City Research Online

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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 (Unpublished Doctoral thesis, Guildhall School of Music and Drama)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 (Unpublished Doctoral thesis, City University London)

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.

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Boehm, F. (2024). Vocalic Somatics - Feedback Loops, Felt Meaning and Novel Practice as Research Methods. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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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 (Unpublished Doctoral thesis, Guildhall School of Music and Drama)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 (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/City, University of London)

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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 (Unpublished Doctoral thesis, City, University of London)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 (Unpublished Doctoral thesis, City, University of London)

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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.

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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 (Unpublished Doctoral thesis, City University London)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)

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

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 (Unpublished Doctoral thesis, City, University of London)

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 (Unpublished Doctoral thesis, City, University of London)

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.

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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)

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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

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

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

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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(8/9), pp. 551-560. doi: 10.1108/00242531211292060

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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)

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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)

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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)

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