Analysis, Creation, and Teaching of Orchestration (ACTOR) Project: Publications — Analysis, Creation, and Teaching of Orchestration Project

Research | Publications

Timbre and Orchestration Resource

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

Interactive Project Reports

Musicians Auditory Perception (MAP) Interactive Project Report (Schneider et al, 2022)
Masque de Fer: Extended Drum Kit Techniques Module (Daigle & Couturier, 2022)
The many facets of musical listening: Auditory perception mechanisms and learned experiences (Heng & Wang, 2022)

Articles

Amazing Moments in Timbre

Timbre Lingo

External Publications

Publications since APRIL 2018 by ACTOR partners

Alphabetical List here or click here for a searchable list

Afghah, T., Patros, E., & Puckette, M. (2018). A pseudoinverse technique for the pressure-matching beamforming method [Conference presentation]. 145th Audio Engineering Society Convention, New York, NY, United States. https://www.aes.org/events/145/
Afghah, T., Patros, E., & Puckette, M. (2019, March). The physical evaluation of the efficiency of an enhanced pressure-matching beamforming method using eigen decomposition pseudoinverse mathematical approach. In Audio Engineering Society Conference: 2019 AES International Conference on Immersive and Interactive Audio. Audio Engineering Society. http://www.aes.org/e-lib/browse.cfm?elib=20442
Antoine, A., Depalle, P., Macnab-Séguin, P. & McAdams, S. (2021). Modeling human experts' identification of orchestral blends using symbolic information. In R. Kronland-Martinet, S. Ystad & M. Aramaki (Eds.), Perception, representations, image, sound, music (pp. 363-378). Springer Verlag. https://doi.org/10.1007/978-3-030-70210-6_24
Aouameur, C., Esling, P., & Hadjeres, G. (2019). Neural drum machine: An interactive system for real-time synthesis of drum sounds. arXiv preprint arXiv:1907.02637. https://arxiv.org/abs/1907.02637
Axelsson, Ö., Guastavino, C., & Payne, S. R. (2019). Soundscape Assessment. Frontiers in psychology, 10, 2514. doi: 10.3389/fpsyg.2019.02514
Bachir-Loopuyt, T., Couprie, P., Gétreau, F., and Hérold, N. (Eds.). (2019). Proceedings of the symposium Les sciences de la musique : de nouveaux défis dans une société en mutation. Paris. https://sites.google.com/view/symposium2019/actes-électroniques-du-symposium-en-libre-accès
Bazin, P., and Hasegawa, R. (Eds.). (2019). Les voies de la pansonorité : La microtonalité d’hier à aujourd’hui. Université de Montréal. https://revuecircuit.ca/collection/29_2/
Berndt, A., Waloschek, S., & Hadjakos, A. (2018). Meico: A Converter Framework for Bridging the Gap between Digital Music Editions and its Applications. Proceedings of the Audio Mostly 2018 on Sound in Immersion and Emotion. USA, 18, 1-7. https://doi.org/10.1145/3243274.3243282
Berndt, A. & Bohl, B. (2018). Music Performance Markup: Formale Beschreibung musikalischer Interpretationen. editio, 32(1), 185-204. https://doi.org/10.1515/editio-2018-0012
Berndt, A. (2019). Interactive Media Scoring with Ambient Music. In M. Adkins and S. Cummings (Eds.), Music beyond airports: Appraising ambient music(pp. 197-226). University of Huddersfield Press. https://unipress.hud.ac.uk/plugins/books/19/
Bitton, A., Chemla—Romeu-Santos, A., & Esling, P. (2018). Timbre transfer between orchestral instruments with semi-supervised learning. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (pp. 109-110). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf
Bitton, A., Esling, P., Caillon, A., & Fouilleul, M. (2019). Assisted sound sample generation with musical conditioning in adversarial auto-encoders. arXiv preprint arXiv:1904.06215. https://arxiv.org/abs/1904.06215v2
Bockstael, A., Steele, D., Trudeau, C., & Guastavino, C. (2019). Forever young: Is age of importance in urban soundscape design?. Proceedings Of the 26th International Congress on Sound And Vibration, Canada, 5. https://www.researchgate.net/publication/337290268_Forever_Young_is_age_of_importance_in_urban_soundscape_design#read
Boulan, M., Guillotel-Nothmann, C., and Hérold, N. (Eds.). (2020). Musurgia XXVII/2. Eska.
Boulan, M., Guillotel-Nothmann, C., and Hérold, N. (Eds.). (2020). Musurgia XXVII/1. Eska. https://www.cairn.info/revue-musurgia-2020-1.htm
Boulan, M., Guillotel-Nothmann, C., and Hérold, N. (Eds.). (2019). Musurgia XXVI. Eska. https://www.cairn.info/revue-musurgia-2019-3.htm
Boutard, G., & Guastavino, C. (2018). Cultural heritage, information science, and the creative process. In N. Donin (Ed.), The Oxford Handbook of the Creative Process in Music. DOI: 10.1093/oxfordhb/9780190636197.001.0001
Boyd, J., Popa, I., Ritter, M., and Sallis, F. (2019). Engagin in playful creation: Two case studies in mediated music education. La musica del Novecento: una risorsa per la scuola. Strumenti, proposte, riflessioni. 140-162 http://ojs.francoangeli.it/_omp/index.php/oa/catalog/book/389
Burns, A.-M., & Traube, C. (2020). Reports From the Field: Learning to Play the Guitar With the Novaxe Online Learning Platform. In Waldron, J., Horsley, S., and Veblen, K (Eds.) The Oxford Handbook of Social Media and Music Learning. Oxford University Press. DOI: 10.1093/oxfordhb/9780190660772.013.15
Caetano, M., and Cella, C. (2021). Imitative computer-aided musical orchestration with biologically inspired algorithms. In Miranda, E. (Ed.) Handbook of artificial intelligence for music Springer. DOI: 10.1007/978-3-030-72116-9
Calvo-Zaragoza, J., Castellanos, F. J., Vigliensoni, G., & Fujinaga, I. (2018). Deep neural networks for document processing of music score images. Applied Sciences, 8(5), 654. https://doi.org/10.3390/app8050654
Carsault, T., & Esling, P. (2018). Learning spectral transforms to improve timbre analysis. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (pp. 97-98). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf
Carsault, T., Nika, J., and Esling, P. (2018). Using musical relationships between chord labels in automatic chord extraction. In ISMIR (pp. 18-25). taskshttp://ismir2018.ismir.net/doc/pdfs/231_Paper.pdf
Castellanos, F. J., Calvo-Zaragoza, J., Vigliensoni, G., & Fujinaga, I. (2018). Document Analysis of Music Score Images with Selectional Auto-Encoders. In ISMIR (pp. 256-263). http://ismir2018.ircam.fr/doc/pdfs/93_Paper.pdf
Cella, C. E., & Esling, P. (2018). Open-source modular toolbox for computer-aided orchestration. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (93-94). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf
Chemla–Romeu-Santos, A., Esling, P., Haus, G. & Assayag G. (2019). Cross-modal variational inference for bijective signal. Proceeding of the International Conference on Digital Audio Effects DaFX 2019, UK. 112-119. http://dafx2019.bcu.ac.uk/assets/DAFx19Proceedings.pdf
Crestel, L., Esling, P., Ghisi, D., and Meier, R. (2018). Generating orchestral music by conditioning SampleRNN. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (95-96). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf
de Francisco, M. (2019). Meeting the challenge of producing classical music for global audiences in the digital era. Journal of Intellectual Property Law & Practice 14(4), 327-330. DOI: https://doi.org/10.1093/jiplp/jpz009
de Francisco, M., Kob, M., Rivest, J. F., & Traube, C. (2019). ODESSA–Orchestral Distribution Effects in Sound, Space and Acoustics: An interdisciplinary symphonic recording for the study of orchestral sound blending. Proceedings of the International Symposium on Music Acoustics, ISMA 2019. https://pub.dega-akustik.de/ISMA2019/data/articles/000090.pdf
Déguernel, K., Vincent, E., & Assayag, G. (2018). Probabilistic factor oracles for multidimensional machine improvisation. Computer Music Journal, 42(02), 52-66. https://hal.inria.fr/hal-01693750/file/Probabilistic_Factor_Oracles_CMJ42-2.pdf
Déguernel, K., Vincent, E., Nika, J., Assayag, G., & Smaïli, K. (2020). Learning of Hierarchical Temporal Structures for Guided Improvisation. Computer Music Journal, 43(2-3), 109-124. https://hal.inria.fr/hal-02378273/document
Delisle, J., Hasegawa, R., Noble, J., and Touizrar, M. (in preparation). The Oxford Handbook of Orchestration Studies. Oxford University Press.
Dolan, E., & Rehding, A. (2021). Oxford Handbook of Timbre. Oxford University Press.
Dolan, E.I. & Patteson, T. (2018) Ethereal timbres. In E. I. Dolan & A. Rehding (Eds.), The Oxford Handbook of Timbre, Oxford University Press, New York, NY. DOI: 10.1093/oxfordhb/9780190637224.013.27
Dolan, E.I., & Rehding, A. (2020). Timbre: Alternative Histories and Possible Futures for the Study of Music. In E. Dolan and A. Rehding (Eds.), The Oxford Handbook of Timbre. Oxford. DOI: 10.1093/oxfordhb/9780190637224.013.36
Donahue, C., McAuley, J., & Puckette, M. (2018). Adversarial audio synthesis. arXiv preprint arXiv:1802.04208. https://arxiv.org/abs/1802.04208
Donahue, C., McAuley, J., & Puckette, M. (2018). Synthesizing audio with GANs. ICLR 2018 https://openreview.net/pdf/4eafb40ca29e8bf472f726381a6711526f844567.pdf
Doras, G., Esling, P., & Peeters, G. (2019, January). On the use of u-net for dominant melody estimation in polyphonic music. In 2019 International Workshop on Multilayer Music Representation and Processing (MMRP) (pp. 66-70). IEEE. https://hal.archives-ouvertes.fr/hal-02457728/document
Ducher, J. F., & Esling, P. (2019, November). Folded CQT RCNN for Real-time Recognition of Instrument Playing Techniques. In International Society for Music Information Retrieval (ISMIR2019). https://hal.archives-ouvertes.fr/hal-02472560/document
Esling, P., Chemla-Romeu-Santos, A., & Bitton, A. (2018). Bridging Audio Analysis, Perception and Synthesis with Perceptually-regularized Variational Timbre Spaces. In ISMIR (pp. 175-181). http://ismir2018.ismir.net/doc/pdfs/219_Paper.pdf
Esling, P., Chemla—Romeu-Santos, A., and Bitton, A. (2018). Generative timbre spaces: Regularizing variational auto-encorders with perceptual metrics. arXiv:1805.08501. https://arxiv.org/pdf/1805.08501.pdf
Esling, P., Masuda, N., Bardet, A., & Despres, R. (2019). Universal audio synthesizer control with normalizing flows. arXiv preprint arXiv:1907.00971. https://arxiv.org/pdf/1907.00971.pdf
Féron, F. X., Guastavino, C., & Carat, B. (2018, July). Acoustical analyses of extended playing techniques in Pression by Helmut Lachenmann. In E. Thoret, M. Goodchild & S. McAdams (Eds.), Timbre 2018: Timbre is a many-splendored thing (99-100). McGill University. https://www.mcgill.ca/timbre2018/files/timbre2018/timbre2018_proceedings.pdf
Féron, F. X., & Guastavino, C. (2018). Étudier la musique sous toutes ses formes: la démultiplication des approches scientifiques en musicologie. Histoire de la recherche contemporaine. La revue du Comité pour l’histoire du CNRS, 7(1), 40-49. https://doi.org/10.4000/hrc.1940
Féron, F.-X., Camier, C., Guastavino, C. (2020). Spatial effects induced by a sound centrifuge [Abstract]. Forum IRCAM Hors les murs, Montreal, QC, Canada. https://halshs.archives-ouvertes.fr/halshs-03081908
Fink, R., Wallmark, Z., & Latour, M. (2018). Introduction–Chasing the Dragon: In R. Fink, M. Latour, and Z. Wallmark (Eds.). Search of Tone in Popular Music. The Relentless Pursuit of Tone: Timbre in Popular Music, 1-17. DOI:10.1093/oso/9780199985227.003.0001
Fink, R., Latour, M., & Wallmark, Z. (Eds.). (2018). The relentless pursuit of tone: Timbre in popular music. Oxford University Press.
Fischer, M., Soden, K, Thoret, E., Montrey, M, & McAdams, S. (2021). Instrument timbre enhances perceptual segregation in orchestral music. Music Perception, 38(5), pp. 473-498. DOI: https://doi.org/10.1525/MP.2021.38.5.473
Fraisse, V., Steele, D., d'Ambrosio, S., & Guastavino, C. (2020). Shaping urban soundscapes through sound art: a case study in a public square exposed to construction noise. In International Workshop on Haptic and Audio Interaction Design. https://hal.archives-ouvertes.fr/hal-02901201/document
Fujinaga, I., Hankinson, A., & Pugin, L. (2018). Automatic score extraction with optical music recognition (omr). In R. Bader (Ed.). Springer Handbook of Systematic Musicology (pp. 299-311). Springer, Berlin, Heidelberg. https://www.springerprofessional.de/en/automatic-score-extraction-with-optical-music-recognition-omr/15554608
Gari, S., Kob, M., & Lokki, T. (2019). Analysis of trumpet performance adjustments due to room acoustics. In Proceedings of the International Symposium on Room Acoustics: 15 to 17 September 2019 in Amsterdam, Netherlands (pp. 65-73). Nederlands Akoestisch Genootschap (NAG). https://publications.rwth-aachen.de/record/772232
Gari, S. V. A., Kob, M., & Lokki, T. (2019). Analysis of trumpet performance adjustments due to room acoustics. Universitätsbibliothek der RWTH Aachen.
Gillick, J., Cella, C. E., & Bamman, D. (2019, November). Estimating Unobserved Audio Features for Target-Based Orchestration. In ISMIR (pp. 192-199).DOI: 10.5281/zenodo.3527776
Goldman, J. (2020). Review of CD “Dániel Péter Biró, Mishpatim, Noa Frenkel (contralto), Ernis Theodorakis (piano), Ensemble SurPlus, SWR Experimentalstudio, Double SACD, NEOS 11919-20, 2019” MusicWorks https://www.musicworks.ca/reviews/daniel-peter-biro-mishpatim-laws
Goldman, J. (2021). Probing Gordon Mumma's Studio Heuristic through a Digital Recreation of Mesa (1966). Contemporary Music Review, 39(6), 733-756. https://doi.org/10.1080/07494467.2020.1863009
Goodchild, M. & McAdams, S. (2018) Perceptual processes in orchestration. In E. I. Dolan & A. Rehding (Eds.), The Oxford Handbook of Timbre, Oxford University Press, New York, NY. DOI: 10.1093/oxfordhb/9780190637224.013.10
Goodchild, M., Wild, J., & McAdams, S. (2019). Exploring emotional responses to orchestral gestures. Musicae Scientiae, 23(1), 25-49. DOI: 10.1177/1029864917704033
Grothe, T., and Kob, M. (2019). High resolution 3D radiation measurements on the bassoon. Proceedings of the International Symposium on Music Acoustics ISMA 2019. https://pub.dega-akustik.de/ISMA2019/data/articles/000094.pdf
Guastavino, C. (2018). Everyday sound categorization. In T. Virtanen and M. Plumbey (Eds.). Computational Analysis of Sound Scenes and Events, 183-213. DOI: 10.1007/978-3-319-63450-0_7
Guastavino, C., Dubois, S., Cance, C., Coler, M, and Paté, A. (Eds.). (In review). Exploring Sensory Experiences : A Handbook on Meaning and the Senses. John Benjamins.
Guastavino, C., Fraisse, V., D'Ambrosio, S., Legast, E., and Lavoie, M. (2020). Spatial sound art in public spaces. Forum IRCAM Hors les murs, Montreal, QC, Canada. https://www.youtube.com/watch?v=zkSvLuNUKeo
Hansen, N.C. and Reymore, L. (2021). Articulatory motor planning and timbral idiosyncrasies as underlying mechanisms of instrument-specific absolute pitch in expert musicians. PLOS One, 16(2), e0247136. https://doi.org/10.1371/journal.pone.0247136
Hasegawa, R. (2018). [Liner notes]. In Joshua Fineberg: Sonic Fictions [CD]. Cudworth: Divine art recordings group. https://d2ajug1vehh95s.cloudfront.net/28564booklet.pdf
Hasegawa, R. (2019). Explorations of Equal-Tempered Microtonality [Review of the book Manual of Quarter-Tone Harmony, by I. Wyschnegradsky, and the book Steps to the Sea: Ear Training and Composing in a Minute Equal Temperament, by J. Werntz]. Circuit: musiques contemporaines, 29(2), 99-102.
https://doi.org/10.7202/1062570ar
Heng, L. (2018). Timbre in the communication of emotions among performers and listeners from western art music and Chinese music traditions. Masters Thesis. McGill University, Montreal, QC. https://escholarship.mcgill.ca/concern/theses/x346d6558
Hasegawa, R. (2019) Timbre as harmony—harmony as timbre. In E. I. Dolan & A. Rehding (Eds.), The Oxford Handbook of Timbre, Oxford University Press, New York, NY. DOI: 10.1093/oxfordhb/9780190637224.013.11
Hérold, N., Guichaoua, C., and Mays, T. (Eds.)(2021). Acte musical et environnements informatiques (Journées d'Informatique Musicale 2020 - JIM 2020), Université de Strasbourg/Faculté des Arts, Strasbourg. https://jim2020.sciencesconf.org/resource/page/id/14
Hérold, N. (2021). "La fille aux cheveux de lin" de Debussy : quelques éléments pour une analyse "timbrique", Profils d'une œuvre, dossier "Debussy, La fille aux cheveux de lin", Société Française d'Analyse Musicale. www.sfam.org/nouveau/Profils.php
Hérold, N. (2020). Le timbre face à l'hétérogénéité musicale : conceptualisation, enjeux, pertinence. In M.-N. Masson (Ed.) Entre théorie et analyse musicale : corpus et méthodes, p. 189-211, Delatour, Sampzon, https://www.researchgate.net/publication/348383060_Le_timbre_face_a_l%27heterogeneite_musicale_conceptualisation_enjeux_pertinence
Hérold, N. (2020). Towards a Theory and Analysis of Timbre based on Auditory Scene Analysis Principles : A Case Study of Beethoven's Piano Sonata Op. 106, Third Movement. In A. Zacharakis, C. Saitis, and K. Siedenburg (Eds.), Proceedings of the 2nd International Conference on Timbre (Timbre 2020), p. 146-148, The School of Music Studies, Aristotle University of Thessaloniki. https://www.researchgate.net/publication/344015598_Towards_a_Theory_and_Analysis_of_Timbre_based_on_Auditory_Scene_Analysis_Principles_A_Case_Study_of_Beethoven%27s_Piano_Sonata_Op_106_Third_Movement
Hérold, N. (2018). Le traitement de la forme brève dans le Carnaval op. 9 de Schumann : un éclairage à partir de l’analyse timbrique. In V. Cotro (Ed.) Musique et formes brèves. Peter Lang, Bruxelles. 105-120. https://www.researchgate.net/publication/343651218_Le_traitement_de_la_forme_breve_dans_le_Carnaval_op_9_de_Schumann_un_eclairage_a_partir_de_l%27analyse_timbrique
Hérold, N. (2018). Timbre et signification musicale : la spécificité pianistique des topiques dans la musique pour piano de Franz Liszt. In M. Grabócz (Ed.) Les grands topoï du xixe siècle et la musique de Franz Liszt.Hermann, Paris. 303-318. https://www.researchgate.net/publication/345387681_Timbre_et_signification_musicale_la_specificite_pianistique_des_topiques_dans_la_musique_pour_piano_de_Franz_Liszt
Hérold, N., & Michel, P. (2019) Enregistrer les Dix pièces pour quintette à vent de György Ligeti sous la direction artistique du compositeur. Musimédiane 9(4). https://musimediane.com/numero9/HEROLD-MICHEL/
Hérold, N. (2020). Le timbre face à l’hétérogénéité musicale : conceptualisation, enjeux, pertinence. In M.-N. Masson (Ed.) Entre théorie et analyse musicale : corpus et méthodes. Delatour, Sampzon. 189-211. https://www.researchgate.net/publication/348383060_Le_timbre_face_a_l%27heterogeneite_musicale_conceptualisation_enjeux_pertinence
Hérold, N. (Ed.). (2020). Musique en acte 1. Gream. https://gream.unistra.fr/revue-musique-en-acte/musique-en-acte-1-2020/
Hérold, N. (2020). Analyser le timbre : Objets, méthodes, représentations. In P. Lalitte (Ed.) Musique et cognition : perspectives pour l'analyse et la performance musicales.Éditions Universitaires de Dijon, Dijon. 15-33. https://www.researchgate.net/publication/343651033_Analyser_le_timbre_objets_methodes_representations
Ioannou, S., & Kob, M. (2019). Investigation of the blending of sound in a string ensemble. Proceedings of the International Symposium on Music Acoustics ISMA 2019. (pp 42-49). https://pub.dega-akustik.de/ISMA2019/data/articles/000093.pdf
Kazazis, S., Depalle, P., & McAdams, S. (2021). Ordinal scaling of timbre-related spectral audio descriptors. The Journal of the Acoustical Society of America 149, 3785-3796 (2021) https://doi.org/10.1121/10.0005058
Kestler, G., Yadegari, S., & Nahamoo, D. (2019, May). Head related impulse response interpolation and extrapolation using Deep Belief Networks. ICASSP 2019-2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), Brighton, UK, (pp. 266-270). DOI: 10.1109/ICASSP.2019.8683570
Kob, M., & Weege, T. A. (2019). How to Interprete Early Recordings? Artefacts and Resonances in Recording and Reproduction of Singing Voices. In R. Bader (Ed.) Computational Phonogram Archiving (pp. 335-350). Springer, Cham. https://www.springer.com/gp/book/9783030026943
Kob, M., and Baskind, A. (2019). Impact of free field inhomogenity on directivity measurements due to the measurement set-up. Proceedings of the International Symposium on Music Acoustics ISMA 2019. (pp 62-67). http://pub.dega-akustik.de/ISMA2019/data/articles/000089.pdf
Kob, M. (2019). The human mouth as a sound space. In A. Wilson (Ed.) Sound Worlds from the Body to the City: Listen!. Cambridge Scholars Publishing, UK. 51-58 https://www.cambridgescholars.com/resources/pdfs/978-1-5275-2388-3-sample.pdf
Kob, M., Garí, S. V. A., & Kalkandjiev, Z. S. (2020). Room effect on musicians’ performance. In J. Blauert and J. Braasch (Eds.) The Technology of Binaural Understanding, Springer 223-249. https://www.springer.com/gp/book/9783030003852
Koh, E. and Yadegari, S. (2018), Mugeetion: Musical interface using facial gesture and emotion. In ICMC 2018. arXiv:1809.05502. https://arxiv.org/pdf/1809.05502v2.pdf
Lazarov, V., Rennotte, S., & Traube, C. (2019). De l’intention musicale au jeu instrumental. Développement d’un protocole de recherche pour l’analyse qualitative et quantitative de trois styles d’interprétation d’une oeuvre de J.-S. Bach au piano. Revue musicale OICRM, 6(1), 113-141. https://www.erudit.org/fr/revues/rmo/2019-v6-n1-rmo04787/1062431ar.pdf
LeBlanc, J. (2020). Movimento, gesto e espaço no Quatour à Cordes. In P. Maia (Ed.). Armando Santiago. Atelier de composição. https://atelierdecomposicao.wordpress.com/2019/07/07/em-producao/
Lee, S., & Menicanin, S. (2019). Acoustic Space, Modern Interiority, and Korngold’s Cities. In D. Goldmark and K. Karnes (Eds.). Korngold and His World (pp. 67-88). Princeton University Press. DOI: https://doi.org/10.1515/9780691198736-005
Lembke, S. A., Parker, K., Narmour, E., & McAdams, S. (2019). Acoustical correlates of perceptual blend in timbre dyads and triads. Musicae Scientiae, 23(2), 250-274. https://doi.org/10.1177/1029864917731806
Leroux, P. (2019). Enfin de l’espace (ultrachromatique et non-octaviant)!. Circuit: musiques contemporaines, 29(2), 11-18. https://revuecircuit.ca/articles/29_2/03-enfin-de-lespace-ultrachromatique/
Lockhart, E. (2021). Antoine Reicha, science, and the origins of the music theory. In F. Morabito and L. de Raymond (Eds.) Antoine Reicha and the making of a nineteenth-Ceentury composer. Ut Orpheus. Italy. 93-114. https://www.utorpheus.com/index.php?route=product/product&product_id=3587
McAdams, S., and Goodchild, M. (2018) MPCL Technical Report MPCL-001.
McAdams, S., & Siedenburg, K. (2019). Perception and cognition of musical timbre. In P. J. Rentfrow & D. J. Levitin (Eds.), Foundations in Music Psychology: Theory and Research, pp. 71-120, MIT Press, Cambridge, MA. https://mitpress.mit.edu/books/foundations-music-psychology
McAdams, S. (2019). The perceptual representation of timbre. In K. Siedenburg, C. Saitis, S. McAdams, A. Popper, and R. Fay (Eds.) Timbre: Acoustics, perception, and cognition (pp. 23-57). Springer, Cham. https://www.springer.com/gp/book/9783030148317
McAdams, S. (2019). Timbre as a structuring force in music. In K. Siedenburg, C. Saitis, S. McAdams, A. Popper, and R. Fay (Eds.) Timbre: Acoustics, perception, and cognition (pp. 211-243). Springer, Cham. https://www.springer.com/gp/book/9783030148317
McAdams, S., & Siedenburg, K. (2019). Timbre perception and orchestration. In P. J. Rentfrow & D. J. Levitin (Eds.), Foundations in Music Psychology: Theory and Research, pp. 71-120, MIT Press, Cambridge, MA. https://mitpress.mit.edu/books/foundations-music-psychology
Michel, P. (2020). Melody, repetition, and periodicity: A study of parallels between György Ligeti, Steve Reich, and Terry Riley. In Temes, B.T., & Agawu, K., (Eds.), A tribute to György Ligeti in his native Transylvania n° 1 & 2, Cluj-Napoca : MediaMusica, pp. 133–159. https://www.academia.edu/44915048/Melody_Repetition_and_Periodicity_A_Study_of_Parallels_between_Gy%C3%B6rgy_Ligeti
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Representative musical works by team members

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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