Items where Subject is "M Music"

Article

Ablinger, Peter (2014) Cézanne and the music. Perception and its deficits. MusicTexte (140).

Ablinger, Peter (2015) Herdenglocken: Gedanken zu einer innerdeutschen Diskussion um die Konzeptmusik. MusikTexte (145). p. 43. ISSN 0178-8884

Ablinger, Peter (2009) Keine Überschreitung. Positionen. Texte zur aktuellen Musik, 78. p. 11.

Ablinger, Peter (2010) Kopfhören. Notizen über das Wahrnehmen. MusikTexte, 124. ISSN 0178-8884

Ablinger, Peter (2008) Schwarz und Weiss. Figurationen, 2. ISSN 1439-4367

Ablinger, Peter (2012) Überflüssiges, Zum Begriff des Experimentellen. Positionen, 90.

Adkins, Monty (2016) Editorial: Situating the Avant-Garde: conformity and oppositional culture. Organised Sound, 21 (2). pp. 95-96. ISSN 1355-7718

Adkins, Monty (2015) Introduction to Issue 4. Divergence Press, 4 (1). ISSN 20523467

Adkins, Monty and Gatt, Michael (2009) [60]Project: Conception, Composing and Archiving. International Computer Music Conference Proceedings, 2009. pp. 137-140. ISSN 2223-3881

Adkins, Monty, Scott, Richard and Tremblay, Pierre Alexandre (2016) Post-Acousmatic Practice: Re-evaluating Schaeffer’s heritage. Organised Sound, 21 (02). pp. 106-116. ISSN 1355-7718

Adlington, Robert C. (2001) Counting Time, Countering Time: Louis Andriessen’s De Tijd. Indiana Theory Review, 22. pp. 1-35. ISSN 0271-8022

Adlington, Robert C. (2004) Louis Andriessen, Hanns Eisler, and the Lehrstück. Journal of Musicology, 21 (3). pp. 381-417. ISSN 0277-9269

Adlington, Robert C. (2003) Moving Beyond Motion: Metaphors for Changing Sound. Journal of the Royal Musical Association, 128 (2). pp. 297-318. ISSN 0269-0403

Adlington, Robert C. (2008) Organizing Labor: Composers, Performers, and “the Renewal of Musical Practice” in the Netherlands, 1969–72. Musical Quarterly, 90 (3-4). pp. 539-577. ISSN 0027-4631

Adlington, Robert C. (2018) Politics and the popular in British Music Theatre of the Vietnam era. Journal of the Royal Musical Association, 143 (2). pp. 433-471. ISSN 0269-0403

Adlington, Robert C. (2007) “A Sort of Guerrilla”: Che at the Opera. Cambridge Opera Journal, 19 (2). pp. 167-193. ISSN 0954-5867

Adlington, Robert C. (2009) Tuning in and Dropping Out: The Disturbance of the Dutch Premiere of Stockhausen's Stimmung. Music and Letters, 90 (1). pp. 94-112. ISSN 0027-4224

Adlington, Robert C. (2016) Whose Voices? The Fate of Luigi Nono’s Voci destroying muros. Journal of the American Musicological Society, 69 (1). pp. 179-236. ISSN 0003-0139

Aulich, John (2016) Power, agency, deference and difference Examining the politics of composer–performer relationships in the wake of recent innovations. Fields: journal of Huddersfield student research, 2 (1). e16. ISSN 2057-0163

Baars, Girilal (2015) The Harmonic Sequencer: Mapping the Harmonic Series to a Sequencer. Divergence Press, 4 (1). ISSN 20523467

Bellamy, Mary (2013) Developing instrumental sound resources through collaborative compositional practice. Search: Journal for New Music and Culture, 2013 (10).

Bokowiec, Mark and Wilson-Bokowiec, Julie (2003) Spiral fiction. Organised Sound, 8 (3). pp. 279-287. ISSN 1355-7718

Brooks, Julian, Brooks, Joanna and Tremblay, Pierre Alexandre (2012) Across The Great Divide. Journal of Music, Technology and Education, 5 (2). pp. 145-157. ISSN 1752-7066

Brummer, Ludger, Dipper, Gotz, Wagner, David, Stenschke, Holger and Otto, Jochen Arne (2014) New developments for spatial music in the context of the ZKM Klangdom: A review of technologies and recent productions. Divergence Press, 3 (1). ISSN 20523467

Bryan, John (2011) Extended Play: Reflections of Heinrich Isaac's Music in Early Tudor England. The Journal of Musicology, 28 (1). pp. 118-141. ISSN 0277-9269

Bryan, John (2013) 'Their last foile and polishment': aspects of compositional refinement in the consort dances of Dowland and Holborne. Early Music, 41 (2). pp. 219-237. ISSN 0306-1078

Butler, Philip, Cowgill, Rachel, Duffy, Celia, Hand, Richard J. and Price, Deborah (2006) Multi-Disciplinary Perspectives on the British Library's Archival Sound Recordings Project. Performance Research, 11 (4). pp. 117-126. ISSN 1469-9990

Calvert, Dave (2016) Jokes as performance text: a close reading of Rat Pack banter. Comedy Studies, 7 (1). pp. 38-47. ISSN 2040-610X

Calvert, Dave (2010) Loaded Pistols: the interplay of social intervention and anti-aesthetic tradition in learning disabled performance. Research in Drama Education: The Journal of Applied Theatre and Performance, 15 (4). pp. 513-528. ISSN 1356-9783

Calvert, Dave (2013) ‘Royal Pierrots’ and ‘White Coons’: the British Pierrot Troupe in the Racial and National Imaginary. New Theatre Quarterly, 29 (2). pp. 107-120. ISSN 0266-464X

Calvert, Dave (2015) Similar hats on similar heads: uniformity and alienation at the Rat Pack’s Summit Conference of Cool. Popular Music, 34 (1). pp. 1-21. ISSN 0261-1430

Calvert, Dave (2014) ‘A person with some sort of learning disability’: the aetiological narrative and public construction of Susan Boyle. Disability and Society, 29 (1). pp. 101-114. ISSN 0968-7599

Cassidy, Aaron (2013) Constraint Schemata, Multi-axis Movement Modeling, and Unified, Multi-parametric Notation for Strings and Voices. Search: Journal for New Music and Culture, 10.

Cassidy, Aaron (2012) Francis Bacon, a painter of figures in rooms. Exaudi2012.

Cassidy, Aaron (2012) Gestural modeling and compositional constraints in Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion). Sonic Ideas (Ideas Sonicas), 4 (1). ISSN 2317-9694

Cassidy, Aaron (2013) The String Quartet as laboratory and playground for experimentation and tradition (or, opening out/closing in). Contemporary Music Review, 32 (4). pp. 305-323. ISSN 0749-4467

Castro, Diego (2016) Parametric polyphony in recent guitar music. Divergence Press, 5. ISSN 20523467

Clarke, E., Doffman, Mark and Lim, Liza (2013) Distributed Creativity and Ecological Dynamics in Liza Lim’s Tongue of the Invisible. Music and Letters. ISSN 0027-4224

Clarke, Michael (2012) Analysing Electroacoustic Music: an Interactive Aural Approach. Music Analysis, 31 (3). pp. 347-380. ISSN 0262-5245

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) The Interrelation of Technology and Creativity in the Analysis of Electroacoustic Music: A comparative study of Barry Truax’s Riverrun and Trevor Wishart’s Imago. Musurgia, XXII (1). pp. 27-44. ISSN 2271-1856

Clarke, Michael and Manning, Peter (2009) Valuing Our Heritage: Exploring Spatialisation through Software Emulation of Stockhausen's Oktophonie. International Computer Music Conference Proceedings, 2009. p. 179. ISSN 2223-3881

Clarke, Michael and Manning, Peter (2008) The influence of technology on the composition of Stockhausen's Octophonie, with particular reference to the issues of spatialisation in a three-dimensional listening environment. Organised Sound, 13 (3). pp. 177-187. ISSN 13557718

Colton, Lisa (2010) Book review: Christopher Page, The Christian West and its Singers. Early Music Performer, 27. pp. 23-24. ISSN 1477-478X

Colton, Lisa (2011) English Masses at home and abroad. Early Music, 39 (4). pp. 621-623. ISSN 03061078

Colton, Lisa (2010) The Female Exotic: Tradition, Innovation and Authenticity in the Reception of Music by Judith Weir. Contemporary Music Review, 29 (3). pp. 277-289. ISSN 0749-4467

Colton, Lisa (2014) Fifteenth-Century Liturgical Music, VIII: Settings of the Gloria and Credo. Ed. by Peter Wright.The Eton Choirbook: Facsimile and IntroductoryvStudy. Ed. by Magnus Williamson. Songs in British Sources c.1150–1300. Ed. by Helen Deeming. Music and Letters, 95 (4). pp. 648-650. ISSN 0027-4224

Colton, Lisa (2016) Fourteenth-Century Music. Early Music, 44 (1). pp. 165-166. ISSN 0306-1078

Colton, Lisa (2011) Languishing for provenance: Zelo tui langueo and the search for women's polyphony in England. Early Music, 39 (3). pp. 315-326. ISSN 03061078

Colton, Lisa (2012) Mapping medieval music. Early Music, 40 (2). pp. 308-310. ISSN 0306-1078

Colton, Lisa (2017) Music, text and structure in fourteenth-century English polyphony: the case of Ave miles celestis curie. Early Music. ISSN 0306-1078

Colton, Lisa (2016) Review of Laura Seddon, British Women Composers and Instrumental Chamber Music in the Earliest Twentieth Century. Gender and History, 28 (1). pp. 237-238. ISSN 0953-5233

Colton, Lisa (2013) Review of: Emma Dillon, The Sense of Sound: Musical Meanings in France, 1260-1330 (Oxford and New York, Oxford University Press, 2012). French History, 27 (3). pp. 454-456. ISSN 0269-1191

Colton, Lisa (2014) Sumer is icumen in. Grove Music Online. Oxford Music Online..

Colton, Lisa (2010) A Unique Source of English Tablature from Seventeeth-Century Huddersfield. Music and Letters, 91 (1). pp. 39-50. ISSN 0027-4224

Colton, Lisa and Cook, James (2017) Editorial : Facing the Music of Medieval England. Early Music. ISSN 0306-1078

Colton, Lisa and Iddon, Martin (2010) Introduction: Recycling and Innovation in Contemporary Music. Contemporary Music Review, 29 (3). pp. 229-230. ISSN 0749-4467

Cowgill, Rachel (2002) The Business of Music in Late Georgian and Victorian Halifax. Transactions of the Halifax Antiquarian Society, 10. pp. 77-95. ISSN 1351-5705

Cowgill, Rachel (2011) Canonizing Remembrance: Music for Armistice Day at the BBC, 1922-7. First World War Studies: Journal of the International Society for First World War Studies, 2 (1). pp. 75-107. ISSN 1947-5020

Cowgill, Rachel (2005) The Cradle of Music in Ireland, review of Barra Boydell, A History of Music at Christ Church Cathedral, Dublin. Early Music, 33 (3). pp. 514-515. ISSN 03061078

Cowgill, Rachel (2009) Germondo and Vittorino: Genre and Politics in the London Reception of Goldoni's Libretti in the 1770s. Problemi di Critica Goldoniana, 14. pp. 231-265. ISSN 1127-2570

Cowgill, Rachel (1992) Le nozzi di Figaro voor het voetlicht te London, 1786-1813. Musica Antiqua. pp. 168-177.

Cowgill, Rachel (1998) The London Apollonicon Recitals, 1817-32: A Case Study in Bach, Mozart, and Haydn Reception. Journal of the Royal Musical Association, 123 (2). pp. 190-228. ISSN 0269-0403

Cowgill, Rachel (1998) Re-Gendering the Libertine; or, The Taming of the Rake: Lucy Vestris as Don Giovanni on the Early Nineteenth-Century London Stage. Cambridge Opera Journal, 10 (1). pp. 45-66. ISSN 0954-5867

Cowgill, Rachel (2002) Review of Brian Robins, The John Marsh Journals: The Life and Times of a Gentleman Composer (1752-1828). Early Music, 30 (3). pp. 470-471. ISSN 0306-1078

Cowgill, Rachel (2002) An Unknown Handel Arrangement by Mozart?: The Halifax Judas. Musical Times, 143. pp. 19-36. ISSN 0027-4666

Cowgill, Rachel (2000) 'The most musical spot for its size in the kingdom': Music in Georgian Halifax. Early Music, 28 (4). pp. 557-575. ISSN 0306-1078

Cox, Geoffrey (2013) Listen to Nice. The New Soundtrack, 3 (2). pp. 89-105. ISSN 2042-8855

Cox, Geoffrey (2017) ‘There must be a poetry of sound that none of us knows…’: Early British documentary film and the prefiguring of musique concrète. Organised Sound, 22 (2). pp. 172-186. ISSN 1355-7718

Cox, Geoffrey (2011) Connecting hearing to viewing and knowing to feeling: Sound as evocation in non-fiction film with particular reference to No Escape. The Soundtrack, 4 (1). pp. 43-62. ISSN 1751-4193

Cummings, Graham (2005) Handel and the confus'd shepherdess: a case study of stylistic eclecticism. Early Music, 33 (4). pp. 575-590. ISSN 0306-1078

Cummings, Graham (1998) Handel's compositional methods in the London operas of the 1730s, and the unusual case of 'Poro, Re Dell'Indie' (1731). Music and Letters, 79 (3). pp. 346-367. ISSN 0027-4224

Cummings, Graham (1982) Reminiscence and Recall in Three Early Settings of Metastasio's Alessandro nell' Indie. Proceedings of the Royal Musical Association, 109 (1). pp. 80-104. ISSN 0269-0403

Dale, Henry (2017) The last music on earth: prehistory and the function of music in The Road. Fields: journal of Huddersfield student research, 3 (1). ISSN 2057-0163

Devenney, Amy (2012) New Deposits of the University of Huddersfield Archives and Special Collections. Huddersfield Local History Society Journal. pp. 40-42.

Dobson, E.D., Flewitt, R., Littleton, K. and Miell, D. (2011) Studio Based Composers in Collaboration: a Socioculturally Framed Study. Proceedings of the International Computer Music Conference 2011, 2011. pp. 373-376.

Dobson, E.D. and Littleton, K.S. (2015) Digital technologies and the mediation of undergraduate students’ collaborative music compositional practices. Learning, Media and Technology. pp. 1-21. ISSN 1743-9884

Dobson, Elizabeth (2006) Book review: The Creative College: Building a Successful Learning Culture in the Arts, G. Jeffery (Ed.). Thinking Skills and Creativity, 1 (2). pp. 156-157. ISSN 1871-1871

Dufeu, Frédéric (2013) Comment développer des outils généraux pour l’étude des instruments de musique numériques ? Un prototype en JavaScript pour l’investigation de programmes Max [How to Develop General Tools for the Study of Digital Musical Instruments? A JavaScript protoype for the investigation of Max programs]. Revue Francophone d’Informatique Musicale (3).

Dufeu, Frédéric and Roux, Sébastien (2010) L’environnement sonore recomposant l’espace d’écoute. Localisations et déplacements dans l’œuvre musicale de Sébastien Roux. Filigrane (12). ISSN 2261-7922

Fell, Mark (2015) Patterns in Radical Spectra. Divergence Press, 4 (1). ISSN 20523467

Fleming, Michael (2006) Book review: A Viola da Gamba Miscellanea. Articles from and inspired by viol symposiums organized by the Ensemble Baroque de Limoges, France, Susan Orlando (ed.). The Galpin Society Journal, 59. pp. 279-280. ISSN 0072-0127

Fleming, Michael (1997) Book review: Antonio Stradivari: The Cremona Exhibition of 1987, Charles Beare. J.& A.Beare Ltd, 1994. The Galpin Society Journal, 50. pp. 259-260. ISSN 0072-0127

Fleming, Michael (1995) Book review: Art and Method of the Violin Maker: Principles and Practice, 2nd edition, Henry A. Strobel. Aumsville: Henry A. Strobel, 1993. The Galpin Society Journal, 48. p. 234. ISSN 0072-0127

Fleming, Michael (1997) Book review: Arte Liutaria, Analysis of Antique Instruments and Restoration Techniques, Carlo Vettori. Florence: Arte Liutaria, 1996. The Galpin Society Journal, 50. pp. 267-269. ISSN 0072-0127

Fleming, Michael (2005) Book review: Diego Ortiz: Trattado de Glosas, (Rome 1553), Annette Otterstedt, Kassel: Bärenreiter, 2003. The Galpin Society Journal, 58. pp. 269-270. ISSN 0072-0127

Fleming, Michael (1998) Book review: Edward Withers Ltd. 230 years of Violin Craft in Soho, Adam Whone. Mill Hill publications, 1996. The Galpin Society Journal, 51. pp. 225-226. ISSN 0072-0127

Fleming, Michael (2003) Book review: François-Xavier Tourte, Bow Maker, Stewart Pollens and Henryk Kaston, with M.E.D Laing, New York et al, 2001. The Galpin Society Journal, 56. p. 271. ISSN 0072-0127

Fleming, Michael (1992) Book review: Geometry, Proportion and the Art of Lutherie, Kevn Coates, (Clarendon Press, Oxford, 1991). Chelys, 21. pp. 90-91. ISSN 0952-8407

Fleming, Michael (1994) Book review: La Chélonomie, ou le parfait luthier..., Paris, 1812, Abbé SÉBASTIEN-ANDRÉ SIBIRE, Reimpression de l'edition de Bruxelles, 1823. Facsimile edition. Geneva: Minkoff, 1984. The Galpin Society Journal: for the study of musical instruments, 47. ISSN 0072-0127

Fleming, Michael (1994) Book review: La Lutherie Lorraine et Française depuis ses Origines jusqu'à nos Jours, Albert Jacquot, Paris: Fischbacher, 1912. Facsimile edition. Geneva: Minkoff, 1985. The Galpin Society Journal: for the study of musical instruments, 47. ISSN 0072-0127

Fleming, Michael (1997) Book review: Liuteria Musica e Cultura, 1996, Essays dedicated to John Henry van der Meer, Renato Meucci (ed.). Cremona, 1996. The Galpin Society Journal, 50. pp. 276-277. ISSN 0072-0127

Fleming, Michael (2002) Book review: Masterpieces of Italian Violin Making (1620-1850). Important stringed instruments from the collection at the Royal Academy of Music, 2nd edition, David Rattray, London, 2000. The Galpin Society Journal, 55. pp. 353-354. ISSN 0072-0127

Fleming, Michael (1994) Book review: Observations on the construction of stringed instruments and their adjustment, 1804, 1805, 1809, 1810, 1816, Count Ignazio Cozio di Salabue, translated from the original Italian by Andrew Dipper and David Woodrow Taynton, 1987. The Galpin Society Journal: for the study of musical instruments, 47. ISSN 0072-0127

Fleming, Michael (1998) Book review: Research Papers in Violin Acoustics 1975-1993, Carleen Maley Hutchins. Woodbury, 1997. The Galpin Society Journal, 51. pp. 221-223. ISSN 0072-0127

Fleming, Michael (1997) Book review: Règles pour la construction des Violons Altis, Violoncelles et Basses de Viol, Antonio Bagatella. Turris, Cremona, 1995. The Galpin Society Journal, 50. pp. 259-260. ISSN 0072-0127

Fleming, Michael (2006) Book review: The Baroque cello revival: an oral history,Paul Laird, Lantham: Scarecrow Press, 2004. The Galpin Society Journal, 59. pp. 276-277. ISSN 0072-0127

Fleming, Michael (1995) Book review: The Bassanos: Venetian Musicians and Instrument Makers in England, 1531-1665, David Lasocki with Roger Prior, (Aldershot, Scolar Press, 1995). Chelys, 24. pp. 62-64. ISSN 0952-8407

Fleming, Michael (1995) Book review: The Complete Luthier's Library [Bibliography], Roberto Ragazzi. Bologna: Florenus Edizioni, 1990. The Galpin Society Journal, 48. pp. 214-215. ISSN 0072-0127

Fleming, Michael (1995) Book review: The Health of the Violin and the Viola and Cello: Practical Advice on the Acquisition, Maintenance, Adjustment and Conservation of Bowed Instruments, Lucien Greilsamer. Translated from the original French by Henry A. Strobel Aumsville, Oregon: H.A. Strobel, 1991. The Galpin Society Journal, 48. p. 233. ISSN 0072-0127

Fleming, Michael (1995) Book review: The History of the Viola, Maurice W. Riley. Ann Arbor: the author, 1993, 1991. The Galpin Society Journal, 48. pp. 228-231. ISSN 0072-0127

Fleming, Michael (2003) Book review: The Italian viola da gamba: Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, Italy, 29 April - 1 May 2000, ed. Susan Orlando (Solignac/Turin: Edition Ensemble Baroque de Iimoges/Edizioni Angolo Manzoni, 2002). Early Music, 31 (2). pp. 283-284. ISSN 0306-1078

Fleming, Michael (1994) Book review: The Shape of Stradivari Forms and Violins, David Woodrow, Taynton: Taynton Press, 1991. The Galpin Society Journal: for the study of musical instruments, 47. ISSN 0072-0127

Fleming, Michael (2003) Book review: The Viol: History of an Instrument, Annette Otterstedt, Kassel, 2002. The Galpin Society Journal, 56. pp. 269-271. ISSN 0072-0127

Fleming, Michael (1994) Book review: The Violin Forms of Antonio Stradivari, Stewart Pollens, London: Peter Biddulph, 1992. The Galpin Society Journal: for the study of musical instruments, 47. ISSN 0072-0127

Fleming, Michael (2007) Book review: Un corpo alla ricerca dell'anima...Andrea Amati e la nascita del violino/ Andrea Amati and the birth of the violin, Renato Meucci (ed.). The Galpin Society Journal, 60. ISSN 0072-0127

Fleming, Michael (1997) Book review: Un secolo di liuteria Italiana 1860-1960. Vol.1. Emilia Romagna, Eric Blot. Cremona, 1994. The Galpin Society Journal, 50. pp. 269-270. ISSN 0072-0127

Fleming, Michael (1995) Book review: Useful Measurements for Violin Makers, a Reference for Shop Use, 4th edition, Henry A Strobel. Aumsville, Oregon: H.A. Strobel, 1991. The Galpin Society Journal, 48. p. 231. ISSN 0072-0127

Fleming, Michael (1996) Book review: Violin Family and its Makers in the British Isles: an Illustrated History and Directory, Brian W Harvey. Oxford: OUP, 1995. The Galpin Society Journal, 49. pp. 240-244. ISSN 0072-0127

Fleming, Michael (1992) Book review: Violin Fraud, Brian W. Harvey, (Oxford, 1992). Chelys, 22. pp. 51-52. ISSN 0952-8407

Fleming, Michael (1995) Book review: Violin Maker's Notebook: a Companion Volume to Useful Measurements for Violin Makers, a Reference for Shop Use, 2nd edition, Henry A. Strobel. Aumsville, Oregon: H.A. Strobel, 1991. The Galpin Society Journal, 48. p. 232. ISSN 0072-0127

Fleming, Michael (1996) Book review: Violin Making Step by Step, Henry A. Strobel. Aumsville: Henry A. Strobel, 1994. The Galpin Society Journal, 49. p. 244. ISSN 0072-0127

Fleming, Michael (2004) Henry Jaye. Oxford Dictionary of National Biography.

Fleming, Michael (2003) How long is a piece of string? Understanding seventeenth-century descriptions of viols. Chelys, 31. pp. 18-35. ISSN 0952-8407

Fleming, Michael (2009) The Identities of the Viols in the Ashmolean Museum. The Viola da Gamba Society Journal, 3 (2). pp. 117-130. ISSN 0507-0252

Fleming, Michael (2002) Instrument-makers named Hill and Hunt in Pepys's London. The Galpin Society Journal, 55. pp. 382-385. ISSN 0072-0127

Fleming, Michael (2004) Instrument-making in Oxford. The Galpin Society Journal, 57. pp. 246-251. ISSN 0072-0127

Fleming, Michael (2013) John Evelyn on Musical Instrument Wood. The Galpin Society Journal, 66. ISSN 0072-0127

Fleming, Michael (1996) Paintings of viols in England c.1580-1660. Chelys, 25. pp. 3-21. ISSN 0952-8407

Fleming, Michael (2008) Phillippe Golledge: another Oxford musical instrument dealer? The Galpin Society Journal, 61. pp. 332-335. ISSN 0072-0127

Fleming, Michael (2000) Some points arising from a survey of wills and inventories. The Galpin Society Journal, 53. pp. 301-311. ISSN 0072-0127

Fleming, Michael (2000) Unpacking the 'Chest of Viols'. Chelys, 28. pp. 3-19. ISSN 0952-8407

Fleming, Michael (1989) Viol drawings. Chelys, 18. pp. 30-40. ISSN 0952-8407

Fleming, Michael (1999) A bridge to the past: Investigating an old viol bridge at Haddon Hall. Early Music, XXVII (2). pp. 235-248. ISSN 0306-1078

Fleming, Michael (2005) An 'old old viol' and 'other lumber': musical remains in Provincial, non-noble England c.1580-1660. The Galpin Society Journal, 58. pp. 89-99. ISSN 0072-0127

Fleming, Michael (1999) The violin explained. Components, mechanism, and sound. The Galpin Society Journal, 52. pp. 325-327. ISSN 0072-0127

Fox, Christopher (2003) Hybrid temperaments and structural harmony: a personal history. Contemporary Music Review, 22 (1-2). pp. 123-139. ISSN 07494467

Fox, Christopher (2004) Tempestuous Times: The Recent Music of Thomas Ades. The Musical Times, 145 (1888). pp. 41-56. ISSN 0027-4666

Fox, James Anthony (2016) ‘It’s a-me, Mario!’ Exploring dynamic changes and similarities in the composition of early Nintendo video game music. Fields: journal of Huddersfield student research, 2 (1). e15. ISSN 2057-0163

Gauthier, Philippe-Aubert (2014) Multichannel sound and spatial sound creation at Sporobole: A short account of live performance, studio design, outdoor multichannel audio, and visiting artists. Divergence Press, 3 (1). ISSN 20523467

Gavin, Helen (2006) Intrusive music: The perception of everyday music explored by diaries. The Qualitative Report, 11 (3). pp. 550-565. ISSN 1052-0147

Gavin, Helen (2001) Reconstructed Memories and Adult Musical Expertise. Music Education Research, 3 (1). pp. 51-61. ISSN 1461-3808

Gibson, Ian (2010) Collaborative music software for mobile phones. International Journal of Research and Reviews in Applied Sciences, 2 (2). pp. 104-107. ISSN 2076-7366

Gibson, Ian and Dovey, Matthew (2006) A Collaborative Composition System Based On A Service Oriented Architecture. Proceedings of the International Computer Music Conference. pp. 401-404.

Gibson, Ian and Dovey, Matthew (2006) A web-based system for collaborative electro-acoustic composition. International Journal of Advanced Manufacturing Technology, 30 (9-10). pp. 968-973. ISSN 0268-3768

Gibson, Ian and Dovey, Matthew (2010) A wireless, real-time, social music performance system for mobile phones. International Computer Music Conference Proceedings.

Gibson, Ian and Howard, David (1995) Intuitive and dynamic control of synthesised sounds by voice. International Computer Music Conference Proceedings. pp. 228-229.

Gibson, Ian and Howard, David (1994) Sound processing control using voice and graphical information. Eurographics UK Chapter 12 Conference Proceedings. pp. 19-28.

Gibson, Ian and Howard, David (1994) Voice parameter estimation for sound processing control. Proceedings of the Institute of Acoustics, 16 (5). pp. 207-214. ISSN 0309-8117

Gibson, Ian and Howard, David (1998) A voice-controlled music synthesis system. Proceedings of the Institute of Acoustics, 20 (6). pp. 205-213. ISSN 0309-8117

Gibson, Ian, Howard, David and Tyrrell, Andrew (1998) Real-time singing synthesis using a parallel processing system. Proceedings of the IEE Colloquium on Audio And Music Technology. 8/1-8/6.

Glover, Richard (2012) Phill Niblock: Identity through instability. MusikTexte, 132. ISSN 0178-8884

Glover, Richard (2010) Michael Pisaro’s pi and numerical representation. CeReNeM Journal (1).

Glover, Richard (2012) Sustained Tones and the Auditory Experience. Leonardo Music Journal, 22 (22). pp. 56-57. ISSN 0961-1215

Glover, Richard (2015) Tuning Systems as Processual Material. Divergence Press, 4 (1). ISSN 20523467

Graham, Gary and Hardaker, Glenn (2007) How the technology shock of the internet is radically changing the competitive dynamics of the online music market. International Journal of Electronic Marketing and Retailing, 1 (3). pp. 260-278. ISSN 1741-1025

Graham, Richard and Bridges, Brian (2014) Strategies for spatial music performance: the practicalities and aesthetics of responsive systems design. Divergence Press, 3 (1). ISSN 20523467

Green, Lucy, Lebler, Don and Till, Rupert (2015) Editorial Introduction: Popular Music in Education, Special Issue. IASPM: International Association for the Study of Popular Music Journal, 5 (1). pp. 1-3. ISSN 2079-3871

Gruchy, Jane and Lim, Liza (2007) Alchemical Journeys. Part One: Liza Lim. Resonate Magazine.

Gruchy, Jane and Lim, Liza (2007) Alchemical Journeys. Part Two: Liza Lim. Resonate Magazine.

Hardaker, Glenn and Graham, Gary (2008) Community of self-organisation: supply chain perspective of Finnish electronic music. International Journal of Technology Management, 44 (1/2). pp. 93-114. ISSN 0267-5730

Harrison, Bryn (2011) The Tempo of Enclosed Spaces: A short, personal reflection on the ensemble music of Aldo Clementi. Contemporary Music Review, 30 (3-4). pp. 269-274. ISSN 0749-4467

Haworth, Catherine (2017) Book Review: Olivia Bloechl, Melanie Lowe and Jeffrey Kallberg (eds), 'Rethinking Difference in Music Scholarship' (2015). Journal of the Society for Musicology in Ireland, 12. pp. 71-73. ISSN 1649-7341

Haworth, Catherine (2013) Book review: 'Seeing through Music: Gender and Modernism in Classic Hollywood Film Scores'. By Peter Franklin, Oxford, 2011. Music and Letters, 94 (2). pp. 365-367. ISSN 0027-4224

Haworth, Catherine (2012) Detective Agency? Scoring the Amateur Female Investigator in 1940s Hollywood. Music and Letters, 93 (4). pp. 543-573. ISSN 0027-4224

Haworth, Catherine (2015) How music became so core to James Bond that someone bet £15,000 on the theme. The Conversation. ISSN 2044-5032

Haworth, Catherine (2012) Introduction: Gender, Sexuality, and the Soundtrack. Music, Sound, and the Moving Image, 6 (2). pp. 113-135. ISSN 1753-0768

Haworth, Catherine (2008) John Barry and the James Bond sound. Programme note for 'James Bond: Shaken, not stirred' concert, Leeds Town Hall International Concert Season.

Haworth, Catherine (2014) Something beneath the flesh: music, gender, and medical discourse in the 1940s female gothic film. Journal of the Society for American Music, 8 (3). pp. 338-370. ISSN 1752-1963

Herbst, Jan (2018) “Put It Up to Eleven”: An Experimental Study on Distorted Solo Guitar Techniques in Sixty Years of Rock Music. Vox Popular, 3. ISSN 2531-7059 (In Press)

Herbst, Jan-Peter (2013) 18 and Life (Skid Row). Songlexikon/Encyclopedia of Songs.

Herbst, Jan-Peter (2017) Akkordstrukturen im verzerrten Rockgitarrenriff: Eine experimental-analytische Studie zur Auswirkung von physikalischen und psycho-akustischen Faktoren [Chord structures in the distorted rock guitar riff: An experimental and analytic study on the effects of physical and psychoacoustic factors]. Samples, 15. ISSN 1216-8001

Herbst, Jan-Peter (2016) Das virtuelle Mischpult als Instrument [The virtual mixing desk as an instrument]. Musikunterricht und Computer, 5. pp. 28-37. ISSN 1617-5816

Herbst, Jan-Peter (2013) Don’t Stop Believin’ (Journey). Songlexikon/Encyclopedia of Songs.

Herbst, Jan-Peter (2017) Faszination Gitarre: Der gemeinsame Song im Gitarrenorchester [Guitar fascination: The guitar orchestra]. Praxis des Musikunterrichts, 127. pp. 34-39. ISSN 1436-1949

Herbst, Jan-Peter (2015) Faszination Gitarre: Die Grundlagen der Tonerzeugung [Guitar fascination: The basics of tone production]. Praxis des Musikunterrichts, 123. pp. 36-43. ISSN 1436-1949

Herbst, Jan-Peter (2016) Faszination Gitarre: Grundlagen der akkordischen Liedbegleitung [Guitar fascination: Basics of rhythm guitar]. Praxis des Musikunterrichts, 126. pp. 38-47. ISSN 1436-1949

Herbst, Jan-Peter (2016) Faszination Gitarre: Phrasierung und die ersten Melodien [Guitar fascination: Phrasing and melodies]. Praxis des Musikunterrichts, 125. pp. 38-44. ISSN 1436-1949

Herbst, Jan-Peter (2018) Heaviness and the electric guitar: Considering the interaction between distortion and harmonic structures. Metal Music Studies, 4 (1). pp. 95-113. ISSN 20524005

Herbst, Jan-Peter (2017) Historical development, sound aesthetics and production techniques of the distorted electric guitar in metal music. Metal Music Studies, 3 (1). pp. 23-46. ISSN 2052-3998

Herbst, Jan-Peter (2012) Hump de Bump (The Red Hot Chili Peppers). Songlexikon/Encyclopedia of Songs.

Herbst, Jan-Peter (2016) Remixing dub reggae in the music classroom: A practice-based case study on the educational value of music production for listening skills and stylistic analysis. Journal of Music, Technology and Education, 9 (3). pp. 255-272. ISSN 1752-7066

Herbst, Jan-Peter (2012) Rosanna (Toto). Songlexikon/Encyclopedia of Songs.

Herbst, Jan-Peter (2017) Shredding, tapping and sweeping: Effects of guitar distortion on playability and expressiveness in rock and metal solos. Metal Music Studies, 3 (2). pp. 231-250. ISSN 2052-3998

Herbst, Jan-Peter, Czedik-Eysenberg, Isabella and Reuter, Christoph (2018) Guitar profiling technology in metal music production: public reception, capability, consequences and perspectives. Metal Music Studies, 4 (3). pp. 481-506. ISSN 2052-3998

Herbst, Jan-Peter and Holthaus, Jan (2017) Music studio operators from Germany’s “Ruhrpott”: Role, services and resources. Etnomusikologian vuosikirja, 29. ISSN 0783-6821

Heys, Paul, Temple, Nicholas, Adkins, Monty, Bailey, Rowan, Tibbetts, Suzi, Briers, David, MacDonald, Juliet, Powell, Anna, Devlin, Liam and Gfader, Verina (2014) The making of the Allure of the Archive – an index of assemblies by Art (&) Currency: Institute of Vanishing Principles and Spells, 2013–2014. Journal of Writing in Creative Practice, 7 (3). pp. 511-516. ISSN 17535190

Jan, Steven (2015) Memetic Perspectives on the Evolution of Tonal Systems. Interdisciplinary Science Reviews, 40 (2). pp. 145-167. ISSN 0308-0188

Jan, Steven (1996) Ave Verum Corpus: reminiscences in Mozart's late style. Choir and Organ, 4 (2). pp. 20-25. ISSN 0968-7262

Jan, Steven (2014) Book review: William Kinderman, The Creative Process in Music from Mozart to Kurtág (Urbana, Chicago and Springfield: University of Illinois Press, 2012) 978-0-252-03716-0. Music Analysis, 33 (1). pp. 99-112. ISSN 0262-5245

Jan, Steven (2015) From holism to compositionality: memes and the evolution of segmentation, syntax, and signification in music and language. Language and Cognition. ISSN 1866-9808

Jan, Steven (2012) ‘The Heavens are Telling’: Memetic- Calvinian Readings of a Haydn Chord Progression. Interdisciplinary Science Reviews, 37 (2). pp. 113-130. ISSN 0308-0188

Jan, Steven (2001) The Illusory Mozart: Selfish Memes in the Priests’ Marches from Idomeneo and Die Zauberflöte. International Journal of Musicology, 10. ISSN 0941-9535

Jan, Steven (2004) Meme Hunting with the Humdrum Toolkit: Principles, Problems, and Prospects. Computer Music Journal, 28 (4). pp. 68-84. ISSN 0148-9267

Jan, Steven (2010) Memesatz contra Ursatz: Memetic perspectives on the aetiology and evolution of musical structure. Musicae Scientiae: the journal of the European Society for the Cognitive Sciences of Music, 14 (1). pp. 3-50. ISSN 1029-8649

Jan, Steven (2015) A Memetic Analysis of a Phrase by Beethoven: Calvinian Perspectives on Similarity and Lexicon-Abstraction. Psychology of Music. ISSN 1741-3087

Jan, Steven (2011) Music, Memory, and Memes in the Light of Calvinian Neuroscience. Music Theory Online, 17 (2). pp. 3-50. ISSN 1067-3040

Jan, Steven (2000) Replicating Sonorities: Towards a Memetics of Music. Journal of Memetics - Evolutionary Models of Information Transmission, 4 (1). ISSN 1366-4786

Jan, Steven (2014) Similarity Continua and Criteria in Memetic Theory and Analysis. Journal of Music Research Online, 5. ISSN 1836-8336

Jan, Steven (2013) Using Galant Schemata as Evidence for Universal Darwinism. Interdisciplinary Science Reviews, 38 (2). pp. 149-168. ISSN 0308-0188

Jan, Steven (1992) X Marks the Spot: Schenkerian Perspectives on the Minor-Key Classical Development Section. Music Analysis, 11 (1). pp. 37-53. ISSN 0262-5245

Kirk, Joel (2018) Initial Approaches to Idiomatic Contemporary Writing for a Musical Instrument: Discovering Methods of Practice-Based Research. Fields: journal of Huddersfield student research, 4 (1). ISSN 2057-0163

Kleinitz, Cornelia, Till, Rupert and Baker, Brenda (2015) Archaeology and acoustics of rock gongs in the ASU BONE concession above the Fourth Nile Cataract, Sudan: a preliminary report. Sudan & Nubia (19). pp. 106-115. ISSN 1369-5770

Lee, Hyunkook (2016) Perceptual Band Allocation (PBA) for the Rendering of Vertical Image Spread with a Vertical 2D Loudspeaker Array. Journal of the Audio Engineering Society, 64 (12). pp. 1003-1013. ISSN 1549-4950

Leudar, Augustine (2014) An alternative approach to 3D audio recording and reproduction. Divergence Press, 3 (1). ISSN 20523467

Lewis, Gerard J., Hardaker, Glenn and Graham, Gary (2005) Evaluating the impact of the internet on barriers to entry in the music industry. Supply Chain Management: An International Journal, 10 (5). pp. 349-356. ISSN 1359-8546

Lim, Liza (2011) 3 Angels. Escalier du Chant (44). pp. 1-4.

Lim, Liza (2009) Staging an Aesthetics of Presence. Search: Journal for new music and culture (6).

Lyon, Eric (2014) Introduction to Issue #3. Divergence Press, 3 (1). ISSN 20523467

Macedo, Rederico (2014) Aural Territories: how phenomenology taught me how to compose electroacoustic spatial music. Divergence Press, 3 (1). ISSN 20523467

Mackay, Robert (2015) Strata Sequence: From Musical Rocks to Palaeo-Soundscapes. Divergence Press, 4 (1). ISSN 20523467

Macklin, Graham (2013) ‘Onward Blackshirts!’ Music and the British Union of Fascists. Patterns of Prejudice, 47 (4-05). pp. 430-457. ISSN 0031-322X

Manning, Peter and Clarke, Michael (2008) Editorial. Organised Sound, 13 (3). pp. 165-166. ISSN 13557718

Martin, Toby (2017) Making Music in Bankstown: Responding to Place Through Song. IASPM: International Association for the Study of Popular Music Journal, 7 (2). pp. 22-31. ISSN 2079-3871

Mawer, Deborah (2009) Jazzing a Classic: Hylton and Stravinsky's Mavra at the Paris Opéra. Twentieth-century music, 6 (2). pp. 155-182. ISSN 1478-5722

Mawer, Deborah (2008) ‘Parisomania’? Jack Hylton and the French Connection. Journal of the Royal Musical Association, 133 (2). pp. 270-317. ISSN 0269-0403

McInnes, Louise (2017) ‘England, hope for light after the confusion of darkness’: English Political Identity in the Late Medieval Carol. Identity papers: A journal of British and Irish studies, 2 (1). ISSN 2058-6205

McLaughlin, Scott and Tremblay, Pierre Alexandre (2010) SpectralConway: Cellular Automata Off The Grid. International Computer Music Conference Proceedings, 2010. pp. 68-71. ISSN 2223-3881

McNichol, Al (2012) Exploring an extended sound universe for composing in 11-14 music curricula. Proceedings of the Electroacoustic Music Studies Network Conference (EMS12).

McNichol, Al (2010) Technology and creativity in the classroom: an opportunity missed? Proceedings of the International Computer Music Conference (ICMC). pp. 522-525.

Mee, Erin (2013) Hearing the Music of the Hemispheres. TDR: The Drama Review, 57 (3). pp. 148-150. ISSN 1054-2043

Miah, Shamim and Kalra, Virinder S. (2008) Muslim Hip-Hop: Politicisation of Kool Islam. South Asian Cultural Studies Journal, 2 (1). pp. 12-25. ISSN 1749-6764

Milsom, David (2005) Conditional gifts: the acoustic orchestral recordings of Edoard Colonne and Karl Muck and their testimony to late nineteenth-century performing practices. Early Music Performer (16). ISSN 1477-478X

Milsom, David (2013) The Franco-Belgian School of Violin Playing: Towards an Understanding of Chronology and Characteristics, 1850-1925. Ad Parnassum, 11 (21). ISSN 1722-3954

Milsom, David (2016) Great Cellists: Beatrice Harrison. The Strad, 127 (1509). p. 41. ISSN 0039-2049

Milsom, David (2017) Great Cellists: Gaspar Cassado. The Strad, 158 (1521). p. 53. ISSN 0039-2049

Milsom, David (2012) Practice and Principle: Perspectives upon the German ‘Classical’ School of Violin Playing in the Late Nineteenth Century. Nineteenth-Century Music Review, 9 (01). pp. 31-52. ISSN 1479-4098

Milsom, David (2009) Style and Sonority in Wagner String Performance. The Wagner Journal, 3 (2). ISSN 1755-0173

Moore, Austin (2012) All Buttons In: An investigation into the use of the 1176 FET compressor in popular music production. Journal on the Art of Record Production (6). ISSN 1754-9892

Mynett, Mark (2012) Achieving Intelligibility whilst Maintaining Heaviness when Producing Contemporary Metal Music. Journal on the Art of Record Production (6). ISSN 1754-9892

Mynett, Mark (2009) Extreme metal: the SOS guide to recording & producing modern metal. Sound on Sound. pp. 120-133. ISSN 0951-6816

Mynett, Mark (2010) Get the perfect bass. Computer Music (159). ISSN 1463-6875

Mynett, Mark (2009) Mixing metal: The SOS Guide To Extreme Metal Production: Part 2. Sound on Sound. pp. 118-126. ISSN 0951-6816

Mynett, Mark (2010) The sound and the fury. Guitar World. pp. 71-80. ISSN 1045-6295

Mynett, Mark (2010) The sound and the fury: part 2. Guitar World. pp. 72-86. ISSN 1045-6295

Olofsson, Kent (2015) Resonances and Responses. Divergence Press, 4 (1). ISSN 20523467

Palme, Pia (2015) The Politics of Resonance. Divergence Press, 4 (1). ISSN 20523467

Parry, Nye (2014) Exploded sounds: spatialised partials in two recent multi-channel installations. Divergence Press, 3 (1). ISSN 20523467

Pople, Anthony, Russ, Michael, Cook, Nicholas and Cross, J. (2004) Editorial, completion and editing of Pople, A. 'Using complex set theory for tonal analysis: an introduction to the Tonalities Project'. Music Analysis, 23 (2-3). pp. 153-194. ISSN 0262-5245

Pulman, Mark (2006) Book review: Popular Music Genres: An Introduction By Stuart Borthwick and Ron Moy, 2004. Popular Music, 25 (2). pp. 340-342. ISSN 0261-1430

Pulman, Mark (2014) Popular Music Pedagogy: band rehearsals at British universities. International Journal of Music Education, 32 (2). pp. 296-310. ISSN 0255-7614

Pulman, Mark (2012) Round and round we go: an ‘action’ ride on the rehearsing and performing cycle. British Journal of Music Education, 29 (2). pp. 213-231. ISSN 02650517

Pulman, Mark (2009) Seeing yourself as others see you: developing personal attributes in the rehearsal. British Journal of Music Education, 26 (2). pp. 117-135. ISSN 02650517

Pulman, Mark and Davis, Robert (2001) Raising standards in performance. British Journal of Music Education, 18 (3). pp. 251-259. ISSN 02650517

Redgate, Chris (2016) Multiphonic Mobile. Divergence Press, 5. ISSN 20523467

Roche, Heather (2016) Communicative movement in contemporary chamber music: hand werk in the rehearsal of new works by Thierry Tidrow and Georgia Koumará. Divergence Press, 5. ISSN 20523467

Russ, Michael (2000) Accounting and Mediating: Modes, Genera, Voice-leading and Form in Milhaud. Music Analysis, 19 (2). pp. 233-255. ISSN 0262-5245

Russ, Michael (2012) Bartók, Beethoven and the Sonata for Two Pianos and Percussion. Journal of the Royal Musical Association, 137 (2). pp. 307-349. ISSN 0269-0403

Russ, Michael (1996) "Be Bored": Reading a Mussorgsky Song. 19th-Century Music, 20 (1). pp. 27-45. ISSN 0148-2076

Russ, Michael (2009) Book Review: Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. By Michiel Schuijer. Music and Letters, 90 (4). pp. 722-725. ISSN 0027-4224

Russ, Michael (2011) Book review : Evan Jones (ed.), Intimate Voices: the Twentieth-Century String Quartet. Journal of the Society for Musicology in Ireland, 6. pp. 101-112. ISSN 1649-7341

Russ, Michael (2004) Fishing in the right place: analytical examples from the Tonalities project. Music Analysis, 23 (2-3). pp. 195-244. ISSN 0262-5245

Russ, Michael (1994) Functions, scales, abstract systems and contextual hierarchies in the music of Bartok. Music and Letters, 75 (3). pp. 401-425. ISSN 0027-4224

Russ, Michael (1990) The Mysterious Thread in Musorgsky's 'Nursery'. Music Analysis, 9 (1). pp. 47-66. ISSN 0262-5245

Russ, Michael (1993) On Schenkerism: A Closed Circle of Elite Listeners? Music Analysis, 12 (2). pp. 266-285. ISSN 0262-5245

Russ, Michael (1988) Temporal and Pitch Structure in Webern's Orchestral Piece Op. 10, No. 2. Music Analysis, 7 (3). pp. 247-280. ISSN 0262-5245

Russ, Michael and Winterson, Julia (2007) Transition from School to University. Classroom Music, 4 (3). pp. 12-13.

Shaff, Stan (2014) Audium – sound-sculptured space. Divergence Press, 3 (1). ISSN 20523467

Spatz, Ben (2016) Singing Research: Judaica 1 at the British Library. Journal of Interdisciplinary Voice Studies, 1 (2). pp. 161-172. ISSN 2057-0341

Sundin, Paulina E. (2015) Reinventing Harmony in Splintered Echoes (2014). Divergence Press, 4 (1). ISSN 20523467

Templeton, Deborah and Adkins, Monty (2016) Borderlands: an Exploration of Contemplation in Creative Practice. Liminalities : a Journal of Performance Studies, 12 (2). ISSN 1557-2935

Thomas, Philip (2016) Fingers, Fragility and Freedom – Christian Wolff’s Pianist: Pieces. Divergence Press, 5. ISSN 20523467

Thomas, Philip (2016) Introduction to Issue #5. Divergence Press, 5. ISSN 20523467

Thomas, Philip (2016) The Music of Laurence Crane and a Post-Experimental Performance Practice. Tempo, 70 (275). pp. 5-21. ISSN 0040-2982

Thomas, Philip (2013) Understanding indeterminate music through performance: Cage’s Solo for piano. Twentieth Century Music, 10 (1). pp. 91-113. ISSN 1478-5722

Till, Rupert (2006) The Nine O'clock Service: Mixing Club Culture And Postmodern Christianity. Culture and Religion, 7 (1). pp. 93-110. ISSN 0143-8301

Till, Rupert (2010) The Personality Cult of Prince: Purple Rain, Sex and the Sacred, and the Implicit Religion Surrounding a Popular Icon. Implicit Religion: Journal of the Centre for the Study of Implicit Religion and Contemporary Spirituality, 13 (2). pp. 151-160. ISSN 1463 9955

Till, Rupert (2010) Pop stars and idolatry: an investigation of the worship of popular music icons, and the music and cult of Prince. Journal of Beliefs and Values: Studies in Religion and Education, 31 (1). pp. 69-80. ISSN 1361-7672

Till, Rupert (2010) Songs of the Stones: an investigation into the musical history and culture of Stonehenge. IASPM: International Association for the Study of Popular Music Journal, 1 (2). pp. 1-18. ISSN 2079-3871

Till, Rupert (2014) Sound archaeology: terminology, Palaeolithic cave art and the soundscape. World Archaeology, 46 (3). pp. 292-304. ISSN 0043-8243

Till, Rupert (2017) An archaeoacoustic study of the Ħal Saflieni Hypogeum on Malta. Antiquity, 91 (355). pp. 74-89.

Tremblay, Pierre Alexandre (2006) Pragmatic Considerations in Mixed Music: a Case Study of La Rage. Proceedings of the International Computer Music Conference. pp. 527-530. ISSN 0-9713192-4-3

Tremblay, Pierre Alexandre and McLaughlin, Scott (2009) Thinking Inside the Box: A New Integrated Approach to Mixed Music Composition and Performance. International Computer Music Conference Proceedings, 2009. pp. 379-386. ISSN 2223-3881

Velardo, Valerio, Vallati, Mauro and Jan, Steven (2016) Symbolic Melodic Similarity: State of the Art and Future Challenges. Computer Music Journal, 40 (2). pp. 70-83. ISSN 0148-9267

Wallis, Rory and Lee, Hyunkook (2016) Vertical Stereophonic Localisation in the Presence of Interchannel Crosstalk: the Analysis of Frequency- Dependent Localisation Thresholds. Journal of the Audio Engineering Society, 64 (10). pp. 762-770. ISSN 15494950

Williamson, Sarah (2005) Music hath charms. Rapal, 57. ISSN 1747-5600

Wilsmore, R, Alix, C and Dobson, E (2010) Collaborative Art Practices in HE: Mapping and Developing Pedagogical Models. Higher Education Academy Resources Centre.

Wilson-Bokowiec, Julie and Bokowiec, Mark (2006) Kinaesonics: The intertwining relationship of body and sound. Contemporary Music Review, 25 (1/2). pp. 47-57. ISSN 0749-4467

Zioga, Polina, Chapman, Paul, Ma, Minhua and Pollick, Frank (2016) Enheduanna – A Manifesto of Falling: first demonstration of a live brain-computer cinema performance with multi-brain BCI interaction for one performer and two audience members. Digital Creativity. ISSN 1462-6268

d'Escrivan, Julio and Adkins, Monty (2014) Stream-­Form and the loss of traditional virtuosity: thoughts and a method. MONO (2). ISSN 1646-7388

d’Escriván, Julio and Collins, Nick (2011) Musical Goals, Graphical Lure and Narrative Drive: VisualAudio in Games. Journal of Visual Culture, 10 (2). pp. 238-246. ISSN 1470-4129

Book Chapter

Ablinger, Peter (2014) Ausduck / Sonate. In: Und+ Komponisten, ihre Musik und ihre anderen Künste. Schott Music (Verlag), Mainz, Germany. ISBN 978-3-7957-0880-1

Ablinger, Peter (2010) Due Pratiche. In: Neue Musik und andere Künste. Publications from the Institute of New Music and Musical Education, Darmstadt, 50 . Schott, Mainz, Germany. ISBN 978-3-7957-1840-4

Adkins, Monty and d'Escrivan, Julio (2013) Geometries of Flight: Remix as Nodal Practice. In: International Computer Music Conference Proceedings. Michigan Publishing, Ann Arbor, MI, pp. 220-225.

Adkins, Monty (2017) Extending the Instrumental sound world using electronics. In: The Cambridge Companion to Electronic Music, 2nd edn. Cambridge Companions to Music . Cambridge University Press, Cambridge, pp. 258-273. ISBN 9781107133556

Adkins, Monty (2014) Roberto Gerhard: Electronic Explorations from his Studio + the BBC Radiophonic Workshop 1958-1967. In: CD digipack + 28 pages booklet. Sub Rosa, Brussels, Belgium.

Adkins, Monty and Duque, Carlos (2016) Claustrophilia: A musical gift from Roberto Gerhard to John Cage. In: Essays on Roberto Gerhard. Cambridge Scholars Publishing, Cambridge, pp. 261-278. ISBN 978-1-4438-1108-8

Adkins, Monty, Lewis, Chara, Pettican, Anneké and Mojsiewicz, Kristin (2017) Shadow Worlds | Writer’s Rooms: Freud’s House. In: Proceedings of the Fifth Conference on Computation, Communication, Aesthetics & X (xCoAx 2017). Universidade do Porto, pp. 273-280. ISBN 9789897461286

Adkins, Monty and Segretier, Laurent (2015) Skyler and Bliss. In: xCoAx 2015: Proceedings of the Third Conferenc on Computation, Communication, Aesthetics and X. Universidade do Porto, Porto, p. 311. ISBN 978-989-746-066-1

Adlington, Robert C. (2008) 1968 and New Music in the Netherlands. In: Music Cultures in The Revolt: Studies on Rock, Avantgarde and Classical In the Environment From "1968. Franz Steiner Verlag, Stuttgart, pp. 103-114. ISBN 978-3515090858

Adlington, Robert C. (2013) Communisms, Communist Musics. In: Red Strains: Music and Communism Outside the Communist Bloc. British Academy / Oxford University Press, London, pp. 1-19. ISBN 978-0197265390

Adlington, Robert C. (2003) A Conversation with Harrison Birtwistle. In: Aspects of British Music in the 1990s. Ashgate, Aldershot, pp. 111-118. ISBN 9780754630418

Adlington, Robert C. (2016) The Crises of Sense: Listening to Berio’s Un re in ascolto. In: Le théâtre musical de Luciano Berio. L'Harmattan, Paris, pp. 53-78. ISBN 978-2336303871

Adlington, Robert C. (2014) Expressive Revolutions: 1968 and Music in the Netherlands. In: Music and Protest in 1968. Cambridge University Press, Cambridge, pp. 12-28. ISBN 978-1107504318

Adlington, Robert C. (2009) Forms of Opposition at the 'Politiek-Demonstratief Experimenteel' Concert. In: Sound Commitments: Avant-garde Music and the 1960s. Oxford University Press, New York, pp. 56-77. ISBN 978-0195336658

Adlington, Robert C. (2002) "Good Lodging": Harrison Birtwistle’s Reception of Sir Gawain and the Green Knight. In: King Arthur in Music. Brewer, Cambridge, pp. 127-143. ISBN 978-0859917674

Adlington, Robert C. (2003) In the Shadows of Song: Birtwistle’s Nine Movements for String Quartet. In: Aspects of British Music of the 1990s. Ashgate, Aldershot. ISBN 9780754630418

Adlington, Robert C. (2018) Modernism: The People’s Music? In: The Routledge Research Companion to Modernism in Music. Routledge. ISBN 9781472470409

Adlington, Robert C. (2008) Music theatre since the 1960s. In: The Cambridge Companion to Twentieth-Century Opera. Cambridge University Press, Cambridge, pp. 225-243. ISBN 978-0521783934

Adlington, Robert C. (2001) Taking Soundings: Music, Non-Music and Slave Pianos. In: Slave Pianos: A Diagnosis, 1998-2001. Revolver, Frankfurt, pp. 7-15. ISBN 978-3934823174

Aitchison, Michael and Fenton, Steven (2010) Can Transistors Sound like Valves? In: Future Technologies in Computing and Engineering: Proceedings of Computing and Engineering Annual Researchers' Conference 2010: CEARC’10. University of Huddersfield, Huddersfield, pp. 20-26. ISBN 9781862180932

Bashford, Christina, Cowgill, Rachel and McVeigh, Simon (2003) The Concert Life in Nineteenth-Century London Database Project. In: Nineteenth-Century British Music Studies. Music in Nineteenth-Century Britain, 2 . Ashgate, Aldershot, 1 -12. ISBN 9780754636144

Bokowiec, Mark (2018) ‘V’Oct(Ritual): the anatomy of an interactive composition' in CYBERNETICS (edited by Lanfranco Aceti). In: Leonardo Electronic Almanac. Leonardo Books . MIT Press.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2015) Sens et sensations : l’acte de médiation et ses effets in Théâtre et intermédialité (edited by Jean-Marc Larrue). In: Théâtre et intermédialité. Septentrion, France, pp. 383-399. ISBN 102757409077

Bossis, Bruno and Dufeu, Frédéric (2009) De l’enregistrement silencieux à la partition photographique dans l’œuvre de Christian Marclay. In: Christian Marclay: Snap! Les Presses du Réel, Dijon. ISBN 978-2-84066-279-2

Bossis, Bruno, Marclay, Christian and Dufeu, Frédéric (2013) Le support sonore comme instrument de musique chez Christian Marclay [The Recording Medium As Instrument In Christian Marclay’s Works]. In: La musique et ses instruments - music and its instruments. Editions Delatour France, pp. 419-436. ISBN 9782752101594

Brown, Clive and Milsom, David (2006) The 19th-Century Legacy of the Viotti School: Editions of the Violin Concerto No. 22. In: Giovanni Battista Viotti : a composer between the two revolutions. Ad Parnassum Studies (2). UT Orpheus, Bologna, italy, pp. 157-198. ISBN 9788881094578

Bryan, John (2013) 'Full of Art, and Profundity': The Five-Part Consort Pavan as a Medium for Sophiosticated Musical Expression and Compositional Cross-Reference in Late Renaissance England' in 'Networks of Music and Culture in the Late Sixteenth and Early Secenteenth Centuries. In: Networks of Music and Culture in the Late Sixteenth and Early Secenteenth Centuries'. Ashgate, Farnham, UK, pp. 203-214. ISBN 9781472411983

Cassidy, Aaron (2004) Interconnectivity and abstraction: metallic dust as a testing ground for monopnonic and structural polyphonies. In: Polyphony & Complexity. Wolke, Germany. ISBN 9783936000108

Cassidy, Aaron (2013) Noise and the Voice: exploring the thresholds of vocal transgression. In: Noise in and as music. University of Huddersfield Press. ISBN 9781862181182

Cassidy, Aaron (2004) Performative physicality and choreography as morphological determinants. In: Musical Morphology. Published in collaboration with the Bludenzer Tage Zeitgemässer Musik, Germany. ISBN 9783936000139

Catterall, Stephen and Gildart, Keith (2019) Did Wigan have a Northern Soul? In: Sounds and the City. Leisure Studies in a Global Era, 2 . Palgrave Macmillan, pp. 369-387. ISBN 9783319940809

Clarke, Michael (2006) Jonathan Harvey’s ‘Mortuos Plango, Vivos Voco.’. In: Analytical Methods of Electroacoustic Music. Routledge, London, pp. 111-143. ISBN 9780415976299

Clarke, Michael (2010) Wind Chimes: An Interactive Aural Analysis. In: Denis Smalley: Polychrome Portraits. Polychrome Portraits . GRM de l'INA (Radio France), Paris, pp. 35-57. ISBN 9782869382114

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2016) Using Software Emulation to Explore the Creative and Technical Processes in Computer Music: John Chowning’s Stria, a case study from the TaCEM project. In: Proceedings ICMC 2016 : Is the sky the limit? HKU University of the Arts, pp. 218-223. ISBN 9780984527458

Colton, Lisa (2005) Choral Music in York, 1400-1540. In: Mass and Parish in Late Medieval England: The Use of York. Spire Books, Reading, pp. 41-56. ISBN 1904965024

Colton, Lisa (2005) Early Music, 1000-1600. In: Classical Music. Eyewitness Companions . Dorling Kindersley Books, pp. 46-75. ISBN 9781405306102

Colton, Lisa (2018) Medievalism, music and agency in The Wicker Man (1973). In: Recomposing the Past: Early Music on Stage and Screen. Routledge, Abingdon, UK, pp. 213-228. ISBN 978-1138287471

Colton, Lisa (2009) Music and Identity in Medieval Bury St Edmunds. In: St Edmund, King and Martyr: Changing Images of a Medieval Saint. York Medieval Press, Woodbridge. ISBN 9781903153260

Colton, Lisa (2019) Music in the Margins: Queerness in the Clerical Imagination, 1200–1500. In: The Oxford Handbook of Music and Queerness. Oxford University Press, Oxford, UK. ISBN 9780199793525

Colton, Lisa (2017) Past Tense: Creative Medievalism in the Music of Margaret Lucy Wilkins. In: Oxford Handbook on Music and Medievalism. Oxford University Press, Oxford. (In Press)

Colton, Lisa (2018) Song in space and space in song: physical and conceptual boundaries in English devotional music, 1250–1500. In: Devotional Interaction in Medieval England and its Afterlives. Brill, Leiden, Netherlands, pp. 208-238. ISBN 9789004365834

Colton, Lisa (2016) “Sowndys and melodiis”: Perceptions of Sound and Music in Late Medieval England. In: Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918. Routledge, Abingdon, UK, pp. 19-30. ISBN 9781409444398

Colton, Lisa (2014) Who's calling? Telephone songs, female vocal empowerment and signfication. In: Lady Gaga and Popular Music: Peforming Gender, Fashion, and Culture. Routledge Studies in Popular Music . Routledge, New York, pp. 67-81. ISBN 9780415824521

Cowgill, Rachel (2012) 'Attitudes with a Shawl': Femininity, Performance, and Spectatorship at the Italian Opera in early nineteenth-century London. In: The Arts of the Prima Donna in the Long Nineteenth Century. Oxford University Press, New York, pp. 217-251. ISBN 9780195365870

Cowgill, Rachel (2009) Barthelemon family; Burney, Charles; Crotch, William; Gardiner, William; Horn family; Latrobe, Christian Ignatius; Novello; Peploe, Mrs. In: Oxford Composer Companions: Haydn. Oxford University Press, Oxford, UK. ISBN 9780199554522

Cowgill, Rachel (2004) Billington, Elizabeth; Stephens, Catherine. In: Oxford Dictionary of National Biography. Oxford University Press, Oxford, UK. ISBN 9780198614111

Cowgill, Rachel (2001) Braham, John; Catalani, Angelica; Corri family; Crouch, Anna Maria; Harrison family; Kelly, Michael; Linley family; Mara, Gertrud Elisabeth; Mozart, Wolfgang Amadeus; Ries, Ferdinand; Singing. In: An Oxford Companion to the Romantic Age: British Culture 1776-1832. Oxford University Press, Oxford, UK. ISBN 9780199245437

Cowgill, Rachel (1999) Burney, Charles; Opera, English. In: The Reader's Guide to Music: History, Theory, Criticism. Fitzroy Dearborn/Routledge, Chicago, USA. ISBN 9781579581435

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Cowgill, Rachel (2007) Disputing Choruses in 1760s Halifax: Joah Bates, William Herschel, and the Messiah Club. In: Music in the British Provinces, 1690-1914. Ashgate, Aldershot, pp. 87-113. ISBN 9780754631606

Cowgill, Rachel (2007) Elgar's War Requiem. In: Elgar and His World. The Bard Music Festival . Princeton University Press, Princeton, NJ, pp. 317-362. ISBN 9781400832101

Cowgill, Rachel (2006) 'Hence, base intruder, hence': Rejection and Assimilation in the Early English Reception of Mozart's Requiem. In: Europe, Empire, and Spectacle in Nineteenth-Century British Music. Music in Nineteenth-Century Britain . Ashgate, Aldershot, pp. 9-30. ISBN 9780754652083

Cowgill, Rachel (2006) Mozart Productions and the Emergence of Werktreue at London's Italian Opera House, 1780-1830. In: Operatic Migrations: Transforming Works and Crossing Boundaries. Ashgate, Aldershot, pp. 145-186. ISBN 9780754650980

Cowgill, Rachel (2010) New Light and the Man of Might: Revisiting Early Interpretations of Mozart's Die Zauberflöte. In: Art and Ideology in European Opera: Essays in Honour of Julian Rushton. Boydell & Brewer, Woodbridge, pp. 194-221. ISBN 9781843835677

Cowgill, Rachel (2010) Of Science and Nature: Mozart versus the Modern Bel Canto in early nineteenth-century London. In: Mozart, Marcos Portugal e o seu tempo [Mozart, Marcos Portugal and their Times]. Edições Colibri/Centro de Estudos da Sociologia e Estética Musica, Universidade Nova de Lisboa, Lisbon, pp. 35-51. ISBN 9789727729593

Cowgill, Rachel (2012) On the Beat: The Victorian Policeman as Musician. In: Music and Institutions in Nineteenth-Century Britain. Music in Nineteenth-Century Britain . Ashgate, Farnham, pp. 221-246. ISBN 9781409405832

Cowgill, Rachel (2000) The Papers of C.I. Latrobe: New Light on Musicians, Music, and the Christian Family in Late Eighteenth-Century England. In: Music in Eighteenth-Century Britain. Ashgate, Aldershot, pp. 234-258. ISBN 9781840146882

Cowgill, Rachel (2012) Performance Alfresco: Music-Making in English Pleasure Gardens. In: The Pleasure Garden: From Vauxhall to Coney Island. Penn Studies in Landscape Architecture . University of Pennsylvania Press, Philadelphia, pp. 100-126. ISBN 9780812244380

Cowgill, Rachel (2016) ‘Proofs of Genius’: Wolfgang Amadeus Mozart and the Construction of Musical Prodigies in Early Georgian London. In: Musical Prodigies: Interpretations from Psychology, Education, Musicology, and Ethnomusicology. Oxford University Press, New York, pp. 511-549. ISBN 9780199685851

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Cowgill, Rachel (2008) 'Such scientific and profound harmonies': The Italian Opera Orchestra and Early Performances of Mozart's Don Giovanni in London. In: The Opera Orchestra in 18th-and 19th-Century Europe: Vol. II The Orchestra in the Theatre - Composers, Works, and Performance. Musical Life in Europe, 1600-1900: Circulation, Institutions and Representation, 1/2 . Berliner Wissenschafts-Verlag, Berlin, pp. 1-20. ISBN 9783830514886

Cowgill, Rachel (2000) 'Wise Men from the East': Mozart's Operas and their Advocates in Early Nineteenth-Century London. In: Music and British Culture, 1785-1914: Essays in Honour of Cyril Ehrlich. Oxford University Press, Oxford, pp. 39-64. ISBN 9780198167303

Cowgill, Rachel and Dideriksen, Gabriella (2008) Opera Orchestras in Georgian and Early Victorian London. In: The Opera Orchestra in 18th-and 19th-Century Europe: Vol. I The Orchestra in Society. Berliner Wissenschafts-Verlag, Berlin, pp. 259-321. ISBN 9783830514879

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Cummings, Graham (2010) Handel's compositional methods in his London operas of the 1730s and the unusual case of Poro, Re dell' Indie (1731). In: Opera Remade, 1700-1750. Ashgate Library of Essays in Opera Studies . Ashgate, pp. 469-490. ISBN 9780754629009

Cummings, Graham (2000) Handel, Telemann and Metastasio, and the Hamburg Cleofida. In: Händel-Jahrbuch. Baerenreiter Verlag, pp. 335-73. ISBN 978-3-7618-1441-3

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Dix, Alan, Bashford, Christina, Cowgill, Rachel, McVeigh, Simon and Ridgewell, Rupert (2016) Spreadsheets as User Interfaces. In: Proceedings of AVI 2016 (the International Working Conference on Advanced Visual Interfaces), 7-10 June 2016. ACM, Italy: Bari, pp. 192-195. ISBN 978-1-4503-4131-8

Dix, Alan, Cowgill, Rachel, Bashford, Christina, McVeigh, Simon and Ridgewell, Rupert (2014) Authority and Judgement in the Digital Archive. In: Proceedings of the 1st International Digital Libraries for Musicology Workshop (DLfM 2014), ACM/IEEE Digital Libraries Conference. ACM International Conference Proceeding Series . City University, London, pp. 33-40.

Dobson, Elizabeth (2015) Permission to Play: Fostering Enterprise Creativities in Music Technology through Extracurricular Interdisciplinary Collaboration. In: Activating Diverse Musical Creativities: Teaching and Learning in Higher Music Education. Bloomsbury, London, UK, pp. 75-96. ISBN 9781472589132

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Dufeu, Frédéric (2010) L’instrument numérique comme objet d’analyse des musiques mixtes. In: Proceedings of JIM10 (Journées d’Informatique Musicale). Journées d’Informatique Musicale.

Dufeu, Frédéric (2012) L’échange écrit dans la création musicale électroacoustique. Étude des correspondances entre compositeurs et assistants à la réalisation des œuvres. In: Correspondances d'artistes:du brouillon à la lettre ouverte. Mot et le reste. ISBN 978-2-36054-060-0

Dufeu, Frédéric (2013) Mémoires numériques et comportements instrumentaux : quels dialogues entre le musicien et la machine? [Digital Memories And Instrumental Behaviours: Dialogues between musicians and machines]. In: Libérez les machines !: L’imaginaire technologique à l’épreuve de l’art. Les presses du réel, pp. 105-113. ISBN 9782952235556

Dufeu, Frédéric (2012) Une interface graphique de manipulation d'unités modulaires dans SuperCollider. In: Proceedings of JIM2012 (Journées d’Informatique Musicale). Numediart, pp. 123-132.

Dufeu, Frédéric (2016) A permissive graphical patcher for supercollider synths. In: Proceedings ICMC 2016 : Is the sky the limit? HKU University of the Arts, pp. 134-139. ISBN 9780984527458

Dufeu, Frédéric and Rabin, Julien (2016) De l’improvisation collective à son redéploiement électroacoustique : From collective improvisation to electroacoustic redeployment. In: L'Improvisation musicale collective : collective music improvisation. L'Harmattan. ISBN 978-2-343-07966-0

Dufeu, Frédéric and Rabin, Julien (2016) Les pratiques musicales provoquées par le numérique : quelles ruptures pour l’acte de creation? : The musical practices provoked by the digital: what breaks for the act of creation? In: Défier la décence Crise du sens et nouveaux visages du scandale dans l'art : Challenging decency Crisis of meaning and new faces of scandal in art. Artois Presses Université. ISBN 9782848322261

Einbond, Aaron (2013) Subtractive Synthesis: noise and digital (un)creativity. In: Noise In And As Music. University of Huddersfield Press, Huddersfield, pp. 57-75. ISBN 9781862181182

Epstein, David and Mawer, Deborah (2010) Encountering La Valse: Perspectives and Pitfalls. In: Ravel Studies. Cambridge Composer Studies . Cambridge University Press, pp. 138-164. ISBN 9780521886970

Fleming, Michael (2011) Viols. In: Musical Instruments in the Ashmolean Museum: The Complete Collection. Oxford Musical Instrument Publishing LLP, Berkhamsted. ISBN 9780956767905

Glover, Richard (2013) Phill Niblock: Identity through instability. In: Phill Niblock: Working Title. Les presses du réel, Dijon, France. ISBN 9782840664239

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Glover, Richard (2013) Minimalism, Technology and Electronic Music. In: Ashgate Research Companion to Minimalist and Post-Minimalist Music. Ashgate, pp. 161-180. ISBN 9781409435495

Glover, Richard (2010) The compositional use of numerals in music notation. In: Music and numbers 2010 conference proceedings. Canterbury Christchurch University, Canterbury, UK. ISBN ISBN 978-1-899253-76-0

Glover, Richard (2012) The experience of sustained tone music. In: ICMPC-ESCOM Book of Abstracts. Aristotle University of Thessaloniki, Thessaloniki, pp. 122-123. ISBN 960998451-7

Harker, Alexander and Tremblay, Pierre Alexandre (2012) The HISSTools Impulse Response Toolbox: Convolution for the Masses. In: ICMC 2012: Non-cochlear Sound. The International Computer Music Association, pp. 148-155. ISBN 9780984527410

Harrison, Bryn (2009) Bryn Harrison. In: The Ashgate Research Companion to Experimental Music. Ashgate, London, UK, pp. 283-292. ISBN 9780754662822

Haworth, Catherine (2015) Pussy Galore: women and music in 'Goldfinger'. In: For his eyes only? The women of James Bond. Wallflower Press, New York, USA, pp. 160-170. ISBN 9780231176149

Haworth, Catherine (2008) Shades of grey: suspense, subjectivity and the soundtrack in Hitchcock's 'Notorious'. In: Cinemusic? Constructing the Film Score. Cambridge Scholars Publishing, Cambridge, UK, pp. 113-125. ISBN 1847185932

Haworth, Catherine (2017) Star quality? Song, celebrity and the jukebox musical in 'Mamma Mia!'. In: Contemporary Musical Film. Edinburgh University Press, Edinburgh, pp. 107-122. ISBN 9781474413121

Haworth, Catherine and Colton, Lisa (2015) Gender, Age and Musical Creativity. In: Gender, Age and Musical Creativity. Ashgate, Farnham, pp. 1-6. ISBN 978-1-4724-3085-4

Herbst, Jan-Peter (2017) “Gear Acquisition Syndrome”: A Survey of Electric Guitar Players. In: Popular Music Studies Today. Proceedings of the 19th conference of the International Association for the Study of Popular Music. Systematische Musikwissenschaft . Springer, Wiesbaden, pp. 139-148. ISBN 978-3658177393

Herbst, Jan-Peter (2017) Influence of distortion on guitar chord structures: Acoustic effects and perceptual correlates. In: Akustik und musikalische Wahrnehmung. Jahrbuch der Deutschen Gesellschaft für Musikpsychologie (27). Hogrefe, Goettingen.

Herbst, Jan-Peter (2017) Virtuoses Gitarrenspiel im Rock und Metal: Zum Einfluss von Verzerrung auf das ‚Shredding’ [Virtuoso solo guitar in rock and metal music: About the influence of distortion on ’shredding']. In: Schneller, höher, lauter. Virtuosität in populären Musiken. Beiträge zur Popularmusikforschung (43). Transcript, Bielefeld, pp. 131-152. ISBN 978-3837635928

Herbst, Jan-Peter (2015) “What’s that Sound?” Sound als didaktische Herausforderung der populären Musik [Sound as an educational challenge of popular music]. In: Popmusik-Vermittlung: Zwischen Schule, Universität und Beruf. Theorie und Praxis der Musikvermittlung (14). LIT, pp. 133-152. ISBN 9783643129970

Hewitt, Scott, Tremblay, Pierre Alexandre, Freeman, Samuel and Booth, Graham (2010) HELO: The Laptop Ensemble as an Incubator for Individual Laptop Performance Practices. In: Proceedings of the International Computer Music Conference. ICMA, New York, pp. 304-307.

Jan, Steven (2015) Evolutionary Thought in Music Theory and Analysis: A Corrective to “Babelization”? In: L’analyse musicale aujourd’hui/Music Analysis Today. Éditions Delatour, pp. 55-75. ISBN 9782752102430

Jan, Steven (2016) Understood at Last?: A Memetic Analysis of Beethoven’s ‘Bloody Fist’. In: Lecture Notes in Computer Science. 11th International Symposium, CMMR 2015, 9617 . Springer, Plymouth, UK, pp. 420-437. ISBN 978-3-319-46281-3

Jan, Steven (2011) Replication, Parataxis, and Evolution: Meme Journeys through the First Movement of a Mozart Sonata. In: A-Life for Music: Music and Computer Models of Living Systems. Computer Music and Digital Audio Series, 24 . A-R Editions, pp. 217-260. ISBN 9780895796738

Lim, Liza (2012) Patterns of Ecstasy. In: Darmstadt contributions to new music. Schott Musik, pp. 27-43. ISBN 9783795708160

Mawer, Deborah (2010) Crossing borders II: Ravel's theory and practice of jazz. In: Ravel Studies. Cambridge Composer Studies . Cambridge University Press, pp. 114-137. ISBN 9780521886970

Mawer, Deborah (2010) Introduction: the growth of Ravel studies. In: Ravel Studies. Cambridge Composer Studies . Cambridge University Press, pp. 1-8. ISBN 9780521886970

Mawer, Deborah (2008) Jolivet’s Search for a New French Voice: Spiritual “Otherness” in Mana (1935). In: French Music, Culture, and National Identity, 1870-1939. Eastman Studies in Music . University of Rochester Press, pp. 172-193. ISBN 9781580462723

Milsom, David (2007) Elevated aspirations versus limitations of reality: string playing style and practice in Victorian England. In: Victorian Soundscapes Revisited. Leeds Working Papers in Victorian Studies (9). Leeds Trinity University College, Leeds. ISBN 9780954015985

Milsom, David (2014) Expressiveness in historical perspective – 19th-century ideals and practices. In: Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford University Press, Oxford, UK, pp. 80-97. ISBN 9780199659647

Milsom, David (2008) Joseph Joachim: Evoking his style and Practice in Historically-Informed Performance. In: Echoes 2008: Joseph Joachim (1831-1907): European citizens, composer, pianist. Vienna Yearbook of Musicology . Mille Tre Verlag, Vienna, Austria. ISBN 9783900198190

Milsom, David (2008) Mendelssohn and the orchestra. In: Mendelssohn in Performance. Indiana University Press, pp. 98-113. ISBN 9780253351999

Milsom, David and Da Costa, Neal Peres (2014) Expressiveness in historical perspective : nineteenth-century ideals and practices. In: Expressiveness in music performance: Empirical approaches across styles and cultures. Oxford University Press, pp. 80-97. ISBN 978-0199659647

Mynett, Mark (2016) The distortion paradox: analysing contemporary metal production. In: Global Metal Music and Culture: Current Directions in Metal Studies. Routledge Studies in Popular Music (12). Routlege, New York, USA and Abingdon, UK. ISBN 978-1138822382

Mynett, Mark, Wakefield, Jonathan P. and Till, Rupert (2010) Intelligent Equalisation Principles and Techniques for Minimising Masking when Mixing the Extreme Modern Metal Genre. In: Heavy Fundamentalisms: Music, Metal and Politics. Inter-Disciplinary Press, Oxford, pp. 141-146. ISBN 978-1-84888-017-7

Pulman, Mark (2004) Peer assessment in popular music. In: How am I doing? Valuing and rewarding learning in musical performance in higher education. University of Ulster, Ulster, UK, pp. 69-87. ISBN 1859231780

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Rogers, Andrew and Gibson, Ian (2014) Transient Analysis for Music and Moving Images: Consideration for Television Advertising. In: Proceedings of the 40th International Computer Music Conference and the 11th Sound & Music Computing conference. ICMC/SMC 2014 . ICMC/SMC, Athens, Greece, pp. 1226-1232.

Romero-Perez, Julian and Fazenda, Bruno (2009) Characterisation of the directionality of reflections in small room acoustics. In: Proceedings of Computing and Engineering Annual Researchers' Conference 2009: CEARC’09. University of Huddersfield, Huddersfield, pp. 58-63. ISBN 9781862180857

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Russ, Michael (2013) Composing with Sets: Roberto Gerhard’s Concerto for Piano and String Orchestra. In: The Roberto Gerhard Companion. Ashgate. ISBN 9781409445159

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Schwarz, Diemo, Tremblay, Pierre Alexandre and Harker, Alexander (2014) Rich Contacts: Corpus-Based Convolution of Audio Contact Gestures for Enhanced Musical Expression. In: Proceedings of the International Conference on New Interfaces for Musical Expression. Goldsmiths, University of London, UK, pp. 247-250.

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Sundin, Pauline, Adkins, Monty and Gierakowski, Adrian (2013) Beyond Pythagoras. In: International Computer Music Conference Proceedings. MPublishing, Ann Arbor, MI, pp. 383-386.

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Till, Rupert (2011) 21st Century Trance Cult: Electronic Dance Music Culture as a Form of Possession Trance, and its Role in Replacing the Traditional Roles of Religions Within Western European Popular Youth Culture. In: Religion and Popular Music in Europe: New Expressions of Sacred and Secular Identity. I. B. Tauris Library of Modern Religion (18). I. B. Tauris, London/New York, pp. 145-162. ISBN 9781848858091

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Velardo, Valerio and Vallati, Mauro (2015) The Effect of Repetition and Expertise on Liking and Complexity in Contemporary Music. In: Proceedings of the Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music. Royal Northern College of Music, pp. 810-815.

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d'Escrivan, Julio (2014) Videogames as digital audiovisual performance. In: xCoAx 2014 Proceedings of the Second Conference on Computation Communication Aesthetics and X Porto, Portugal. xcoax.org, pp. 248-259. ISBN 9789897460364

Monograph

Felstead, Alan, Bishop, Dan, Fuller, Alison, Jewson, Nick, Lee, Tracey and Unwin, Lorna (2006) Moving to the Music: Learning Processes, Training and Productive Systems – The Case of Exercise to Music Instruction. Other. Cardiff University, Cardiff, UK. (Unpublished)

Milsom, David (2009) String Chamber Music of the Classical German School, 1840-1900: A Scholarly Investigation through Reconstructive Performance. Project Report. University of Leeds.

Unwin, Lorna, Felstead, Alan, Fuller, Alison, Lee, Tracey, Butler, Peter and Ashton, David (2005) Worlds within Worlds: The Relationship between Context and Pedagogy in the Workplace. Other. University of Leicester, Leicester, UK. (Unpublished)

Winterson, Julia and Russ, Michael (2008) Understanding the transition from school to university in music and related subjects. Project Report. University of Huddersfield, Huddersfield. (Submitted)

Conference or Workshop Item

Adkins, Monty (2009) The [60]Project: an analytical and contextual critique. In: New York City Electroacoustic festival, 2-4 April 2009, Cuny Graduate Centre New York. (Unpublished)

Adkins, Monty (2010) Metaphor, Abstraction and Temporality in Electroacoustic Music. In: ArtMusFair 2010, 22-26 September 2010, Chopin University, Warsaw, Poland. (Submitted)

Adkins, Monty (2014) Nodalism and creative practice. In: xCoAx 2014: Computation Communication Aesthetics and X, 26th-27h June 2014, Porto, Portugal.

Adkins, Monty (2007) Schaeffer est mort! Long live Schaeffer! In: EMS07 - Electroacoustic Music Studies, 12-15 June 2007, De Montfort University, Leicester, UK.

Adkins, Monty and Adams, Tom (2014) Digital Music, Digital Distribution. In: Electroacoustic Music Studies NetworkConference (EMS2014): Electroacoustic Music Beyond Performance, 10th - 14th June 2014, Berlin, Germany.

Adkins, Monty and Gatt, Michael (2009) [60]Project: Conception, Composition and Archiving. In: International Computer Music Conference (ICMC 2009), 16–21 August 2009, Montreal, Canada. (Unpublished)

Adkins, Monty and d'Escrivan, Julio (2013) Geometries of Flight: Remix as Nodal Practice. In: xCoAx 2013: a conference on Computation, Communication, Aesthetics and X, 26th - 28th June 2013, Bergamo, Italy.

Al, McNichol (2009) Music Technology in the Key Stage 3 Music: an opportunity for creativty? In: University of Huddersfield Research Festival 2008, 25 Feb-13 March 2008, Huddersfield. (Unpublished)

Al-Badr, Ahmed (2009) The Musical Characteristics Of The Folk Songs In South Of Iraq. In: University of Huddersfield Research Festival, 23rd March - 2nd April 2009, University of Huddersfield. (Unpublished)

Benincasa, Caterina (2010) Pigeons not Doves: Liverpool’s Contribution to the Festival of Britain, 1951. In: Modern British History Conference, 22nd - 23rd JUne 2010, St Andrews University, Scotland. (Unpublished)

Benincasa-Sharman, Caterina Amanda (2011) The 1951 Festival of Britain: A Northern Perspective. In: York Festival, July 12th 2011, Bedern Hall, York. (Unpublished)

Bonardi, Alain, Bossis, Bruno, Couprie, Pierre, Dufeu, Frédéric, Malt, Mikhail and Pottier, Laurent (2013) Atelier: Outils pour l’analyse de la musique électroacoustique [Workshop: Tools for analysis of electroacoustic music]. In: JIM2013 (Journées d’Informatique Musicale) Conference, 13th - 15th May 2013, Paris, France.

Bonardi, Alain and Dufeu, Frédéric (2013) Comment modéliser les comportements des instruments numériques? Propositions en logique floue à partir des œuvres de Philippe Manoury [How Can We Model Behaviours of Digital Instruments? Propositions in fuzzy logic from Philippe Manoury’s works]. In: Electroacoustic Music Studies Network EMS13, Electroacoustic Music in the Context of Interactive Approaches and Networks, 17th - 21st June 2013, Lisbon, Portugal. (Unpublished)

Bossis, Bruno, Marclay, Christian and Dufeu, Frédéric (2009) Le support sonore comme instrument de musique chez Christian Marclay. In: CIM09, Music and its Instruments: 5th Conference on Interdisciplinary Musicology, 26th - 29th October 2009, Paris, France. (Unpublished)

Calvert, Dave (2009) Heavy Load: The Love Child of Johnny Rotten and Audrey Hepburn. In: Applied Theatre, Aesthetics and Uncertainty, Friday 8th May 2009, Manchester University. (Unpublished)

Calvert, Dave (2012) The Rat Pack: Legacy and Influence. In: University of Huddersfield Diamond Jubilee Lecture Series, 6th June 2012, University Campus, Barnsley. (Unpublished)

Cassidy, Aaron (2014) Noise and the Voice: Exploring the thresholds of vocal transgression. In: performing voice Vokalität im Fokus angewandter Interpretationsforschung, 27th-29th November 2014, Musik-Akademie Basel, Switzerland.

Cassidy, Aaron (2016) Gestural Modelling and Compositional Constraints. In: Noise and the Voice: Open master class with composer Aaron Cassidy, 7th-8th March 2016, Norwegian Academy of Music, Norway. (Unpublished)

Cassidy, Aaron (2015) Gestural Modelling and Compositional Constraints. In: Invited Lecture, 2nd December 2015, Colombia University, New York, USA. (Unpublished)

Cassidy, Aaron (2015) Gestural Modelling and Compositional Constraints. In: Undergraduate Masterclass, 30th November 2015, Harvard University Department of Music, USA. (Unpublished)

Cassidy, Aaron (2015) Gestural Modelling and Compositional Constraints. In: Invited Lecture, September 2015, Royal Melbourne Institute of Technology, Australia. (Unpublished)

Cassidy, Aaron (2015) Gestural modelling and compositional constraints. In: Invited Lecture, 19th May 2015, Northwestern University, Chicago, USA. (Unpublished)

Cassidy, Aaron (2015) Gestural modelling and compositional constraints. In: Invited Lecture, 18th May 2015, The University of Chicago, Chicago, USA. (Unpublished)

Cassidy, Aaron (2014) Gestural modelling and compositional constraints. In: Invited Lecture, October 2014, Magdalene College, University of Oxford, UK. (Unpublished)

Cassidy, Aaron (2014) Gestural modelling and compositional constraints. In: Invited Lecture, September 2014, SEGi College, Subang Jaya, Malaysia. (Unpublished)

Cassidy, Aaron (2014) Gestural modelling and compositional constraints: the Articulation of Accident as Creative Method. In: Invited Lecture, 1st September 2014, Yong Siew Toh Conservatory, National University of Singapore. (Unpublished)

Cassidy, Aaron (2012) I am an experimental composer. In: Orpheus Institute ORCiM International Seminar 2012, 22nd-23rd February 2012, Ghent, Belgium. (Unpublished)

Cassidy, Aaron (2015) Imagining a Non-Geometrical Rhythm. In: Imagining a Non-Geometrical Rhythm — Inaugural Professorial Lecture, 23rd March 2015, University of Huddersfield. (Unpublished)

Cassidy, Aaron and Castro, Diego (2015) The Pleats of Matter/The Matter of Pleats. In: The Dark Precursor: International Conference on Deleuze and Artistic Research (DARE 2015), 9th - 11th November 2015, Orpheus Institute, Ghent, Belgium. (Unpublished)

Clarke, Eric, Doffman, Mark and Lim, Liza (2012) Distributed Creativity in 'Tongue of the Invisible'. In: 12th ICMPC -­ 8th  ESCOM  Joint Conference, 23-28 July 2012, Thessaloniki, Greece. (Unpublished)

Clarke, Michael (2009) Extending Interactive Aural Analysis: Acousmatic Music. In: Electroacoustic Music Studies Network EMS 09: Heritage and Future, 22nd - 25th June 2009, Buenos Aires, Argentina. (Unpublished)

Clarke, Michael and Dufeu, Frédéric (2013) An Introduction to the TIAALS software (Tools for Interactive Aural Analysis). In: 4th symposium of the AHRC funded project “New Multimedia Tools for Electroacoustic Music Analysis”, 11th July 2013, Leicester, UK. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2014) Barry Truax Riverrun (1986/2004), a case study from the TaCEM project, exploring new approaches to techniques of analysis and re-synthesis in the study of concert electroacoustic works. In: Electroacoustic Music Studies Network Conference Electroacoustic Music Beyond Performance,, 10th - 14th June 2014, Berlin, Germany.

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2014) Deriving a Chart-Organised Notation from a Sonogram Based Exploration: TIAALS (Tools for Interactive Aural Analysis). In: Interactive Music Notation and Representation workshop, 14th International Conference on New Interfaces for Musical Expression (NIME 2014), 30th June 2014, Goldsmiths, University of London, London, UK. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) Francis Dhomont's Phonurgie: A New Case Study from the TaCEM Project. In: Electroacoustic Music Studies Network Conference (EMS15): The Art of Electroacoustic Music, 23rd - 26th June 2015, Sheffield, UK. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2014) From technological investigation and software emulation to music analysis: an integrated approach to Barry Truax's riverrun. In: the ICMC / SMC 2014 (40th International Computer Music Conference joint with the 11th Sound and Music Computing conference), 14th - 20th September 2014, Athens, Greece.

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2013) The Impact of Technology on the Creative Processes of Composing Electroacoustic Music. In: Royal Musical Association Annual Conference 2013, 19th - 21st September 2013, London, UK. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) Interactive tools for the study of electroacoustic music composition methods: resources for teaching and learning from the TaCEM software. In: Innovative Tools and Methods to Teach Music and Signal Processing Conference, 2nd November 2015, Saint-Étienne, France. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2013) Introducing TaCEM and the TIAALS software. In: 2013 ICMC International Computer Music Conference, 11th - 17th August 2013, Perth, Australia. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2013) Le projet TaCEM et l’analyse interactive des musiques électroacoustiques [The TaCEM Project and the Interactive Analysis of Electroacoustic Music]. In: JAM13, Corpus et Méthodes. Traductions théoriques de l’hétérogénéité musicale, 3rd - 5th April 2013, Rennes, France. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2016) Performing works with instruments and real-time electronics. An analytical and interactive perspective from the TaCEM project. In: Performance Studies Network Fourth International Conference, 14-17th July 2016, Newton Park, Burton Upon Trent. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2014) The Significance of Technical Research in the Study of Electroacoustic Music: A Perspective from the TaCEM Project. In: Royal Musical Association 50th Annual Conference, 4th - 6th September 2014, Leeds, UK. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2013) TIAALS: A new generic set of tools for the interactive aural analysis of electroacoustic music. In: Electroacoustic Music Studies Network EMS13, Electroacoustic Music in the Context of Interactive Approaches and Networks, 17th - 21st June 2013, Lisbon, Portugal. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) The TaCEM Project: Technology and Creativity in Electroacoustic Music. In: Being Human. A festival of the humanities, Humanising Music Technology, 16th November 2015, Kingston University, London, UK. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) TaCEM: Technology and Creativity in Electroacoustic Music. In: National Association for Music in Higher Education (NAMHE) Annual Conference: Music – Learning – Technology, 5th May 2015, Glasgow, Scotland. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) Technology and Creativity in Music for Real-Time Electronics: An interactive approach to Philippe Manoury and Cort Lippe’s works. In: Ircam Forum Workshop, 25th November 2015, Paris, France.

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2014) Towards an Analysis of Trevor Wishart’s Imago: Form, Structure and Technology. In: EuroMAC2014: Eighth European Music Analysis Conference, 17th - 20th September 2014, Leuven, Belgium. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2016) Towards incorporating computer-aided techniques to interactive aural analysis. In: 1st Conference on Computer Simulation of Musical Creativity, 17-19th June 2016, University of Huddersfield. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2013) Tracking Creativity and Investigating Technology in Electroacoustic Music: Methods and perspectives of the TaCEM project. In: Tracking the Creative Process in Music (TCPM), 10th - 12th October 2013, Montreal, Canada. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) Tracking the creative process in Trevor Wishart’s Imago. In: 3rd Tracking the Creative Process in Music conference (TCPM), 8th - 10th October 2015, Paris, France. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2013) Working with the TIAALS Software. In: Ircam Forum Workshop, 20th - 22nd November 2013, Paris, France. (Unpublished)

Clarke, Michael, Dufeu, Frédéric and Manning, Peter (2015) An interactive simulation of John Chowning’s creative environment for the composition of Stria (1977). In: Computer Simulation of Musical Creativity study day, 27th June 2015, Huddersfield, UK. (Unpublished)

Clarke, Michael and Rodet, Xavier (2003) Real-time FOF and FOG synthesis in MSP and its integration with PSOLA. In: International Computer Music Conference 2003, 29 October - 4 November 2003, Singapore.

Clarke, Michael, Watkins, A., Adkins, Monty and Bokowiec, Mark (2004) Sybil: Synthesis by Interactive Learning. In: International Computer Music Conference 2004, 1-6 November 2004, Miami.

Cox, Geoffrey (2014) ‘Sounding and Resounding’. Planting sounds: poetry, feeling, place in Tree People, the story of the Colne Valley Tree Society. In: Music for Audio-Visual Media Conference 2014, 4-6 Sep 2014, University of Leeds. (Unpublished)

Cox, Geoffrey (2015) ‘Sounding and Resounding’. Planting sounds: poetry, feeling, place in Tree People, the story of the Colne Valley Tree Society. In: Sound and the Screen Symposium, 20 Nov 2015, University of West London. (Unpublished)

Cox, Geoffrey (2016) ‘There must be a poetry of sound that none of us knows…’ Early British documentary film and the prefiguring of musique concrète. In: Alternative Histories of Electronic Music Conference, 14-16 Apr 2016, The Science Museum Research Centre, Queen’s Gate, London. (Unpublished)

Cox, Geoffrey (2011) Listen to Nice. In: Politics, Poetics and Practice, New paradigms for theory-practice interchange in creative media production, Department of Media, Canterbury Christ Church University. (Unpublished)

Cox, Geoffrey (2010) Live performance in my film, No Escape. In: Cinesonika: Celebrating the Soundtrack, 12-14th November 2010, Simon Frazer University, Surrey Campus, Vancouver, Canada.. (Unpublished)

Cox, Geoffrey and Marley, Keith (2012) Deconstructing voices at NAWE. In: NAWE Conference, 9th - 11th November 2012, York, UK. (Unpublished)

Cox, Geoffrey and Marley, Keith (2011) From Nice to Toxteth. In: i-Docs: an international symposium on interactive documentary, 25th March 2011, The Watershed, University of the West of England, Bristol. (Unpublished)

Cox, Geoffrey and Marley, Keith (2010) Liveness and Documentary Performance. In: Documentary Now!, 15-16th January 2010, Burbeck College, London. (Unpublished)

Cox, Geoffrey and Marley, Keith (2009) Performing Documentary. In: MeCCSA Conference, 14th - 16th January 2009, National Media Museum, University of Bradford. (Unpublished)

Cox, Geoffrey and Marley, Keith (2011) Reduced Viewing, Enhanced Listening. In: ¡Documentary Now! A Conference on the Contemporary Contexts and Possibilities of the Documentary, 28-30th January 2011, University of Westminster, 309 Regent Street, London. (Unpublished)

Cummings, Graham (2009) Admeto and the rival Queens (featured opera Admeto). In: Göttingen International Handel Festival, 29th May 2009, Deutsches Theater, Göttingen, Germany. (Unpublished)

Cummings, Graham (2007) Belshazzar, a most operatic oratorio. In: Göttingen International Handel Festival, May 2007, Stadthalle, Göttingen, Germany. (Unpublished)

Cummings, Graham (2013) Handel and operatic rivalry in the London season 1733-34. In: Department of Music research seminar, 13th March 2013, University of York. (Unpublished)

Cummings, Graham (2012) Handel and operatic rivalry in the London season 1733-34. In: The Handel Institute Conference : Handel at Court, 24-25th November 2012, The Foundling Museum, London. (Unpublished)

Cummings, Graham (1999) Handel and the Confus'd Shepherdess: a case study of stylistic eclecticism. In: The Handel Institute Conference 1999: Great among the Nations: Handel and National Musical Styles, 20th - 21st November 1999, Kings College, London, UK. (Unpublished)

Cummings, Graham (2013) Handel under attack by the opera of the nobility. In: Music Research Forum, 26th November 2013, University of Huddersfield. (Unpublished)

Cummings, Graham (2008) Handel's Concerto Organ in 1735-36. In: British Institute of Organ Studies Conference 2008: The Organ in Stuart and Georgian England: Its Role through change to the Handel Commemoration, 10th - 13th April 2008, Merton College, Oxford, UK. (Unpublished)

Cummings, Graham (1993) Handel's compositional methods in Poro, Rè dell' Indie (1731). In: The Handel Institute Conference 1993: Handel in the 1730s, November 1993, Kings College, London, UK. (Unpublished)

Cummings, Graham (2003) Handel's messiah : the most finished piece of musick. In: Huddersfield Organists Association Event, 25th March 2003, Recital hall, University of Huddersfield. (Unpublished)

Cummings, Graham (2007) Handel's rulers and heroes. In: Göttingen International Handel Festival, May 2007, Rathaus, Göttingen, Germany. (Unpublished)

Cummings, Graham (2010) Handel, Hanover and George I. In: Göttingen International Handel Festival, 23rd May 2010, Holbornsches Haus, Göttingen, Germany. (Unpublished)

Cummings, Graham (2013) Handel, the Orient and his opera Siroe, Re di Persia. In: Göttingen International Handel Festival, 10-12th May 2013, Göttingen, Germany. (Unpublished)

Cummings, Graham (2007) Hasse's Neopolitan Cleopatra. In: York Early Music Festival, July 2007, York. (Unpublished)

Cummings, Graham (2010) Johann Hiller and Handel's Messiah. In: Göttingen International Handel Festival, 22nd - 23rd May 2010, Stadthalle, Göttingen, Germany. (Unpublished)

Cummings, Graham (2012) L'Olimpiade : Metastasio and the Olympic Games. In: York early Music Festival, 6-14th July 2012, Mansion House, York. (Unpublished)

Cummings, Graham (2009) Metastasio transformed in Handel's Poro. In: Purcell, Handel & Literature, 19-21st November 2009, Senate House, University of London. (Unpublished)

Cummings, Graham (2007) Metastasio's Alessandro to Handel's Poro : a change of dramatic emphasis. In: London Handel Festival, 20th March - 26th April 2007, Royal College of Music, London. (Unpublished)

Cummings, Graham (2006) Metastasio's Alessandro to Handel's Poro : a change of dramatic emphasis. In: Göttingen International Handel Festival, June 2006, Deutsches Theater, Göttingen, Germany. (Unpublished)

Cummings, Graham (2008) Operatic rivalry and Handel's organ concertos in the 1734-35 season. In: Music Research Forum, January 2008, University of Huddersfield. (Unpublished)

Cummings, Graham (2008) Orlando or the jealous madness. In: Göttingen International Handel Festival, May 2008, Deutsches Theater, Göttingen, Germany. (Unpublished)

Cummings, Graham (1982) Reminiscence and recall in three early settings of Metastasio's Alessandro nell' Indie. In: The Royal Musical Association Conference, November 1982, Kings College, University of London. (Unpublished)

Cummings, Graham (2011) Teseo : Handel's 'Maverick' opera. In: Göttingen International Handel Festival, 12-13th June 2011, Deutsches Theater, Göttingen. (Unpublished)

Dobson, Elizabeth (2006) Research on music composition: Issues of creativity and collaboration. In: Centre for Excellence in Teaching and Learning: Teaching, learning and performing music conference, 1 July 2006, Royal Northern College of Music, Manchester, UK. (Unpublished)

Dodd, Rose (2009) The Living Dolls of Electronica. Sonic Image in Electronic Music: the use of subversive text and narrative to expose gender dichotomy. In: Representing Gender in the Performing Arts, 12-13 November 2009, University of Groningen. (Unpublished)

Dufeu, Frédéric (2011) Building analytical tools from digital instruments: methods and perspectives for program reconstructions in Max/MSP and SuperCollider. In: 7th European Music Analysis Conference (VII EUROMAC), 29th September - 2nd October 2011, Rome, Italy. (Unpublished)

Dufeu, Frédéric (2013) De l’outil d’expression musicale à l’environnement d’analyse musicologique, la segmentation comme principe d’articulation [From the tool for musical expression to the environment for musical analysis, segmentation as a principle for articulation]. In: Analyse par segmentation des musiques électroacoustiques seminar, 21st January 2013, Saint-Etienne, France. (Unpublished)

Dufeu, Frédéric (2011) Electroacoustic Music and Popular Culture Interacting: Aesthetic and musicological implications of GRM Experience by Christian Fennesz, Mika Vainio and Christian Zanési. In: Electroacoustic Music Studies Network EMS11, Sforzando!, 14th - 18th June 2011, New York, New York, USA. (Unpublished)

Dufeu, Frédéric (2010) Entre composition et improvisation : analyse du programme informatique de Soliloque sur [X, X, X et X] de Fabien Lévy. In: "Analyze Improvisation" Colloquium, 12th February 2010, Paris, France. (Unpublished)

Dufeu, Frédéric (2013) L’instrument improvisé. Perspectives ouvertes par les technologies pour la constitution du dispositif de jeu dans le temps de la performance [The improvised instrument. Perspectives opened up by technology for the constitution of playing devices in performance time]. In: Les caprices de l’improvisation dans la musique [The vagaries of improvisation in art music] savante #2 seminar,, 21st March 2013, Paris, France. (Unpublished)

Dufeu, Frédéric (2009) L’échange écrit dans la création musicale électroacoustique. Étude des correspondances entre compositeurs et assistants à la réalisation des oeuvres. In: La forme dialogique des écrits d’artistes : les correspondances seminar, 23rd October 2009, Paris, France. (Unpublished)

Dufeu, Frédéric (2012) Partitions virtuelles et nouvelles lutheries. Questions d’interprétation dans l’œuvre électroacoustique de Philippe Manoury. In: Manifeste Festival 2012, 1st June - 1st July 2012, Paris, France. (Unpublished)

Dufeu, Frédéric (2008) Temps réel et temps différé dans l’instrument de musique numérique. In: EMS08 - Electroacoustic Music Studies - Conference Theme: Musique concrète - 60 years later, 3rd - 7th June 2008, Paris, France. (Unpublished)

Dufeu, Frédéric and Bonardi, Alain (2014) Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt. In: Electroacoustic Music Studies Network Conference Electroacoustic Music Beyond Performance,, 10th - 14th June 2014, Berlin, Germany.

Einbond, Aaron (2012) Sound Studies Lecture No. 35. In: Sound Studies Lecture No. 35, 12 November 2012, Universität der Künste, Berlin.

Einbond, Aaron (2012) Timbre Spaces: New Graphical Models for Analysis and Composition. In: Society for Music Theory, 1-4 November 2012, New Orleans, LA, USA.

Einbond, Aaron (2012) (Un)original(ity). In: Summer Composition Institute, Harvard Music Department, 25th - 26th August 2012, Cambridge, MA, USA.

Etheridge, Stephen (2009) Social And Musical Influences In The Creation Of Working-Class Cultural And Regional Identities. In: University of Huddersfield Research Festival, 23rd March - 2nd April 2009, University of Huddersfield. (Unpublished)

Fenton, Steven (2009) Objective Measurement of Sound Quality in Music Production. In: Annual Researchers' Conference 2009 (CEARC '09), Friday 11th December 2009, University Of Huddersfield. (Unpublished)

Fenton, Steven and Lee, Hyunkook (2017) Alternative Weighting Filters for Multi-Track Program Loudness Measurement. In: AES 143rd Conference, New York, USA, October 2017, New York, USA.

Fenton, Steven and Lee, Hyunkook (2015) Towards a Perceptual Model of 'Punch' in Musical Signals. In: 139th International AES Convention, 29th October - 1st November 2015, New York, USA.

Fenton, Steven, Lee, Hyunkook and Wakefield, Jonathan P. (2016) Evaluation of a Perceptually-Based Model of "Punch" with Music Material. In: AES 141st Convention, 28th September-2 October 2016, LA Convention Centre, LA, USA.

Fenton, Steven, Lee, Hyunkook and Wakefield, Jonathan P. (2015) Hybrid Multiresolution Analysis Of ‘Punch’ In Musical Signals. In: 138th Annual Audio Engineering Society AES Convention, 7th-10th May 2015, Warsaw, Poland.

Fenton, Steven and Wakefield, Jonathan P. (2012) Objective profiling of perceived punch and clarity in produced music. In: 132nd Audio Engineering Society Convention, 26th - 29th April 2012, Budapest, Hungary.

Fenton, Steven, Wakefield, Jonathan P. and Fazenda, Bruno (2011) Objective Measurement of Music Quality Using Inter-Band Relationship Analysis. In: 130th Audio Engineering Society AES Convention, 13-16 May 2011, London, UK.

Fleming, Michael (2003) Another juggler: instruments and instrumentalists in early modern Oxford. In: The American Musical Instrument Society Conference on Musical Instruments, 3 - 9 August 2003, Oxford - London - Edinburgh.

Fleming, Michael (1998) Are English string instruments all they are not cracked up to be? In: 32nd RMA Research Students Conference, 14th December 1998, University of York, UK. (Unpublished)

Fleming, Michael (2012) Early English viol makers' tools and resources. In: CordeFactum Festival 2012, 18th - 20th May 2012, Hingene, Belgium. (Unpublished)

Fleming, Michael (2011) Obfuscation or illumination: what ‘early English viols’ tell us about early English viols. In: The American Musical Instrument Society Conference on Musical Instruments, 18th - 21st May 2011, Phoenix, AZ, USA. (Unpublished)

Fleming, Michael (2012) Robert Dow's viols: a lamentable lacuna. In: Medieval and Renaissance Music seminar series, 8th November 2012, All Souls College, Oxford. (Unpublished)

Fleming, Michael (1999) Viol design = painting by numbers? In: The British Society for the History of Mathematics Research in Progress Day, 27th February 1999, Wolfson College, Oxford, UK. (Unpublished)

Fleming, Michael (1999) Viols and other lumber. In: The Galpin Society Conference on Musical Instruments, 9-11 July 1999, University of Edinburgh.

Fleming, Michael (2006) What we can and cannot learn from English images of viols. In: CordeFactum 2006, June 2006, Belgium.

Fleming, Michael (2000) Who made the viols `by’ Henry Jaye ? In: Symposium on Bowed String Musical Instruments, 2-3 June 2000, Faculty of Music, University of Edinburgh.

Fleming, Michael (2010) Woodworking Tools in Sixteenth-Century Oxford. In: Technology and craft of early stringed instruments, c. 500-1550, 6th November 2010, University of London. (Unpublished)

Fleming, Michael (1995) The fantasy viol. In: The Fantasia in England from Alfonso Ferrabosco II to Henry Purcell, 7th - 9th July 1995, University of York, UK. (Unpublished)

Fleming, Michael (2009) The viol displayed, the iconographer dismayed. In: Making the British Sound, Conference, 6 - 11 July 2009, London - Edinburgh. (Unpublished)

Gibson, Ian, Newell, Christopher and Edwards, Alistair (2007) The "Call Centre" Installation. In: Digital Music Research Network (DMRN) Summer Conference, 7-8 July 2007, Leeds Metropolitan University.

Glover, Richard (2009) Phill Niblock and identity in reductionism. In: Second International Conference on Minimalist Music, 2nd-6th September 2009, University of Missouri, Kansas, USA.

Glover, Richard and Harrison, Bryn (2013) Phenomenology and temporality in the composition of experimental minimal music. In: Philosophy and Music Conference: Time Theories and Music, 27-29 April 2012, Ionian University, Corfu, Greece.

Glover, Richard (2013) Approaches to microtonality in my own music. In: EUROMicroFest, 2-3 Feb 2013, Kunsthochschule für Medien, Köln. (Unpublished)

Glover, Richard (2010) The Compositional Use of Numerals in Music Notation. In: Off the Staves: Writing Music Before and After Conventional Notation, 26th-27th March 2010, Bangor, Wales. (Unpublished)

Glover, Richard (2011) Influence of sustained tone minimalism in my recent music. In: Third International Conference on Music and Minimalism, 12th-15th October 2011, Katholieke Universiteit Leuven, Belgium. (Submitted)

Glover, Richard (2011) Influences of sustained tone minimalism in my recent music. In: Third International Conference on Music and Minimalism, 12th-15th October 2011, Katholieke Universiteit Leuven, Belgium. (Unpublished)

Glover, Richard (2012) Phenomenology and temporality in the composition of experimental minimal music. In: Philosophy and Music Conference: Time Theories and Music, 27th-29th April 2012, Ionian University, Corfu, Greece. (Unpublished)

Glover, Richard (2009) Phill Niblock and identity in reductionism. In: Second International Conference on Minimalist Music, 2nd-6th September 2009, University of Missouri, Kansas, USA.

Glover, Richard (2012) Phill Niblock through the Ages. In: MuGI conference on 'Gender, Musical Creativity and Age', 6th - 7th October 2012, University of Huddersfied. (Unpublished)

Glover, Richard (2011) Pitch specificity in text scores. In: Word Event: a verbal notation symposium, 21st September 2011, Bath, UK. (Unpublished)

Glover, Richard (2011) The evolution of notation in sustained tone music. In: INTIME2011 Symposium Interrogations into Music Experimentation Experimental Approaches: new insights into performance and composition, 24th-25th September 2011, Coventry, UK. (Unpublished)

Glover, Richard (2012) The experience of sustained tone music. In: ICMPC-ESCOM 2012 Joint Conference, 23-28 July 2012, Aristotle University of Thessaloniki.

Glover, Richard (2013) The use of grid structures in contemporary notational practice. In: Time Stands Still: Notation in Musical Practice, 5-6 April 2013, Wesleyan University, Connecticut, USA. (Unpublished)

Glover, Richard (2010) The use of numerals in experimental notation. In: Music and Numbers Conference 2010, 14th-15th May 2010, Canterbury Christ Church, UK.

Glover, Richard and Harrison, Bryn (2013) Memory and trace in minimal experimental music. In: Time and Trace: 15th Triennial Conference of the International Society for the Study of Time, 30 June - 6 July 2013, Orthodox Academy of Crete, Greece. (Unpublished)

Hales, Derek (2011) Ways of Hearing in Cyborgian Geographies. In: Ways of Hearing, March - June 2011, Opera North, Leeds. (Unpublished)

Hardaker, Glenn and Graham, Gary (2002) The impact of the internet on the structure and conduct of the music market. In: 12th International conference on cultural economics, 13th - 15th June 2002, Rotterdam.

Harker, Alexander (2012) Navigating Sample-Based Music: Immediacy and Musical Control in Recent Electronic Works. In: Symposium “Les Espaces sonores – Stimmungen, Klanganalysen, spektrale Musiken”, 7-9 December 2012, Musikakademie Basel. (Unpublished)

Harker, Alexander and Tremblay, Pierre Alexandre (2013) Rethinking the Box: Approaches to the Reality of Electronic Music Performance. In: IRCAM Forum, 20-22 November 2013, IRCAM, Paris. (Submitted)

Haworth, Catherine (2010) After all, do I look like a murderer? Music and the subjective art of detection in 'Suspicion'. In: RMA Research Students' Conference, January 2010, University of York. (Unpublished)

Haworth, Catherine (2015) Bodies of evidence: performing women and the politics of representation in classical Hollywood. In: Research seminar: Bodies of Evidence, January 2015, Canterbury Christ Church University. (Unpublished)

Haworth, Catherine (2011) Dangerous dames and Siren songs: Music and the 'criminal' woman in 1940s Hollywood. In: Women in Research, July 2011, University of Leeds. (Unpublished)

Haworth, Catherine (2005) Dark as night and twice as deadly: music, gender and film noir. In: Research seminar, November 2005, Department of Music, University of East Anglia. (Unpublished)

Haworth, Catherine (2009) Detective agency? Music, sound, and the female investigator in 1940s Hollywood. In: International Conference on Music Since 1900, 2-5 July 2009, Keele University. (Unpublished)

Haworth, Catherine (2005) Gender and subversion in Roy Webb's score for 'The Spiral Staircase'. In: RMA Research Students' Conference, March 2005, University of Durham. (Unpublished)

Haworth, Catherine (2011) I remember clearly everything that happened that night...: voiceover, music and subjectivity in classical Hollywood. In: Film Music Conference, September 2011, University of Leeds. (Unpublished)

Haworth, Catherine (2013) "It may sound like music to her…": Inter-American politics, 'Latin' scores, and the 1940s femme fatale in 'The Leopard Man'. In: British Association of American Studies conference, April 2013, University of Exeter, UK. (Unpublished)

Haworth, Catherine (2017) Listening to the detectives: towards inclusive analysis of The Falcon's adventures at RKO. In: Sources and Archives in Screen Sound Studies, 1st-2nd June 2017, University of Huddersfield, UK. (Unpublished)

Haworth, Catherine (2013) Million-dollar legs and a desire for the "primitive": Taming Ann Miller’s virtuosic body in and around 'Prehistoric Man'. In: The Performing Body in the Hollywood Film Musical, 4th-6th April 2013, Colgate University, Hamilton, NY USA. (Unpublished)

Haworth, Catherine (2017) Music for a gentleman adventurer: scoring the Falcon at RKO Radio Pictures. In: Newland Lecture in Music, 17 October 2017, University of Hull. (Unpublished)

Haworth, Catherine (2006) Music, suspense, and subjectivity in 'Notorious'. In: RMA Research Students' Conference 2006, January 2006, University of Leeds. (Unpublished)

Haworth, Catherine (2011) Nancy, Nancy, what'll you do to him now?: music, subjectivity and the femme fatale in 'The Locket'. In: Music and the Moving Image VI, May 20 – May 22, 2011, New York University. (Unpublished)

Haworth, Catherine (2016) On the beat with the Falcon: scoring the adventure programmer at RKO Radio Pictures. In: Music Research Seminar, October 20th, 2016 — September 20th, 2016, University of Leeds, School of Music. (Unpublished)

Haworth, Catherine (2014) Prescriptive audio: gender, medicine and musical control in the 1940s gaslight film. In: Music and Screen Media, 25-26th June 2014, University of Liverpool. (Unpublished)

Haworth, Catherine (2014) Shapely gams and jazz hands: taming Ann Miller's virtuosic body in and around 'Prehistoric Man'. In: Music for Audio-Visual Media, September 2014, University of Leeds, UK. (Unpublished)

Haworth, Catherine (2011) She must be quite a dame...: Music and the femme fatale in 'Out of the Past'. In: International Conference on Music Since 1900, 28–31 July 2011, Lancaster University. (Unpublished)

Haworth, Catherine (2012) Something beneath the flesh: medicine, music and masculinity in the 1940s gaslight thriller. In: Bodies of Evidence: Crime, Gender and Representation, 2 April 2012, Newcastle University. (Unpublished)

Haworth, Catherine (2017) Synchronicity and subjectivity in film music studies. In: Popular Music Study Day, 25th May 2017, Oxford Brookes University, UK. (Unpublished)

Haworth, Catherine (2012) "There isn't any other song": Reading Monroe's 'Kiss' in and after 'Niagara'. In: The Afterlife of the Film Song, 8 December 2012, Bristol University. (Unpublished)

Haworth, Catherine (2007) There isn't any other song: music, Monroe, and female agency in 'Niagara'. In: Sound, Music and the Moving Image, 10–12 September 2007, Institute of Musical Research, University of London. (Unpublished)

Haworth, Catherine (2006) There's nothing like a love song to give you a good laugh: music and subjectivity in 'Notorious'. In: Bradford Film Festival Film Music Conference, March 2006, National Media Museum, Bradford. (Unpublished)

Haworth, Catherine (2005) There's nothing like a love song to give you a good laugh: music, 'Notorious', and the boundaries of noir. In: Cherchez la Femme. The cinematic femme fatale, her history and transmissions, September 2005, University of Exeter. (Unpublished)

Haworth, Catherine (2010) They wouldn't send a woman, would they? Musical approaches to the female detective in 1940s Hollywood. In: Crime Across Cultures, 9-10 September 2010, University of Leeds. (Unpublished)

Haworth, Catherine (2014) "Wallowing in Latin glamor": inter-American politics, Hollywood film music, and the 1940s femme fatale. In: Music and the Moving Image IX, 30th May - 1st June 2014, New York University. (Unpublished)

Haworth, Catherine (2009) What do you know of law and trials and all those things? Music and the female investigator in 1940s Hollywood. In: Research seminar, October 2009, School of Music, University of Leeds. (Unpublished)

Haworth, Catherine (2012) A bad town for blondes? Hollywood film music and inter-American politics in "The Leopard Man". In: Music and Music Technology Research Forum, March 2012, University of Huddersfield. (Unpublished)

Haworth, Catherine (2013) “A bad town for blondes”: Identity, inter-American politics, and ‘Latin’ film music in 'The Leopard Man'. In: International Conference on Music Since 1900, September 2013, Liverpool Hope University. (Unpublished)

Haworth, Catherine (2010) A voice with hormones: power, desire, and musical performance in 'A Woman's Secret'. In: School of Music Research Day, May 2010, University of Leeds. (Unpublished)

Haworth, Catherine (2011) A voice with hormones: the singer, the diva, and the femme fatale in 'A Woman's Secret'. In: The Diva: An Interdisciplinary Conference, 5-8 July 2011, Liverpool Hope University. (Unpublished)

Herbst, Jan (2018) The Art of Record Production: Technologies, practices and styles of popular music production. In: Postgraduate seminar on popular music analysis, 26-29 March 2018, Paderborn University, Germany. (Unpublished)

Herbst, Jan-Peter (2015) ”Busby Berkeley: Höhepunkte der Choreographie des Broadway Musicals der 1930er Jahre“ [Busby Berkeley: Highlights of 1930s Broadway musical choreography]. In: Lecture series in Music and Arts, 4 November 2015, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Das Konzeptalbum im Wandel der Zeit: Transmediale Schnittstellen als zeitgemäße ästhetische wie auch ökonomische Strategien?!“ [Concept albums in the change of time: Transmedial interfaces as aesthetic and economic strategies?! In: Lecture series in Music and Arts, 20th April 2016, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Der Einfluss von Verzerrung auf die Wahrnehmung verschiedener Gitarrenakkorde: Eine quantitative Studie auf Grundlage psychoakustischer Messungen” [The effect of distortion on the perception of guitar chord structures: A quantitative study based on a psychoacoustic experiment]. In: Akustik und musikalische Hörwahrnehmung, 1-11 September 2016, Vienna University, Austria. (Unpublished)

Herbst, Jan-Peter (2013) “Didaktik der Populären Musik: Sound und aktuelle Herausforderungen“ [Popular Music Education: Sound and contemporary challenges]. In: Musik lernen und vermitteln: Grundfragen und Perspektiven der Musikpädagogik, 13 January 2013, Paderborn University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Die Verzerrung als Gestaltungsmerkmal des E-Gitarrenspiels in der Rockmusik“ [Distortion as an expressive tool for rock guitar playing]. In: Transcultural and Popular Music Research, 29 January 2016, Weimar College of Music, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Die Verzerrung als Gestaltungsmerkmal des Gitarrenspiels: Methodische Grundlagen und praktische Anwendungen“ [The distortion as an expressive means of guitar playing: Methodical basics and practical application]. In: Stromgitarren, 16 June 2017, Paderborn University, Germany. (Unpublished)

Herbst, Jan-Peter (2015) “Dub Reggae: Das Mischpult als Instrument“ [Dub reggae: the mixing desk as an instrument]. In: Lecture series in Music and Arts, 2nd December 2015, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “George Martin: Eine Rückschau auf seine Arbeit mit den Beatles und seinen Einfluss auf die Musikwelt“ [George Martin: A retrospect on his work with the Beatles and his influence on the world of music]. In: Lecture series in Music and Arts, 1 June 2016, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2017) “Heaviness im modernen Metal. Eine produktionstechnische Annäherung an ein genrespezifisches Qualitätskriterium” [Heaviness in modern metal music. A production-technological approach to a genre-specific quality criterion]. In: “Modern rock and metal music” postgraduate symposium, 21 October 2017, University of the Arts Bern, Switzerland. (Unpublished)

Herbst, Jan-Peter (2017) “Heaviness” and the metal music guitar. Interactions between harmonic structure and sound from acoustic and perceptual perspectives. In: Musik und Bewegung, 15-17 September 2017, Hamburg University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Kommunikation und Wissenskonstruktion in der Vorlesung: Eine quantitative Studie zur Emergenz fachlichen Grundlagenwissens durch kommunikationsanregende Methoden“ [Communication and construction of knowledge: A quantitative study on the emergence of knowledge by teaching methods]. In: Tag der Lehre, 16 February 2016, Paderborn University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Methoden der Klanganalyse und ihre Anwendung in Musikpsychologie und -analyse" [Methods of sound analysis and its use for music psychology and analysis]. In: Funktionen und Wirkungen von Musik, 19 April 2016, Paderborn University, Germany. (Unpublished)

Herbst, Jan-Peter (2017) “Musikalische Darstellungsweisen der Elemente am Beispiel des Konzeptalbums 'The Alchemy Index' von Thrice“ [Musical presentation of the natural elements in Thrice’s concept album The Alchemy Index]. In: Lecture series in Arts and Music, 3 March 2017, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2017) “Musikpädagogik und Musiktechnologie: Eine Fallstudie aus der Praxis am Beispiel von Dub Reggae” [Music Technology and Music Education: A practice-based case study on dub reggae]. In: Jugend musiziert – musikkulturelle Vielfalt im Diskurs, 28-29 September 2017, Paderborn University, Germany. (Unpublished)

Herbst, Jan-Peter (2013) “Netzwerk Sound: Hören, Kultur, Praxis“ [Network sound: Listening, culture, practice]. In: Postgraduate Research Conference, 19 February 2013, Paderborn University, Germany. (Unpublished)

Herbst, Jan-Peter (2017) Old sounds with new technologies? Examining the creative potential of guitar ‘profiling’ technology from a production perspective. In: The Future Sound of Pop Music, 30 November - 02 December 2017, University of the Arts Bern, Switzerland. (Unpublished)

Herbst, Jan-Peter (2016) “Para-Sonic 3.0: Eine Klang-Körper-Interaktion“ [Para-sonic 3.0: A sound and body interaction]. In: Lecture series in Music and Arts, 11 November 2016, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2014) ”Rethinking sound – an ontological perspective“. In: Sonic Signatures, 9-11 April 2014, Aalborg University, Denmark. (Unpublished)

Herbst, Jan-Peter (2016) ”Shredding, Two-Hand-Tapping, Feedback: Eine experimental-analytische Studie zur Auswirkung von Gitarrenverzerrung auf das Solospiel im Rock und Metal” [An experimental and analytic study on the effects of guitar distortion on solo playing in rock and metal]. In: Schneller, höher, lauter. Virtuosität in populären Musiken, 18-20 November 2016, Hamburg University, Germany. (Unpublished)

Herbst, Jan-Peter (2017) ”Transkulturelle Musikpädagogik: Ziele, Methoden und Potenziale für ästhetische Bildung“ [Transcultural music education: aims, methods and potentials for aesthetic education]. In: Strategien in der ästhetischen Bildung, 17 January 2017, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Verzerrung und Noise: Formen, Intentionen und Geschichte des Heavy Metal Sounds“ [Distortion and noise: Forms, intentions and history of heavy metal sounds]. In: Musik, Kultur und Geschichte des Heavy Metal, 28 June 2016, Siegen University, Germany. (Unpublished)

Herbst, Jan-Peter (2016) “Wir brauchen Licht: Musikalische und performative Umsetzung des Finalstückes aus dem Musical ‚Next to Normal’“ [We need light: music and performance in the final song of the musical ’Next to Normal’]. In: Summer School Music Education, 12-15 September 2016, Bielefeld University, Germany. (Unpublished)

Herbst, Jan-Peter (2018) The formation of the German metal scene and the question of a “Teutonic” power metal sound. In: HardWired VI: So far, so good… so what? Approaching the Metal Realities, 3-5 May 2018, University of Siegen, Germany. (Unpublished)

Hewitt, Scott (2009) The Laptop As An Ensemble Instrument-Methods And Concerns. In: University of Huddersfield Research Festival, 23rd March - 2nd April 2009, University of Huddersfield. (Unpublished)

Jan, Steven (2015) Computer Simulation of Musical Evolution: A Lesson from Whales. In: Study Day on Computer Simulation of Musical Creativity, 27th June 2015, University of Huddersfield, UK.

Jan, Steven (2009) Evolutionary Thought in Music Theory and Analysis: A Corrective to ‘Babelization’? In: L'analyse Musicale aujord'hui: crise ou (R)evolution?/Music Analysis Today: Crisis or (R)evolution? International Conference 2009, 19th - 21st November 2009, Strasbourg, France.

Jan, Steven (2003) Meme hunting with the Humdrum Toolkit: principles, problems, and prospects. In: Hull University Music Analysis Conference (HUMAC) 2003, 10th - 13th July 2003, University of Hull, UK. (Unpublished)

Jan, Steven (2011) A Memetic Analysis of a Phrase by Beethoven: Calvinian Perspectives on Segmentation, Similarity and Lexicon-Abstraction. In: 7th European Music Analysis Conference, 29th September - 2nd October 2011, Rome, Italy. (Unpublished)

Jan, Steven (2000) The Memetics of Music and its implications for Psychology. In: 6th International Conference on Music Perception and Cognition(ICMPC), 5th - 10th August 2000, Keele University, Staffordshire, UK.

Jan, Steven (2013) Mnemosyne’s Hexagons: Music, Memory and M(us)emes. In: Darwin, chef d’orchestre? Colloque interdisciplinaire sur l’évolution de la musique, 28th March 2013, Lyon, France. (Unpublished)

Jansch, Adam (2009) Distributable Open Form Music. In: University of Huddersfield Research Festival, 23rd March - 2nd April 2009, University of Huddersfield. (Unpublished)

Lim, Liza (2015) Creative isomorphism between object, idea and states of consciousness. In: 2nd International Conference on Music and Consciousness, 14-17 April 2015, Oxford University, UK. (Unpublished)

Lim, Liza (2012) Tongue of the Invisible – Co-creative processes between composition, performance and improvisation. In: SPEEC: Symposium for Performance of Electronic and Experimental Composition: “Building an Instrument”, 6-7 January 2012, University of Oxford. (Unpublished)

Lim, Liza (2013) A mycelial model for understanding distributed creativity: collaborative partnership in the making of ‘Axis Mundi’ (2013) for solo bassoon. In: Performance Studies Network Second International Conference 2013, 4th-7th April 2013, Cambridge, UK.

Meza, Mauricio and Dufeu, Frédéric (2012) Doppelgänger_Oblivion: Timeline. An interactive multimedia installation for collective in situ composition. In: The Global Composition, Conference on Sound, Media, and the Environment, 25th - 28th July 2012, Darmstadt and Dieburg, Germany.

Millea, Timothy A. and Wakefield, Jonathan P. (2010) Automating the Composition of Popular Music: The Search For a Hit. In: EvoPhD (EvoStar 2010), 7-9 April 2010, Istanbul Technical University, Istanbul, Turkey. (Submitted)

Moore, Austin (2016) The motivation behind the use of Dynamic Range Compression (DRC) In Music Production and an analysis of its sonic signatures. In: Art Of Record Production 2016 Conference, Aalborg, Denmark, December 2-4 2016, Aalborg University, Denmark. (Unpublished)

Moore, Austin, Till, Rupert and Wakefield, Jonathan P. (2016) An Investigation into the Sonic Signature of Three Classic Dynamic Range Compressors. In: 140th International AES Convention, 4th-7th June 2016, Paris, France.

Moore, Austin and Wakefield, Jonathan (2017) An Investigation into the Relationship Between the Subjective Descriptor Aggressive and the Universal Audio 1176 FET Compressor. In: Audio Engineering Society 142nd, May 20-23 2017, Berlin.

Mynett, Mark and Wakefield, Jonathan P. (2009) The use of click tracks for drum production within the Extreme Metal genre. In: The Art of Record Production 09, 13th - 15th November 2009, Cardiff.

Mynett, Mark, Wakefield, Jonathan P. and Till, Rupert (2011) Sound at Source: The creative practice of re-heading, dampening and drum tuning for the Contemporary Metal genre. In: The Art of Record Production 2010, 3rd - 5th December 2010, Leeds.

Pulman, Mark (2009) Learning about yourself in the band rehearsal. In: University of Huddersfield Research Festival, 23rd March - 2nd April 2009, University of Huddersfield. (Unpublished)

Pulman, Mark (2002) Peer assessment in popular music group performance. In: Assessing Musical Performance, 11-12th September 2002, Carrickfergus, University of Ulster. (Unpublished)

Pulman, Mark (2008) Personal attributes and rehearsing in a band. In: Research Fora, 2nd December 2008, University of Huddersfield. (Unpublished)

Pulman, Mark (2002) Winning the crowd vote. In: Sheffield Hallam University Research Forum, 29th April 2002, Sheffield Hallam University. (Unpublished)

Rawbone, T. and Jan, Steven (2015) A grammatical model of butterfly schemas in the late-Classical style. In: Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, 17th - 22nd August 2015, Manchester, UK.

Roberts, Spencer (2016) Algo-Mech: Algo(rhythms) and Mech(animisms). In: ALGOMECH 2016, 12/11/16 - 19/11/16, Sheffield Institute of Arts. (Unpublished)

Rogers, Andrew and Gibson, Ian (2013) Audiovisual synchrony: Cross-modal transient structure and tempo. In: Sixth International Conference of Students of Systematic Musicology, September 12th-14th 2013, Genoa, Italy. (Unpublished)

Spatz, Ben (2015) Out from the Egg of Silence: For a Topology of Song. In: T H E D A R K P R E C U R S O R International Conference on Deleuze and Artistic Research, 9-11 November 2015, Ghent, Belgium.

Taylor, Andrew, Unver, Ertu and Till, Rupert (2010) Modelling Stonehenge: An interdisciplinary digital approach to 3D interactive storytelling. In: TAG 2010: The 32nd Annual Conference of the Theoretical Archaeology Group, 17-19 December 2010, University of Bristol, UK. (Unpublished)

Thomas, Philip (2009) Abstruse Indeterminacy: Christian Wolff’s For Pianist as extreme performance practice. In: Sixth Biennial International Conference on Music Since 1900, 2-5 July 2009, Keele University. (Unpublished)

Thomas, Philip (2009) Playing the Game? Approaches to Performing the Piano Music of Christian Wolff' lecture-recital. In: Getty Research Institute: 'Works in Progress' series, Getty Research Institute Lecture Hall, The Getty Center, Los Angeles, 14 April 2009. (Unpublished)

Till, Rupert, Taylor, Andrew and Unver, Ertu (2011) Stonehenge Ritual Sound. In: Palaeophonics: a live multimedia performance event, 27 May 2011, George Square Theatre, Edinburgh.UK. (Unpublished)

Tremblay, Pierre Alexandre (2012) Considérations pragmatiques en musique mixtes: une approche systémique de l’inter-influence entre la composition, l'interprétation et la technique. In: Symposium: Sixty years of mixed music, 22nd - 23rd November 2012, Paris, France. (Unpublished)

Tremblay, Pierre Alexandre (2012) Mixing the Immiscible: Improvisation within Fixed-Media Composition. In: Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music, 11th - 15th June 2012, Stockholm, Sweden.

Tremblay, Pierre Alexandre (2017) Tuning to Trust: System Calibration as Creative Enabler. In: 43rd International Computer Music Conference 2017, 15-20 October 2017, Shanghai Conservatory of Music.

Valerio, Velardo (2014) The Sound/Music Dilemma: Why Is It That All Music Is Sound but Only Some Sounds Are Music? In: 1st International Students' Scientific Conference "The Sound Ambiguity",, 24th-25th April 2014, Wrocław, Poland.

Velardo, Valerio and Vallati, Mauro (2014) GenoMeMeMusic: a Memetic-based Framework for Discovering the Musical Genome. In: The 40th International Computer Music Conference, 14-20th September 2014, Athens, Greece. (Unpublished)

Wakefield, Jonathan P. (2003) Artificial music. In: Modular 2003, 10th - 12th September, 2003, The London College of Music and Media, Thames Valley University, London, UK. (Unpublished)

Waterhouse, Janet (2012) British Music Collection: University of Huddersfield Music Library. In: IAML(UK & Irl) Annual Study Weekend, 13-16 April 2012, Cardiff University School of Music. (Unpublished)

Wilson, Thomas R and Fenton, Steven (2014) Two Dimensional Gestural Control of Audio Processing. In: 136th International Audio Engineering Society Convention, 26th-29th April 2014, Berlin, Germany.

Wilson, Thomas R, Fenton, Steven and Stephenson, Matthew (2015) A Semantically Motivated Gestural Interface for the Control of a Dynamic Range Compressor. In: 138th Annual Audio Engineering Society AES Convention, 7th-10th May 2015, Warsaw, Poland.

Winterson, Julia and Russ, Michael (2008) Are A Levels a good preparation for university? In: ‘Doing University’: Student Transitions and Skills in Higher Education, 19 March 2008, University of Huddersfield. (Submitted)

Winterson, Julia and Russ, Michael (2007) From school to university: how well prepared are today’s music technology undergraduates? In: International Music Technology Education Conference 2007, 19-20 October 2007, Leeds College of Music. (Submitted)

Worthington, Emily (2015) (Re-)Constructing Richard Mühlfeld? Rubato and Rhythmic Freedom in Brahms’s Clarinet Sonata �Op. 120 No. 2 Mvt. 1. [Lecture-recital]. In: Performing Brahms in the 21st Century, 30 June to 2 July 2015, School of Music, University of Leeds. (Unpublished)

Worthington, Emily (2014) Catch me if you can: Rubato and ensemble flexibility among British clarinettists on record, 1898-1953. In: Sound Case Lecture, 10 June 2014, British Library. (Unpublished)

Worthington, Emily (2015) Do it how you like, but make it beautiful’: a pluralist and performer-centric approach to historically-informed Brahms. In: Cambridge Centre for Musical Performance Studies/Institute for Music Research Seminar Series, 9 November 2015, Senate House, University of London. (Unpublished)

Worthington, Emily (2016) Lecture-Recital: Learning to sing with another voice: embodying early recorded style using original instruments. In: Performing Knoweldge, 25-26 April 2016, Emmanuel College, Cambridge. (Unpublished)

Worthington, Emily (2015) Orchestrating British Musical Identity: Boult and the BBC Symphony Orchestra, 1930–39. In: The State We’re In: Directions in Researching Post-1900 British Music, 16-17 April 2015, University of Surrey, UK. (Unpublished)

Book

Ablinger, Peter (2010) Approach:ANNÄHERUNG. MusikTexte, Köln, Germany.

Adlington, Robert C. (2013) Composing Dissent: Avant-garde Music in 1960s Amsterdam. Oxford University Press, New York. ISBN 978-0199981014

Adlington, Robert C. (2004) Louis Andriessen: De Staat. Ashgate, Aldershot. ISBN 978-0754609254

Adlington, Robert C. (2008) The Music of Harrison Birtwistle. Cambridge University Press, Cambridge. ISBN 978-0521027809

Adlington, Robert C. (2013) Red Strains: Music and Communism outside the Communist Bloc. British Academy / Oxford University Press, London. ISBN 978-0197265390

Adlington, Robert C. (2009) Sound commitments : avant garde music and the 1960s. Oxford University Press, New York. ISBN 978-0195336658

Bossis, Bruno, Dufeu, Frédéric and Rabin, Julien (2010) Proceedings of JIM10 (Journées d’Informatique Musicale). Journées d’Informatique Musicale.

Catterall, Stephen and Gildart, Keith (2020) Keeping the Faith: A History of Northern Soul. Manchester University Press, Manchester. ISBN 978-0-7190-9710-2

Chase, Stephen and Thomas, Philip (2010) Changing the System: The Music of Christian Wolff. Ashgate Publishing, Farnham. ISBN 9780754666806

Colton, Lisa (2016) Angel song: medieval English music in history. Routledge, Abingdon, UK. ISBN 9781472425683

Colton, Lisa and Shephard, Tim (2016) Makers, Owners and Users of Music Sources Before 1600: Sources of Identity. Epitome musicale . Brepols, Leuven, Belgium. ISBN 9782503567785

Cowgill, Rachel, Cooper, David and Brown, Clive (2010) Art and Ideology in European Opera: Essays in Honour of Julian Rushton. Boydell & Brewer, Woodbridge. ISBN 9781843835677

Cowgill, Rachel and Holman, Peter (2007) Music in the British Provinces, 1690-1914. Ashgate, Aldershot. ISBN 9780754631606

Cowgill, Rachel and Poriss, Hilary (2012) The Arts of the Prima Donna in the Long Nineteenth Century. Oxford University Press, New York. ISBN 9780195365870

Cowgill, Rachel and Rushton, Julian (2006) Europe, Empire, and Spectacle in Nineteenth-Century British Music. Music in 19th-Century Britain . Ashgate, Aldershot. ISBN 9780754652083

Cox, Geoffrey and Corner, John (2018) Soundings: documentary film and the listening experience. University of Huddersfield Press, University of Huddersfield. ISBN 978-1-86218-154-0

Fleming, Michael and Bryan, John (2016) Early English Viols: Instruments, Makers and Music. Routledge. ISBN 978-1472468543

Francis, P. A. (2012) Drums and bass: for tomorrow's rhythm section. University of Huddersfield Press, Huddersfield. ISBN 978-1-86218-104-5

Francis, P. A. (2012) Grooves for guitar. University of Huddersfield Press, Huddersfield. ISBN 978-1-86218-105-2

Haworth, Catherine and Colton, Lisa (2015) Gender, Age and Musical Creativity. Ashgate, Farnham. ISBN 978-1-4724-3085-4

Herbst, Jan-Peter (2016) Die Gitarrenverzerrung in der Rockmusik: Studien zu Spielweise und Ästhetik [The guitar distortion in rock music: A study on playability and aesthetics]. Populaere Kultur und Medien, 12 . LIT, Muenster. ISBN 978-3-643-13553-7

Herbst, Jan-Peter (2014) Netzwerk Sound: Eine didaktische Herausforderung der populären Musik [Network sound: An educational challenge of popular music]. Forum Musikpädagogik, 129 . Wißner, Augsburg. ISBN 9783896399724

Hewitt, Martin and Cowgill, Rachel (2007) Victorian Soundscapes Revisited. Leeds Working Papers in Victorian Studies, 9 . Leeds Trinity & All Saints/Leeds Centre for Victorian Studies/Leeds University Centre for English Music, Leeds. ISBN 0954015983

Jan, Steven (1995) Aspects of Mozart's music in G minor: toward the identification of common structural and compositional characteristics. Outstanding Dissertations in Music from British Universities . Garland. ISBN 0185318928

Jiménez, Raquel, Till, Rupert and Howell, Mark (2013) Music & Ritual: Bridging Material & Living Cultures. Publications of the ICTM Study Group on Music Archaeology, 1 . Ekho VERLAG. ISBN 978-3-944415-11-6

Martin, Toby (2015) Yodelling Boundary Riders: Country Music in Australia since the 1920s. Lyrebird Press, Melbourne. ISBN 9780734037787

Milsom, David (2014) A-Z of string players. Naxos Educational. ISBN 9781843798101

Milsom, David (2011) Classical and Romantic Music. The library of essays on music performance practice . Ashgate. ISBN 9780754628590

Milsom, David (2003) Theory and Practice in Late Nineteenth-century Violin Performance: An Examination of Style in Performance, 1850-1900. Ashgate, Aldershot. ISBN 978-0754607564

Mynett, Mark (2017) Metal Music Manual: Producing, Engineering, Mixing and Mastering Contemporary Heavy Music. Focal Press, New York, USA and Abingdon, UK. ISBN 978-1138809314

Pearson, Lesley-Anne (2005) The challenges for secondary school music teachers following the transition of pupils from key stage 2 into key stage 3. University of Leeds (School of Education), Leeds.

Russ, Michael (1992) Musorgsky: pictures at an exhibition. Cambridge music handbooks . Cambridge University Press. ISBN 9780521386074

Russ, Michael and Adkins, Monty (2013) The Roberto Gerhard Companion. Ashgate. ISBN 9781409445159

Steinitz, Richard (2011) Explosions in November. University of Huddersfield Press, Huddersfield. ISBN 978-1-86218-099-4

Till, Rupert (2010) Pop Cult: Religion in Popular Music. Continuum Publishing, London, UK. ISBN 9780826432360

Thesis

Adams, Thomas James (2014) Free associative composition: Practice led research into composition techniques that help enable free association. Masters thesis, University of Huddersfield.

Ahn, Soo H. (2017) Metropolis: music score for the film directed by Fritz Lang. Doctoral thesis, University of Huddersfield.

Akama, Ryoko (2015) Exploring Emptiness: An Investigation of MA and MU in My Sonic Composition Practice. Doctoral thesis, University of Huddersfield.

Al-Badr, Ahmed (2012) The Social Context and Textual/Musical Characteristics of the Besta Genre of Southern Iraq. Doctoral thesis, University of Huddersfield.

Allcock, Phillip James (2014) Analysing the Musical Style of Sir Elton John: An Interdisciplinary Approach. Doctoral thesis, University of Huddersfield.

Alvarez, Elias Merino (2014) Subflection. Masters thesis, University of Huddersfield.

Alvarez Munoz, Pedro (2013) A situational approach to composition. Doctoral thesis, University of Huddersfield.

Anderson, Caroline (2021) An Examination of the Rise and Reception of Female Country Crossover Artists from 1990. Masters thesis, University of Huddersfield.

Anderson, Simon Peter (2012) The Prepared Piano Music of John Cage: Towards an Understanding of Sounds and Preparations. Masters thesis, University of Huddersfield.

Arkvik, Ylva (2015) Harmonic Horizons: An investigation into the construction of my harmonic language through a creative portfolio of compositions. Doctoral thesis, University of Huddersfield.

Aulich, John (2016) Defying Objecthood: tracing the beginnings of a political aesthetic in my recent work. Masters thesis, University of Huddersfield.

Baars, Girilal (2015) Ballads and Ohms: Vocal traditions, electronics and compositional strategies. Doctoral thesis, University of Huddersfield.

Backhouse, Jed (2011) A Multi-Platform, Procedural Approach to Graphical Composition. Masters thesis, University of Huddersfield.

Badger, David Ian (2013) Hauntings – A nodalist study. Masters thesis, University of Huddersfield.

Bagnall, James (2014) The strength of Timbre and why it can be an invaluable tool to a Moving Image Composer. Masters thesis, University of Huddersfield.

Baker, Alexander J. (2016) An exploration of the relationship between touch and sound. Masters thesis, University of Huddersfield.

Baker, Andrew (2015) ‘Pulling the Heads off Rats’: Exploring the Factors that Limit the Performance of Contemporary Music by Amateur Musicians in British Brass Bands. Masters thesis, University of Huddersfield.

Baldwin, Michael (2012) Reflections on Ephemerality and Notation in my Recent Work. Masters thesis, University of Huddersfield.

Baldwin, Michael S. (2017) Effaced/reflected/being: documents and/of/as musicking bodies. Doctoral thesis, University of Huddersfield.

Benjamin, Mira (2019) Thick Relationality: Microtonality and the Technique of Intonation in 21st Century String Performance. Doctoral thesis, University of Huddersfield.

Bernier, Nicolas (2013) Five object-based sound compositions. Doctoral thesis, University of Huddersfield.

Berweck, Sebastian (2012) It worked yesterday: On (re-)performing electroacoustic music. Doctoral thesis, University of Huddersfield.

Birchall, David (2022) Improvised Itinerations: Performed Recordings In Urban Interstice Sites. Masters thesis, University of Huddersfield.

Birkby, Peter R. (2016) A twenty-first century light music composer: sailing on: composing light music in the twenty-first century. Doctoral thesis, University of Huddersfield.

Boehringer, Jorge W. (2019) Situated Sound and Compositional Circumstance in My Recent Musical Practices. Doctoral thesis, University of Huddersfield.

Bokowiec, Mark (2011) Interconnecting forms of expressivity as a compositional process: the evolution of an interactive practice with specific reference to the Bodycoder System. Mark A. Doctoral thesis, University of Huddersfield.

Booth, Graham (2010) Inclusive Interconnections: Towards Open-Ended Parameter-Sharing for Laptop Ensemble. Masters thesis, University of Huddersfield.

Bougaïeff, Nicolas (2013) An Approach to Composition Based on a Minimal Techno Case Study. Doctoral thesis, University of Huddersfield.

Bowling, Calum (2019) Recording Skint: How Recording with Limitations and a Low Budget Can Influence the Recording Process Between Producer and Artist. Masters thesis, University of Huddersfield.

Bradbury, James (2021) Harnessing Content-Aware Programs for Computer-Aided Composition in a Studio-Based Workflow. Doctoral thesis, University of Huddersfield.

Bradley, Simon (2016) Archaeology of the Voice: Exploring Oral History, Locative Media, Audio Walks, and Sound Art as Sitespecific Displacement Activities. Doctoral thesis, University of Huddersfield.

Bridle, Marcus (2011) Male Blues Lyrics 1920-1965: A Corpus Assisted Analysis. Masters thesis, University of Huddersfield.

Brooks, Julian (2016) Being sound: FLOSS, flow and event in the composition and ensemble performance of free open computer music. Doctoral thesis, University of Huddersfield.

Buckley, Thomas Peter (2013) Exploring the Multichannel Pop Record: A series of compositions entitled ‘Iron and Ivory’ produced for 5.1 surround sound accompanied by an analytical research paper. Masters thesis, University of Huddersfield.

Caballero, Ian (2016) Two novel performance pieces intended to explore musicality within gestural mapping and game-data interpretation. Masters thesis, University of Huddersfield.

Calvert, David Anthony (2013) The rat pack and the British pierrot: negotiations of national identity, alienation and belonging in the aesthetics and influences of concerted troupes in popular entertainment. Masters thesis, University of Huddersfield.

Cameli, Francesco (2021) Omni and Alga: new DSLs for audio programming and live coding. Masters thesis, University of Huddersfield.

Canter, David V. (2014) A narrative approach to composition. Masters thesis, University of Huddersfield.

Carby, Lucy (2021) An investigation into the development of the baritone saxophone and selected published solo works, from its invention to the 21st century. Masters thesis, University of Huddersfield.

Carr, Emily (2019) An exploratory analysis and creative interpretation of female performers in the traditional travelling circus. Masters thesis, University of Huddersfield.

Carrera, Alessandro (2016) The Philosophy of Popular Music: Aesthetical Categories and Cultural Relevance. A Commentary on My Publications. Doctoral thesis, University of Huddersfield.

Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield.

Chapelhow, Claudia (2020) Eighteenth-Century ‘Historically Inspired Performance’ on the Modern Clarinet. Masters thesis, University of Huddersfield.

Chapman, Rob (2011) A Critical Review Syd Barrett: A Very Irregular Head. Doctoral thesis, University of Huddersfield.

Chatfield, Darius Alexander Johnston (2017) Techniques for Virtual Instrument Development. Masters thesis, University of Huddersfield.

Cheetham, Andrew J. (2014) The Baroque Concertato in England, 1625–c.1660 Volume I & II. Doctoral thesis, University of Huddersfield.

Chong, Kee Yong (2016) Multi-layered ethnic and cultural influences in my musical compositions. Doctoral thesis, University of Huddersfield.

Chouvardas, Evangelos (2022) ETHNIC ROOTS AND THE HOLLYWOOD SOUND: A MUSICAL EXPERIMENTATION IN TIME AND TRADITION. Doctoral thesis, University of Huddersfield.

Clewes, Hannah Rachel (2020) The Presentation of Culture and Identity in the Contemporary Film Musical Soundtrack: An Exploration of Moulin Rouge! and Burlesque. Masters thesis, University of Huddersfield.

Codina Contijoch, Marc (2014) 'Musicking' Musicking: Revealing the musicality of apparently straightforward musical practices. Masters thesis, University of Huddersfield.

Coley, Jacob John Timothy (2019) Historical-Poetic Transformations of the Legend of Lucretia and Benjamin Britten’s The Rape of Lucretia. Masters thesis, University of Huddersfield.

Crackle, James (2019) Composing the Coda: An Empirical Study Identifying Prototypical Symphonic Sonata-Form Codas in the Works of Haydn, Mozart and Beethoven. Doctoral thesis, University of Huddersfield.

Crichton, Colin (2013) Composing for Instruments and Electronics; a commentary on my recent music. Masters thesis, University of Huddersfield.

Cronin, Reece (2018) The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History. Masters thesis, University of Huddersfield.

Cully, Eleanor (2016) Composing the Surface. Masters thesis, University of Huddersfield.

Dahm, Robert (2012) Framing Intention: Perceptual Agency in the Compositional Process of Recent Pieces. Masters thesis, University of Huddersfield.

Daly, Andrew (2017) A Compositional Investigation into Style and Genre Fusion Utilising Popular Electronic and Alternative Rock Music. Masters thesis, University of Huddersfield.

Dashwood, Richard (2011) Composing With Anthropology: The Manifestation of Influence in Interactions between Western and Non-Western Music. Masters thesis, University of Huddersfield.

Davies, Natalie (2011) Composing with graphic scores and the influence they can have on music, education and the deaf community. Masters thesis, University of Huddersfield.

De Vos, Zegar (2017) Narrative through texture: shaping sound through abstract painting in my practice of ambient music. Masters thesis, University of Huddersfield.

Dewey, Christopher Paul (2014) Towards a new equalisation user interface for mixing multi-track recordings of musical instruments. Masters thesis, University of Huddersfield.

Dibble, Joshua (2014) Musical dialect: tradition, heritage and the language of the vernacular A commentary on recent compositional works. Masters thesis, University of Huddersfield.

Dickson, Brian (2011) Developmental Techniques as Structural Tools: A Commentary on Their Application in My Recent Music. Masters thesis, University of Huddersfield.

Dobson, Elizabeth (2012) An investigation of the processes of interdisciplinary creative collaboration: the case of music technology students working within the performing arts. Doctoral thesis, Open University.

Droljc, Tadej (2018) COMPOSING WITH ISOMORPHIC AUDIOVISUAL GESTALTS. Doctoral thesis, University of Huddersfield.

Duckett, Charlotte Daisy (2021) A Critical Edition of Arie, scherzi e madrigali a una e due voci by Giovanni Pietro Bucchianti (1608-1627). Masters thesis, University of Huddersfield.

Dumigan, Darryl Jacqueline (2014) Nicola Porpora’s operas for the ‘opera of the nobility’:the poetry and the music. Doctoral thesis, University of Huddersfield.

Dunn, Lawrence (2019) Melody by way of itself: Compositions 2015-17. Doctoral thesis, University of Huddersfield.

Einarsson, Einar (2012) Non-Identity as a Compositional Principle: Exploration of Multiplicities, Nonlinearity and Desiring-Machines. Doctoral thesis, University of Huddersfield.

Ellison, Barbara (2014) Sonic Phantoms Compositional explorations of perceptual phantom patterns. Doctoral thesis, University of Huddersfield.

Etheridge, Stephen (2014) 'Slate-Grey Rain and Polished Euphoniums': Southern Pennine Brass Bands, the Working Class and the North, c. 1840-1914. Doctoral thesis, University of Huddersfield.

Evanoff, Raymond (2012) Survey of a Woven Landscape. Doctoral thesis, University of Huddersfield.

Evans, Benjamin Peter (2012) A Review of Automatic Music Transcription Low Level Processing Techniques and the evaluation and Optimisation of Multiresolution FFT Parameters. Masters thesis, University of Huddersfield.

Evans, Eleri Ann (2016) Extending techniques: developing the saxophone’s capacity for lower-end dynamics and microtonal playing. Doctoral thesis, University of Huddersfield.

Fabbri, Franco (2012) Genre theories and their applications in the historical and analytical study of popular music: a commentary on my publications. Doctoral thesis, University of Huddersfield.

Fang, Xueyang (2019) Sound from Antiquity: A Music Archaeological Study of Chime Stones in Ancient China (Ca. 2400 BCE - 8 CE). Doctoral thesis, University of Huddersfield.

Fawcus, Jamie (2012) Resonant Spaces: Electroacoustic Music and Ritual: A commentary on my recent music. Doctoral thesis, University of Huddersfield.

Felix, Joel (2021) DissTraktors: Deconstructing YouTube’s Emergent Diss Culture and its Music, Economic and Cultural Impact within the Platform. Masters thesis, University of Huddersfield.

Fell, Simon (2017) A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75. Doctoral thesis, University of Huddersfield.

Fenton, Steven Michael (2017) Audio Dynamics - Towards a Perceptual Model of Punch. Doctoral thesis, University of Huddersfield.

Fetocacis, Sophie (2022) A HANDBOOK OF SITUATED MAKING. Doctoral thesis, University of Huddersfield.

Fisher, Michael (2012) Research and Development of a VST Plug-in for the Autonomous Post Production of a Stereo Piano Recording. Masters thesis, University of Huddersfield.

Flanagan, Beavan (2017) Intersections Between Subjects and Objects in my Compositions from 2013 to 2016. Doctoral thesis, University of Huddersfield.

Flatt, Nicholas (2014) Investigating the Use of Audiovisual Elicitation on the Creative Enterprise. Masters thesis, University of Huddersfield.

Fleming, Michael (2001) Viol-Making in England c.1580-1660. Doctoral thesis, Open University.

Fox, James Anthony (2017) Sound within an Alternative Medium. Masters thesis, University of Huddersfield.

Fox, Richard Bramwell (2016) Identity, Representation and Transcultural Adaptation in Delius's Koanga. Masters thesis, University of Huddersfield.

Francis, Paul Alexander (2019) Devising Drum Kit Repertoire for Higher Instrumental Popular Music Education (HIPME):Towards a Collaborative Learning Model. Doctoral thesis, University of Huddersfield.

Freeman, Samuel David (2013) Exploring visual representation of sound in computer music software through programming and composition. Doctoral thesis, University of Huddersfield.

Friebel, Tamara (2013) Generative Transcriptions: An Opera of the Self. Doctoral thesis, University of Huddersfield.

Gibson, Ryan Markus (2015) The Role of Accent in Popular Music: An Interdisciplinary Approach. Masters thesis, University of Huddersfield.

Gillies, Samuel (2020) Composing with Frames and Spaces: Cinematic Virtual Reality as an Audiovisual Compositional Practice. Doctoral thesis, University of Huddersfield.

Gkotzampougiouki, Maria (2014) A Compositional Response to Information Anxiety. Masters thesis, University of Huddersfield.

Glover, Richard (2010) Music of Sustained Tones. Doctoral thesis, University of Huddersfield.

Gomez, Jorge (2020) What Is It Like to Be a PNG? Masters thesis, University of Huddersfield.

Goosey, Peter (2017) Creating Immersion: A Semiotic and Compositional Insight into the Promotion of Immersion through Video-Game Soundtracks. Masters thesis, University of Huddersfield.

Green, Ashley (2014) Portfolio of compositions using causality as a musical parameter. Masters thesis, University of Huddersfield.

Green-Mateu, Susan (2018) The Tesseract: using the body’s movement to shape my compositional practice. Masters thesis, University of Huddersfield.

Grimes, Alexander Stewart (2014) In what sense can instruments and bodies be said to form spaces? Masters thesis, University of Huddersfield.

Gurden, Damian (2016) The Trumpet: The Soloist That Time Forgot: An Examination of the Solo Writing for the Trumpet in an Orchestral Context and a Solo Setting Between 1860-1950. Masters thesis, University of Huddersfield.

Hale, Cohen (2020) How cocaine influenced British rock and metal culture from 1964-1980. Masters thesis, University of Huddersfield.

Haley, Margaret Anne (2010) Drawing Sound in Time: A Commentary on my Recent Music. Doctoral thesis, University of Huddersfield.

Halliday, Steven (2017) Klangsteine: exploring the sound stones of Hannes Fessmann. Masters thesis, University of Huddersfield.

Hammond, Richard (2018) THE EVOLUTION OF PAUL McCARTNEY’S BASS PLAYING 1965-67. Masters thesis, University of Huddersfield.

Harrington, George Henry (2019) Voices that ‘don’t fit’: case studies in the reception of ‘queer’ high male singing voices. Masters thesis, University of Huddersfield.

Harrison, Iain (2012) An exploration into the uses of extended techniques in works for the saxophone, and how their application may be informed by a contextual understanding of the works themselves. Doctoral thesis, University of Huddersfield.

Hart, Jacob (2021) Performance cartography, performance cartology: Musical networks for computational musicological analysis. Doctoral thesis, University of Huddersfield.

Harvey, Stephen (2019) Aurality & the modern urban landscape: Invoking the flâneur - tracing a relationship between creativity and the city in my practice-research. Doctoral thesis, University of Huddersfield.

Harvey, Stephen (2014) Negotiating sound, noise and silence through improvisation, composition and image. Masters thesis, University of Huddersfield.

Hatton Baldwin, Lydia (2018) Interdisciplinary Modernism: Ezra Pound’s Le Testament de Villon and his approach to opera. Masters thesis, University of Huddersfield.

Hawkett, Andrew (2013) An empirical investigation of the concept of memes in music using mass data analysis of string quartets. Doctoral thesis, University of Huddersfield.

Healy, Kristine (2018) Imagined Vocalities: Exploring Voice in the Practice of Instrumental Music Performance. Doctoral thesis, University of Huddersfield.

Hedgecock, James (2020) The extended drum kit: A study of techniques and approaches in free improvisational contexts and their influence on contemporary compositions. Masters thesis, University of Huddersfield.

Hellstrom, Sten-Olof (2013) Algorithmically driven synthesis and feedback systems: an investigation into the aesthetic and technical processes in my compositional practice. Doctoral thesis, University of Huddersfield.

Hewitt, Scott (2014) Notational approaches for composing and directing a non-homogeneous laptop orchestra. Doctoral thesis, University of Huddersfield.

Hickling, Luke (2021) Building an Immersive World. Masters thesis, University of Huddersfield.

Hindley, Francesca (2020) How was the classical Hollywood film score utilised to manipulate societal perceptions of soldier identities in the Second World War period? Masters thesis, University of Huddersfield.

Hobman, Jason (2011) Instrumentality in Electronic Music. Masters thesis, University of Huddersfield.

Hodgson, Samuel James (2022) Songs of Place : What techniques can songwriters use to portray place in song? Masters thesis, University of Huddersfield.

Holbrook, David (2010) Noise: Using Location Recordings for Computer Compositions. Masters thesis, University of Huddersfield.

Holman-Sheard, Tom Morris (2014) Hearing behaviour: social interaction as a means of creating emergent situations in/as/through music. Masters thesis, University of Huddersfield.

Horseman, Samantha Marie (2012) Dynamic Relationships between the Sonic Artist, the Sonic Artwork and its Audience: an Investigation through Theoretically Informed Creative Practice. Doctoral thesis, University of Huddersfield.

Huggett, Benjamin (2017) Ambient Music & Improvisation: An Exploration of a Catalytic Union through Composition and Analysis. Masters thesis, University of Huddersfield.

Hulme, Pamela (2020) Manipulating Musical Surface: Perception as compositional material in live looping and organ with electronics. Masters thesis, University of Huddersfield.

Humphries, Christopher C.H. (2010) Developing interactive strategies for three dimensional sound spatialization. Masters thesis, University of Huddersfield.

Hurdley, Michael (2018) Solo Tuned Percussion: A perspective upon 21st century percussion. Masters thesis, University of Huddersfield.

Igo, William (2019) A Case Study of Musical Elements and Musical Development of Eschatological Scenes within South Park from 1997-2000. Masters thesis, University of Huddersfield.

Ince, Can (2019) Programming For Music: Explorations in Abstraction. Masters thesis, University of Huddersfield.

Isaac, Andrew (2013) The construction of constricted soundworlds through limited materials, cyclic processes, interference and extended tunings. Masters thesis, University of Huddersfield.

Iveson, Stephen (2018) Exploring the Concepts of Immersion and why Headphones Enhance the Player Experience in 21st Century Online Competitive Video Games. Masters thesis, University of Huddersfield.

Jankowska, Linda (2021) For the beauty of the act. Reflections on the concept of interdisciplinary virtuosity in new music performance. Doctoral thesis, University of Huddersfield.

Jansch, Adam (2011) Towards the open outcome record: a portfolio of works exploring strategies of freeing the record from fixity. Doctoral thesis, University of Huddersfield.

Jordan, James Boddington (2021) Harmonic Structures of 21st Century Heavy Metal. Masters thesis, University of Huddersfield.

Jung, Jung I. (2019) CHOREOGRAPHIC SOUND COMPOSITION: Towards a poetics of restriction. Doctoral thesis, University of Huddersfield.

Karman, Gregorio (2014) Roberto Gerhard’s Sound Compositions: A Historical-Philological Perspective. Archive, Process, Intent and reenactment. Doctoral thesis, University of Huddersfield.

King, Martin S (2009) "Running like big daft girls." A multi-method study of representations of and reflections on men and masculinities through "The Beatles". Doctoral thesis, University of Huddersfield.

Kirk, Joel (2019) Initial Research into the Fragment/Fragmentation as a Key Concept of my Compositional Methodology. Masters thesis, University of Huddersfield.

Krol, Patryk (2019) Applications of Carpathian folk music in contemporary music. Masters thesis, University of Huddersfield.

Kudirka, Joseph (2012) Extending the Invitation: Composing Notated Experimental Music for Performance. Doctoral thesis, University of Huddersfield.

Laporte, Jean-Francois (2018) FEEDBACK: ITERATIVE RESEARCH-CREATION PROCESSES BETWEEN INSTRUMENT-BUILDING, COMPOSITION AND PERFORMANCE. Doctoral thesis, University of Huddersfield.

Lavoie, Sébastien (2019) My Practice of Live Performance of Spatial Electronic Dance Music. Doctoral thesis, University of Huddersfield.

Lee, Chie Tsang Isaiah (2012) Chinese Calligraphic Thinking in my Compositional Work. Masters thesis, University of Huddersfield.

Lee, Chie Tsang Isaiah (2018) ‘Inbetweenness’: Transcultural Thinking in My Compositional Practice. Doctoral thesis, University of Huddersfield.

Leeuw, Hans (2019) Designing expressive engagement with electronic and hyper instruments.The Electrumpet a case study. Doctoral thesis, University of Huddersfield.

Lester, CN (2019) Representing Strozzi: A Critical and Personal Re-Evaluation of her Life and Music. Doctoral thesis, University of Huddersfield.

Lindley, Jonathan (2020) Sunbird Records: A Post-Subcultural Design. Doctoral thesis, University of Huddersfield.

Lucio, Mastrogiovanni Tasca (2019) An Imperfect Circle: Reflections on perception, repetitive processes and fragility in my recent compositional work. Masters thesis, University of Huddersfield.

Maestri, Eric (2014) Thematic Reductions: Material, developments and categories. Doctoral thesis, University of Huddersfield.

Magas, Diego Sebastian Castro (2016) body, mimesis and image : a gesture based approach to interpretation in contemporary guitar performing practice. Doctoral thesis, University of Huddersfield.

Maguire, Phillip Stephen (2014) Practice led research into stream-form composition methods, freeassociation, and synaesthesia in audio/visual compostion. Masters thesis, University of Huddersfield.

Maida, Clara (2016) For a "nanomusic" - Sound nanomachines and elastic space-time: A transversal approach to music composition. Doctoral thesis, University of Huddersfield.

Martin, Darren (2017) Within Worlds: Immersion and Subjectivity in Film Music. Masters thesis, University of Huddersfield.

McCollum, Liam (2017) 'The West Memphis Witch Trials': Writing and Recording a Concept Album. Masters thesis, University of Huddersfield.

McCormack, Timothy (2010) Instrumental mechanism and physicality as compositional resources. Masters thesis, University of Huddersfield.

McDonnell, Christopher Steven (2020) Multi-channel Audio Production with a Focus on Recording, Mixing and Live Events. Masters thesis, University of Huddersfield.

McGarry, Peter (2020) The Musical Influences of Nature: Electronic Composition and Ornithomusicology. Masters thesis, University of Huddersfield.

McInnes, Louise (2013) The social, political and religious contexts of the late Medieval carol. Doctoral thesis, University of Huddersfield.

McLaren, Christopher (2018) COMPOSING AND PERFORMING A SOLO GUITAR ALBUM: REFLECTIONS ON COMPOSITIONAL IDENTITY. Masters thesis, Institution of Huddersfield.

McLaughlin, Scott (2009) Strange Attractors: A Commentary on Applications of Indeterminacy in my Recent Music. Doctoral thesis, University of Huddersfield.

McNichol, Alistair (2014) Digital technology for composing at key stage 3 music: opportunities for creative thinking? Doctoral thesis, University of Huddersfield.

Miller, Cassandra (2018) Transformative Mimicry: Composition as Embodied Practice in Recent Works. Doctoral thesis, University of Huddersfield.

Millington, Richard (2018) Black Metal: Within the Sounds of Nature. Masters thesis, University of Huddersfield.

Mistry, Jaydev (2012) The Mistry-­Hyper Guitar. Masters thesis, University Of Huddersfield.

Moore, David J. (2009) The development of a design tool for 5-speaker surround sound decoders. Doctoral thesis, University of Huddersfield.

Mora-Gonzalez, Jose (2020) New Contexts for Old Melodies: Vaguely repeating evocative fragments as a way to reflect on my cultural heritage while struggling with the notation of time. Masters thesis, University of Huddersfield.

Morales-Ossio, Cristian (2019) Recursive Dynamics Embedded in the Core of Extended Compositional Practices. Doctoral thesis, University of Huddersfield.

Morishita, Chikako (2019) Composing ‘Narrative Dissolution’: Framing Subjectivity in Music Composition. Doctoral thesis, University of Huddersfield.

Morishita, Chikako (2011) A Musical Engagement with ‘Ma’ – Japanese Aesthetics Of Space and Time. Masters thesis, University of Huddersfield.

Moroz, Solomiya (2020) Composing Embodied Presence in a Chamber Music Context. Doctoral thesis, University of Huddersfield.

Morris, Eilon (2013) VIA RHYTMÓS : An Investigation of Rhythm in Psychophysical Actor Training. Doctoral thesis, University of Huddersfield.

Mouldycliff, Jackson (2020) Stratigraphies: A portfolio of intermedia installations exploring the relationship of place and memory. Masters thesis, University of Huddersfield.

Mungovin, Ben (2014) Aspects of openness and specificity in post-minimal music. Masters thesis, University of Huddersfield.

Mynett, Mark (2013) Contemporary Metal Music Production. Doctoral thesis, University of Huddersfield.

Nicholas-Stannard, Elizabeth (2016) Towards a personal methodology embracing aspects of experimental music practice and its impact on children’s music making. Masters thesis, University of Huddersfield.

O'Gorman, Rebecca (2016) The Artful Dodgers. Masters thesis, University of Huddersfield.

Pacey, Fiona Margaret (2014) A need for silence. Masters thesis, University of Huddersfield.

Papadimitriou, Lefteris (2013) Exploring Hybridity: An investigation into the integration of instrumental and acousmatic structural strategies. Doctoral thesis, University of Huddersfield.

Park, Sam (2013) Korean Heritage as a Foundation for Composition. Doctoral thesis, University of Huddersfield.

Parkin, Jennifer (2016) Dances with Sausages: Exploring Musicality in Comedy Through an Analysis of the Morecambe and Wise Show. Masters thesis, University of Huddersfield.

Pasquet, Olivier (2018) AUTOMATIC VERSUS AUTOMATIC,MATERIALIZED FICTION AS A CONFRONTATIONAL COMPOSITIONAL PROCESS: A resolved complexity: simplicity. Doctoral thesis, University of Huddersfield.

Pattie, Ruairidh (2020) Characteristic Brilliance: an examination of compositional influence in Clara Schumann’s Op 5. Masters thesis, University of Huddersfield.

Paúl, Abel (2017) Doubles and Duplication: A Study of their Application as Musical Materials and Compositional Devices - Mirrors, Still Lifes, Echoes, Displacements. Doctoral thesis, University of Huddersfield.

Peabody, Anthony (2018) Joe Morley, banjo player, his life, works, and his music. Masters thesis, University of Huddersfield.

Pietrzak, Jan Nepomucen (2021) Music Collaboration in an Online Environment: Technologies, Roles and Creativity. Masters thesis, University of Huddersfield.

Pocknee, David Antony (2017) How to Compose a PhD Thesis in Music Composition. Doctoral thesis, University of Huddersfield.

Portelli, Daniel (2016) Mapping the dynamic life of lines in a multimodal compositional practice. Doctoral thesis, University of Huddersfield.

Potts, Ben N. (2018) Sound as, and beyond, sculpture :a creative investigation of physicality, space and movement through otoacoustic emissions. Doctoral thesis, University of Huddersfield.

Price, Jayne (2020) YOUR MUSIC OR MINE, MISS? CULTURALLY RESPONSIVE PATHS TO INCLUSIVE MUSIC EDUCATION. Doctoral thesis, University of Huddersfield.

Pulman, Mark (2008) ‘Knowing yourself through others’: peer assessment in popular music group work. Doctoral thesis, Sheffield Hallam University.

Putra, Nathanael (2019) Post Rock Music in Film. Masters thesis, University of Huddersfield.

Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield.

Quinones, Jessica Marie (2013) Constructing the authentic : approaching the '6 Tango-Etudes pour Flute Seule' by Astor Piazzolla (1921-1992) for interpretation and performance. Doctoral thesis, University of Huddersfield.

Rawbone, Trevor Mark (2017) The Butterfly Schema as a Product of the Tendency for Congruence and Hierarchical Selection in the Instrumental Musical Grammar of the Classical Period. Doctoral thesis, University of Huddersfield.

Reavell, Oliver (2016) The Buena Vista Phenomenon: Constructions of Cuban Musical Identity. Masters thesis, University of Huddersfield.

Reed, Luke (2014) Empowering Film Sound Practice: Countering visual hegemony and industrial ideology with reference to the short-film ‘Fade’. Masters thesis, University of Huddersfield.

Rich, Jonathan (2010) Exploring the Synthesis of Musique Concrète and Visual Media in Popular Culture. Masters thesis, University of Huddersfield.

Richardson, Harriet (2015) Approaching the Performance of Experimental Music on the Flute. Masters thesis, University of Huddersfield.

Rideout, Rob (2014) Creativity and Songwriting. Masters thesis, University of Huddersfield.

Riley, Thomas Richard (2014) Noise: towards a definition. Masters thesis, University of Huddersfield.

Robinson, Daniel (2019) An Exploration of the Various Compositional Approaches to Modern Progressive Metal. Masters thesis, University of Huddersfield.

Roche, Heather (2011) Dialogue and Collaboration in the Creation of New Works for Clarinet. Doctoral thesis, University of Huddersfield.

Rosman, Carl (2021) Emergent behaviours in five long-term collaborations for clarinet. Doctoral thesis, University of Huddersfield.

Ruffoni, Christopher (2012) A Turn to Listening: How New Understandings of the Listening Process Affect Approaches to Sound Art and Experimental Music. Masters thesis, University of Huddersfield.

Ryan, Sean (2019) EXPLORING MATERIALITY BY CONSTRUCTING THE VISUAL THROUGH SOUND. Doctoral thesis, University of Huddersfield.

Ryan, Sean (2019) EXPLORING MATERIALITY BY CONSTRUCTING THE VISUAL THROUGH SOUND. Doctoral thesis, University of Huddersfield.

Sage, Joseph (2020) The Changing Landscape of Modern Music Production; A Study into the Role of the Mix Engineer in a Changing Industry. Masters thesis, University of Huddersfield.

Sahota, Hardeep (2011) The Search for the ‘Essence’ of Bhangra through Panjabi heritage. Masters thesis, University of Huddersfield.

Salama, Mina (2021) Melodic intonation in ‘Golgotha’ as evidence of Ancient Egyptian and Arabic influence in Coptic music. Masters thesis, University of Huddersfield.

Sangster, Adam (2016) Embracing Multiplicity: Harnessing Performers’ Perceptions to Instigate Emergent Forms. Masters thesis, University of Huddersfield.

Scales, Eleanor (2020) The Influence of Sigurd Rascher on the Development of Saxophone Repertoire. Masters thesis, University of Huddersfield.

Sellart, Bernat Giribet (2020) Gesture as a bridge between visual art and music composition. Masters thesis, University of Huddersfield.

Sergeant, Matthew (2013) the churches of lalibela: erosion and encrustation as transformative musical processes. Doctoral thesis, University of Huddersfield.

Sfetcu, Andrei (2018) Approaching Forms and Structures in Electronic Dance Music. Masters thesis, University of Huddersfield.

Sherouse, Braxton (2019) navigating an intertwingularity: computational ambivalence in experimental music practice. Doctoral thesis, University of Huddersfield.

Smith, Adam (2012) The Influence of Literature in 1960s British Popular Music: Approaches to Popular Composition. Masters thesis, University of Huddersfield.

Smith, Eleanor (2016) Breaking the Mould: gender, stereotypes, and coding in the musical scoring of Disney’s female characters. Masters thesis, University of Huddersfield.

Smith, Eleanor Katie . (2021) Music, Madness & Memory: Victorian Constructions of Madness & Musical Horror Tropes in Contemporary Film & Television. Doctoral thesis, University of Huddersfield.

Smith, Geoff (1996) Composing after cage. Doctoral thesis, University of Huddersfield.

Smith, Jennifer (2016) The musical parameters of immersion and flow: involving the player, emotionally and physically, in a video-game. Masters thesis, University of Huddersfield.

Sundin, Paulina E. (2010) Re-inventing Harmony in Electroacoustic Music: A commentary on my Recent Music. Doctoral thesis, University of Huddersfield.

Swailes, Jonny (2018) A PHENOMENOLOGICAL CASE STUDY OF COMPUTER-BASED MUSICAL CREATIVITIES. Masters thesis, University of Huddersfield.

Swallow, Reuben (2021) Defining Consonance and Dissonance in Metal Music. Masters thesis, University of Huddersfield.

Sweeton, Michael (2011) Development of Compositional Tools in Max/MSP. Masters thesis, University of Huddersfield.

Theodorou, Antria (2019) Exploring Greek identity through a portfolio of original electroacoustic works. Doctoral thesis, University of Huddersfield.

Thibault, Dominic (2014) My Physical Approach to Musique Concrete Composition Portfolio of Studio Works. Doctoral thesis, University of Huddersfield.

Thomas, Matthew Reuben (2017) Wayverb: A Graphical Tool for Hybrid Room Acoustics Simulation. Masters thesis, University of Huddersfield.

Thomas, Robin (2013) The evolution of the jazz vocal song: what comes after the Great American Song Book? Masters thesis, University of Huddersfield.

Tindall, Matthew B (2021) Gesture elicitation to improve DJ to audience communication. Masters thesis, University of Huddersfield.

Toma, Carlotta (2017) How Emerging Bands find 'Success' in the Contemporary Music Industry. Masters thesis, University of Huddersfield.

Torr, Sean (2018) ‘Permutation, Pattern, and Process’. Masters thesis, University of Huddersfield.

Tucker, Colin (2011) Character, Ground, And Contradiction In My Recent Music. Masters thesis, University of Huddersfield.

Turner, Niall (2019) Beethoven's motivations for the revision of the overture Leonore no. 2: a contextual, critical and analytical study. Masters thesis, University of Huddersfield.

Vallejo, Alexander (2020) Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques. Masters thesis, University of Huddersfield.

Vergara Valdés, Juan (2018) Composing Lines. Doctoral thesis, University of Huddersfield.

Vickers, Katy (2019) Repetition and Recontextualisation: an analysis of my recent compositional work. Masters thesis, University of Huddersfield.

Vélez Rodríguez, David (2021) Sonic Art and the Acoustics of Food: Examining culinary sounds to understand resistance. Doctoral thesis, University of Huddersfield.

Wall, Ben (2011) Inca Roads - The Musical Worlds of Frank Zappa. Masters thesis, University of Huddersfield.

Walshaw, Trevor (2013) Roberto Gerhard: explorer and synthesist. Doctoral thesis, University of Huddersfield.

Walters, Anthony (2020) Developing a Personal Glitch Aesthetic for Moving Image. Masters thesis, University of Huddersfield.

Waszak, Anna (2021) DIVERGENCE OR CONTINUITY? AN INDICATIVE EXAMINATION OF NINETEENTH-CENTURY APPROACHES TO “BAROQUE” VIOLIN REPERTOIRE IN ANNOTATED EDITIONS. Masters thesis, University of Huddersfield.

Weideman, Thomas (2018) INTERVENTION INTO THE FAMILIAR AS THE SITE OF COMPOSITION. Masters thesis, University of Huddersfield.

Wendl, Mark (2015) An Investigation Into the Changes of Loudness Perception in Relation to Changes in Crest Factor for Octave Bands. Masters thesis, University of Huddersfield.

Wheat, Clare (2021) Of Revivals and Delayed Premieres: Performing Thomas Dunhill’s Forgotten Opera, Something in the City. Doctoral thesis, University of Huddersfield.

Whelan, Edward (2013) Issues of noise in my recent compositions. Masters thesis, University of Huddersfield.

Wilkinson, Kenneth (2018) 'Narrowing the gap'- notational prescription and extended techniques in selected classical saxophone repertoire. Masters thesis, University of Huddersfield.

Williams, Jenessa (2019) Nice For What? A Critical Analysis of Drake, Millennial Feminism and the Negotiation of ‘Wokeness’ in Female Hip-Hop Fandom. Masters thesis, University of Huddersfield.

Williams, Nicholas Allan (2009) Strategies of postminimalism in my recent music. Doctoral thesis, University of Huddersfield.

Williams, Paul (2010) A research project exploring selected post-punk influences and their relevance to my contemporary compositional work. Masters thesis, University of Huddersfield.

Wilson, Geoffrey (2018) An Autoethnography on Film Composition Practice: Integrating Virtual Instruments and the Live Performance Realisation within the DAW. Masters thesis, University of Huddersfield.

Wolinski, Paul (2019) Decomposition Theory: A Practice-Based Study of Popular Music Composition Strategies. Doctoral thesis, University of Huddersfield.

Wood, James (2016) Issues of Practice and Leadership in Experimental and Community Music Group Activity. Masters thesis, University of Huddersfield.

Woods, Louis (2019) The Measurement of Audio Transformer Colouration. Masters thesis, University of Huddersfield.

Woods, Seth (2016) Almost Human: The Study of Physical Processes and the Performance of a Prosthetic Digital Spine. Doctoral thesis, University of Huddersfield.

Artefact

Worthy, Stewart (2016) Speaker Grid I. [Artefact]

Show/Exhibition

Birkby, Peter R. (2011) Peter R. Birkby 30th Anniversary Concert Programme. [Show/Exhibition]

Cox, Geoffrey and Marley, Keith (2011) Deconstructing Voices. [Show/Exhibition]

Dyer, James (2014) Holosabsurdum. [Show/Exhibition]

Dyer, James (2015) Jane, Still Making Shadows. [Show/Exhibition]

Einbond, Aaron (2008) What the Blind See. [Show/Exhibition]

Gibson, Ian (2016) Adaptive Music Technology Research Group Concert with the University of British Columbia. [Show/Exhibition]

Gibson, Ian (2014) CosMix. [Show/Exhibition]

Gibson, Ian, Middleton, Deborah K. and Adkins, Monty (2014) Borderlands CosMixed. [Show/Exhibition]

Pettican, Anneké, Lewis, Chara and Mojsiewicz, Kristin (2016) Brass Art, ISEA 2016, Cultural R>evolution, Hong Kong. [Show/Exhibition]

Pettican, Anneké, Mojsiewicz, Kristin and Lewis, Chara (2013) The Imagining of Things. [Show/Exhibition]

Till, Rupert (2016) Soundgate Museum Exhibit. [Show/Exhibition]

Turner, Sarah V, Mansell, James, Scheer, Christopher and Cowgill, Rachel (2014) Pioneering Spirit: Maud MacCarthy - Music, Mysticism and Modernity. [Show/Exhibition]

Composition

Ablinger, Peter (2015) 3 Places Leeds. [Composition]

Ablinger, Peter (2016) Antiautoritäre Etüde Weiss /Weisslich o. Nr. [Composition]

Ablinger, Peter (2010) Augmented Studies. [Composition]

Ablinger, Peter (2011) Bethen. [Composition]

Ablinger, Peter (2016) Blockflöte und Rauschen (Weiss/Weisslich 17n). [Composition]

Ablinger, Peter (2015) Book of returns 1985-2015. [Composition]

Ablinger, Peter (2011) Cityopera Buenos Aires in 7 Acts. [Composition]

Ablinger, Peter (2015) Die durchscheinende Zeit 2014/15 "translucent time" an installation opera : different instrumentations, medias, collaborations and durations. [Composition]

Ablinger, Peter (2016) Die schönsten Schlager der 60er und 70er Jahre für Ensemble (The most beautiful hits of the 60s and 70s for ensemble). [Composition]

Ablinger, Peter (2015) Erzsébet 'Kokó' Kukta : from: "Voices and Piano". [Composition]

Ablinger, Peter (2016) IN G Cello and Environment, 16'41" 2009-2016. [Composition]

Ablinger, Peter (2009) Instruments &... [Composition]

Ablinger, Peter (2015) Instruments and phonographies. [Composition]

Ablinger, Peter (2015) Instruments and sketchbooks. [Composition]

Ablinger, Peter (2009) Kammersymphonie. [Composition]

Ablinger, Peter (2015) Klavier und Alles (Weiss/Weisslich 17m). [Composition]

Ablinger, Peter (2014) Kreis für ado (Weiss/Weisslich 29). [Composition]

Ablinger, Peter (2009) Landscape Opera Ulrichsberg. [Composition]

Ablinger, Peter (2011) N.K. hallway piece. [Composition]

Ablinger, Peter (2014) Noise to energy (Weiss / Weisslich 32f). [Composition]

Ablinger, Peter (2014) Places Dublin. [Composition]

Ablinger, Peter (2014) Points and views. [Composition]

Ablinger, Peter (2014) Posaune und Rauschen (Weiss/Weisslich 17j). [Composition]

Ablinger, Peter (2015) Quartz 2001-2015 a multi part installation, sand, quartz watch, electronics, video, paper, bed sheets, hour glass, other materials. [Composition]

Ablinger, Peter (2015) Quartz for high orchestra (2010-15) 2picc,2ob,2cl,2hrn,2trp,glsp,mba,harp,12vlI,10vlII,8va, tape, 11'. [Composition]

Ablinger, Peter (2016) Renate Fuczik (a 24-hour piece, from: "Voices and Piano"). [Composition]

Ablinger, Peter (2010) Singdrossel. [Composition]

Ablinger, Peter (2010) Sitzen und hören 1-6. [Composition]

Ablinger, Peter (2015) Sopran und Rauschen (Weiss/Weisslich 17l). [Composition]

Ablinger, Peter (2010) Stars & stripes. [Composition]

Ablinger, Peter (2015) Unbequeme musik (inconvenient music). [Composition]

Ablinger, Peter (2013) Violoncello und Rauschen ("Kreuze") (Weiss/Weisslich 17k). [Composition]

Ablinger, Peter (2009) Voices and Piano. [Composition]

Ablinger, Peter (2009) Wachstum und massenmord. [Composition]

Ablinger, Peter (2011) Wachstum, massenmord. [Composition]

Ablinger, Peter (2014) Weisse Flucht. [Composition]

Ablinger, Peter (1999) Zeit Halbieren 'Bisecting Time', accordion (1997/99), 8'. [Composition]

Ablinger, Peter (2014) The truth : How to teach the piano Chinese. [Composition]

Adkins, Monty (2002) Aerial. [Composition]

Adkins, Monty (1999) Breaking. [Composition]

Adkins, Monty (2005) Cortex. [Composition] (Unpublished)

Adkins, Monty (2015) Freud’s House: The Double. [Composition]

Adkins, Monty (2017) Glass Feathers. [Composition] (Unpublished)

Adkins, Monty (1997) Neurotransmission. [Composition]

Adkins, Monty (2000) Noumena. [Composition]

Adkins, Monty (2017) Shadows and Reflections. [Composition]

Adkins, Monty (2005) Silk to steel. [Composition]

Adkins, Monty (2002) Still Time. [Composition]

Adkins, Monty (2002) Symbiont. [Composition]

Adkins, Monty (2016) With Small Hands Waving. [Composition]

Adkins, Monty (2017) A year at usher's hill. [Composition]

Adkins, Monty and Harvey, Stephen (2015) Three studies for an altered form. [Composition]

Adkins, Monty and Hron, Terri (2016) Lepidoptera. [Composition]

Bellamy, Mary (2011) Abrasion, solo cello (2011). [Composition]

Bellamy, Mary (2002) Celestine. [Composition] (Submitted)

Bellamy, Mary (2016) Dispersion, Oboe, 15', 2016. [Composition] (Unpublished)

Bellamy, Mary (2001) Earth and Sky Reflect Each Other. [Composition] (Submitted)

Bellamy, Mary (2011) Enveloped, cello and contrabass recorder (2011). [Composition]

Bellamy, Mary (2008) Harmony and Resonance. [Composition] (Submitted)

Bellamy, Mary (2011) Semblance, solo bassflute (2011). [Composition]

Bellamy, Mary (2010) Transference – Abrasion. [Composition] (Unpublished)

Bellamy, Mary (2011) Translucent River (2011). [Composition]

Bellamy, Mary (2005) Within Dreams. [Composition] (Submitted)

Bellamy, Mary (2017) The other side of air. [Composition]

Bellamy, Mary and Beall, T. (2008) Double Blind. [Composition] (Submitted)

Bellamy, Mary and Beall, T. (2006) Light Blind. [Composition] (Submitted)

Birkby, Peter R. (2008) Mutual Marimba Music- Part of the programme on the Autumn Recital Tour performed by Dave Danford. [Composition]

Bryan, John (2003) Alfonso Ferrabosco. [Composition]

Bryan, John (2004) Madame d’Amours – Songs, Dances & Consort Music for the Six Wives of Henry VIII. [Composition]

Bryan, John (2004) A Songbook for Isabella: music from the circle of Isabella d’Este. [Composition]

Bryan, John (2003) Upon a Bank with Roses. [Composition]

Cassidy, Aaron (2014) APOFIR-REDUX. [Composition]

Cassidy, Aaron (2010) And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion). [Composition]

Cassidy, Aaron (2009) Because they mark the zone where the force is in the process of striking (or, Second Study for Figures at the Base of a Crucifixion). [Composition]

Cassidy, Aaron (2009) Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion). [Composition] (Unpublished)

Cassidy, Aaron (2004) The Crutch of Memory. [Composition]

Cassidy, Aaron (2010) Memento/memorial. [Composition]

Cassidy, Aaron (2007) The Pleats of Matter. [Composition] (Submitted)

Cassidy, Aaron (2008) Second Study for Figures at the Base of a Crucifixion. [Composition] (Submitted)

Cassidy, Aaron (2011) Second string quartet. [Composition]

Cassidy, Aaron (2002) String Quartet. [Composition]

Cassidy, Aaron (2008) What then renders these forces visible is a strange smile (or, First Study for Figures at the Base of a Crucifixion). [Composition] (Unpublished)

Cassidy, Aaron (2003) the green is either. [Composition]

Cassidy, Aaron (2010) l.d._ p.c. (t.c.h.). [Composition] (Unpublished)

Cassidy, Aaron (2010) l.d._ p.c. (t.c.h.). [Composition] (Unpublished)

Cassidy, Aaron (2012) A painter of figures in rooms. [Composition]

Cassidy, Aaron (2002) ten monophonic miniatures for solo pianist. [Composition]

Cassidy, Aaron (2016) The wreck of former boundaries (2014-16) [ 2 tr solo, cl/bs cl, sax, tbn, elec lap steel gtr, double bass, 5.1 channel electronics ]. [Composition]

Cassidy, Aaron (2016) The wreck of former boundaries (5.1 channel fixed media). [Composition]

Cassidy, Aaron (2016) The wreck of former boundaries (alto saxophone and live electronics). [Composition]

Cassidy, Aaron (2016) The wreck of former boundaries (electric lap steel guitar and 5.1 channel electronics). [Composition]

Cassidy, Aaron (2016) The wreck of former boundaries (piccolo trumpet, quartertone flugelhorn, and trombone). [Composition]

Cassidy, Aaron (2016) The wreck of former boundaries (solo B-flat clarinet). [Composition]

Cassidy, Aaron (2016) The wreck of former boundaries (solo contrabass). [Composition]

Clarke, Michael (2013) Enmeshed 3. [Composition]

Clarke, Michael (2005) Enmeshed I and II. [Composition] (Submitted)

Clarke, Michael (2007) Enmeshed II. [Composition] (Submitted)

Clarke, Michael (2008) Enmeshed IIb. [Composition] (Submitted)

Clarke, Michael (2013) Tim(br)e 2. [Composition]

Colton, Lisa (2007) The York Masses A Performing Edition. [Composition]

Cox, Geoffrey (2009) No Escape. [Composition] (Unpublished)

Cummings, Graham (2006) Poro CD recording: co-production of Göttinger Händel-Gesellschaft and Norddeutscher Rundfunk, made using Dr Cummings’ new score. [Composition] (Submitted)

Einbond, Aaron (2008) Break. [Composition]

Einbond, Aaron (2010) Le Cabinet des Signes. [Composition]

Einbond, Aaron (2011) Palaeontolgie. [Composition]

Einbond, Aaron (2011) Post-Paleontology. [Composition]

Einbond, Aaron (2012) Resistance. [Composition]

Einbond, Aaron (2009) What the Blind See. [Composition]

Einbond, Aaron (2012) Without Words. [Composition]

Glover, Richard (2007) Black Space. [Composition] (Unpublished)

Glover, Richard (2010) Corradiation. [Composition] (Unpublished)

Glover, Richard (2009) Gradual music. [Composition] (Unpublished)

Glover, Richard (2009) Lithosphere. [Composition] (Unpublished)

Glover, Richard (2009) Lithosphere, for quarter-tone trumpet, eighth-tone trumpet and quarter-tone horn. [Composition] (Unpublished)

Glover, Richard (2007) Loose Change. [Composition] (Unpublished)

Glover, Richard (2009) Malkans. [Composition] (Unpublished)

Glover, Richard (2010) Seventh Inversions. [Composition]

Glover, Richard (2008) Sound unbroken. [Composition] (Unpublished)

Glover, Richard (2007) Spiral chaotic. [Composition] (Unpublished)

Glover, Richard (2008) Violin with Clarinet and Piano. [Composition] (Unpublished)

Glover, Richard (2008) Virtual fusion. [Composition] (Unpublished)

Harker, Alexander (2010) Fluence. [Composition] (Unpublished)

Harker, Alexander (2011) Fractures. [Composition] (Unpublished)

Harrison, Bryn (2014) 1.Receiving the Approaching Memory (2011/14). [Composition]

Harrison, Bryn (2012) Eight Voices. [Composition]

Harrison, Bryn (2008) Five Miniatures in Three Parts. [Composition]

Harrison, Bryn (2008) Five Miniatures in Three Parts (2008) (8'). [Composition]

Harrison, Bryn (2009) Gently Rising. [Composition]

Harrison, Bryn (2002) Low time patterns [#1-5] for 7 players (mixed ensemble). [Composition]

Harrison, Bryn (2010) M.C.E. (2010) 20’ Solo classical guitar. [Composition]

Harrison, Bryn (2014) Passing Light (2014). [Composition]

Harrison, Bryn (2007) Plane Image (2007) 8'. [Composition]

Harrison, Bryn (2008) Quietly Rising (Piano piece December 2008)(4'). [Composition]

Harrison, Bryn (2008) Repetitions in Extended Time. [Composition]

Harrison, Bryn (2006) Shifting Light (7 minutes). [Composition]

Harrison, Bryn (2016) Things are more like they are now than they ever have been before. [Composition]

Harrison, Bryn (2012) Vessels for solo piano (76’). [Composition]

Harrison, Bryn (2016) A form in search of itself (2016). [Composition]

Harrison, Bryn (2006) four cycles for large ensemble (15 players). [Composition]

Harrison, Bryn (2007) a leaf falls on loneliness (2007) (15'). [Composition]

Harrison, Bryn (2008) an oblique. [Composition]

Harrison, Bryn (2005) six symmetries for large ensemble (17 players). [Composition]

Harrison, Bryn (2009) surface forms (repeating)(10'30''). [Composition]

Harrison, Bryn (2008) to be (an ever opening flower). [Composition]

Lim, Liza (2012) 3 Angels. [Composition]

Lim, Liza (2013) Axis Mundi for solo bassoon. [Composition]

Lim, Liza (2010) Ehwaz (journeying). [Composition]

Lim, Liza (2009) The Four Seasons (after Cy Twombly). [Composition]

Lim, Liza (2010) The Guest. [Composition]

Lim, Liza (2011) Gyfu (gift), 2011. [Composition]

Lim, Liza (2016) How Forests think, for sheng & ensemble, 40', Ricordi Berlin Sy4484/01. [Composition]

Lim, Liza (2009) Invisibility. [Composition]

Lim, Liza (2008) The Navigator. [Composition]

Lim, Liza (2008) Ochred string. [Composition]

Lim, Liza (2010) Pearl, Ochre, Hair String. [Composition]

Lim, Liza (2016) Ronda - The Spinning World, 16', Ricordi Berlin, Sy.4499. [Composition]

Lim, Liza (2008) Sensorium. [Composition]

Lim, Liza (2008) Sonorous Body. [Composition]

Lim, Liza (2015) Speak, be Silent (18') violin concerto, Ricordi Berlin Sy4433/01. [Composition]

Lim, Liza (2011) Tongue of the Invisible (2011). [Composition]

Lim, Liza (2015) Tree of Codes, opera (90') for 3 singers and ensemble, libretto by Lim after Jonathan Safran Foer, Bruno Schulz, Goethe & Foucault. Ricordi Berlin Sy.4264/01. [Composition]

Lim, Liza (2014) The Weaver's Knot, score for string quartet, Ricordi Berlin Sy.4352. [Composition]

Lim, Liza (2007) Weaver-of-fictions. [Composition]

Lim, Liza (2008) Well of Dreams. [Composition]

Lim, Liza (2007) Wild-winged one. [Composition]

Lim, Liza (2014) Winding Bodies: 3 Knots for ensemble, Ricordi Berlin, Sy.4378/01. [Composition]

Lim, Liza (2008) The long forgetting. [Composition]

Lim, Liza (2016) An ocean beyond earth, 16', Ricordi Berlin, Sy.4635. [Composition]

Lim, Liza (2016) The turning dance of the bee, for ensemble, 15', Ricordi Berlin, Sy4454/01. [Composition]

Martin, Toby (2012) Love's Shadow. [Composition]

Martin, Toby (2017) Songs From Northam Avenue. 42'. [Composition]

Martin, William Toby (2016) Spring Feeling. [Composition]

Sundin, Paulina E., Adkins, Monty and Axelsson, Jonny (2014) Splintered Echoes. [Composition]

Till, Rupert (2007) Nanotechnology and the iPod. [Composition]

Till, Rupert (2010) Soundtrack, European Spallation Source (ESS) short film. [Composition]

Till, Rupert Soundtrack, IPod and Nanotechnology short film. [Composition]

Till, Rupert, Brooks, Andrew and Howat, Tom (2001) Solid Water. [Composition]

Till, Rupert and Garner, Anne (2004) Beauty. [Composition]

Tremblay, Pierre Alexandre (2006) Alter Ego. [Composition] (Submitted)

Tremblay, Pierre Alexandre (2015) BWV1080:1(detail). [Composition]

Tremblay, Pierre Alexandre (2008) Billows in a Ladle. [Composition]

Tremblay, Pierre Alexandre (2010) Ces énigmes lumineuses. [Composition]

Tremblay, Pierre Alexandre (2008) De passage. [Composition]

Tremblay, Pierre Alexandre (2010) For Ever Now Soon an End. [Composition]

Tremblay, Pierre Alexandre (2010) La nuée. [Composition]

Tremblay, Pierre Alexandre (2005) La rage for drummer and electronics. [Composition] (Submitted)

Tremblay, Pierre Alexandre (2011) La rupture inéluctable. [Composition]

Tremblay, Pierre Alexandre (2008) Le tombeau des fondeurs. [Composition]

Tremblay, Pierre Alexandre (2014) Les pâleurs de la lune. [Composition]

Tremblay, Pierre Alexandre (2010) Les trois petits c... [Composition]

Tremblay, Pierre Alexandre (2013) Mono no aware. [Composition]

Tremblay, Pierre Alexandre (2015) Multitudes synchrones. [Composition]

Tremblay, Pierre Alexandre (2009) Quelques courtes contemplations: I. craquer une allumette dans le noir, puis regarder la flamme danser. [Composition]

Tremblay, Pierre Alexandre (2009) Reflets de notre société crépusculaire. [Composition]

Tremblay, Pierre Alexandre (2008) Sandbox#2. [Composition]

Tremblay, Pierre Alexandre (2009) Sandbox#3. [Composition]

Tremblay, Pierre Alexandre (2009) Stase. [Composition]

Tremblay, Pierre Alexandre (2013) Still, Again. [Composition]

Tremblay, Pierre Alexandre (2010) Trois lents effondrements. [Composition]

Tremblay, Pierre Alexandre (2009) Un clou, son marteau, et le béton. [Composition]

Tremblay, Pierre Alexandre (2006) Walk That Way. Tuesday, Turn. [Composition]

Tremblay, Pierre Alexandre (2015) asinglewordisnotenough1. [Composition]

Tremblay, Pierre Alexandre (2015) asinglewordisnotenough2. [Composition]

Tremblay, Pierre Alexandre (2015) asinglewordisnotenough3. [Composition]

Tremblay, Pierre Alexandre (2016) asinglewordisnotenough4. [Composition]

d'Escrivan, Julio (2013) FLIX. [Composition]

d'Escrivan, Julio (2011) Reveron. [Composition]

d'Escrivan, Julio (2011) Terra Nova. [Composition] (Unpublished)

d'Escrivan, Julio (2012) Villanueva: El Diablo. [Composition] (Submitted)

d'Escrivan, Julio (2016) Visual OP. [Composition]

d'Escrivan, Julio (2011) fusil. [Composition]

Performance

Bellamy, Mary (2008) Quartet. In: Reading of New Compositions Workshop, 12-14 February 2008, 26 Willow Place, Brooklyn. (Submitted)

Birkby, Peter R. (2009) Eurovision Song Contest 2009 Theme Music. In: UNSPECIFIED.

Bokowiec, Mark (2014) Dialogue (2014) for Prosthetic Spine & Cello. In: International Computer Music Conference, 14 - 20 September 2014, Athens, Greece, Onassis Centre for the Arts.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2007) Amera, Etch, Hand to Mouth, Chimera. In: Live Arts Courses, 19 November 2007, Doncaster College.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2007) Bodycoder - Voice. In: Bodycoder - Voice, 22 November 2007, The Watermans, Brentford, London.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2007) Etch. In: Residency at Confederation Centre for the Arts, 13 June 2007, Prince Edward island, Nova Scotia.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2008) The Suicided Voice and Etch. In: Music & Sound Technology Practice in Education Conference 2008, 7-9 July 2008, Doncaster College.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2007) The Suicided Voice, Etch. In: 8th International Conference New Interfaces For Musical Expression, 5 - 7 June 2008, Genova, Italy.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2014) V'Oct(Ritual). In: International Computer Music Conference, 16 - 24 September 2014, Athens - Onassis Centre for the Arts. (Unpublished)

Bokowiec, Mark and Wilson-Bokowiec, Julie (2008) The suicided voice and Etch. In: New interfaces for musical expression, 5-7 June 2008, Genova Italy.

Bokowiec, Mark and Wilson-Bokowiec, Julie (2007) The suicided voice. In: Intermédialité, théâtralité, (re)-présentation et nouveaux médias / Intermediality, Theatricality, Performance, (Re)-presentation and the New Media, 24-29 May 2007, Montréal et Québec.

Bryan, John (2010) American Garden/English Roses. In: American Garden/English Roses, 23 February 2010, Corpus Christi Church, New York, USA. (Submitted)

Bryan, John (2016) Apt for Viols as Voyces. In: Apt for Viols as Voyces, 11 June 2016, St John's Church, Chichester, Sussex. (Unpublished)

Bryan, John (2009) Ayres & Fancies. In: Evening Concerts: Spring 2009, 3 March 2009, University of Sheffield, Firth Hall.

Bryan, John (2009) ‘Ayres & Fancies’: Purcell’s incomparable fantazias, with songs by Dowland & Byrd. In: Ayres & Fancies, 10 February 2009, St. Mary’s Church, Warwick.

Bryan, John (2012) Competing, Consenting, Consorting. In: Competing, Consenting, Consorting, 13 July 2012, National Centre for Early Music, York. (Submitted)

Bryan, John (2010) Composed after the Italian vaine. In: Composed after the Italian vaine, 19 February 2010, First Congregational Church, Cambridge, Mass. USA. (Submitted)

Bryan, John (2009) Divisions, Ayres and Fancies. In: Divisions, Ayres and Fancies, 26 November 2009, Queen's University, Belfast. (Submitted)

Bryan, John (2011) An Emerald in a Work of Gold. In: An Emerald in a Work of Gold, 11 June 2011, St John's Church, Chichester, Sussex. (Submitted)

Bryan, John (2007) English Anthems and Consort Music for Voices and Viols. In: Pan-Pacific Gamba Gathering, 30 July 2007, English Anthems and Consort Music for Voices and Viols. (Submitted)

Bryan, John (2007) Four Gentleman of the Chapel Royal. In: Greenwich International Early Music Festival & Exhibition 2007, 10 November 2007, Old Royal Naval College Chapel Greenwich. (Submitted)

Bryan, John (2007) Four Gentleman of the Chapel Royal. In: Pan-Pacific Gamba Gathering, 2 August 2007, Orvis Auditorium, University of Hawaii. (Submitted)

Bryan, John (2009) From Bologna to Britannia. In: From Bologna to Britannia, 25 October 2009, Early Music Colorado Fall Festival, Boulder, USA. (Submitted)

Bryan, John (2009) Henry Purcell Fantazias and In Nomines. In: Henry Purcell Fantazias and In Nomines, 6 & 9 October 2009, Abbazia de Maguzzano, Lake Garda, Italy. (Submitted)

Bryan, John (2009) London Street Cries. In: London Street Cries, 09 February 2009, Ripon Cathedral, Ripon.

Bryan, John (2016) Long Live Fair Oriana. In: Long Live Fair Oriana, 8 September 2016, Rathaus, St Veit, Austria: Trigonale Festival. (Unpublished)

Bryan, John (2007) Lullaby, my Sweet Little Baby. In: York Early Music Christmas Festival, 7 December 2007, National Centre for Early Music. (Submitted)

Bryan, John (2008) ‘Lullaby, my sweet little baby’: Elizabethan & Jacobean Music for Christmas. In: Lullaby, my sweet little baby, 4 December 2008, Bunyan Meeting Free Church, Mill Street, Bedford.

Bryan, John (2011) Music and Politics in the Life of Cosimo de' Medici. In: Music and Politics in ther Life of Cosimo de' Medici, 26 October 2011, Uffizi Gallery, Florence. (Submitted)

Bryan, John (2016) Music from 16th Century Venice. In: Music from 16th Century Venice, 12 July 2016, Benslow Music, Hitchin, Herts.. (Unpublished)

Bryan, John (2016) Music from Elizabethan Choirboy Dramas. In: Music from Elizabethan Choirboy Dramas, 9 July 2016, St Olave's Church, York: York Early Music Festival. (Unpublished)

Bryan, John (2016) Music from Tudor Partbooks. In: Rose Consort of Viols concert, 18 February 2016, Brunswick Street Methodist Church, Newcastle.

Bryan, John (2011) Musicke to content every humour. In: Musicke to content every humour, 3 December 2011, Holywell Music Room, Oxford. (Submitted)

Bryan, John (2014) Mynstrelles with Straunge Sounds. In: York Early Music Festival, 11 July 2014, St Olave's Church, York.

Bryan, John (2007) Perfect and Sweet Harmony. In: Nottingham University Concert Series, 6 December 2007, Djanogly Concert Hall, Lakeside Arts Centre. (Submitted)

Bryan, John Performing Dowland: Dance Music, Songs and 'Lachrimae' Pavans. In: Celebrating John Dowland, 5 May 2013, Auditorium, Fitzwilliam College, University of Cambridge.

Bryan, John (2011) Peter Philips and his Musical Circle. In: Peter Philips and his Musical Circle, 3 March 2011, King's College Chapel, University of Aberdeen. (Submitted)

Bryan, John (2012) Rose Consort of Viols: 'A European Grand Tour'. In: Christmas Concert : A European Grand Tour, 21 December 2012, National Gallery, London.

Bryan, John (2012) Rose Consort of Viols: 'Fair Britain Isle'. In: Royal Greenwich International Early Music Festival : Fair Britain Isle, 10 November 2012, Old Royal Naval College, London.

Bryan, John (2013) Semana de Musica Religiosa, Cuenca, Spain: Gesualdo and Raval. In: Music by Gesualdo and Raval, 28 March 2013, Semana de Musica Reliugiosa, Cuenca, Spain.

Bryan, John (2012) Songs and Cries by Orlando Gibbons. In: Songs and Cries by Orlando Gibbons, 23 July 2012, Cadagon Hall, London, BBC Proms.

Bryan, John (2008) Songs without Words. In: Inaugural Lecture-Recital: ‘Songs without Words’, 7 Oct 2008, University of Huddersfield, Phipps Concert Hall.

Bryan, John (2007) Songs without Words: Consort Music from the Age of Elizabeth I. In: Lancaster International Concert Series, 29 November 2007, Great Hall, Lancaster University. (Submitted)

Bryan, John (2012) Striggio: Missa Ecco si beato giorno/Tallis Spem in alium. In: Striggio Missa Ecco si beato, 9 July 2012, Tewklesbury Abbey.

Bryan, John (2008) The Swan and the Nightingale. In: Huddersfield Music Society, 6 October 2008, St Paul’s Hall, University of Huddersfield.

Bryan, John (2008) Sweet Delightful Ayres and Sublime Discourses. In: Dartington International Summer School, 29 July 2008, Great Hall, Dartington.

Bryan, John (2012) Teares and Lamentacions: Music for the death of Prince Henry. In: Teares and Lamentacions: music for the death of Prince Henry, 16 June 2012, Church of ST Peter & St Paul, North Curry, Somerset. (Submitted)

Bryan, John (2016) 'These Distracted Times'. In: These Distracted Times, 7 September 2016, St George am Langsee, Austria: Trigonale Festival. (Unpublished)

Bryan, John (2008) Three Britons in Brussels. In: York Early Music Festival, 8 July 2008, The National Centre for Early Music, York.

Bryan, John (2008) Trickling Tears and Ruthless Rage. In: Amersham Festival of Music, 8 April 2008, St Mary’s Parish Church, Old Amersham.

Bryan, John (2008) Trickling Tears and Ruthless Rage. In: Trickling Tears and Ruthless Rage, 14 May 2008, Ottery St Mary Church, Devon.

Bryan, John (2008) Trickling Tears and Ruthless Rage. In: Gower Festival, 18 July 2008, St Mary’s Church, Rhossili.

Bryan, John (2008) ‘Trickling Tears and Ruthless Rage’: Elizabethan Dramatic Songs, Dances & Fantasias. In: Milverton Concert Society 22nd Series, 12 December 2008, Milverton Paris Church.

Bryan, John (2013) A Variety of Viols. In: Royal Academy of Music, London, 15 April 2013, Museum, London, UK.

Bryan, John (2007) William Byrd and his English precursors. In: Dartington International Summer School, 23 July 2007, The Great Hall, Dartington. (Submitted)

Bryan, John (2007) William Byrd: loyal servant of the Crown and devout Catholic. In: York Early Music Festival, 11 July 2007, The National Centre for Early Music, York. (Submitted)

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2015) Byrd Songs. In: Byrd Songs, 9 May 2015, Oude Abdij, Drongen, Belgium.

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2014) The Eclectic English. In: The Eclectic English, 15 July 2014, Little Benslow Hills, Hitchin.

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2015) An Emerald in a Work of Gold: songs and fantasias from the part-books of Robert Dow. In: An Emerald in a Work of Gold, 23 May 2015, Dominican Church, Regensburg, Germany.

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2015) Flights of Fancy. In: Flights of Fancy, 6th February 2015, Barber Concert Hall, University of Birmingham.

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2014) Mynstrelles with Straunge Sounds: the first viols in England. In: Mynstrelles with Straunge Sounds, 11 July 2014, St Olave's Church, York.

Cassidy, Aaron (2010) And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion). In: UNSPECIFIED, March 15th 2010, Kings Place, London.

Cassidy, Aaron (2009) Because they mark the zone where the force is in the process of striking (or Second Study for Figures at the Base of a Crucifixion. In: Huddersfield Contemporary Music Festival hcmf 2009, 20th-29th November 2009, St Paul's, University of Huddersfield, UK.

Cassidy, Aaron (2011) Being in itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion). In: UNSPECIFIED, October 23 2011, Villa Elisabeth, Berlin, Germany.

Cassidy, Aaron (2009) Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion). In: UNSPECIFIED, 28th April 2009, Kings Place, London, UK.

Cassidy, Aaron (2009) The Crutch of Memory. In: UNSPECIFIED, 28th April 2009, Kings Place, London, UK.

Cassidy, Aaron (2010) I, purples, spat blood, laugh of beautiful lips. In: UNSPECIFIED, February 18th 2010, Wartesaal, Cologne, Germany.

Cassidy, Aaron (2009) I, purples, spat blood, laugh of beautiful lips. In: UNSPECIFIED, 2nd November 2009, Kings Place, London, UK.

Cassidy, Aaron (2008) Portrait Concert. In: Portrait Concert: ELISION Ensemble, 27th July 2008, ABC Ferry Road Studios, Brisbane, Australia.

Cassidy, Aaron (2011) Second String Quartet. In: Ultraschall Festival, 20th-30th January 2011, Berlin, Germany.

Cassidy, Aaron (2010) Second String Quartet. In: Donaueschinger Musiktage, October 16th 2010, Donaueschinger, Germany.

Cassidy, Aaron (2011) Second string quartet. In: Extended Play: SONiC Festival, October 16, 2011, Miller Theatre, NY, USA.

Cassidy, Aaron (2010) String Quartet. In: International Summer Course for New Music, July 23rd 2010, Darmstadt, Germany.

Cassidy, Aaron (2010) String Quartet. In: New Music Ensemble JACK Quartet Debuts in the Kimmel Center’s Innovation Studio, January 23rd 2010, Kimmel Center, Philadelphia, USA.

Cassidy, Aaron (2009) String Quartet. In: UNSPECIFIED, 14th September 2009, Le Poisson Rouge, New York, USA.

Cassidy, Aaron (2008) String Quartet. In: Festival Internacional Chihuahua 2008, 19th-28th September 2008, Chihuahua, Mexico.

Cassidy, Aaron (2011) String Quartet and Second String Quartet. In: Monday Evening Concerts, 14th February 2011, Los Angeles, USA.

Cassidy, Aaron (2008) String quartet. In: Festival Internacional Chihuahua 2008 at Festival Internacional Chihuahua 2008, Sunday September 28 2008, Chihuahua, Mexico.

Cassidy, Aaron (2009) [Various]. In: New Music Up Late, 28 February 2009, Brisbane.

Cassidy, Aaron (2010) What then renders these forces visible is a strange smile (or First Study for Figures at the Base of a Crucifixion). In: Sendesaal Bremen, June 15th 2010, Bremen, Germany.

Cassidy, Aaron (2009) What then renders these forces visible is a strange smile (or First Study for Figures at the Base of a Crucifixion). In: Huddersfield Contemporary Music Festival hcmf 2009, 20th-29th November 2009, St Paul's, University of Huddersfield, UK.

Cassidy, Aaron (2009) asphyxia. In: World Saxophone Congress XV, 9th July 2009, Bangkok, Thailand.

Cassidy, Aaron (2008) asphyxia. In: UNSPECIFIED, 13th July 2008, Government House, Sydney, Australia.

Cassidy, Aaron (2011) the green is either. In: UNSPECIFIED.

Cassidy, Aaron (2010) memento/memorial. In: UNSPECIFIED, June 7th 2010, Kings Place, London.

Cassidy, Aaron (2010) memento/memorial. In: Ensemble SurPlus, February 28th 2010, E-Werk, Freiburg, Germany.

Cassidy, Aaron (2012) A painter of figures in rooms. In: Hear and Now, 18th August 2012, South Bank Centre, Purcell Room, London, UK.

Cassidy, Aaron (2016) The wreck of former boundaries (lap steel & electronics). In: Metropolis New Music Festival 2016: Sacred Cities, 10 May 2016, Melbourne Recital Centre, Australia.

Cassidy, Aaron (2016) The wreck of former boundaries for 5.1 channel electronics. In: The 2016 Alba New Music Festival, Friday 7th – Saturday 8th October 2016, St Giles Cathedral, High Street, Edinburgh.

Cassidy, Aaron (2016) The wreck of former boundaries for electric lap-steel guitar and electronics (2015). In: ELISION Ensemble Concert: The Surface Project, 21st September 2016, RMIT Gallery, RMIT University, Melbourne VIC 3000, Australia.

Cassidy, Aaron (2016) The wreck of former boundaries. In: BIFEM: How Forests Think, 3 September 2016, The Capital, Bendigo VIC 3550, Australia.

Cox, Geoffrey (2011) No Escape. In: Leeds Film Music Conference, 6-8 September 2011, University of Leeds, Clothworkers Concert Hall.

Cox, Geoffrey (2010) No Escape. In: GEM Days, 27 January 2010, Phipps Hall, University of Huddersfield.

De Vos, Z, Johnson, T and Gibson, Ian (2016) Hallers Routine. In: Adaptive Music Technology Research Group Concert, 24 Feb 2016, Bates Mill, Huddersfield.

Einbond, Aaron (2011) Music of the Hemispheres. In: Music of the Hemispheres, 29 November 2011, Issue Project Room, Brooklyn, New York.

Einbond, Aaron (2011) Temper. In: International Computer Music Conference, 31 July - 5 August 2011, CeReNeM, University of Huddersfield.

Glover, Richard (2012) Portrait concert. In: UNSPECIFIED, 10th February 2012, Le théâtre de l'Espace, Besancon, France.

Harker, Alexander (2010) Fluence. In: Ergodos Festival MMX, 2nd April 2010, Project Arts Centre, Dublin.

Harker, Alexander (2011) Fluence. In: International Computer Music Conference 2011, 31st July - 5th August 2011, University of Huddersfield.

Harker, Alexander (2012) Fluence. In: 9th Sound and Music Computing Conference 2012, 11th - 14th July 2012, Aalborg University, Copenhagen, Denmark.

Harker, Alexander (2012) Fluence. In: Nachtstrom, Gare du Nord, 8th November 2012, Basel, Switzerland.

Harker, Alexander (2012) Fluence. In: Huddersfield Contemporary Music Festival 2012, 16th - 25th November 2012, Huddersfield, UK.

Milsom, David (2015) Classical trios and string quartets, including Beethoven Quartet op. 18/4 (David Milsom and Lara James, violins; Jeremy Perkins, viola; Tom Collingwood, cello). Pre-concert talk by David Milsom. In: 'Laus Deo': an Evening of Haydn and Beethoven, 30 Oct 2015, Christ Church, Litton, Derbyshire. (Unpublished)

Milsom, David (2015) Ferdinand David Ensemble: Elgar Piano Quintet (Clive Brown and Ilias Devetzoglou, violins, David Milsom, viola, Tom Collingwood, cello, Miaoyin Qu, piano). In: Leeds University, LUCHIP, Historical Performance, 03/05/2016, Leeds University. (Unpublished)

Milsom, David (2015) Four’s Company: Sonatas and Trios including sonatas by Henry Purcell (David Milsom and Amanda Babington, baroque violins; John Bryan, bass viol; Graham Cummings, organ/harpsichord). In: Four's Company, 15 Oct 2015, St Paul's Hall, University of Huddersfield. (Unpublished)

Milsom, David (2014) Four’s Company: Sonatas by Bach, Handel, and Vivaldi (David Milsom and Duncan Druce, baroque violins, George Kennaway, cello, Graham Cummings, organ/harpsichord). In: University Concert Series, 13.3.14, St Paul's Hall, University of Huddersfield. (Unpublished)

Milsom, David (2014) James MacMillan 'Kiss on Wood'; Arvo Part 'Fratres'. In: In Splendoribus Sanctorum, 20 Sept 2014, The Cathedral Church of St Marie, Norfolk Row, Sheffield, S1 2JB. (Unpublished)

Milsom, David (2015) Meiningen Ensemble: 'The Romantic Piano Trio' at the 'HIP Happening in Huddersfield' festival, 2015. In: The Romantic Piano Trio, 24 April 2015, St Paul's Hall, University of Huddersfield.

Milsom, David (2015) Meiningen Ensemble: 'The Romantic Piano Trio'; trios by Gade, Mendelssohn, Schubert (David Milsom, violin; George Kennaway, cello; Jonathan Gooing, piano). In: UNSPECIFIED. (Unpublished)

Milsom, David (2015) Meiningen Ensemble: Elgar Piano Quintet Op.84 (David Milsom and Bianca Blezard, violins; Jeremy Perkins, viola; George Kennaway, cello; Jonathan Gooing, 1897 Broadwood grand). In: Meiningen Ensemble: Elgar Piano Quintet, 29 Oct 2015, St Paul's Hall, University of Huddersfield, UK. (Unpublished)

Moss, Tim, Thresher, Mike, Morris, Eilon and Johnson, Nick (2013) Kelter@Picturedrome Holmfirth [Performance with Peter Hook and The Light (ex-Joy Division and New Order)]. In: Kelter, 15th April 2013, Holmfirth, UK.

Moss, Tim, Thresher, Mike, Morris, Eilon and Johnson, Nick (2012) Kelter@Sound Control, Manchester [Performance with Altered Sky and White Clouds and Gunfire]. In: White Clouds and Gunfire Tour, 29th October 2012, Sound Control, Manchester.

Sundin, Paulina E. and Adkins, Monty (2015) Rondures for saxophone quartet and electronics. In: Studio 53 featuring Paulina Sundin & Monty Adkins and the Mexican group naff, 25th April 2015, Stockholm, Sweden.

Thomas, Philip (2002) The Art of Touch – the piano music of Morton Feldman. In: The Art of Touch – the piano music of Morton Feldman, 25-27 October 2002, Mappin Art Gallery, Sheffield. (Submitted)

Thomas, Philip (2013) Canada Connections. In: Canada Connections, April 2013, Canadian tour.

Thomas, Philip (2013) Christian Wolff portrait concert, Angelica festival, Bologna, Italy. In: Apartment House + Christian Wolff, 25th May 2013, Santuario del Corpus Domini di Santa Caterina, Bologna, Italy.

Thomas, Philip (2005) Comprovisation. In: Comprovisation, 9-10 December 2005, Persistence Works, Sheffield.

Thomas, Philip (2010) 'Every Day Is A Good Day' - musical events to accompany the Hayward Touring Exhibition of John Cage's visual art. Huddersfield 2010. In: UNSPECIFIED.

Thomas, Philip (2008) For Pianist: the piano music of Christian Wolff. In: For Pianist: the piano music of Christian Wolff, 24-26 January 2008, Persistence Works, Sheffield.

Thomas, Philip (2011) IGNM Basel - 'Comprovisation'. In: Comprovisation, 23 January 2011, Gare du Nord, Basel, Switzerland.

Thomas, Philip (2011) John Cage night ('Every Day Is A Good Day', Hayward Touring Exhibition). In: UNSPECIFIED.

Thomas, Philip (2007) Long Piano(Peace March 11). In: Huddersfield Contemporary Music Festival, 16-25 November 2007, Huddersfield.

Thomas, Philip (2011) Merce Cunningham Dance Company - 'Antic Meet' with John Cage 'Concert for piano and orchestra'. In: Merce Cunningham Dance Company Legacy Tour, 5th october, 2011, Barbican, London.

Thomas, Philip (2009) Michael Pisaro's 'pi (1-2954)'. In: Michael Pisaro 'pi (1-2954)', 23-27 November 2009, Huddersfield Contemporary Music Festival.

Thomas, Philip (2013) Overcoming form: reflections on immersive listening: CD and book launch concert. In: Bryn Harrison & Richard Glover CD and book launch concert, Tuesday 3rd December, St Paul's Hall, University of Huddersfield.

Thomas, Philip (2010) PART OF IT MAY ALSO BE PART OF SOMETHING ELSE. In: Sol LeWitt: Artist’s Books, 8th - 29th May 2010, Site Gallery, Sheffield.

Thomas, Philip (2010) Performances to accompany 'Sol LeWitt: Artist's Books' exhibition, Site Gallery, Sheffield. In: Sol LeWitt: Artist's Books, 8-29 May, 2010, Site Gallery, Sheffield.

Thomas, Philip (2009) Small Preludes, aytoods and other new music from America. In: Small Preludes, aytoods and other new music from America, 24/11/2009, Huddersfield Contemporary Music Festival.

Thomas, Philip (2003) Something New, Something Old, Something Else. In: Something new something old something else, 2003–4, Firth Hall, Sheffield.

Thomas, Philip (2009) Something New, Something Old, Something Else (2). In: five40five series, 6 May and 15 July 2009, Sheffield City Hall.

Thomas, Philip (2010) Toy Pianos, Piano Toy. In: five40five 2010, 22nd September 2010, Sheffield.

Thomas, Philip (2014) Wolff at 80 and Finnissy's Beats. In: Wolff at 80 and Finnissy's Beats, 22nd November 2014, St.Paul's Hall, Huddersfield.

Webb, Barrie (2008) Below the Star-Stretched Sky: New Music from Australia and Korea. In: Below the Star-Stretched Sky: New Music from Australia and Korea, 28 September 2008, Weill Recital Hall, Carnegie Hall. (Submitted)

Webb, Barrie (2007) [New works from Australia and Korea]. In: New works from Australia and Korea, 22 September 2007, Trinity Uniting Church, Brighton, Australia. (Submitted)

Webb, Barrie (2004) René Leibowitz Concertino for Trombone. In: René Leibowitz Concertino for Trombone, 26 August 2004, Suntory Hall, Tokyo,. (Submitted)

Wilson-Bokowiec, Julie and Bokowiec, Mark (2016) PythiaDelphine:21. In: International Animart Festival, 16 - 24 July 2016, Delphi (Greece). (Unpublished)

Video

Bonner, John V.H. (2015) Lullaby - The singing bowl. [Video]

Cox, Geoffrey (2014) Tree People. [Video]

Cox, Geoffrey (2015) Tree People: the story of the Colne Valley Tree Society. [Video]

Cox, Geoffrey and Marley, Keith (2010) A Film About Nice. [Video]

Cox, Geoffrey and Marley, Keith (2011) Nothing but the hours. [Video]

Lim, Liza and Defilla, Peider A. (2010) Music Viva, Forum der Gegenwarts musik, Musica Viva: Pearl, Ochre, Hair String. [Video]

Nesteruk, Sara (2017) Bearpits Music Video. [Video] (Unpublished)

Payne, Jason (2014) Clockwork Cities. [Video]

Payne, Jason (2014) Extatic Drift. [Video]

Payne, Jason (2010) Invisible. [Video]

Payne, Jason (2010) Remnant. [Video]

Payne, Jason (2014) Spirals. [Video]

Payne, Jason (2013) With small hands waving. [Video]

Payne, Jason and Adkins, Monty (2017) Alone - 2017. [Video] (Submitted)

Payne, Jason and Adkins, Monty (2015) Spiral Paths. [Video] (Submitted)

Till, Rupert (2014) Songs of the Caves. [Video]

Tremblay, Pierre Alexandre (2009) Le Cauchemar De L'horloger. [Video]

d'Escrivan, Julio (2008) Ensayo Sobre La Bicicleta (Essay on the bicycle): composition. [Video] (Unpublished)

d'Escrivan, Julio and Adkins, Monty (2014) Geometries of Flight [audiovisual]. [Video]

Audio

Ablinger, Peter (2009) 33 - 127. [Audio]

Ablinger, Peter (2016) Augmented Study (2012) for 16 violins. [Audio]

Ablinger, Peter (2014) Augmented studies. [Audio]

Ablinger, Peter (2008) Quadraturen III. [Audio]

Ablinger, Peter (2016) Voices and Piano 12" LP. [Audio]

Ablinger, Peter (2009) Voices and piano. [Audio]

Ablinger, Peter and Davis, Gareth (2011) Parker Notch. [Audio]

Adkins, Monty (2008) [60]Project. [Audio]

Adkins, Monty (2014) Between Lines. [Audio]

Adkins, Monty (2015) Borderlands. [Audio]

Adkins, Monty (2012) Clapoutique. [Audio]

Adkins, Monty (2009) Five Panels. [Audio]

Adkins, Monty (2010) For Jana. [Audio]

Adkins, Monty (2012) Four Shibusa. [Audio]

Adkins, Monty (2006) Mondes inconnus. [Audio]

Adkins, Monty (2014) Residual Forms. [Audio]

Adkins, Monty (2014) Rift Patterns. [Audio]

Adkins, Monty (2012) Still Time. [Audio]

Adkins, Monty (2014) Tunturi: from Imperfect Forms - The Music of Kenneth Kirschner Remixed. [Audio]

Adkins, Monty (2015) Unfurling Streams. [Audio]

Adkins, Monty (2014) With Hells Note. [Audio]

Adkins, Monty (2011) fragile.flicker.fragment. [Audio]

Adkins, Monty (2016) grey orange red (monty adkins - auva remix). [Audio]

Bellamy, Mary (2012) Mary Bellamy: Abrasion, Semblance, Enveloped. [Audio]

Bellamy, Mary, Harrison, Bryn, Cassidy, Aaron and Lim, Liza (2010) Transference. [Audio]

Berweck, Sebastian (2009) Extended Piano. [Audio]

Bryan, John (2014) Adoramus Te: Motets, songs and consort music by William Byrd and Peter Philips. [Audio]

Bryan, John (2011) Alessandro Striggio: Missa Ecco si beato giorno in 40 parts. [Audio]

Bryan, John (2010) Alpha and Omega. [Audio]

Bryan, John (2013) BBC Radio 3 In Tune. [Audio]

Bryan, John (2013) BBC Radio 3 The Early Music Show. [Audio]

Bryan, John (2009) Celebrating Henry Purcell. [Audio]

Bryan, John (2011) The Early Music Show. [Audio]

Bryan, John (2012) An Emerald in a Work of Gold. [Audio]

Bryan, John (2012) An Emerald in a Work of Gold: Music from the Dow Partbooks. [Audio]

Bryan, John (2008) Four Gentleman of the Chapel Royal. [Audio]

Bryan, John (2008) Renaissance Choral Music: works by Allegri, Palestrina, and Byrd. [Audio]

Bryan, John (2014) Serenissima: Music from Renaissance Europe on Venetian Viols. [Audio]

Bryan, John (2013) Vlaamse Radio: Dowland 'Lachrimae' Pavans. [Audio]

Bryan, John (2011) The World Tonight. [Audio]

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2014) Adoramus Te: motets, songs and consort music by William Byrd and Peter Phillips. [Audio]

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2015) Mynstrelles with Straunge Sounds: the earliest consort music for viols. [Audio]

Bryan, John, Aziz, Ibi, Crum, Alison, Kerr, Andrew, Marks, Roy and Wendland, Peter (2014) Serenissima: music from sixteenth century Italy, France, Germany and England performed on viols after Francesco Linarol. [Audio]

Bryan, John and Bott, Catherine (2007) William Byrd: Loyal Servant of the Crown and Devout Catholic. [Audio]

Carvalhais, Miguel, Tudela, Pedro and Tremblay, Pierre Alexandre (2011) @c - Homem Fantasma. [Audio]

Cassidy, Aaron (2013) Asphyxia for soprano saxophone. [Audio]

Cassidy, Aaron (2012) Asphyxia, for soprano saxophone. [Audio]

Cassidy, Aaron (2012) Because they mark the zone where the force is in the process of striking, for solo trombone. [Audio]

Cassidy, Aaron (2012) Being itself a catastrophe, the diagram must not create a catastrophe, for oboe, musette, English horn, E-flat clarinet, B-flat clarinet, bass clarinet. [Audio]

Cassidy, Aaron (2012) The Crutch of Memory, for solo string instrument. [Audio]

Cassidy, Aaron (2012) I, purples, spat blood, laugh of beautiful lips, for voice & live electronics. [Audio]

Cassidy, Aaron (2012) Metallic Dust, for amplified bass clarinet. [Audio]

Cassidy, Aaron (2011) Second string quartet. [Audio]

Cassidy, Aaron (2012) Songs only as sad as their listener, for solo trombone. [Audio]

Cassidy, Aaron (2012) What then renders these forces visible is a strange smile, for solo trumpet. [Audio]

Cassidy, Aaron (2012) A painter of figures in rooms. [Audio]

Cassidy, Aaron (2013) A painter of figures in rooms. [Audio]

Cassidy, Aaron (2016) The wreck of former boundaries (B-flat clarinet). [Audio]

Cassidy, Aaron, Barrett, Richard, Johnson, Evan, Hübler, Klaus K. and Lim, Liza (2010) Strange forces. [Audio]

Cassidy, Aaron, Weeks, James, Harrison, Bryn, Chase, Stephen, Bailie, Joanna, Glover, Richard and Molitor, Claudia (2013) Exposure. [Audio]

Cummings, Graham (2009) Handel, Metastasio and Poro Re dell Indie. [Audio] (Unpublished)

Einbond, Aaron (2012) Just Like Starting Over. [Audio]

Einbond, Aaron (2010) Passagework. [Audio]

Glover, Richard (2013) Logical Harmonies. [Audio]

Harker, Alexander (2011) Fluence. [Audio]

Harrison, Bryn (2009) an oblique. [Audio]

Johansson, Sven Ake and Ablinger, Peter (2009) Danish border. [Audio]

Lim, Liza (2016) City of Falling Angels on CD7, Darmstadt Aural Documents, Box 3. [Audio]

Lim, Liza (2010) Invisibility. [Audio]

Lim, Liza (2013) Liza Lim, Orchestral Works. [Audio]

Lim, Liza (2009) Ochred String. [Audio]

Lim, Liza (2015) Solitude. [Audio]

Lim, Liza (2010) Songs found in dream. [Audio]

Lim, Liza (2011) Sonorous Body. [Audio]

Lim, Liza (2013) Tongue of the Invisible, WERGO WER68592. [Audio]

Lim, Liza (2016) The Weaver's Knot on 'Arditti String Quartet, Gifts and Greetings'. [Audio]

Lim, Liza (2008) Weaver-of-fictions. [Audio]

Lim, Liza (2010) Wild Winged One. [Audio]

Lim, Liza (2013) Wild Winged-One. [Audio]

Lim, Liza and Ness, Jon Øivind (2015) Cikada Live at Huddersfield Contemporary Music Festival. [Audio]

Moss, Tim, Thresher, Mike, Mills, Jimmy and Johnson, Nick (2013) Falling. [Audio] (Unpublished)

Pettican, Anneké, Mojsiewicz, Kristin, Lewis, Chara and MacDonald, Alistair (2013) Brass Art with Alistair MacDonald, The Imagining of Things, Hear and Now, BBC Radio 3. [Audio]

Stiegler, Thomas and Ablinger, Peter (2014) ANFANGEN (:AUFHÖREN). [Audio]

Sundin, Paulina E., Hellstrom, Sten-Olof, Dodd, Rose, Elison, Barbara, Bernier, Nicolas, Fawcus, Jamie, Thibault, J.F. and Bokowiec, Mark (2011) In search of the miraculous. [Audio]

Thomas, Philip (2014) Christian Wolff - Pianist: Pieces. [Audio]

Thomas, Philip (2014) Christopher Fox - Works for piano. [Audio]

Thomas, Philip (2007) Comprovisation. [Audio]

Thomas, Philip (2008) Concert: Reclaimed. [Audio]

Thomas, Philip (2010) Fields Have Ears. [Audio]

Thomas, Philip (2015) Grizzana. [Audio]

Thomas, Philip (2015) Jürg Frey - Circles and Landscapes. [Audio]

Thomas, Philip (2016) Michael Finnissy - Beat Generation Ballads. [Audio]

Thomas, Philip (2014) Morton Feldman - Two Pianos and other pieces 1953-1969. [Audio]

Thomas, Philip (2011) PART OF IT MAY ALSO BE PART OF SOMETHING ELSE. [Audio]

Thomas, Philip (2014) Piano Piece No.23 - Ethiopian Distance Runners. [Audio]

Thomas, Philip (2010) Tim Parkinson 'piano piece piano piece'. [Audio]

Thomas, Philip (2012) Wandelweiser und so weiter. [Audio]

Thomas, Philip, Burn, Chris and Fell, Simon (2009) The middle distance. [Audio]

Thomas, Philip and Harrison, Bryn (2013) Bryn Harrison - Vessels. [Audio]

Tremblay, Pierre Alexandre (2008) Heiko ou l’apparition du héros. [Audio]

Tremblay, Pierre Alexandre (2013) La marée. [Audio]

Tremblay, Pierre Alexandre (2011) Quelques reflets. [Audio]

Tremblay, Pierre Alexandre and Bonney, Alex (2012) light.box. [Audio]

Tremblay, Pierre Alexandre and Constanzo, Rodrigo (2009) Drum and bass and the horse you ride in on. [Audio]

Tremblay, Pierre Alexandre, Fincker, Robin, Smith, Dave and Bonney, Alex (2011) Splice - Lab. [Audio]

Tremblay, Pierre Alexandre, Fincker, Robin, Smith, Dave and Bonney, Alex (2013) Splice: Silent Spoke. [Audio]

Tremblay, Pierre Alexandre and Pohu, Sylvain (2011) de type inconnu. [Audio]

Tremblay, Pierre Alexandre, Stephan, Nicolas and Brun, Sébastien (2006) ars circa musicæ. [Audio]

Worthington, Emily (2016) Music for a Prussian Salon: Franz Tausch in Context. [Audio]

d'Escrivan, Julio (2016) Séance: Interventions on Ravel 2017. [Audio]

Web page

Haworth, Catherine (2013) Musical scores and female detectives of the 1940s. [Web page]

Milsom, David (2013) W.A. Mozart Violin and Viola Duos K. 423 & 424: The Ferdinand David ‘Uppingham’ Copies in Context and Performance. [Web page]

Winterson, Julia and Russ, Michael (2008) Understanding the transition from school to university in music and related subjects. [Web page]

Other

Bayley, Amanda and Clarke, Michael (2011) Evolution and Collaboration: the composition, rehearsal and performance of Finnissy’s Second String Quartet. Palatine.

Clarke, Michael and Rodet, Xavier (2002) fofb~ and fog~ objects for Max/MSP software and accompanying demonstration/tutorial materials. IRCAM, Paris.

Clarke, Michael, Watkins, A., Adkins, Monty and Bokowiec, Mark (2006) Sybil software. University of Huddersfield, Huddersfield.

Colton, Lisa (2009) Scrupulosa quorundam sententia. Plainsong and Medieval Music Society.

Harker, Alexander (2011) AHarker Externals. Alexander J. Harker. (Unpublished)

Harker, Alexander, Kanno, Kanno and Newton, Michael (2016) Octet Violins (Modeling a Virtual Violin). University of Huddersfield. (Unpublished)

Lycett, Robert and McLaughlin, Scott (2011) untitled {2011}. Robert Lycett. (Unpublished)

Pettican, Anneké, Lewis, Chara and Mojsiewicz, Kristin (2016) Brass Art, R<connecting Senses, Artists-in-Labs, Hong Kong. Artists in Labs, Switzerland - Hong Kong.

Till, Rupert (2017) EMAP Soundgate. UNSPECIFIED.