University of London)

Elmsley (né Lambert), A. (2017). Modelling metrical flux: an adaptive frequency neural network for expressive rhythmic perception and prediction. (Unpublished Doctoral thesis, City, University of London)

Evans, F.M. (1996). Aural image and the language of electroacoustic music. (Unpublished Doctoral thesis, City University London)

Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London)

Field, A. E. (1999). Electroacoustic Composition. (Unpublished Doctoral thesis, City University London)

Flower, I. (2023). Sex Worker’s Opera: Community musical theatre as artistic activism. (Unpublished Doctoral thesis, City, University of London)

Frengel, Mike (2005). Process and form: perspectives on the application of predetermined systems to sectional forms in music composition. (Unpublished Doctoral thesis, City University, London)

Fripp, Ashley (2021). Thomas Adès's "Happy Promiscuity": Interpreting the 'Concert Paraphrase on Powder her Face'.. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Gato, Gonçalo (2016). Algorithm and Decision in Musical Composition. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Goldberg, Tatjana (2015). Maud Powell, Marie Hall and Alma Moodie: A gendered re-evaluation of three violinists. (Unpublished Doctoral thesis, City University London)

Green, Owen (2013). User serviceable parts: Practice, technology, sociality and method in live electronic musicking. (Unpublished Doctoral thesis, City University London)

Guitry, Amy Beth (2010). The Baroque flute as a modern voice : Extended techniques and their practical integration through performance and improvisation. (Unpublished Doctoral thesis, City University London)

Hammond, C. (2012). To Conceal or Reveal: left-hand pianism with particular reference to Ravel's Concerto pour la main gauche and Britten's Diversions. (Unpublished Doctoral thesis, City University London)

Harman, G. (2018). Investigating the phenomenon of dance and music performance through the experience of the performer. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Harries, Guy (2011). The Electroacoustic and its Double: Duality and Dramaturgy in Live Performance. (Unpublished Doctoral thesis, City University London)

Hasikou, Anastasia (2017). The social history of music development in the Greek Cypriot population during 1878-1945. (Unpublished Doctoral thesis, City, University of London)

Hassiotis, K. (2010). A critical edition of the 48 studies for oboe, op. 31 by Franz Wilhelm Ferling (1796-1874), based on original historical evidence and viewed within the context of the evolution of didactic material for oboe, with particular reference to nineteenth-century performing practices.. (Unpublished Doctoral thesis, City University London)

Hauge, P. (1997). English music theory c.1590-c.1690 : the modal systems, changing concepts, and the development of new classification systems. (Unpublished Doctoral thesis, City University London)

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

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

Higgins, Jonathan (2021). Composing with noise: Utilising noise as a transformative and generative tool for creative sound practice. (Unpublished Doctoral thesis, City, University of London)

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

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

Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London)

Hoyle, J. (2022). Composing with Time. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Ingleton, H (2015). Composing Paradoxes Feminist Process in Sound Arts and Experimental Musics. (Unpublished Doctoral thesis, City, University of London)

Ingvarsson, H.R. (2018). Opening opera: developing a framework that allows for the interactive creative processes of improvised theatre in the productions of new music-dramas. (Unpublished Doctoral thesis, Guildhall School of Music & Drama)

Inoguchi, Ikuko (2016). Concepts of time in the works of John Cage, George Crumb, and Toru Takemitsu and implications for performance. (Unpublished Doctoral thesis, City University London)

Inskip, C. (2010). Upbeat and Quirky, With a Bit of a Build: Communicating Meaning and Meeting Information Needs in the Music Industry. (Unpublished Doctoral thesis, City University London)

Ishii, H. (2006). Composing electroacoustic music relating to traditional Japanese music. (Unpublished Doctoral thesis, City University London)

Jones, K. (1980). Computer assisted application of stochastic structuring techniques in musical composition and control of digital sound synthesis systems. (Unpublished Doctoral thesis, City University London)

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

Kang, Ja Yeon (2011). Robert Schumann's notion of the cycle in Lieder Und Gesange Aus Goethes Wilhelm Meister, Op. 98a And Waldszenen, Op.82. (Unpublished Doctoral thesis, City University London)

Karydis, D. (2006). Beethoven's annotations to Cramer's twenty-one piano studies : context and analysis of performance. (Unpublished Doctoral thesis, City University London)

Khosravi, Peiman (2012). Spectral spatiality in the acousmatic listening context. (Unpublished Doctoral thesis, City University London)

Koukoli, E. (2019). Exercise: Les Noces translation as a mode of performative postproduction and the historical dialogue between dance and visual art. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Kreiling, J. (2017). Towards a performance of Scriabin's Sonata No. 6, Op. 62: a practice-led exploration. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

Lawrence, M. (2019). Music performance anxiety as hidden desire and emerging self: the development and exploration of a conceptual lens for performers and practitioners. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Lawrence, Mark (2013). Veljo Tormis, Estonian composer. (Unpublished Doctoral thesis, City University London)

Lee, C.A. (1992). The analysis of therapeutic improvisatory music with people living with the virus HIV and AIDS. (Unpublished Doctoral thesis, City University London)

Li, C. (2007). Piano performance : strategies for score memorisation. (Unpublished Doctoral thesis, City University London)

Lim, Lemy Sungyoun (2010). The Reception of Women Pianists in London, 1950-60. (Unpublished Doctoral thesis, City University London)

Lim, S. Y. L. (2019). Exploring organic decay through sound. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Lim, X (2019). Haptic Analysis: An Alternative to Score-based Analyses of Chopin’s Piano Sonatas Op. 35 and Op. 58. (Unpublished Doctoral thesis, City, University of London)

Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London)

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

Lopez Jorge, M. (2016). Imagery and the composition of music: an insight into an original compositional method inspired by mental imagery. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Loufopoulos, A. (2004). Nature in electroacoustic music. (Unpublished Doctoral thesis, City University London)

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

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

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

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

Metaxaki, M. (2005). Considerations for pedalling Debussy's piano music. (Unpublished Doctoral thesis, City University London)

Michael, C. (2017). Contemplating identity and genre in Greek popular song: The Theatrical Compositions of Manos Hadjidakis Between 1944 and 1966. (Unpublished Doctoral thesis, City, University of London)

Miranda- Perez, R. (1992). Jose Rolon: a study of his life and music. (Unpublished Doctoral thesis, City University London)

Mirzayeva, G. (2020). The piano music of Azerbaijan: national and cross- cultural influences on contemporary performance practices. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Moschos, P. (2006). Performing Classical-period music on the modern piano. (Unpublished Doctoral thesis, City University London)

Needham-Beck, Sarah (2017). Cardiorespiratory fitness in contemporary dance training and performance. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

Negishi, Yuki (2018). Haptic influences on Chopin pianism: case studies from the music of Szymanowska and Kessler. (Unpublished Masters thesis, Trinity Laban Conservatoire of Music and Dance)

Nelson, S.J. (2001). Melodic improvisation on a twelve bar blues model : an investigation of physical and historical aspects and their contribution to performance. (Unpublished Doctoral thesis, City University London)

Ngwe, C.U. (2022). Re-Sounding the African Diaspora: Uncovering Afro-British histories in classical music through curatorial-activism. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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

Ogonek, E.A. (2017). The effect of text on compositional decisions. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

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

Palmer, J. (1994). Formal strategies in composition. (Unpublished Doctoral thesis, City, University of London)

Papadopoulos, M. (1996). Motion in music: a study of movement and time through musical interpretation. (Unpublished Doctoral thesis, City University London)

Papapetrou, Andreas (2015). Acts of making and receiving: A compositional practice. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City University of London)

Parry, Aneurin Stefan (2000). Limits of Abstraction in Electroacoustic Music. (Unpublished Doctoral thesis, City University London)

Pasoulas, Aki (2011). The perception of timescales in electroacoustic music. (Unpublished Doctoral thesis, City University London)

Peat, Richard (2007). Representing children in opera. (Unpublished Doctoral thesis, City University)

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

Pick, Edward (2013). Tonality in Schoenberg's music with particular reference to the Piano Concerto. (Unpublished Doctoral thesis, City University London)

Picknett, Michael (2014). Devising music: applying creative approaches from dance and theatre to music composition. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Poll, M. (2022). Searching for Eloquence: Rhetoric as Artistic Foil in Arranging Bach for 7-String Guitar. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Pujol Torras, I. (2020). Group vocal improvisation as a music therapy technique in community mental health services: a comparative case study using convergent mixed methods. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Querfurth, K. (2020). Density as an aesthetic principle and creative practice in composition. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Rakitzis, Vasileios (2015). Alfred Cortot's response to the music for solo piano of Franz Schubert: a study in performance practice. (Unpublished Doctoral thesis, City, University of London)

Ranan, D. (2002). The Management of Public Subsidies for Opera. (Unpublished Doctoral thesis, City, University of London)

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

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

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

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

Rogalsky, M.R. (2006). Idea and community : the growth of David Tudor's Rainforest, 1965-2006. (Unpublished Doctoral thesis, City University London)

Rosas Cobian, Michael (1997). Electroacoustic music composition: myth, symbol and image. (Unpublished Doctoral thesis, City University, London)

Rosenfelder, Ruth (2003). Hidden voices : women's music in London's Lubavitch and Satmar Hasidic communities. (Unpublished Doctoral thesis, City, University of London)

Roustom, K. (2022). Two violin concerti: A study in non-duality. (Unpublished Doctoral thesis, City, University of London)

Rovirosa Cabre, R. (2020). Pau Casals: from a Catalan choirboy to an artist of peace A qualitative exploration of Casals’ thought as shown in his piano and choral compositions. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Rowden, C. (2001). Massenet, Marianne and Mary : Republican morality and Catholic tradition at the opera. (Unpublished Doctoral thesis, City University London)

Rubin, J.E. (2001). The art of the klezmer: improvisation and ornamentation in the commercial recordings of New York clarinettists Naftule Brandwein and Dave Tarras 1922-1929. (Unpublished Doctoral thesis, City University London)

Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London)

Seddon, Ambrose (2013). Recurrence in acousmatic music. (Unpublished Doctoral thesis, City University London)

Seddon, Laura (2011). The instrumental music of British Women Composers in the Early Twentieth Century. (Unpublished Doctoral thesis, City University London)

Sefchovich, J.R.S. (2003). Compositional strategies in electroacoustic music. (Unpublished Doctoral thesis, City University London)

Shrimpton, E. (2020). Beautiful idiots: the embodiment of the fool. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Sigurjónsson, N. (2009). Variations on the act of listening: Twenty-one orchestra audience development events in light of John Dewwy's 'art as experience' metaphor. (Unpublished Doctoral thesis, City University London)

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

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

Soares, Alexander (2015). Memorisation of atonal music. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Spagnolo, Simone (2015). Each tale chases another. Metaphorical representations, non-linearity and openness of narrative structure in Italian opera from post-WWII to It makes no difference. (Unpublished Doctoral thesis, City University London)

Sparks, P.R. (1989). A history of the Neapolitan mandoline from its origins until the early nineteenth century, with a thematic index of published and manuscript music for the instrument. (Unpublished Doctoral thesis, City University London)

Stanley, D. (1989). English Gypsy Singing. (Unpublished Doctoral thesis, City University London)

Stansbie, Adam (2013). The Acousmatic Musical Performance: An Ontological Investigation. (Unpublished Doctoral thesis, City University London)

Steiner, T.J. (1992). Composition: interaction and collaboration. (Unpublished Doctoral thesis, City University London)

Styles, Luke (2016). Collaboration as Compositional Process; a Transdisciplinary Perspective.. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City University London)

Suckling, C (2015). The realisation of recitative by the Cello in Handelian Opera. (Unpublished Doctoral thesis, City, University of London)

Swindells, R. (2004). Klasik, kawih, kreasi : musical transformation and the gamelan degung of Bandung, West Java, Indonesia. (Unpublished Doctoral thesis, City University London)

Sylvanus, E. (2018). Nollywood film music: shades of identity. (Unpublished Doctoral thesis, City, University of London)

Tay, A. W. J (2023). Recomposing reality: The composer as illusionist. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Thomas, J.M. (2005). Electroacoustic composition indicative of human agency. (Unpublished Doctoral thesis, City University London)

Tkachenko, Paul (2013). The real deal: professional klezmer musicians on a London world music scene. (Unpublished Doctoral thesis, City University London)

Trewin, A.M. (1995). Rhythms of the gods: the musical symbolics of power and authority in the Tibetan Buddhist Kingdom of Ladakh. (Unpublished Doctoral thesis, City University London)

Venables, P. (2016). 4.48 Psychosis: opera as music and text. (Unpublished Doctoral thesis, Guildhall School of Music & Drama / City, University of London)

Vinao, A. (1987). Magic realism in music : Four electroacoustic compositions. (Unpublished Doctoral thesis, City University London)

Voss, A. (1992). Magic, astrology and music: the background to Marsilio Ficino's astrological music therapy and his role as a Renaissance magus. (Unpublished Doctoral thesis, City University London)

Wagner, Julia (2021). The Subject Matter and Intentions Related to Verbal Feedback in One-to-One Vocal and Instrumental Lessons in Higher Music Education. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Walduck, J.S. (1997). Role-taking in free improvisation and collaborative composition. (Unpublished Doctoral thesis, City University London)

Walker, S.E. (1995). Eclecticism, postmodernism, subversion: new perspectives on English experimental music. (Unpublished Doctoral thesis, City University London)

Wang, Y. (2020). Finding my voice: an interdisciplinary and multi-methodological investigation into the relationship between performers’ speech and musical expression. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Weissenbrunner, K. (2017). Experimental turntablism - live performances with second hand technology: Analysis and methodological considerations. (Unpublished Doctoral thesis, City, Universtiy of London)

Weng, Chih-Hung (2007). Symbolism and Chinese culture: conceptual and practical resources in the composition of electroacoustic music. (Unpublished Doctoral thesis, City University London)

Wetherick, D. (2022). The assessment of musicianship in selection for UK Music Therapy training: Performing 'Music Therapy Musicianship'. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Wilford, Stephen (2016). Bledi Cockneys: music, identity and mediation in Algerian London. (Unpublished Doctoral thesis, City, University of London)

Wills, S.D. (2021). The Gig Economy: Professional orchestral playing in London 1789 - 1861. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Windsor, W.L. (1995). A perceptual approach to the description and analysis of acousmatic music. (Unpublished Doctoral thesis, City University London)

Wissmann, Jens (2012). Chord Sequence patterns in OWL. (Unpublished Doctoral thesis, City University London)

Woolgar, Jonathan (2021). Composition portfolio. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Yakira, Hagit (2018). Relational Autobiographical Choreography – on new choreographic practice. (Unpublished Doctoral thesis, Trinity-Laban Conservative of Music and Dance)

Yim, Annie (2016). A comparative and contextual study of Schumann's piano trio in D minor, Op. 63 and Brahms' piano trio in B major, Op. 8 (1854 version): from musical aesthetics to modern performances. (Unpublished Doctoral thesis, City University London)

Yiu, R. (2013). A composer's imagining of musical tradition and the reinvention of heritage. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Zhang, Jia (2020). Integrating technique and interpretation in high-level violin playing and teaching: an intercultural exploration. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Zisser, Na'ama (2019). MAMZER/BASTARD: Incorporating Jewish Cantorial Music into Contemporary Opera. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

d'Escrivan Rincon, J.C. (1991). Creative Intuition as a Compositional Strategy in Electroacoustic Music. (Unpublished Doctoral thesis, City University London)

de Valk, R. (2015). Structuring lute tablature and MIDI data: Machine learning models for voice separation in symbolic music representations. (Unpublished Doctoral thesis, City, University of London)

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