Research | Publications

Timbre and Orchestration Resource

The Analysis, Creation, and Teaching of Orchestration Project publishes peer-reviewed articles, essays, and project reports on its Timbre and Orchestration Resource.

Interactive Project Reports

Articles

Amazing Moments in Timbre

Timbre Lingo

External Publications

Publications since APRIL 2018 by ACTOR partners

Alphabetical List here or click here for a searchable list

  • Afghah, T., Patros, E., & Puckette, M. (2018). A pseudoinverse technique for the pressure-matching beamforming method [Conference presentation]. 145th Audio Engineering Society Convention, New York, NY, United States. https://www.aes.org/events/145/

  • Afghah, T., Patros, E., & Puckette, M. (2019, March). The physical evaluation of the efficiency of an enhanced pressure-matching beamforming method using eigen decomposition pseudoinverse mathematical approach. In Audio Engineering Society Conference: 2019 AES International Conference on Immersive and Interactive Audio. Audio Engineering Society. http://www.aes.org/e-lib/browse.cfm?elib=20442

  • Antoine, A., Depalle, P., Macnab-Séguin, P. & McAdams, S. (2021). Modeling human experts' identification of orchestral blends using symbolic information. In R. Kronland-Martinet, S. Ystad & M. Aramaki (Eds.), Perception, representations, image, sound, music (pp. 363-378). Springer Verlag. https://doi.org/10.1007/978-3-030-70210-6_24

  • Aouameur, C., Esling, P., & Hadjeres, G. (2019). Neural drum machine: An interactive system for real-time synthesis of drum sounds. arXiv preprint arXiv:1907.02637. https://arxiv.org/abs/1907.02637

  • Axelsson, Ö., Guastavino, C., & Payne, S. R. (2019). Soundscape Assessment. Frontiers in psychology, 10, 2514. doi: 10.3389/fpsyg.2019.02514 

  • Bachir-Loopuyt, T., Couprie, P., Gétreau, F., and Hérold, N. (Eds.). (2019). Proceedings of the symposium Les sciences de la musique : de nouveaux défis dans une société en mutation. Paris. https://sites.google.com/view/symposium2019/actes-électroniques-du-symposium-en-libre-accès 

  • Bazin, P., and Hasegawa, R. (Eds.). (2019). Les voies de la pansonorité : La microtonalité d’hier à aujourd’hui. Université de Montréal. https://revuecircuit.ca/collection/29_2/

  • Berndt, A., Waloschek, S., & Hadjakos, A. (2018). Meico: A Converter Framework for Bridging the Gap between Digital Music Editions and its Applications. Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion. USA, 18, 1-7. https://doi.org/10.1145/3243274.3243282

  • Berndt, A. & Bohl, B. (2018). Music Performance Markup: Formale Beschreibung musikalischer Interpretationen. editio, 32(1), 185-204. https://doi.org/10.1515/editio-2018-0012

  • Berndt, A. (2019). Interactive Media Scoring with Ambient Music. In M. Adkins and S. Cummings (Eds.), Music beyond airports: Appraising ambient music(pp. 197-226). University of Huddersfield Press. https://unipress.hud.ac.uk/plugins/books/19/

  • Bitton, A., Chemla—Romeu-Santos, A., & Esling, P. (2018). Timbre transfer between orchestral instruments with semi-supervised learning. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (pp. 109-110). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf

  • Bitton, A., Esling, P., Caillon, A., & Fouilleul, M. (2019). Assisted sound sample generation with musical conditioning in adversarial auto-encoders. arXiv preprint arXiv:1904.06215. https://arxiv.org/abs/1904.06215v2

  • Bockstael, A., Steele, D., Trudeau, C., & Guastavino, C. (2019). Forever young: Is age of importance in urban soundscape design?. Proceedings Of the 26th International Congress on Sound And Vibration, Canada, 5. https://www.researchgate.net/publication/337290268_Forever_Young_is_age_of_importance_in_urban_soundscape_design#read

  • Boulan, M., Guillotel-Nothmann, C., and Hérold, N. (Eds.). (2020). Musurgia XXVII/2. Eska.

  • Boulan, M., Guillotel-Nothmann, C., and Hérold, N. (Eds.). (2020). Musurgia XXVII/1. Eska. https://www.cairn.info/revue-musurgia-2020-1.htm

  • Boulan, M., Guillotel-Nothmann, C., and Hérold, N. (Eds.). (2019). Musurgia XXVI. Eska. https://www.cairn.info/revue-musurgia-2019-3.htm

  • Boutard, G., & Guastavino, C. (2018). Cultural heritage, information science, and the creative process. In N. Donin (Ed.), The Oxford Handbook of the Creative Process in Music. DOI: 10.1093/oxfordhb/9780190636197.001.0001

  • Boyd, J., Popa, I., Ritter, M., and Sallis, F. (2019). Engagin in playful creation: Two case studies in mediated music education. La musica del Novecento: una risorsa per la scuola. Strumenti, proposte, riflessioni. 140-162 http://ojs.francoangeli.it/_omp/index.php/oa/catalog/book/389

  • Burns, A.-M., & Traube, C. (2020). Reports From the Field: Learning to Play the Guitar With the Novaxe Online Learning Platform. In Waldron, J., Horsley, S., and Veblen, K (Eds.) The Oxford Handbook of Social Media and Music Learning. Oxford University Press. DOI: 10.1093/oxfordhb/9780190660772.013.15

  • Caetano, M., and Cella, C. (2021). Imitative computer-aided musical orchestration with biologically inspired algorithms. In Miranda, E. (Ed.) Handbook of artificial intelligence for music Springer. DOI: 10.1007/978-3-030-72116-9 

  • Calvo-Zaragoza, J., Castellanos, F. J., Vigliensoni, G., & Fujinaga, I. (2018). Deep neural networks for document processing of music score images. Applied Sciences, 8(5), 654. https://doi.org/10.3390/app8050654

  • Carsault, T., & Esling, P. (2018). Learning spectral transforms to improve timbre analysis. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (pp. 97-98). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf

  • Carsault, T., Nika, J., and Esling, P. (2018). Using musical relationships between chord labels in automatic chord extraction. In ISMIR (pp. 18-25). taskshttp://ismir2018.ismir.net/doc/pdfs/231_Paper.pdf

  • Castellanos, F. J., Calvo-Zaragoza, J., Vigliensoni, G., & Fujinaga, I. (2018). Document Analysis of Music Score Images with Selectional Auto-Encoders. In ISMIR (pp. 256-263). http://ismir2018.ircam.fr/doc/pdfs/93_Paper.pdf

  • Cella, C. E., & Esling, P. (2018). Open-source modular toolbox for computer-aided orchestration. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (93-94). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf

  • Chemla–Romeu-Santos, A., Esling, P., Haus, G. & Assayag G. (2019). Cross-modal variational inference for bijective signal. Proceeding of the International Conference on Digital Audio Effects DaFX 2019, UK. 112-119. http://dafx2019.bcu.ac.uk/assets/DAFx19Proceedings.pdf

  • Crestel, L., Esling, P., Ghisi, D., and Meier, R. (2018). Generating orchestral music by conditioning SampleRNN. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (95-96). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf

  • de Francisco, M. (2019). Meeting the challenge of producing classical music for global audiences in the digital era. Journal of Intellectual Property Law & Practice 14(4), 327-330. DOI: https://doi.org/10.1093/jiplp/jpz009

  • de Francisco, M., Kob, M., Rivest, J. F., & Traube, C. (2019). ODESSA–Orchestral Distribution Effects in Sound, Space and Acoustics: An interdisciplinary symphonic recording for the study of orchestral sound blending. Proceedings of the International Symposium on Music Acoustics, ISMA 2019. https://pub.dega-akustik.de/ISMA2019/data/articles/000090.pdf

  • Déguernel, K., Vincent, E., & Assayag, G. (2018). Probabilistic factor oracles for multidimensional machine improvisation. Computer Music Journal, 42(02), 52-66. https://hal.inria.fr/hal-01693750/file/Probabilistic_Factor_Oracles_CMJ42-2.pdf

  • Déguernel, K., Vincent, E., Nika, J., Assayag, G., & Smaïli, K. (2020). Learning of Hierarchical Temporal Structures for Guided Improvisation. Computer Music Journal, 43(2-3), 109-124. https://hal.inria.fr/hal-02378273/document

  • Delisle, J., Hasegawa, R., Noble, J., and Touizrar, M. (in preparation). The Oxford Handbook of Orchestration Studies. Oxford University Press.

  • Dolan, E., & Rehding, A. (2021). Oxford Handbook of Timbre. Oxford University Press.

  • Dolan, E.I. & Patteson, T. (2018) Ethereal timbres. In E. I. Dolan & A. Rehding (Eds.), The Oxford Handbook of Timbre, Oxford University Press, New York, NY. DOI: 10.1093/oxfordhb/9780190637224.013.27

  • Dolan, E.I., & Rehding, A. (2020). Timbre: Alternative Histories and Possible Futures for the Study of Music. In E. Dolan and A. Rehding (Eds.), The Oxford Handbook of Timbre. Oxford. DOI: 10.1093/oxfordhb/9780190637224.013.36 

  • Donahue, C., McAuley, J., & Puckette, M. (2018). Adversarial audio synthesis. arXiv preprint arXiv:1802.04208. https://arxiv.org/abs/1802.04208

  • Donahue, C., McAuley, J., & Puckette, M. (2018). Synthesizing audio with GANs. ICLR 2018 https://openreview.net/pdf/4eafb40ca29e8bf472f726381a6711526f844567.pdf

  • Doras, G., Esling, P., & Peeters, G. (2019, January). On the use of u-net for dominant melody estimation in polyphonic music. In 2019 International Workshop on Multilayer Music Representation and Processing (MMRP) (pp. 66-70). IEEE. https://hal.archives-ouvertes.fr/hal-02457728/document

  • Ducher, J. F., & Esling, P. (2019, November). Folded CQT RCNN for Real-time Recognition of Instrument Playing Techniques. In International Society for Music Information Retrieval (ISMIR2019). https://hal.archives-ouvertes.fr/hal-02472560/document

  • Esling, P., Chemla-Romeu-Santos, A., & Bitton, A. (2018). Bridging Audio Analysis, Perception and Synthesis with Perceptually-regularized Variational Timbre Spaces. In ISMIR (pp. 175-181). http://ismir2018.ismir.net/doc/pdfs/219_Paper.pdf

  • Esling, P., Chemla—Romeu-Santos, A., and Bitton, A. (2018). Generative timbre spaces: Regularizing variational auto-encorders with perceptual metrics. arXiv:1805.08501. https://arxiv.org/pdf/1805.08501.pdf

  • Esling, P., Masuda, N., Bardet, A., & Despres, R. (2019). Universal audio synthesizer control with normalizing flows. arXiv preprint arXiv:1907.00971. https://arxiv.org/pdf/1907.00971.pdf

  • Féron, F. X., Guastavino, C., & Carat, B. (2018, July). Acoustical analyses of extended playing techniques in Pression by Helmut Lachenmann. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (99-100). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf

  • Féron, F. X., & Guastavino, C. (2018). Étudier la musique sous toutes ses formes: la démultiplication des approches scientifiques en musicologie. Histoire de la recherche contemporaine. La revue du Comité pour l’histoire du CNRS, 7(1), 40-49. https://doi.org/10.4000/hrc.1940

  • Féron, F.-X., Camier, C., Guastavino, C. (2020). Spatial effects induced by a sound centrifuge [Abstract]. Forum IRCAM Hors les murs, Montreal, QC, Canada. https://halshs.archives-ouvertes.fr/halshs-03081908

  • Fink, R., Wallmark, Z., & Latour, M. (2018). Introduction–Chasing the Dragon: In R. Fink, M. Latour, and Z. Wallmark (Eds.). Search of Tone in Popular Music. The Relentless Pursuit of Tone: Timbre in Popular Music, 1-17. DOI:10.1093/oso/9780199985227.003.0001

  • Fink, R., Latour, M., & Wallmark, Z. (Eds.). (2018). The relentless pursuit of tone: Timbre in popular music. Oxford University Press.

  • Fischer, M., Soden, K, Thoret, E., Montrey, M, & McAdams, S. (2021). Instrument timbre enhances perceptual segregation in orchestral music. Music Perception, 38(5), pp. 473-498. DOI: https://doi.org/10.1525/MP.2021.38.5.473

  • Fraisse, V., Steele, D., d'Ambrosio, S., & Guastavino, C. (2020). Shaping urban soundscapes through sound art: a case study in a public square exposed to construction noise. In International Workshop on Haptic and Audio Interaction Design. https://hal.archives-ouvertes.fr/hal-02901201/document

  • Fujinaga, I., Hankinson, A., & Pugin, L. (2018). Automatic score extraction with optical music recognition (omr). In R. Bader (Ed.). Springer Handbook of Systematic Musicology (pp. 299-311). Springer, Berlin, Heidelberg. https://www.springerprofessional.de/en/automatic-score-extraction-with-optical-music-recognition-omr/15554608

  • Gari, S., Kob, M., & Lokki, T. (2019). Analysis of trumpet performance adjustments due to room acoustics. In Proceedings of the International Symposium on Room Acoustics: 15 to 17 September 2019 in Amsterdam, Netherlands (pp. 65-73). Nederlands Akoestisch Genootschap (NAG). https://publications.rwth-aachen.de/record/772232

  • Gari, S. V. A., Kob, M., & Lokki, T. (2019). Analysis of trumpet performance adjustments due to room acoustics. Universitätsbibliothek der RWTH Aachen.

  • Gillick, J., Cella, C. E., & Bamman, D. (2019, November). Estimating Unobserved Audio Features for Target-Based Orchestration. In ISMIR (pp. 192-199).DOI: 10.5281/zenodo.3527776

  • Goldman, J. (2020). Review of CD “Dániel Péter Biró, Mishpatim, Noa Frenkel (contralto), Ernis Theodorakis (piano), Ensemble SurPlus, SWR Experimentalstudio, Double SACD, NEOS 11919-20, 2019” MusicWorks https://www.musicworks.ca/reviews/daniel-peter-biro-mishpatim-laws

  • Goldman, J. (2021). Probing Gordon Mumma's Studio Heuristic through a Digital Recreation of Mesa (1966). Contemporary Music Review, 39(6), 733-756. https://doi.org/10.1080/07494467.2020.1863009

  • Goodchild, M. & McAdams, S. (2018) Perceptual processes in orchestration. In E. I. Dolan & A. Rehding (Eds.), The Oxford Handbook of Timbre, Oxford University Press, New York, NY. DOI: 10.1093/oxfordhb/9780190637224.013.10

  • Goodchild, M., Wild, J., & McAdams, S. (2019). Exploring emotional responses to orchestral gestures. Musicae Scientiae, 23(1), 25-49. DOI: 10.1177/1029864917704033

  • Grothe, T., and Kob, M. (2019). High resolution 3D radiation measurements on the bassoon. Proceedings of the International Symposium on Music Acoustics ISMA 2019. https://pub.dega-akustik.de/ISMA2019/data/articles/000094.pdf

  • Guastavino, C. (2018). Everyday sound categorization. In T. Virtanen and M. Plumbey (Eds.). Computational Analysis of Sound Scenes and Events, 183-213. DOI: 10.1007/978-3-319-63450-0_7

  • Guastavino, C., Dubois, S., Cance, C., Coler, M, and Paté, A. (Eds.). (In review). Exploring Sensory Experiences : A Handbook on Meaning and the Senses. John Benjamins.

  • Guastavino, C., Fraisse, V., D'Ambrosio, S., Legast, E., and Lavoie, M. (2020). Spatial sound art in public spaces. Forum IRCAM Hors les murs, Montreal, QC, Canada. https://www.youtube.com/watch?v=zkSvLuNUKeo

  • Hansen, N.C. and Reymore, L. (2021). Articulatory motor planning and timbral idiosyncrasies as underlying mechanisms of instrument-specific absolute pitch in expert musicians. PLOS One, 16(2), e0247136. https://doi.org/10.1371/journal.pone.0247136

  • Hasegawa, R. (2018). [Liner notes]. In Joshua Fineberg: Sonic Fictions [CD]. Cudworth: Divine art recordings group. https://d2ajug1vehh95s.cloudfront.net/28564booklet.pdf

  • Hasegawa, R. (2019). Explorations of Equal-Tempered Microtonality [Review of the book Manual of Quarter-Tone Harmony, by I. Wyschnegradsky, and the book Steps to the Sea: Ear Training and Composing in a Minute Equal Temperament, by J. Werntz]. Circuit: musiques contemporaines, 29(2), 99-102.
    https://doi.org/10.7202/1062570ar

  • Heng, L. (2018). Timbre in the communication of emotions among performers and listeners from western art music and Chinese music traditions. Masters Thesis. McGill University, Montreal, QC. https://escholarship.mcgill.ca/concern/theses/x346d6558

  • Hasegawa, R. (2019) Timbre as harmony—harmony as timbre. In E. I. Dolan & A. Rehding (Eds.), The Oxford Handbook of Timbre, Oxford University Press, New York, NY. DOI: 10.1093/oxfordhb/9780190637224.013.11

  • Hérold, N., Guichaoua, C., and Mays, T. (Eds.)(2021). Acte musical et environnements informatiques (Journées d'Informatique Musicale 2020 - JIM 2020), Université de Strasbourg/Faculté des Arts, Strasbourg. https://jim2020.sciencesconf.org/resource/page/id/14

  • Hérold, N. (2021). "La fille aux cheveux de lin" de Debussy : quelques éléments pour une analyse "timbrique", Profils d'une œuvre, dossier "Debussy, La fille aux cheveux de lin", Société Française d'Analyse Musicale. www.sfam.org/nouveau/Profils.php

  • Hérold, N. (2020). Le timbre face à l'hétérogénéité musicale : conceptualisation, enjeux, pertinence. In M.-N. Masson (Ed.) Entre théorie et analyse musicale : corpus et méthodes, p. 189-211, Delatour, Sampzon, https://www.researchgate.net/publication/348383060_Le_timbre_face_a_l%27heterogeneite_musicale_conceptualisation_enjeux_pertinence

  • Hérold, N. (2020). Towards a Theory and Analysis of Timbre based on Auditory Scene Analysis Principles : A Case Study of Beethoven's Piano Sonata Op. 106, Third Movement. In A. Zacharakis, C. Saitis, and K. Siedenburg (Eds.), Proceedings of the 2nd International Conference on Timbre (Timbre 2020), p. 146-148, The School of Music Studies, Aristotle University of Thessaloniki. https://www.researchgate.net/publication/344015598_Towards_a_Theory_and_Analysis_of_Timbre_based_on_Auditory_Scene_Analysis_Principles_A_Case_Study_of_Beethoven%27s_Piano_Sonata_Op_106_Third_Movement

  • Hérold, N. (2018). Le traitement de la forme brève dans le Carnaval op. 9 de Schumann : un éclairage à partir de l’analyse timbrique. In V. Cotro (Ed.) Musique et formes brèves. Peter Lang, Bruxelles. 105-120. https://www.researchgate.net/publication/343651218_Le_traitement_de_la_forme_breve_dans_le_Carnaval_op_9_de_Schumann_un_eclairage_a_partir_de_l%27analyse_timbrique

  • Hérold, N. (2018). Timbre et signification musicale : la spécificité pianistique des topiques dans la musique pour piano de Franz Liszt. In M. Grabócz (Ed.) Les grands topoï du xixe siècle et la musique de Franz Liszt.Hermann, Paris. 303-318. https://www.researchgate.net/publication/345387681_Timbre_et_signification_musicale_la_specificite_pianistique_des_topiques_dans_la_musique_pour_piano_de_Franz_Liszt

  • Hérold, N., & Michel, P. (2019) Enregistrer les Dix pièces pour quintette à vent de György Ligeti sous la direction artistique du compositeur. Musimédiane 9(4). https://musimediane.com/numero9/HEROLD-MICHEL/

  • Hérold, N. (2020). Le timbre face à l’hétérogénéité musicale : conceptualisation, enjeux, pertinence. In M.-N. Masson (Ed.) Entre théorie et analyse musicale : corpus et méthodes. Delatour, Sampzon. 189-211. https://www.researchgate.net/publication/348383060_Le_timbre_face_a_l%27heterogeneite_musicale_conceptualisation_enjeux_pertinence

  • Hérold, N. (Ed.). (2020). Musique en acte 1. Gream. https://gream.unistra.fr/revue-musique-en-acte/musique-en-acte-1-2020/

  • Hérold, N. (2020). Analyser le timbre : Objets, méthodes, représentations. In P. Lalitte (Ed.) Musique et cognition : perspectives pour l'analyse et la performance musicales.Éditions Universitaires de Dijon, Dijon. 15-33. https://www.researchgate.net/publication/343651033_Analyser_le_timbre_objets_methodes_representations

  • Ioannou, S., & Kob, M. (2019). Investigation of the blending of sound in a string ensemble. Proceedings of the International Symposium on Music Acoustics ISMA 2019. (pp 42-49). https://pub.dega-akustik.de/ISMA2019/data/articles/000093.pdf

  • Kazazis, S., Depalle, P., & McAdams, S. (2021). Ordinal scaling of timbre-related spectral audio descriptors. The Journal of the Acoustical Society of America 149, 3785-3796 (2021) https://doi.org/10.1121/10.0005058

  • Kestler, G., Yadegari, S., & Nahamoo, D. (2019, May). Head related impulse response interpolation and extrapolation using Deep Belief Networks. ICASSP 2019-2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), Brighton, UK, (pp. 266-270). DOI: 10.1109/ICASSP.2019.8683570

  • Kob, M., & Weege, T. A. (2019). How to Interprete Early Recordings? Artefacts and Resonances in Recording and Reproduction of Singing Voices. In R. Bader (Ed.) Computational Phonogram Archiving (pp. 335-350). Springer, Cham. https://www.springer.com/gp/book/9783030026943

  • Kob, M., and Baskind, A. (2019). Impact of free field inhomogenity on directivity measurements due to the measurement set-up. Proceedings of the International Symposium on Music Acoustics ISMA 2019. (pp 62-67). http://pub.dega-akustik.de/ISMA2019/data/articles/000089.pdf

  • Kob, M. (2019). The human mouth as a sound space. In A. Wilson (Ed.) Sound Worlds from the Body to the City: Listen!. Cambridge Scholars Publishing, UK. 51-58 https://www.cambridgescholars.com/resources/pdfs/978-1-5275-2388-3-sample.pdf

  • Kob, M., Garí, S. V. A., & Kalkandjiev, Z. S. (2020). Room effect on musicians’ performance. In J. Blauert and J. Braasch (Eds.) The Technology of Binaural Understanding, Springer 223-249. https://www.springer.com/gp/book/9783030003852

  • Koh, E. and Yadegari, S. (2018), Mugeetion: Musical interface using facial gesture and emotion. In ICMC 2018. arXiv:1809.05502. https://arxiv.org/pdf/1809.05502v2.pdf

  • Lazarov, V., Rennotte, S., & Traube, C. (2019). De l’intention musicale au jeu instrumental. Développement d’un protocole de recherche pour l’analyse qualitative et quantitative de trois styles d’interprétation d’une oeuvre de J.-S. Bach au piano. Revue musicale OICRM, 6(1), 113-141. https://www.erudit.org/fr/revues/rmo/2019-v6-n1-rmo04787/1062431ar.pdf

  • LeBlanc, J. (2020). Movimento, gesto e espaço no Quatour à Cordes. In P. Maia (Ed.). Armando Santiago. Atelier de composição. https://atelierdecomposicao.wordpress.com/2019/07/07/em-producao/

  • Lee, S., & Menicanin, S. (2019). Acoustic Space, Modern Interiority, and Korngold’s Cities. In D. Goldmark and K. Karnes (Eds.). Korngold and His World (pp. 67-88). Princeton University Press. DOI: https://doi.org/10.1515/9780691198736-005

  • Lembke, S. A., Parker, K., Narmour, E., & McAdams, S. (2019). Acoustical correlates of perceptual blend in timbre dyads and triads. Musicae Scientiae, 23(2), 250-274. https://doi.org/10.1177/1029864917731806

  • Leroux, P. (2019). Enfin de l’espace (ultrachromatique et non-octaviant)!. Circuit: musiques contemporaines, 29(2), 11-18. https://revuecircuit.ca/articles/29_2/03-enfin-de-lespace-ultrachromatique/

  • Lockhart, E. (2021). Antoine Reicha, science, and the origins of the music theory. In F. Morabito and L. de Raymond (Eds.) Antoine Reicha and the making of a nineteenth-Ceentury composer. Ut Orpheus. Italy. 93-114. https://www.utorpheus.com/index.php?route=product/product&product_id=3587

  • McAdams, S., and Goodchild, M. (2018) MPCL Technical Report MPCL-001.

  • McAdams, S., & Siedenburg, K. (2019). Perception and cognition of musical timbre. In P. J. Rentfrow & D. J. Levitin (Eds.), Foundations in Music Psychology: Theory and Research, pp. 71-120, MIT Press, Cambridge, MA. https://mitpress.mit.edu/books/foundations-music-psychology

  • McAdams, S. (2019). The perceptual representation of timbre. In K. Siedenburg, C. Saitis, S. McAdams, A. Popper, and R. Fay (Eds.) Timbre: Acoustics, perception, and cognition (pp. 23-57). Springer, Cham. https://www.springer.com/gp/book/9783030148317

  • McAdams, S. (2019). Timbre as a structuring force in music. In K. Siedenburg, C. Saitis, S. McAdams, A. Popper, and R. Fay (Eds.) Timbre: Acoustics, perception, and cognition (pp. 211-243). Springer, Cham. https://www.springer.com/gp/book/9783030148317

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  • Michel, P. (2019). Restaurer, sauvegarder, s'exprimer autrement... In H. Demoz and O. Baisez (Eds.) Musique visible. pp. 25-30. Éditions Contrechamps, Genève, Suisse. https://books.openedition.org/contrechamps/3306?lang=en

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  • Noble, J. (2020). The Paradoxical Complexity of Sound Masses. Part 1: Theoretical Background. In TOR Research-Creation Series. ACTOR Project. https://www.actorproject.org/tor/research-creation-series/paradoxical-complexity/part-1/theoretical-background

  • Noble, J. (2020). The Paradoxical Complexity of Sound Masses. Part 2: Shadow Prism (2015). In TOR Research-Creation Series. ACTOR Project. https://www.actorproject.org/tor/research-creation-series/paradoxical-complexity/part-2/shadow-prism

  • Noble, J. (2020). The Paradoxical Complexity of Sound Masses. Part 3: Fantaisie harmonique. In TOR Research-Creation Series. ACTOR Project. https://www.actorproject.org/tor/research-creation-series/part-3/fantasie-harmonique

  • Noble, J. (2020). Down the Rabbit Hole: Adventures in a Digital Wonderland. In The Pro Coro Voice. https://www.procoro.ca/blog/down-the-rabbit-hole

  • Noble, J. (2021). A case study of perceptual challenges and advantages of homogeneous orchestration: fantaisie harmonique (2019) for guitar double-orchestra. In Proceedings of The 21st Century Guitar (2nd edition). https://youtu.be/qDhatDWPW7I (beginning 2:32:30)

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  • Noble, J. (2018). Removing the imaginary boundary between score and work. In S. Bhagwati (Ed.). Proceedings of the Fourth International Conference on Technologies for Music Notation and Representation (pp. 174-180). Concordia University. https://www.tenor-conference.org/proceedings/2018/22_Noble_tenor18.pdf

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  • Noble, J. (2018). What Can the Temporal Structure of Auditory Perception Tell Us about Musical "Timelessness"?. Music Theory Online, 24(3). DOI: 10.30535/mto.24.3.5

  • Noble, J. (2019). Being Time: Case Studies in Musical Temporality. By Richard Glover, Jennie Gottschalk, and Bryn Harrison. Music and Letters, 100(4). 755–757. https://doi.org/10.1093/ml/gcz084

  • Noble, J. (2020). “Directions of Choral Research at the Beginning of the 21st Century.” In H. Godmundsdottir, C. Beynon, K. Ludke, and A. Cohen (Eds.) The Routledge Companion to Interdisciplinary Research in Singing, Volume II: Education. https://www.routledge.com/The-Routledge-Companion-to-Interdisciplinary-Studies-in-Singing-Volume/Gudmundsdottir-Beynon-Ludke-Cohen/p/book/9781138061149

  • Noble, J., Bonin, T., & McAdams, S. (2020). Experiences of Time and Timelessness in Electroacoustic Music. Organised Sound, 25(2), 232-247. DOI: https://doi.org/10.1017/S135577182000014X

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Representative musical works by team members

135. Britton, E. (2017). Heirloom Bison Culture for orchestra and electronics.

136. Czernowin, C. (2010). The Quiet for orchestra in three groups. Schott Musik, Mainz, Germany.

137. Eagle, D. (2011). Two Forms of Intuition for chamber orchestra and computer.

138. Hamel, K. (2011). Les Cloches for chamber ensemble and interactive electronics.

139. Jarrell, M. (2000). Assonance IX for clarinet and orchestra. Henry Lemoine, Paris, France.

140. Leroux, P. (2016). Envers IV for symphony orchestra. Editions Billaudot, Paris, France

141. Lévy, F. (2001). Hérédo-ribotes for solo viola and orchestra. Editions Billaudot, Paris, France.

142. Maresz, Y. (2016). Répliques for augmented harp and orchestra. Editions Durand, Paris, France.

143. Michaud, P. (2006). Chiaroscuro for large orchestra and live electronics.

144. Naón, L. (2014). Quebrada/Horizonte for symphony orchestra, BabelScores, Paris, France.

145. Palej, N. (2013). The Poet and the War for soprano and chamber orchestra.

146. Radford, L. (2010). Online for full orchestra and laptop ensemble.

147. Rea, J. (2006). Figures hâtives for violin and orchestra.

148. Reynolds, R. (2000/2001). The Angel of Death for solo piano, chamber orchestra and computer-processed sound. Edition Peters, New York, NY.

149. Steiger, R. (2008). Cryosphere for orchestra and digital audio signal processing.

150. Tutschku, H. (2016). periods of existence for 10 instruments. BabelScores, Paris, France.

151. Yadegari, S. (2005). Music for Courtyard, computer-generated sound installation.