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Anderson, Elizabeth (2011). Materials, meaning and metaphor: Unveiling spatio-temporal pertinences in acousmatic music. (Unpublished Doctoral thesis, City University London)
Armstrong, N. ORCID: 0000-0002-1927-7371 (2022).
The Book of the Sediments
Armstrong, N. ORCID: 0000-0002-1927-7371 (2023).
Fosc v0.9.0
GitHub.
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.
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 (Unpublished Doctoral thesis, Guildhall School of Music and Drama)
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 (Unpublished Doctoral thesis, City, University of London)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 (Unpublished Doctoral thesis, City, University of London)
Einbond, A., Trapani, C., Agostini, A. , Ghisi, D. & Schwarz, D. (2014). Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAX. Paper presented at the International Computer Music Conference, ICMC 2014, 14-20 September, 2014, Athens, Greece.
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 (Unpublished Doctoral thesis, City University London)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 (Unpublished Doctoral thesis, City University London)
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.
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.
Ng, K.-C., Weyde, T., Larkin, O. , Neubarth, K., Koerselman, T. & Ong, B. (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
Pace, I. ORCID: 0000-0002-0047-9379 (2019).
Clothcomposers
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.
Pietras, M. & Robinson, L. (2012). Three views of the "musical work": Bibliographical control in the music domain. Library Review, 61(8), pp. 551-560. doi: 10.1108/00242531211292060
Rosas Cobian, Michael (1997). Electroacoustic music composition: myth, symbol and image. (Unpublished Doctoral thesis, City University, London)
Stickney, P. F. (2021). Giant steps for harp: New approaches to the pedals. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance, City University London)
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)