City Research Online

Article

Ng, K.-C., Weyde, T., Larkin, O. , Neubarth, K., Koerselman, T. & Ong, B.view all authors (2007). 3d augmented mirror: a multimodal interface for string instrument learning and teaching with gesture support. ICMI '07 Proceedings of the 9th international conference on Multimodal interfaces, pp. 339-345. doi: 10.1145/1322192.1322252

Pietras, M. & Robinson, L. (2012). Three views of the "musical work": Bibliographical control in the music domain. Library Review, 61(8/9), pp. 551-560. doi: 10.1108/00242531211292060

Book Section

Hall, T., Armstrong, N. ORCID: 0000-0002-1927-7371 & Hoadley, R. (2023). Notations and Score-making. In: The SuperCollider Book. . Massachusetts, USA: MIT Press.

Lingas, A. (2015). An Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946). In: Morosan, V. & Lingas, A. (Eds.), Maximilian Steinberg, Opus 13, Based on Early Russian Chants (Musical Score). (pp. vii-xviii). San Diego, CA, USA: Musica Russica.

Composition

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

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

Conference or Workshop Item

Armstrong, N. (2015). Listening as a material. Paper presented at the Troisième Biennale d'Analyse Musicale 2015, 26-27 March 2015, Conservatoire royal de Mons.

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.

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.

Performance

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

Software

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

Thesis

Aguirre Quinonero, Maite (2023). Blanche Selva: her pianistic legacy. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Anderson, Elizabeth (2011). Materials, meaning and metaphor: Unveiling spatio-temporal pertinences in acousmatic music. (Unpublished Doctoral thesis, City University London)

Carpio, R (2022). Expanding the core of conservatoire training: Exploring the transformative potential of community engagement activities within conservatoire training. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Cupitt, S.A. (2024). Flute tone and timbre: unveiling the hidden practices of the one-to-one teaching studio by situating learning as research and the driver for the development of new learner-centred, practice-oriented pedagogy. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City, University of London)

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

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)

Gardner, Thomas (2011). The effect of electronically mediated sound on group musical interaction: A case study of the practice and development of the Automatic Writing Circle. (Unpublished Doctoral thesis, City University London)

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)

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

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

Murphy Clifford, G. (2023). An Exploratory Study of the Teaching of Beginner Recorder Players in England and Its Links to Social Perceptions of the Recorder: Teachers, Technique and Tutor Books. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

Noonan, S. (2024). Rhythmic Storytelling with Drums and Voice. (Unpublished Doctoral thesis, City, University of London)

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

Ramachandran, A. (2023). Self-reported voice problems and coping strategies in Western Classical and Carnatic singers: A mixed-methods study. (Unpublished Doctoral thesis, City, University of London)

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

Shipard, R. (2023). The Nature of Interpretive Processes: Applying Improvisational Methods to the Practice and Performance of Canonical Piano Repertoire. (Unpublished Doctoral thesis, Guildhall School of Music and Drama)

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

Tandon, Rekha (2005). Classicism on the threshold of modernity: expanding the physical parameters of Odissi Dance for contemporary audiences. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City University 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)