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Number of items at this level: 1319.

A

Abtan, Freida. 2003. An Evening with Sound and Radio Artist Christian Calon. Electroacoustic Activities in Quebec, CEC – eContact!, [Article]

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Abtan, Freida. 2012. Fear of Flight. [Composition]

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Abtan, Freida. 12 November 2016 Flight of Birds (Remix). [Project]

Abtan, Freida. 2007. Heartstrings: A String Quartet. Sample Culture, Vague Terrain Online Journal of Digital Culture(7), [Article]

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Abtan, Freida. 2010. The Illusion of Pure Music. Intransitive Web Magazine, [Article]

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Abtan, Freida. 2020. My Heart is a River. OCTAVE 9 Concert Hall, United States 9 February 2020. [Performance]

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Abtan, Freida. 2009. 'A Phenomenological Time-Based Approach to Videomusic Composition'. In: Proceedings of the Toronto Electroacoustic Symposium. Toronto, Canada. [Conference or Workshop Item]

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Abtan, Freida. 2016. Where is She: Find the Women in Electronic Music Culture. Contemporary Music Review, 35(1), pp. 53-60. ISSN 0749-4467 [Article]

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Abtan, Freida. 2008. The hands of the dancer. [Film/Video]

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Abtan, Freida and B.A. Sound Arts and Design, London College of Communication. 2018. London College of Communication Visiting Practitioners Series: Freida Abtan. [Film/Video]

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Abtan, Freida and Turner, Shane. 2010. F.A.S.T.: Dreams of Waking. [Composition]

Abtan, Freida and Turner, Shane. 2010. Steam and Fiction – artist statement. Collaborative Spaces, Vague Terrain Online Journal of Digital Culture(17), [Article]

Aceti, Lanfranco; Jefferies, Janis K.; Sondergaard, Morten; Stallabrass, Julian; Bulley, James; Drever, John L.; Munro, Jonathan; Noy, Irene and Sahin, Ozden. 15 - 17 May 2014 Histories, Theories and Practices of Sound Art. [Project]

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Adderley, W. Paul and Young, Michael W.. 2009. Ground-breaking:Scientific and Sonic Perceptions of Environmental Change in the African Sahel. Leonardo, 42(5), pp. 404-411. ISSN 0024-094X [Article]

Alessandrini, Patricia and Carreño, Juan Pablo. 2012. ICElab. [Composition]

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Alexander, Tamsin. 2024. A Collaborative Genesis: Behind the Music of The Rite. In: Davinia Caddy, ed. The Cambridge Companion to The Rite of Spring. Cambridge: Cambridge University Press. [Book Section] (Forthcoming)

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Alexander, Tamsin. 2023. Cosmopolitan Connections: Yevgeny Onegin as realist drame lyrique in Nice. Nineteenth-Century Music Review, 20(2), pp. 335-357. ISSN 1479-4098 [Article]

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Alexander, Tamsin. 2015. Decentralising via Russia: Glinka’s A Life for the Tsar in Nice, 1890. Cambridge Opera Journal, 27(1), pp. 35-62. ISSN 0954-5867 [Article]

Alexander, Tamsin. 2012. 'An “Extraordinary Engagement”: A Russian Opera Company in Britain, 1888’. In: Anthony Cross, ed. A People Passing Rude: British Responses to Russian Culture. Open Book Publishers. [Book Section]

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Alexander, Tamsin. 2017. Illuminating Gustavus the Third and the Art of Spectacle in 1830s London. Cambridge Opera Journal, 29(1), pp. 33-52. ISSN 0954-5867 [Article]

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Alexander, Tamsin. 2015. Review: 'A Musician Divided: Andre Tchaikowsky in his own words'. Music & Letters, 96(3), pp. 491-494. [Article]

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Alexander, Tamsin. 2019. Review: Rimsky-Korsakov and his World. Ed. by Marina Frolova-Walker. Music & Letters, 100(4), pp. 733-735. ISSN 0027-4224 [Article]

Alexander, Tamsin. 2015. Tales of Cultural Transfer: Russian Opera Abroad, 1866-1906. Doctoral thesis, University of Cambridge [Thesis]

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Alexander, Tamsin. 2014. Too Russian for British Ears: La Vita per lo Czar at Covent Garden, 1887. Tekst. Kniga. Knigoizdaniye (Text. Book. Publishing), 2(6), pp. 30-48. ISSN 2306-2061 [Article]

Alexander, Tamsin; Bullock, Philip Ross and Crilly, Ciarán. 2024. Talking History: Tchaikovsky. [Audio]

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Alexander, Tamsin and Helmers, Rutger. 2023. Tsarist Russia and the Musical World: Introduction. Nineteenth-Century Music Review, 20(2), pp. 253-260. ISSN 1479-4098 [Article]

Alexander, Tamsin; Kondrashina, Evgeniya and Dixon, Gavin. 2018. The Centre for Russian Music: Inside the Collections A Barbican Music Library free exhibition. In: "The Centre for Russian Music: Inside the Collections", Barbican Music Library, London, United Kingdom, 12 January - 27 March 2018. [Show/Exhibition]

Alvarez Munoz, Pedro. 2012. Portfolio of compositions. Other thesis, Goldsmiths, University of London [Thesis]

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Antoniou, Antonis. 2016. Aural Auras and Haunting Echoes: Places with complex biographies. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Armstrong, R and Redhead, L. 2015. /’(h)weTH: VOICE - BREATH - BODY - FORM/S. New Sound International Journal of Music, 46, pp. 155-167. ISSN 0354-818X [Article]

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Artamonova, Elena. 2014. Alexander Grechaninov and the Viola. Alexander Grechaninov: Complete Music for Viola and Piano, pp. 2-10. [Article]

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Artamonova, Elena. 2012. Unknown Sergey Vasilenko and his Viola compositions. Journal of American Viola Society, 28(1), pp. 33-47. [Article]

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Artamonova, Elena. 2014. Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part I. Journal of the American Viola Society, 30(2), pp. 27-36. ISSN 0898-5987 [Article]

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Artamonova, Elena. 2015. Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part II. Journal of the American Viola Society, 31(1), pp. 19-30. ISSN 0898-5987 [Article]

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Assiter, Ben. 2015. Basic Channel and Timelessness: Negotiating Canonisation, Resemblance and Repetition in House and Techno. International Association for the Study of Popular Music, [Article]

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Assiter, Ben. 2020. No Screenshots on the Dance Floor. Dancecult: Journal of Electronic Dance Music Culture, 12(1), ISSN 1947-5403 [Article]

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Attah, Tom; Cavett, Esther; Dueck, Byron; Miller, Sue and Redhead, L. 2024. Teaching music theory in UK higher education today: contexts and commentaries. Music Education Research, 26(1), pp. 71-81. ISSN 1461-3808 [Article]

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Ayrey, Craig L.. 2006. Jankélévitch the obscure(d). Music Analysis, 25(iii), pp. 343-357. ISSN 0262-5245 [Article]

Ayrey, Craig L.. 2005. 'Pousseur’s Scambi (1957), and the new problematics of the open work'. In: The 'Scambi Project'. Goldsmiths 18 Feb 2005. [Conference or Workshop Item]

Ayrey, Craig L.. 2002. Stravinsky in analysis: the anglophone traditions. In: J. Cross, ed. The Cambridge Companion to Stravinsky. Cambridge University Press, pp. 203-229. ISBN 9780521663779 [Book Section]

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ap Sion, Pwyll and Redhead, L. 2014. Introduction: Musical Borrowing and Quotation in the Twentieth and Twenty-first Centuries. Contemporary Music Review, 34(2), pp. 125-127. ISSN 0749-4467 [Article]

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Baily, John S.. 2010. Afghan Music in Australia. Migracoes: Journal of the Portuguese Immigration Observatory, 7, pp. 157-176. ISSN 1646-8104 [Article]

Baily, John S.. 2009. The Art of the ‘Fieldwork Movie’: 35 Years of Making Ethnomusicological Films. Ethnomusicology Forum, 18(1), pp. 55-64. ISSN 1741-1912 [Article]

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Baily, John S.. 2001. Can You Stop the Birds Singing? The Censorship of Music in Afghanistan. Copenhagen: Freemuse. ISBN 0004707729 [Book]

Baily, John S.. 2010. The Circulation of Music Between Afghanistan and the Afghan Diaspora. In: Angela Schlenkhoff and Ceri Oeppen, eds. Beyond the 'Wild Tribes': Understanding Modern Afghanistan and Its Diaspora. London: Hurst & Co., pp. 157-171. ISBN 9781849040556 [Book Section]

Baily, John S.. 2009. Crossing the Boundary: From Experimental Psychology to Ethnomusicology. Empirical Musicology Review, 4(2), pp. 82-88. ISSN 1559-5749 [Article]

Baily, John S.. 2008. Ethnomusicology, Intermusability, and Performance Practice. In: Henry Stobart, ed. The New (Ethno)musicologies. Chicago: Scarecrow Press, pp. 117-134. [Book Section]

Baily, John S.. 2010. Modi operandi in the making of 'world music' recordings. In: Amanda Bayley, ed. Recorded Music: Society, Technology and Performance. Cambridge: Cambridge University Press, pp. 107-124. ISBN 9780521863094 [Book Section]

Baily, John S.. 2010. Mosiqi Afghanistan wa Honarmandan Herfawai shaehre Herat. Kabul: Ministry of Information and Culture. [Book]

Baily, John S.. 2009. Music and censorship in Afghanistan, 1973-2003. In: Laudan Nooshin, ed. Music and the Play of Power: Music, Politics and Ideology in the Middle East, North Africa and Central Asia. Aldershot: Ashgate, pp. 143-163. ISBN 9780754634577 [Book Section]

Baily, John S.. 2011. "Music is in Our Blood": Gujarati Muslim Musicians in the UK. In: Lucy Green, ed. Learning, Teaching, and Musical Identity: Voices across Cultures. Bloomington, IN: Indiana University Press, pp. 109-127. ISBN 978-0-253-22293-0 [Book Section]

Baily, John S.. 2011. Music, migration and war: the BBC’s interactive music broadcasting to Afghanistan and the Afghan diaspora. In: Jason Toynbee and Byron Dueck, eds. Migrating Music. London: Routledge, pp. 180-194. ISBN 978-0-415-59448-6 [Book Section]

Baily, John S.. 2009. Rebuilding Kabul’s art music culture in the post-Taliban era. In: Michael Schramm, ed. Musik in Fremdwahrnehmung. Bonn: Militärmusikdienst der Bundeswehr, pp. 125-136. ISBN 9783000282089 [Book Section]

Baily, John S.. 2005. So Near, So Far: Kabul's Music in Exile. Ethnomusicology Forum, 14(2), pp. 213-233. ISSN 17411912 [Article]

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Baily, John S.. 2011. Songs from Kabul: The Spiritual Music of Ustad Amir Mohammad. Aldershot: Ashgate. ISBN 978-0-7546-5776-7 [Book]

Baily, John S.. 2010. Tools of the Trade: The Afghan Rubab. Songlines, 71, pp. 43-46. [Article]

Baily, John S.. 2010. Two Different Worlds: Afghan Music for Afghanistanis and Kharejis. Ethnomusicology Forum, 19(1), pp. 69-88. ISSN 1741-1912 [Article]

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Baily, John S.. 2007. 'The circulation of ‘New Music’ between Afghanistan and its transnational community'. In: Conference on Music in the world of Islam. Assilah, Morocco 8-13 August 2007. [Conference or Workshop Item]

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Barden, Mark. 2017. Composing in and through the Body. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Bennett, Alexis. 2016. The British Library’s Francis Chagrin Collection: Joining the Dots. The Journal of Film Music, 6(2), pp. 135-146. ISSN 1087-7142 [Article]

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Bennett, Alexis. 2019. Cultural Crossroads: British Film Music in the 1930s. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Bennett, Alexis. 2011. The Ghost of Early Music in Walton's "Hamlet". Historični Seminar, 9(1), pp. 131-146. [Article]

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Bennett, Alexis. 2015. Music Directors And Composers In British Cinema Of The 1930s: The Creative Process And Working Musical Relationships. FACTA UNIVERSITATIS, Series Visual Arts and Music, 1(1), pp. 13-19. ISSN 2466-2887 [Article]

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Bennett, Alexis. 2016. Review: "Culture and Propaganda in World War II: Music, Film and the Battle for National Identity", John Morris. Music, Sound, and the Moving Image, 10(1), pp. 92-96. ISSN 1753-0768 [Article]

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Bennett, Alexis. 2013. Review: "Teaching Film, Lucy Fischer" and Patrice Petro (eds). Music, Sound, and the Moving Image, 7(2), pp. 213-217. ISSN 1753-0768 [Article]

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Bennett, Alexis. 2016. Review: John Richardson, An Eye for Music: Popular Music and the Audio-Visual Surreal. Popular Music, 35(1), pp. 126-128. ISSN 0261-1430 [Article]

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Bigio, Robert. 2005. Rudall, Rose and Carte: The development of the flute in London, 1821-1939. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Birnbaum, David; Xin Wei, Sha; Abtan, Freida and Wanderley, Marcelo M.. 2007. 'Mapping and Dimensionality of a Cloth-based Sound Instrument.'. In: Proceedings of the 4th Sound and Music Computing Conference. Lefkada, Greece. [Conference or Workshop Item]

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Blackwell, Tim and Young, Michael W.. 2004. Self-Organised Music. Organised sound, 9(2), pp. 123-136. ISSN 1355-7718 [Article]

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Bolley, Richard. 2020. Travels with Alex: Music for viola obbligato and various ensembles. Doctoral thesis, Goldsmiths, University of London [Thesis]

Bora, Menaka. 2014. Globalization, Indianness and Neo-traditionality in Indian Contemporary Experimental Music. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Bosnic, Maja. 2015. Re-question, Reset : Portfolio of compositions accompanied by a written commentary.. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Bowie, David and Gardiner, Ian R.. 2019. Space Oddity by David Bowie [Arranger Ian Gardiner]. [Composition]

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Brafman, Ricardo. 2011. Portfolio of Compositions and Accompanying Commentary. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Brand, Jennifer May. 2013. From Design to Decline: Boosey & Hawkes and Clarinet Manufacturing in Britain, 1879-1986. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Breckon, Lois. 2022. Agency through Plainchant: Nuns of Florence, 1550-1650. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Bulley, James. 2018. BBC Proms Profile: Daphne Oram. Pioneers of Sound, 2018(13), [Article]

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Bulley, James. 2018. BBC Proms Profile: Still Point. Pioneers of Sound, 2018(13), [Article]

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Bulley, James. 2024. Lily Greenham: An Art of Living. [Project]

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Bulley, James. 2017. 'Living Symphonies'. In: Sound and Environment. University of Huddersfield, United Kingdom 29 June—1 July 2017. [Conference or Workshop Item]

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Bulley, James. 2018. OSKA (Mini-Oramics). [Composition]

Bulley, James. 2024. 'Practice research'. In: Extended Competencies in the Arts. Lucerne, Switzerland 2 - 3 May 2024. [Conference or Workshop Item]

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Bulley, James. 2016. 'Progress Music': Daphne Oram, Geoffrey Jones and 'Trinidad and Tobago'. Bricks From The Kiln(2), [Article]

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Bulley, James. 2018. 'Progress Music': Daphne Oram, Geoffrey Jones and 'Trinidad and Tobago'. In: Geoffrey Cox, ed. Soundings: Documentary Film and the Listening Experience. Huddersfield: Huddersfield University Press, pp. 125-150. ISBN 9781862181540 [Book Section]

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Bulley, James. 2017. ''Progress Music': Daphne Oram, Geoffrey Jones and 'Trinidad and Tobago'.'. In: Sound and Music in Documentary Film. University of Huddersfield, United Kingdom 23—24 February 2017. [Conference or Workshop Item]

Bulley, James. 2018. 'Sounding Materiality: Explorations with music, natural systems and touch-sound-landscapes'. In: Sensing Nature: Wellbeing with nature with sight impairment. Wellcome Collection, London, United Kingdom 30 October 2018. [Conference or Workshop Item]

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Bulley, James. 2015. Tactus No.1. In: "Sonic Pattern, Mykolas Žilinskas Art Gallery, Kaunas Biennial", Kaunas, Lithuania, 18 September – 1 January 2016. [Show/Exhibition]

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Bulley, James. 2016. 'Tactus: Sound Scores for the Blind and Visually Impaired'. In: 'Make:Shift': Crafts Council Conference 2016. Museum of Science and Industry, Manchester, United Kingdom 10 November 2016. [Conference or Workshop Item]

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Bulley, James. 2023. Testimony. In: Elizabeth Price and Nina Wakeford, eds. Document of the testimony, deliberation and reflection of the Artist Citizens Jury 2022. London: Goldsmiths CCA, pp. 49-62. ISBN 9781739492410 [Book Section]

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Bulley, James and Feshareki, Shiva. 2018. Still Point. In: "BBC Prom 13", Royal Albert Hall, London, United Kingdom, 23 July 2018. [Performance]

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Bulley, James and Feshareki, Shiva. 2016. Still Point. [Composition]

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Bulley, James and Feshareki, Shiva. 2018. Still Point. [Composition]

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Bulley, James and Gray, Andrew. 2017. RDM in the Performing Arts: Living Symphonies by Daniel Jones & James Bulley (Unit for Sound Practice Research, Goldsmiths, University of London). In: , ed. LEARN Toolkit of Best Practice for Research Data Management. London: University College London, pp. 59-65. [Book Section]

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Bulley, James and Jones, Daniel. 2013. Radio Reconstructions. In: "Sound Arts", Queen Elizabeth Hall, United Kingdom, 9 May 2013. [Performance]

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Bulley, James and Jones, Daniel. 2011. Variable 4: A Dynamical Composition for Weather Systems. Proceedings of International Computer Music Conference, (ICMC 2011), [Article]

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Bulley, James; Jones, Daniel; Forestry Commission England and Sound and Music. 2016. Planning and Producing Artworks in the Natural Environment. Project Report. Forestry Commission England and Sound and Music, London. [Report]

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Bulley, James and Price, Astra. 2018. The Talking Drum. Leonardo Electronic Almanac, 22(1), ISSN 1071-4391 [Article]

Bulley, James and Sahin, Ozden. 2019. 'Making Practice Research Visible & Open'. In: Web of Arts Seminar. Open Data Institute, London, United Kingdom 10 April 2019. [Conference or Workshop Item]

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Bulley, James and Sahin, Ozden. 2021. Practice Research - Report 1: What is practice research? and Report 2: How can practice research be shared?. Other. Practice Research Advisory Group UK (PRAG-UK), London. [Report]

Bulley, James and Sahin, Ozden. 2019. 'Practice Research: Proposition and Form'. In: Capturing practice research: improving visibility and searchability. London, United Kingdom 15 March 2019. [Conference or Workshop Item]

Bulley, James and Sahin, Ozden. 2021. 'What is practice research? & How can practice research be shared?'. In: London College of Communication Interdisciplinary Practice Research Forum. London, United Kingdom. [Conference or Workshop Item]

Burrows, Donald and Joncus, Berta. 2017. Music and Representation. In: Joanna Marschner, ed. Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World. New Haven: Yale Center for British Art, pp. 202-207. ISBN 9780300217100 [Book Section]

Busby, Lisa. 2013. Guest Curator: Lisa Busby. hernoise.org, [Article]

Busby, Lisa. 2017. Like so many things I both know and don't know. Dancecult Journal of Electronic Dance Music Culture, 9(1), ISSN 1947-5403 [Article]

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Busby, Lisa. 2010—2013 Shit! I can DJ. [Project]

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Busby, Lisa and Harries, John. 2011. Sleeps in Oysters: Lo!. [Composition]

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Cameron, Daniel; Lindsen, Job P.; Pearce, Marcus; Wiggins, Geraint; Potter, Keith and Bhattacharya, Joydeep. 2012. 'Entrainment of Premotor Cortex Activity by Ambiguity in Musical Metre'. In: Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. Thessaloniki, Greece July 23-28. [Conference or Workshop Item]

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Cameron, Daniel; Potter, Keith; Wiggins, Geraint and Pearce, Marcus. 2017. Perception of Rhythmic Similarity is Asymmetrical, and is Influenced by Musical Training, Expressive Performance, and Musical Context. Timing & Time Perception, 5(3-4), pp. 211-227. ISSN 2213-445X [Article]

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Cameron, Daniel; Potter, Keith; Wiggins, Geraint and Pearce, Marcus T.. 2012. 'Perception of Rhythmic Similarity in Reich’s Clapping Music: Factors and Models'. In: Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. Thessaloniki, Greece July 23-28. [Conference or Workshop Item]

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Canova-Green, Marie-Claude and Matsumoto, Naomi. 2024. Exoticism or Eclecticism? Carnival at Court and the Mascarade du Roy de la Chine. In: Marie-Claude Canova-Green, ed. Spectacular Orientalism in Early Modern Europe. Turnhout, Belgium: Brepols. ISBN 9782503610566 [Book Section] (In Press)

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Ceron, Rocio and Garrelfs, Iris. November 2023 - June 2024 Enclave FESTIVAL DE POESÍA EXPERIMENTAL EDICIÓN 2023. [Project]

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Chen, Yuting and Negus, Keith. 2023. Guochao music and new Chinese identities: Gender, generation, and nation. In: Kimi Kärki, ed. Popular Music Climates. Turku, Finland: Turku: International Insitute of Popular Culture, pp. 18-23. ISBN 9789512994274 [Book Section]

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Chrysakis, Thanos. 2010. The Structural and Aesthetic Capacity of Sonic Matter: Remarks on Sonic Dramaturgy. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Chung, Hsiang Ying. 2014. A Sound Encounter of En Creux: in-between Roni Horn, Alvin Lucier, and Robert Smithson. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Chung, Yu-Chiao. 2012. Schools at Home: Parental Support for Learning Mandarin as a Second or Foreign Language. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Cline, David. 2011. Morton Feldman: Dimensions of Graph Music. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Clover, Catherine. 8 November – 2 December 2023 Cats Like Plain Crisps. [Project]

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Cobianchi, Mattia and Halperin-Kaddari, Bnaya. 2023. When London goes quiet, it’s time for the artists to sound out the city. Cities & Health, 7(3), pp. 342-347. ISSN 2374-8834 [Article]

Cottrell, Stephen J.. 2003. The Future of the Symphony Orchestra. In: C. Lawson, ed. The Cambridge Companion to the Orchestra. Cambridge University Press, pp. 251-264. ISBN 0521001323 [Book Section]

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Cottrell, Stephen J.. 2007. Local bimusicality among London's freelance musicians. Ethnomusicology, 51(1), pp. 85-105. ISSN 0014-1836 [Article]

Cottrell, Stephen J.. 2006. Music, Time, and Dance in Orchestral Performance: The Conductor as Shaman. twentieth-century music, 3(1), pp. 73-96. ISSN 14785722 [Article]

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Cottrell, Stephen J.. 2004. Professional Music-Making in London. Ashgate. ISBN 0754608891 [Book]

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Crawford, Tim and Lewis, Richard. 2016. Music Encoding Initiative (Digital and Multimedia Scholarship). Journal of the American Musicological Society, 69(1), pp. 273-285. ISSN 0003-0139 [Article]

Crawford, Tim; Pickens, J. and Wiggins, Geraint. 2006. Dimensionality Reduction in Harmonic Modeling for Music Information Retrieval. In: Richard Kronland-Martinet; Thierry Voinier and Sylvi Ystad, eds. Computer Music Modeling and Retrieval. Lecture Notes in Computer Science, pp. 233-248. ISBN 03029743 [Book Section]

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Day, Kiku. 2022. Mindful playing: a practice research investigation into shakuhachi playing and meditation. Ethnomusicology Forum, 31(1), pp. 143-159. ISSN 1741-1912 [Article]

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Dembelé, Sidiki and Gardiner, Ian R.. 2021. Shaka by Sidiki Dembelé [Arranger Ian Gardiner]. [Composition]

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Diabaté, Toumani and Gardiner, Ian R.. 2008. Manchester. In: "Concert, Toumani Diabaté and the London Symphony Orchestra, 29th October 2008", Barbican, London, 28 October 2008. [Performance]

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Diabaté, Toumani and Gardiner, Ian R.. 2020. Moon Kaira by Toumani Diabaté [adaptation by Ian Gardiner]. [Composition]

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Dix, Alan; Cowgill, Rachel; Bashford, Christina; McVeigh, Simon and Ridgewell, Rupert. 2014. Authority and Judgement in the Digital Archive. The 1st International Digital Libraries for Musicology workshop (DLfM 2014), pp. 1-8. [Article]

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Dix, Alan; Cowgill, Rachel; Bashford, Christina; McVeigh, Simon and Ridgewell, Rupert. 2019. Crowdsourcing and Scholarly Culture: Understanding Expertise in an Age of Popularism. In: Vassillis-Javed Khan; Konstantinos Papangelis; Ioanna Lykourentzou and Panos Markopoulos, eds. Macrotask Crowdsourcing: Engaging the Crowds to Address Complex Problems. Cham, Switzerland: Springer, pp. 189-214. ISBN 9783030123338 [Book Section]

Dix, Alan; Cowgill, Rachel; Bashford, Christina; McVeigh, Simon and Ridgewell, Rupert. 2016. Spreadsheets as User Interfaces. AVI '16 Proceedings of the International Working Conference on Advanced Visual Interfaces, pp. 192-195. [Article]

Dobbins, Frank. 2005. The Chansons of Thomas Crecquillon - Literary and Musical Sources and "Thomas Crecquillon: Chansons Principal Sources and Concordances". In: E. Jas, ed. Beyond Contemporary Fame: Reassessing the Art of Clemens non Papa and Thomas Crecquillon. Turnhout: Brepols, p. 83. ISBN 2503518842 [Book Section]

Dobbins, Frank. 2002. Claudio Montiverdi, Scherzi musicali a tre voci (1607). Cremona: Fondazione Claudio Monteverdi. ISBN 8886288275 [Book]

Dobbins, Frank. 2005. Jacotin, Chansons. Turnhout: Brepols. ISBN 9782503515939 [Book]

Dobbins, Frank. 2006. Strophic and Epigrammatic Forms in the French Chanson and Air of the Sixteenth Century. Acta Musicologica, 78(2), pp. 197-234. ISSN 00016241 [Article]

Dobbins, Frank and Vacchelli, A.. 2002. Claudio Monteverdi, Scherzi musicali a una e due voci (1632). Cremona: Fondazione Claudio Monteverdi. ISBN 978-88-86288-28-6 [Book]

Drever, John. 2020. 'Sanitary Soundscapes: The Noise Effects From Ultra-Rapid “Ecological” Hand Dryers on Vulnerable Subgroups'. In: HAVENS First Virtual Symposium – Group of researchers interested in the soundscapes of healthcare. TU Delft, Netherlands 15th July 2020. [Conference or Workshop Item]

Drever, John L.. 2024. Aural Diverse Spatial Perception: From Paracusis to Panacusis Loci. In: Emma-Kate Matthews; Jane Burry and Mark Burry, eds. The Routledge Companion to the Sound of Space. Abingdon: Routledge, pp. 164-179. ISBN 9781032388540 [Book Section]

Drever, John L.. 2022. 'Aural Diverse: Hearing within Responsible Soundscapes of Tourism and Hospitality'. In: International Conference on Responsible Tourism and Hospitality 2022 (ICRTH2022), Sarawak Research Society (SRS). Sarawak, Malaysia 1 - 3 September 2022. [Conference or Workshop Item]

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Drever, John L.. 2022. 'Auraldiversity - from hearing as universal to hearing in particular'. In: Sound Studies Lecture Series, Sound Environment Centre at Lund University. Lund University, Sweden 17 November 2022. [Conference or Workshop Item]

Drever, John L.. 2023. 'Auraldiversity and Urban Sound'. In: Urban Sound Symposium 2023. La Salle Ramon Llull University, Spain 19 - 21 April 2023. [Conference or Workshop Item]

Drever, John L.. 2023. 'Auraltypical/Auraldiverse: from hearing as universal to hearing in particular'. In: Regenerative Listening Symposium curated by Lucia Farinati and Brandon LaBelle. Kingston University, United Kingdom 20 July 2023. [Conference or Workshop Item]

Drever, John L.. 2022. 'Clairaudience meets Auraldiversity'. In: Study Day: R. Murray Schafer’s Ecologies of Music and Sound Re-examined. Carleton University, Ottawa, Canada 30 September 2022. [Conference or Workshop Item]

Drever, John L.. 2022. 'Creating A Buzz!'. In: Creating A Buzz! Insect Sound Workshop. Museum of Zoology, Cambridge, United Kingdom 6 April 2022. [Conference or Workshop Item]

Drever, John L.. 2023. Deptford Soundwalk. In: "Magnified Ear", Deptford, United Kingdom, 11 June 2023. [Performance]

Drever, John L.. 2022. 'Field Recording and Noise Abatement'. In: Lecture Series: Sound, Ecology and Climate Changing. Music and Recording Art School, Communication University of China, China 22 November 2022. [Conference or Workshop Item]

Drever, John L.. 2024. 'Hearing and Listening with Eevee – bridging the auraldiversity of a dog and a human'. In: 7th Conference on Acoustic Ecology: Soundscapes, Biophony and Climate Crisis. Ancient Epidaurus, Greece 7 - 10 November 2024. [Conference or Workshop Item]

Drever, John L.. 2022. 'London Street Noises'. In: Sonic Cartography: Soundscape, Simulation and Re-enactment 2022. University of Kent, United Kingdom 28-30 October 2022. [Conference or Workshop Item]

Drever, John L.. 2007. Nostophonics: approaches to grasping everyday sounds from a British perspective. In: Ros Bandt; Michelle Duffy and Dolly MacKinnon, eds. Hearing Places. Newcastle upon Tyne: Cambridge Scholars Press, pp. 161-173. ISBN 9781847182555 [Book Section]

Drever, John L.. 2014. 'Ochlophonia Hong Kong SAR: audition, speech and feedback from within the crowded soundscape.'. In: Sound, Noise and the Everyday: Soundscapes in China. Aarhus University, Denmark. [Conference or Workshop Item]

Drever, John L.. 2023. 'On Acoustic Ecology'. In: Architecture and the Ear. Solus Ceramics, Farringdon, United Kingdom 5 October 2023. [Conference or Workshop Item]

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Drever, John L.. 2024. On Listening Back to “Soundscapes in Particular [Autumn 2023]". In: , ed. Enclave, Poéticas de Emergencia Acústica. Vol. 2. Festival Enclave, pp. 48-64. [Book Section]

Drever, John L.. 2023. 'Paracusis Loci to Otoloci– Spatial Perception in Auraldiversity'. In: Aural Diversity Network: Workshop 5 Music & Performance. University of Leicester, United Kingdom 21 - 22 January 2022. [Conference or Workshop Item]

Drever, John L.. 2022. Phonating Hand Dryers: exploits in product and environmental acoustics, and aural diverse composition and co-composition. In: John L. Drever and Andrew Hugill, eds. Aural Diversity. Abingdon: Routledge, pp. 43-54. ISBN 9781032025001 [Book Section]

Drever, John L.. 2023. Re-Walking and Re-Hearing the Deptford Soundwalk. In: John Drever, ed. Magnified Ear. London: APT Gallery & Curating Matters, pp. 9-20. ISBN 9781739731731 [Book Section]

Drever, John L.. 2015. 'Sanitary Soundscapes: The Noise Effects From Ultra-Rapid “Ecological” Hand Dryers On Vulnerable Subgroups In Publicly Accessible Toilets'. In: 2nd International Conference on Hyperacusis (ICH2). Birkbeck College, University of London. [Conference or Workshop Item]

Drever, John L.. 2015. 'Sensitive Hearing in an Auraltypical World'. In: Sound Studies: Art, Experience, Politics, CRASSH. University of Cambridge. [Conference or Workshop Item]

Drever, John L.. 2023. Setting Foot on the Dreams of Euclid. In: "In Focus: Tim Robinson's Life & Work", The Irish Museum of Modern Art (Áras Nua-Ealaíne na hÉireann) – IMMA, Ireland, 10 August 2023. [Performance]

Drever, John L.. 2009. Sound effect – object – event. Endemic and exogenous electro-acoustic sound practices in theatre. In: Ross Brown, ed. Sound: a reader in theatre practice. Hampshire: Palgrave Macmillan Ltd., pp. 188-205. ISBN 9780230551886 [Book Section]

Drever, John L.. 2015. Sublime-sound-of-the-one-hand [Ryōan-ji]. FocaalBlog, associated with Focaal: Journal of Global and Historical Anthropology, [Article]

Drever, John L.. 2023. 'Timothy Drever / Tim Robinson – nature and nurture'. In: Remembering Tim and Máiréad Robinson. Goldsmiths, University of London, United Kingdom 2 July 2023. [Conference or Workshop Item]

Drever, John L.. 2020. 'Tinnitus, Auraldiversity and the Arts'. In: The BTA (British Tinnitus Association) Virtual Conference 2020. Online, United Kingdom 5 – 9 October 2020. [Conference or Workshop Item]

Drever, John L.. 2022. 'Towards an auraldiverse practice'. In: CSIPM - Centro Superior de Investigación Y Promoción de la Música. Ciudad Universitaria de Cantoblanco, Madrid, Spain 17 May 2022. [Conference or Workshop Item]

Drever, John L. and Bharat, Vinita. 2023. Auraldiversity: Do you hear differently? Frontiers for Young Minds, ISSN 2296-6846 [Article]

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Drever, John L.; Cobianchi, Mattia and Yildirim, Aysegul. 2021. London Street Noises: A Ground-Breaking Field Recording Campaign from 1928. Acoustics, 3(1), pp. 118-136. ISSN 2624-599X [Article]

Drever, John L. and Cook, Christopher. 2015. Acoustic ecology of great places. [Composition]

Drever, John L. and Hugill, Andrew, eds. 2022. Aural Diversity. Abingdon: Routledge. ISBN 9781032025001 [Edited Book]

Drever, John L. and Hugill, Andrew. 2022. Aural Diversity: General Introduction. In: John L. Drever and Andrew Hugill, eds. Aural Diversity. Abingdon: Routledge, pp. 1-12. ISBN 9781032025001 [Book Section]

Drever, John L.; Ishikawa, Ryo and Okada, Shuji. 2012. Shizengaku. [Composition]

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Drever, John L. and Murdin, Alex. 2022. Mothratorium. In: "Insect Breeding Institute", Trumpington Park Primary School, Cambridge, United Kingdom. [Show/Exhibition]

Drever, John L.; Thatcher, Tony and Redding, Emma. 2010. '-scape [Goodwins] – making horizontal'. In: RGS-IBG Annual International Conference. The Royal Geographical Society, United Kingdom. [Conference or Workshop Item]

Drever, John L. and Upton, Lawrence. 2016. Porth Dances & Sings. [Composition]

Driver, Danny. 2009. The Piano Music of York Bowen. In: "Various", Various, 2009-11. [Performance]

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d'Inverno, Mark and Luck, Michael. 1996. A formal view of social dependence networks. In: Dickson Lukose and Chengqi Zhang, eds. Distributed Artificial Intelligence Architecture and Modelling. 1087 Berlin, Germany: Springer, pp. 115-129. ISBN 9783540613145 [Book Section]

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de Lacey, A. 2020. Mitchell Ohriner, "Flow: The Rhythmic Voice in Rap Music". Journal of the Society for Musicology in Ireland, 15(2020), pp. 31-35. ISSN 1649-7341 [Article]

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de Lacey, Alex. 2020. ‘Let us know you’re locked’: Pirate radio broadcasts as historical and musical artefact. Popular Music History, 12(2), pp. 194-214. ISSN 1740-7133 [Article]

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de Lacey, Alex. 2020. Level Up: Live Performance and Collective Creativity in Grime Music. Doctoral thesis, Goldsmiths, University of London [Thesis]

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de Lacey, Alex. 2021. Pirate mentality: How London radio has shaped creative practice in grime music. Radio Journal: International Studies in Broadcast & Audio Media, 19(1), pp. 197-215. ISSN 1476-4504 [Article]

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de Lacey, Alex. 2020. ‘Wot do u call it? Doof doof’: Articulations of glocality in Australian grime music. Global Hip Hop Studies, 1(1), pp. 115-141. ISSN 2632-6825 [Article]

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Eichner, Barbara. 2003. Singing the Songs of Scotland: the German Musician Johann Rupprecht Durrner and Musical Life in Nineteenth-Century Edinburgh. In: Horton and B. Zon, eds. Nineteenth-Century British Music Studies. Ashgate, pp. 171-191. ISBN 0754636143 [Book Section]

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Exarchos, Dimitrios. 2008. Iannis Xenakis and Sieve Theory: An Analysis of the Late Music (1984-1993). Doctoral thesis, Goldsmiths, University of London [Thesis]

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Exarchos, Dimitris. 2007. Injecting Periodicities: Sieves as Timbres. 4th Sound and Music Computing Conference, [Article]

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Exarchos, Dimitris. 2005. Inside/Outside Time: Metabolae in Xenakis’s Tetora. Definitive Proceedings of the “International Symposium Iannis Xenakis” (Athens, May 2005), [Article]

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Exarchos, Dimitris. 2015. Listening Outside of Time. In: M. Solomos, ed. Xenakis. La musique électroacoustique. L'harmattan. [Book Section]

Exarchos, Dimitris. 2009. The Sieves of Iannis Xenakis. In: Timour Klouche and Thomas Noll, eds. Mathematics and Computation in Music First International Conference, MCM - Revised Selected Papers. Berlin, Germany: Springer Berlin Heidelberg, pp. 419-429. ISBN 978-3-642-04578-3 [Book Section]

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Falconer, Peter. 2024. Seaton Snook and the building of a parafictional seaside town. Tempo, 78(308), pp. 70-82. ISSN 0040-2982 [Article]

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Firmin, Andrew; Sobol, Jennifer and Spillane, Jeremiah. 2009. Culture and Development: Practical illustrations from the Commonwealth. Project Report. Commonwealth Foundation, London, U.K.. [Report]

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Foster, Stephen Charles. 2014. 'To Entertain the Fancy': The Orchestral Concert song in England, 1740-1800. Doctoral thesis, Goldsmiths, University of London [Thesis]

Foulds, Rachel. 2010. Forging the 'Lady's Hammer': A Profile of Influence in the Life and Music of Galina Ustvolskaya. Doctoral thesis, Goldsmiths, University of London [Thesis]

Freed, Moss. 2023. 'Compositional Voice in/as Ensemble Microtradition: Collective Self-Organisation as Compositional Approach'. In: International Conference IMPACT: IMProvisation and Creativity In and Through Performing Arts. Lithuanian Academy of Music and Theatre, Lithuania 22 -25 November 2023. [Conference or Workshop Item]

Freed, Moss. 2022. Let Spin performances. In: "Let Spin Tour/Gigs", The Flute & Tankard, Cardiff, United Kingdom, November 2022 - Ongoing. [Performance]

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Freed, Moss. 2022. North Sea Swim. [Composition]

Freed, Moss. 2022. North Sea Swim. [Broadcast]

Freed, Moss. 2024. Sonic Socialities: compositional voice in/as ensemble microtradition. Contemporary Music Review, ISSN 0749-4467 [Article] (Forthcoming)

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Freed, Moss. 2022. Theremin Gong Bath. [Composition]

Freed, Moss. 2023. Union Division: 'Micromotives' Performance. In: "'Micromotives' album launch", The Vortex Jazz Club, London, United Kingdom, 25 January 2023. [Performance]

Freed, Moss; Goller, Ruth; Williams, Chris and Panter, Finlay. 2022. Let Spin broadcasts. [Broadcast]

Freed, Moss; Williams, Chris; Goller, Ruth and Panter, Finlay. 2022. Let Spin: 'Thick as Thieves'. [Audio]

Freed, Moss; Zorn, John; Eastmond, Sam and Keeffe, Charlotte. 2022. Broadcasts featuring Moss Freed (guitar). [Broadcast]

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Gardiner, Ian R.. 2014. 45RPM. [Composition]

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Gardiner, Ian R.. 2021. Another Berceuse (for SB). [Composition] (Forthcoming)

Gardiner, Ian R.. 2012. Arranger: Conlon Nancarrow, Study No. 6. Schott Music GmbH & Co. [Other]

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Gardiner, Ian R.. 2018. Berceuses Automatique No.1. [Composition]

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Gardiner, Ian R.. 2022. A Celebration Concert remembering Jeremy Peyton Jones. In: "Jeremy Peyton Jones: A celebration concert", Great Hall, Goldsmiths, United Kingdom, 7 May 2022. [Performance]

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Gardiner, Ian R.. 2013. Charing X. [Composition]

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Gardiner, Ian R.. 2021. Compendium. [Composition]

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Gardiner, Ian R.. 2018. En Blanc et Blanc. [Composition]

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Gardiner, Ian R.. 2021. Fugue (from British Museum). [Composition] (Forthcoming)

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Gardiner, Ian R.. 2013. Kaira - Ensemble version. [Composition]

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Gardiner, Ian R.. 1993. Monument. [Composition]

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Gardiner, Ian R.. 2017. Quantum. BBC broadcast, Radio 3, 4 March 2017. [Other]

Gardiner, Ian R.. 2007. VORMITTAGSSPUK. [Composition]

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Gardiner, Ian R.. 1995. Zarb Dances. [Composition]

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Gardiner, Ian R.. 2018. berceuse automatique nº 1. [Composition]

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Gardiner, Ian R.. 2018. berceuse automatique nº 2. [Composition]

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Gardiner, Ian R.. 2018. berceuse automatique nº 3. [Composition]

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Gardiner, Ian R.. 2019. brexitmeansbrexit. [Composition]

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Gardiner, Ian R.. 2018. rictus 93. [Composition]

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Gardiner, Ian R.. 2012. spinning and weaving (1st version). [Composition]

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Gardiner, Ian R.. 2019. thread. [Composition]

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Gardiner, Ian R.. 2020. zugzwang. [Composition]

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Gardiner, Ian R. and Al Kawas, Hiba. 2008. Araftu Beirut. [Composition]

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Gardiner, Ian R. and Al Kawas, Hiba. 2008. Li Anni Ahiya. [Composition]

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Gardiner, Ian R. and Diabaté, Toumani. 2008. Kaira. In: "Concert, Toumani Diabaté and the London Symphony Orchestra, 29th October 2008", Barbican, London, United Kingdom, 28 October 2008. [Performance]

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Gardiner, Ian R. and Diabaté, Toumani. 2009. Kaira - recording of orchestral version. In: "Concert at Royal Northern College of Music", Royal Northern College of Music, United Kingdom. [Performance]

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Gardiner, Ian R. and Diabaté, Toumani. 2009. Kaira - score of orchestral version. [Composition]

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Gardiner, Ian R. and Diabaté, Toumani. 2008. Mamadou Boutiquier. In: "Mamadou Boutiquier Live", Barbican, United Kingdom. [Performance]

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Gardiner, Ian R. and Diabaté, Toumani. 2008. Mamadou Kanda Keita (previously Mamadou Boutiquier). [Composition]

Gardiner, Ian R. and Diabaté, Toumani. 2008 - 2013 Toumani Diabaté Adaptations. [Project]

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Garrelfs, Iris. 2021. Acts of air: reshaping the urban sonic. Sound Studies, 7(2), pp. 269-272. ISSN 2055-1940 [Article]

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Garrelfs, Iris. 2015. Breathing Through Wires. [Project]

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Garrelfs, Iris. 2020. "Breathing Through Wires" at BEASTdome/ CrossCurrents+ The Dome mini festival, The Bramall, Birmingham University. In: "BEASTdome/ CrossCurrents+ The Dome mini festival", The Bramall, Birmingham University, United Kingdom. [Performance]

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Garrelfs, Iris. 2021. "Breathing Through Wires" at THE HORSE IMPROVISED MUSIC CLUB. In: "THE HORSE IMPROVISED MUSIC CLUB", Iklectik, London OFF SITE, United Kingdom. [Performance]

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Garrelfs, Iris. 11 July 2019 Electropixel 2019. [Project]

Garrelfs, Iris. 2022. 'Field recordings an the Voice'. In: International Field Recording Meeting (EIGC). Online, Mexico 18 August 2022. [Conference or Workshop Item]

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Garrelfs, Iris. 2023. Infinity Kisses 23. [Composition]

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Garrelfs, Iris. 2023. Infinity Kisses 23 Live. In: "Carolee Schneemann’s Cats by the collective Cats Like Plain Crisps", Blindside, Melbourne, Australia, 9 November 2023. [Performance]

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Garrelfs, Iris. 2016. Lauschen. [Project]

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Garrelfs, Iris. 2019. "Lauschen" at Iklectik. In: ""Lauschen" at Iklectik", Iklectik, London, United Kingdom. [Performance]

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Garrelfs, Iris. 2019. "Lauschen" by Iris Garrelfs at Fly By Night, Hundred Years Gallery, December 2019. In: "Fly By Night", Hundred Years Gallery, United Kingdom. [Performance]

Garrelfs, Iris. 2019. Lauschen: improvised voice and wearable electronics in mobile performance. In: "Electropixel 2019", Goldsmiths, GWT, United Kingdom. [Performance]

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Garrelfs, Iris. 2024. The Listening Wall at Distrito 350 Gallery, Guadalajara, Mexico. In: "The Listening Wall", Distrito 350 Gallery, Guadalajara, Mexico, 13 - 19 April 2024. [Show/Exhibition]

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Garrelfs, Iris. 2021. "The Listening Wall" at Polymedialer Ponyhof, Berlin, Germany. In: ""The Listening Wall" at Polymedialer Ponyhof, Berlin, Germany", Polymedialer Ponyhof, Berlin, Germany. [Show/Exhibition]

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Garrelfs, Iris. 2019. The Listening Wall, at Musikkens Hus, Aalborg, Denmark. In: "of 8th International Conference on the Histories of Media Art, Science and Technology –RE:SOUND", Musikkens Hus, Aalborg, Denmark, Denmark. [Show/Exhibition]

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Garrelfs, Iris. 2018. Live voice/laptop performance. In: "</CODING in GE> Festival", IKLECTIK, London, United Kingdom. [Performance]

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Garrelfs, Iris. 2024. Musings on mycelic creative practice. In: , ed. Enclave Festival Catalogue. Festival Enclave, pp. 19-27. [Book Section]

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Garrelfs, Iris. 2018. Performance of Lauschen at Fusion Arts, Oxford, by Iris Garrelfs. In: "Acquisition of Sorts", Fusion Arts, Oxford. [Performance]

Garrelfs, Iris. 2023. Scores for Listening #5: What does yellow sound like?. In: "A Year of Deep Listening", Online, United States. [Show/Exhibition]

Garrelfs, Iris. 2024. Scores for Listening #8: How does one blade of grass sound. In: Stephanie Loveless, ed. A Year of Deep Listening: 365 Text Scores for Pauline Oliveros. Newark: Terra Nova Press. ISBN 9781949597349 [Book Section]

Garrelfs, Iris. 2022. Thameside Soundwalk - show. In: "Sonic Cartography: Soundscape, Simulation and Re-enactment", University of Kent, United Kingdom, 29 October 2022. [Show/Exhibition]

Garrelfs, Iris. 2020. 'Virtual Listening Wall for the Royal Musical Association´s 56th Annual Conference'. In: Royal Musical Association 56th Annual Conference. Online, United Kingdom 8 – 10 September 2020. [Conference or Workshop Item]

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Garrelfs, Iris. 2020. "Virtual Listening Wall" at the 56th RMA annual conference, part of the "Listening Wall" project.. In: "Royal Musical Association 56th Annual Conference", Online, United Kingdom, 8 - 10 September 2020. [Show/Exhibition]

Garrelfs, Iris. 2022. 'Voice in field recording based practices'. In: Sonic Cartography: Soundscape, Simulation and Re-enactment. University of Kent, United Kingdom 28 - 30 October 2022. [Conference or Workshop Item]

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Garrelfs, Iris. 2019. 'bodily interaction in vocal performance'. In: Electropixel 2019. Goldsmiths, University of London, United Kingdom 11 July 2019. [Conference or Workshop Item]

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Garrelfs, Iris. 2019. override: An experiment in interrupting the congruity of audio-visual relationships‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬. SoundEffects: An Interdisciplinary Journal of Sound and Sound Experience, 8(1), pp. 104-121. [Article]

Garrelfs, Iris and Aslan, Jess. 2019. 'Introduction to Max/MSP'. In: Daphne Oram Award. Kings Place, London, United Kingdom 15 June 2019. [Conference or Workshop Item]

Garrelfs, Iris; Clover, Catherine and Bartley, Roseanne. 2023. 'Artists' Syllabus - Cats Like Plain Crisps'. In: Carolee Schneemann’s Cats. Blindside, Melbourne, Australia 11 November 2023. [Conference or Workshop Item]

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Garrelfs, Iris; Clover, Catherine; Yang, Yeung; Jones, Shauna; Corringham, Viv; Bartley, Roseanne and Roseanne, Johanna. 2023. Carolee Schneemann’s Cats. In: "Carolee Schneemann’s Cats", Blindside, Melbourne, Australia, 8 November – 2 December 2023. [Show/Exhibition]

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Garrelfs, Iris and Emler, Katrin. 2021. "The Listening Wall" at Polymedialer Ponyhof, PERFORMANCE Berlin, Germany. In: ""The Listening Wall"", Polymedialer Ponyhof, Berlin, Germany, Germany, 12 November 2021. [Performance]

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Gerber, Anzél. 2008. Critical success factors in cello training – a comparative study. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Gilgunn, Paul. 2017. Distillation and Synthesis: Aesthetics and Practice in Rhys Chatham's Music for Electric Guitar. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Gillis-Furutaka, Amanda. 2017. The Consumption of English-language Music Videos on YouTube in Japan. Doctoral thesis, Goldsmiths, University of London [Thesis]

Gisler, Priska; Guggenheim, Michael; Maranta, Alessandro; Nowotny, Helga and Pohl, Christian. 2004. Imaginierte Laien. Die Macht der Vorstellung in wissenschaftlichen Expertisen. Weilerswist: Velbrück Wissenschaft. ISBN 978-3934730793 [Book]

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Glover, Martin Stewart. 2008. Thesis with Commentary on the Portfolio of Original Compositions. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Glover, R and Redhead, L. 2018. Collaborative and Distributed Processing in Contemporary Music-Making: Overview. In: L Redhead and R Glover, eds. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars, pp. 1-9. ISBN 978-1-5275-1398-3 [Book Section]

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Goddard, M N. 2023. Sincere, Authentic, Remediated: The Affective Labour and Cross Cultural Remediations of Music Video Reaction Videos on YouTube. In: Holly Rogers; Joana Freitas and João Francisco Porfirio, eds. Remediating Sound: Repeatable Culture, YouTube and Music. London: Bloomsbury Academic, pp. 73-92. [Book Section]

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Gofton, Peter. 2022. The Vinyl Revival and the Music Industry. Other thesis, Goldsmiths, University of London [Thesis]

Graham, Stephen. 2023. Becoming Noise Music: Style, Aesthetics, History. London: Bloomsbury Academic. ISBN 9781501378669 [Book]

Graham, Stephen. 2011. David Toop, Sinister Resonance: The Mediumship of the Listener (2010) (Book Review). Journal of the Society for Musicology in Ireland(6), pp. 93-100. [Article]

Graham, Stephen. 2013. The Encyclopaedia of Music in Ireland. In: Harry White and Barra Boydell, eds. The Encyclopaedia of Music in Ireland. University College Dublin Press. ISBN 9781906359782 [Book Section]

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Graham, Stephen. 2023. Familiarity Breeds Consent? Distance and Dependence in Fringe Music Writing. In: Ian Pace and Christopher Wiley, eds. Writing on Contemporary Musicians: Promotion, Advocacy, Disinterest, Censure. Abingdon: Routledge. [Book Section] (Forthcoming)

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Graham, Stephen. 2015. Frank Zappa and the And. Edited by Paul Carr (Book Review). Popular Music, 34(1), pp. 147-150. ISSN 0261-1430 [Article]

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Graham, Stephen. 2019. From Microphone to the Wire: Cultural change in 1970s and 1980s music writing. Twentieth-Century Music, 16(3), pp. 531-555. ISSN 1478-5722 [Article]

Graham, Stephen. 2015. Historical Documents of the Irish Avant-Garde. In: Jennifer Walshe, ed. Historical Documents of the Irish Avant-Garde. Aisteach Foundation. [Book Section]

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Graham, Stephen. 2018. Modernism for and of the Masses? On Popular Modernisms. In: Björn Heile and Charles Wilson, eds. The Routledge Research Companion to Modernism in Music. Abingdon: Routledge, pp. 239-257. ISBN 9781472470409 [Book Section]

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Graham, Stephen. 2012. Notes from the underground: a cultural, political, and aesthetic mapping of underground music. Doctoral thesis, Goldsmiths, University of London [Thesis]

Graham, Stephen. 2013. 'Popular Music and Television in Britain' Ian Inglis (ed.). (Book Review). Music, Sound, and the Moving Image, 7(1), pp. 83-88. ISSN 1753-0768 [Article]

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Graham, Stephen. 2016. Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music. Michigan: University of Michigan Press. ISBN 9780472119752 [Book]

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Graham, Stephen. 2021. Summer’s Gone: Late Style and Popular Music. Journal of the Royal Musical Association, 146(2), pp. 315-333. ISSN 0269-0403 [Article]

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Graham, Stephen. 2022. Ulyssess Journey - In Context. Contemporary Music Centre, Dublin, [Article]

Graham, Stephen. 2010. (Un)Popular Avant-Gardes: Underground Popular Music and the Avant-Garde. Perspectives of New Music, 48(2), pp. 5-20. ISSN 0031-6016 [Article]

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Graham, Stephen. 2017. The X Factor and Reality Television: Beyond Good and Evil. Popular Music, 36(1), pp. 6-20. ISSN 0261-1430 [Article]

Greenan, Althea; George, Rosalyn P.; Joncus, Berta; Richmond, Vivienne and Wolf, Nicole. 2014. 'Feminism@Goldsmiths'. In: Feminism@Goldsmiths. Goldsmiths, Universirty of London, United Kingdom. [Conference or Workshop Item]

Grierson, Mick. 2007. 'NOISESCAPE: AN INTERACTIVE 3D AUDIOVISUAL MULTI-USER COMPOSITION ENVIRONMENT'. In: International Computer Music Conference 2007. UNDEFINED 8/1/2007. [Conference or Workshop Item]

Grierson, Mick. 2003. Structure Interne. Noisefilm. [Other]

Grierson, Mick. 2004. Third World Warhol. Noisefilm. [Other]

Guggenheim, Michael. 2004. Von Nah und Fern. Wie sich Umweltdienstleistungsfirmen Laien vorstellen. In: Priska Gisler; Michael Guggenheim; Alessandro Maranta; Helga Nowotny and Christian Pohl, eds. Imaginierte Laien. Die Macht der Vorstellung in wissenschaftlichen Expertisen. Weilerswist: Velbrück Wissenschaft. [Book Section]

Guggenheim, Michael and Heller, Florian. 2002. Über Parallelen zwischen Kochen und Denken oder weshalb schlechte Symposien gute Esser zeitigen. In: Anja Eichelberg and Helga Nowotny, eds. Jahrbuch 2002 des Collgeium Helveticum der ETH Zürich. Zurich: vdf Hochschulverlag AG, 2003, pp. 337-347. ISBN 9783728128669 [Book Section]

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Halperin-Kaddari, Bnaya. 2024. Destabilised Composing - Re-thinking Instrumental Practices. Doctoral thesis, Goldsmiths, University of London [Thesis]

Halstead, Jill. 2005. The Night Mrs Baker Made History: Conducting, Display and the Interruption of Masculinity. Women a Cultural Review, 16(2), pp. 222-235. ISSN 14701367 [Article]

Halstead, Jill. 2006. Ruth Gipps: Anti-Modernism, Nationalism and Difference in English Music. Ashgate. ISBN 0754601781 [Book]

Halstead, Jill. 2005. She Composes in the Kitchen: Ruth Gipps 1921-1999: An English Reactionary and Radical. In: Christa Brustle, ed. Music as a Bridge: Musikalische Beziehungen zwischen England und Deutschland, 1920-1950. Olms Verlag, pp. 1-9. ISBN 3487129620 [Book Section]

Harris, Rachel and Norton, Barley. 2002. Introduction: Ritual Music and Communism. British Journal of Ethnomusicology, 11(1), pp. 1-8. ISSN 1741-1912 [Article]

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Hawes, V and Redhead, L. 2016. Introduction. In: V Hawes and L Redhead, eds. Music and/as Process. Newcastle: Cambridge Scholars, pp. 1-8. ISBN 978-1-4438-9491-3 [Book Section]

Heyde, Neil; Redgate, Christopher; Redgate, Roger and Wright, Matthew. 2018. What is it like to be an improviser? In: Eric F. Clarke and Mark Doffman, eds. Distributed Creativity: Collaboration and Improvisation in Contemporary Music. Oxford: Oxford University Press, pp. 314-316. ISBN 9780199355914 [Book Section]

Hirshberg, Jehoash and McVeigh, Simon. 2000. The Making of a Ritornello Movement: Compositional Strategy and Selection in Tessarini’s 'Opera prima'. Informazioni e Studi Vivaldiani, 21, pp. 35-73. ISSN 0393-2915 [Article]

Hirshberg, Jehoash and McVeigh, Simon. 2004. The 'Virtuosi Instromenti' and the Milanese Concerto in the Early Eighteenth Century. In: Anna Cattoretti, ed. Giovanni Battista Sammartini and his Musical Environment. Turnhout: Brepols, pp. 203-244. ISBN 250351233X [Book Section]

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Hong, Ju-Lee. 2014. An Empirical Analysis of Musical Expression in Recordings by Selected Cellists. Masters thesis, Goldsmiths, University of London [Thesis]

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Hornabrook, Jasmine. 2016. 'Becoming One Again': Music and Transnationalism in London's Sri Lankan Tamil Diaspora. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Ikeshiro, Ryo. 2014. Audification and Non-Standard Synthesis in Construction in Self. Organised Sound, 19(1), pp. 78-89. ISSN 1355-7718 [Article]

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Ikeshiro, Ryo. 2013. Studio Composition: Live Audiovisualisation Using Emergent Generative Systems. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Ivashkin, Alexander V.. 2011. Alexander Raskatov's 'A Dog's Heart'. Tempo, 65(256), pp. 54-56. ISSN 0040-2982 [Article]

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Ivashkin, Alexander V.. 1996. Alfred Schnittke. London: Phaidon. ISBN 0714831697 [Book]

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Ivashkin, Alexander V.. 2009. Alfred Schnittke: Concerto for Electric Instruments. In: "London Philharmonic Orchestra Schnittke Festival", Southbank Centre, United Kingdom. [Performance]

Ivashkin, Alexander V.. 2009. Alfred Schnittke: cello concerto no 2 performed with London Philharmonic Orchestra. In: "Between two worlds: festival of music by Alfred ASchnittke", Royal Festival Hall, London, United Kingdom. [Performance]

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Ivashkin, Alexander V.. 2011. Amerikanskii vzgliad na Sovetskuiu muzyku [American View on Soviet Music]. Muzykal'naia Zhizn' [Musical Life], 2011(1), pp. 56-57. [Article]

Ivashkin, Alexander V.. 2013. Benjamin Britten: The Complete Music for Cello Solo and Cello with Piano. In: "Recording", Brilliant Classics, Netherlands, 2012-2013. [Performance]

Ivashkin, Alexander V.. 2010. Concert in memory of Noelle Mann at Queen Elizabeth Hall, London. In: "Concert in Memory Noelle Mann", Queen Elizabeth Hall, London, United Kingdom. [Performance]

Ivashkin, Alexander V.. 2009. Cooling the volcano: Prokofiev's Cello Concerto Op. 58 and Symphony-Concerto Op. 125. Three Oranges: Journal of the Serge Prokofiev Foundation, 18, pp. 7-14. ISSN 1472-9946 [Article]

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Ivashkin, Alexander V.. 2011. Dmitrii Shostakovich. Cello Concerto N0. 1 . The New Collected Works Edition of Dmitrii Shostakovich Works. Critical Edition., 46, pp. 63-113. ISSN 979-0-706364-29-2 [Article]

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Ivashkin, Alexander V.. 2013. John Cage in Soviet Russia 'Tempo', 66 ( 266), 2013: 1- 10. Tempo, 66(3), pp. 1-10. ISSN 0040-2982 [Article]

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Ivashkin, Alexander V.. 2011. 'Kod Schnittke' ['The Schnittke Code']. Al'fredu Schnittke posviashchaetsia [Dedicated to Alfred Schnittke: Schnittke Yearbook, 8], ed. Alla Bogdanova and Elena Dolinskaia. Moscow: Kompozitor, 2011: 13-24. Al'fredu Schnittke posviashchaetsia [Dedicated to Alfred Schnittke: Schnittke Yearbook, 8], ed. Alla Bogdanova and Elena Dolinskaia. Moscow: Kompozitor, 2011, 8, pp. 13-24. ISSN 978-5-4254-0037-6 [Article]

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Ivashkin, Alexander V.. 2012. Live Performance. In: "Concerto Performance", The Mariinsky Concert Hall, St Petersburg, Russian Federation. [Performance]

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Ivashkin, Alexander V.. 2007. Rostropovich. Tokyo: Shunjusha Publishing Company. ISBN 978-4-393-93518-7 [Book]

Ivashkin, Alexander V.. 2012. Shostakovich, old believers and new minimalists. In: Alexander V. Ivashkin and Andrew Kirkman, eds. Contemplating Shostakovich. Farnham: Ashgate, pp. 19-45. ISBN 978-1-4094-3937-0 [Book Section]

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Ivashkin, Alexander V.. 2012. ‘Shostakovich. Second Cello Concerto.’ In D.D. Shostakovich, New Collected Works Critical Edition, vol. 49. Moscow: DSCH, 2012, 83–124. D.D. Shostakovich, New Collected Works Critical Edition, vol. 49. Moscow: DSCH, 2012, 83–124., 49, pp. 83-124. [Article]

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Ivashkin, Alexander V.. 2013. Stravinsky and Khrennikov: An Unlikely Alliance. Mittelungen der Paul Sacher Stiftung, 26, April 2013, 12- 16(26), pp. 12-16. ISSN 1015-0536 [Article]

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Ivashkin, Alexander V.. 2009. Symbols, Metaphors and Irrationalities in Twentieth-Century Music. In: Rafael Jimenez Catano and Ignacio Yarza, eds. Mimesi, Verità e Fiction. 3 Rome: Edusc, pp. 69-88. ISBN 88-8333-220-3 [Book Section]

Ivashkin, Alexander V.; Barlow, Ora and Halliday, Kim. 2009. Pacific voyage. [Audio]

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Ivashkin, Alexander V. and Oerhlein, Josef. 1997. Rostrospektive: zum Leben und Werk von Mstislaw Rostropowitsch. On the life and achievement of Mstislav Rostropovich. Frankfurt-Schweinfurth: Reimund Maier Verlag. ISBN 3-926300-30-2 [Book]

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Johnston, Nessa and Kampman, Anneke. 2016. I Will Leave You Now and this Loudspeaker Will Take My Place. The New Soundtrack, 6(1), pp. 17-27. ISSN 2042-8855 [Article]

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Joncus, Berta. 2017. '”And Fashion Makes me sing”: Song, Celebrities and The Beggar’s Opera'. In: Amherst Early Music Festival. Connecticut College, New London, United States 12 - 19 July 2017. [Conference or Workshop Item]

Joncus, Berta. 2007. '"And Fashion makes me Sing": Eighteenth-century English Ballad Opera and the Birth of a Popular Music Industry'. In: British Academy Postdoctoral Fellowship Symposium 2007. London, United Kingdom. [Conference or Workshop Item]

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Joncus, Berta. 2019. 'Appropriation and Activism: “Negro Song” and English Abolitionists c1770–1800'. In: American Musicological Society Eighty-fifth Annual Meeting. Boston, United States 31 October - 3 November 2019. [Conference or Workshop Item]

Joncus, Berta. 2012. 'The Assemblage of every female Folly': Lavinia Fenton, Kitty Clive and the Genesis of Ballad Opera. In: Tiffany Potter, ed. Women of Fashion: Popular Culture in the Eighteenth Century and the eighteenth century in popular culture. Toronto: University of Toronto Press, pp. 25-51. ISBN 9781442641815 [Book Section]

Joncus, Berta. 2024. BBC Music Magazine. Reviews by Berta Joncus. BBC Music Magazine, London. [Other]

Joncus, Berta. 2017. ‘Ballad Opera: Commercial Song in Enlightenment Garb. In: Robert Gordon and Olaf Jubin, eds. The Oxford Handbook of the British Musical. New York: Oxford University Press, pp. 31-63. ISBN 9780199988747 [Book Section]

Joncus, Berta. 2010. Ballad Operas Online (BOPO): Tuning in to Eighteenth-Century Popular Song. In: Michael Burden, ed. A Handbook for Studies in 18th-century English Music, Part 18: Ballad Opera. Oxford: Burden & Cholij. [Book Section]

Joncus, Berta. 2013. ‘Ballad Opera’, ‘Beard, John’, ‘Beggar’s Opera’, ‘Clive, Catherine’, ‘Gay, John'. In: David Vickers and Annette Landgraf, eds. The Cambridge Handel Encyclopedia. Cambridge: Cambridge University Press. ISBN 978-1107666405 [Book Section]

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Joncus, Berta. 2022. 'The Black Servant and Kitty Clive: Unsettling Relations in the Playhouse'. In: Department Colloquium. Mead Witter School of Music, University of Wisconsin-Madison, United States 22 February 2022. [Conference or Workshop Item]

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Joncus, Berta. 2023. 'British Abolition Song Exported: Sounding Sentiment in Early America'. In: Voices and Agencies: America and the Atlantic, 1600-1865. Seminar series. Leibniz University, Hanover, Germany 7 July 2023. [Conference or Workshop Item]

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Joncus, Berta. 2021. 'Celebrity Songster v. Justice Woodcock: Love in a Village (1762), or Sexual Predators on Trial'. In: The 51st Annual Meeting of the American Society for Eighteenth Century Studies. Toronto, Canada 7 - 11 April 2021. [Conference or Workshop Item]

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Joncus, Berta. 2019. '"Charity as well as Skill in Music": Galatea, Giulia Frasi, and Self-Staging at Ranelagh Garden Concerts'. In: International Academic Conference during the Handel Festival in Halle (Saale). Halle, Germany 1 and 3 to 5 June 2019. [Conference or Workshop Item]

Joncus, Berta. 2006. ''Charm’d with the sprightly Innocence of Nell’: Re-Reading The Devil to Pay'. In: Twelfth Biennial International Conference on Baroque Music. Warsaw, Poland. [Conference or Workshop Item]

Joncus, Berta. 2005. ''Charm’d with the sprightly innocence of Nell’: Re-reading The Devil to Pay'. In: Seventy-first annual meeting of the American Musicological Society. Washington D.C, United States. [Conference or Workshop Item]

Joncus, Berta. 2011. Clive, Catherine. In: Marx Hans-Joachim; Manuel Gervink and Steffen Voss, eds. Handel-Lexikon. Laaber: Laaber-Verlag. ISBN 978-3890075525 [Book Section]

Joncus, Berta. 2009. Communications: on Ballad Operas Online (BOPO). Eighteenth-Century Music, 6(2), pp. 302-303. ISSN 1478-5706 [Article]

Joncus, Berta. 2006. 'Curse them all for a parcel of Italian bitches’: the seduction of mimicry on the mid-eighteenth-century London stage'. In: Thirty-fifth annual conference of the British Society for Eighteenth-Century Studies. Oxford, United Kingdom. [Conference or Workshop Item]

Joncus, Berta. 2008. 'Diva Thursday Live: Kitty Clive (15 May 2008)'. In: Diva Thursday live: Kitty Clive. Handel House, London, United Kingdom. [Conference or Workshop Item]

Joncus, Berta. 2008. 'Divas Off-stage, 6 July 2008'. In: Divas Off-stage. Handel House, London, United Kingdom. [Conference or Workshop Item]

Joncus, Berta. 2004. 'Eating Pigeon-Pye: Handel and the 'Sweet Bird' of Drury Lane'. In: Fortieth Annual Conference of the Royal Musical Association. Birmingham, United Kingdom 12-14 November 2004. [Conference or Workshop Item]

Joncus, Berta. 2012. Editorial. Eighteenth-Century Music, 9(1), pp. 5-8. ISSN 1478-5706 [Article]

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Joncus, Berta. 2020. Fixing her Reputation: Giulia Frasi and her Ranelagh Garden Concerts. Händel-Jahrbuch, 66, pp. 137-180. ISSN 0440-0615 [Article]

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Joncus, Berta. 2019. 'For the Benefit of Kitty Clive'. In: Being Human Festival 2019. Foundling Museum, United Kingdom 15 November 2019. [Conference or Workshop Item]

Joncus, Berta. 2010. 'Fourteenth Biennial International Conference, on Baroque Music'. In: The 14th Biennial International Conference on Baroque Music. Queen's University Belfast, United Kingdom 30 June – 4 July 2010. [Conference or Workshop Item]

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Joncus, Berta. 2017. 'From “Ellen a Roon” to “Aileen aroon”: Kitty Clive and the Irish Ballad'. In: The Irish and the London Stage: Identity, Culture, and Politics, 1680-1830. Trinity College, Dublin, Ireland 17 - 18 February 2017. [Conference or Workshop Item]

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Joncus, Berta. 2021. 'Georgian Group Event. 'Kitty Clive, or the Fair Songster'. Online Lecture Berta Joncus'. In: The Georgian Group Online Lecture (with Music) Kitty Clive, or The Fair Songster. London, United Kingdom 19 January 2021. [Conference or Workshop Item]

Joncus, Berta. 2008. Handel and the Divas. [Professional Activity]

Joncus, Berta. 2006. Handel at Drury Lane: Ballad Opera and the Production of Kitty Clive. Journal of the Royal Musical Association, 131(2), pp. 179-226. ISSN 0269-0403 [Article]

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Joncus, Berta. 2021. 'Handel in the Drawing-room: Women of Quality as Influencers of Britain's Music'. In: The Handel House Trust Handeliade. Spring Hill, Moreton-in-Marsh, United Kingdom 23 - 26 September 2021. [Conference or Workshop Item]

Joncus, Berta. 2009. 'Handel's 'Arianna in Creta''. In: Handel's 'Arianna in Creta'. Barbican Centre, London, United Kingdom. [Conference or Workshop Item]

Joncus, Berta. 2021. The Handel-Senesino Rivalry. Handel Institute Newsletter, 32(1), pp. 1-3. [Article]

Joncus, Berta. 2005. ‘His Spirit is in Action Seen’: Milton, Mrs Clive and the Simulacra of the Pastoral in Comus. Eighteenth-Century Music, 2(1), pp. 7-40. ISSN 1478-5706 [Article]

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Joncus, Berta. 2021. 'Howard Serwer Memorial Lecture. 'Posterity vs Celebrity: Handel Studies and the 21st Century''. In: American Handel Society Conference 2021. Indiana University, United States 11 - 14 March 2021. [Conference or Workshop Item]

Joncus, Berta. 2011. “In Wit Superior as in Fighting”: Kitty Clive and the Conquest of a Rival Queen. Huntington Library Quarterly, 74(1), pp. 23-42. ISSN 0018-7895 [Article]

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Joncus, Berta. 2018. 'Joseph Antonia Emidy: Encounters, not Silhouettes'. In: American Musicological Society Eighty-fourth Annual Meeting. San Antonio, TX, United States 1 - 4 November 2018. [Conference or Workshop Item]

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Joncus, Berta. 2022. Juror BBC Music Magazine Awards 2022. [Professional Activity]

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Joncus, Berta. 2019. Kitty Clive, or The Fair Songster. Martlesham, Suffolk: Boydell & Brewer. ISBN 9781783273461 [Book]

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Joncus, Berta. 2009. 'A Likeness Where None Was To Be Found': Imagining Kitty Clive (1711-1785). Music in Art, 34(1-2), pp. 89-106. ISSN 1522-7464 [Article]

Joncus, Berta. 2009. Liner notes, 'Handel in the playhouse'. Oppella Nova Records, London. [Other]

Joncus, Berta. 2011. 'Listening to portraits: music and the eighteenth-century opera celebrity'. In: The first actresses: celebrity, performance and representation in 'the long eighteenth century'. National Portrait Gallery, London, United Kingdom. [Conference or Workshop Item]

Joncus, Berta. London: Concert Life. In: Helen Coffey and Annette Landgraf, eds. Handel in Context. Cambridge: Cambridge University Press. [Book Section] (In Press)

Joncus, Berta. 2010. Martha Feldman: Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy [Review]. The Opera Quarterly, 26(4), pp. 626-634. ISSN 1476-2870 [Article]

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Joncus, Berta. 2021. 'Material Benefits of the Immaterial: Academic Publishing in the Digisphere'. In: CHASE Doctoral Training Day. London, United Kingdom 10 September 2021. [Conference or Workshop Item]

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Joncus, Berta. 2021. Material Benefits of the Immaterial: Academic Publishing in the Digisphere. CHASE Doctoral Training Day, 10 September 2021. Consortium for the Humanities and the Arts South-East England AHRC funded Doctoral Training Partnership. [Other]

Joncus, Berta. 2023. Musical Abolitionism. In: "Abolitionism and the Arts in the Long Eighteenth Century: An interdisciplinary symposium", Columbia University, United States, 6 May 2023. [Performance]

Joncus, Berta. 2007. 'Musicological choices: Gender, Prestige, and the Power of Subject Specialization'. In: Seventy-third Annual Meeting of the American Musicological Society. Quebec City, Canada. [Conference or Workshop Item]

Joncus, Berta. 2012. 'Nectar if you taste and go, poison if you stay': struggling with the Orient in eighteenth-century British musical theatre. (Forthcoming). In: Marina Warner and Philip F. Kennedy, eds. The Arabian Nights: Encounters and Translations in Literature and the Arts. New York: New York University Press. [Book Section]

Joncus, Berta. 2008. '"Of all the arts that sooth": Imagining Kitty Clive (1711-1785)'. In: Twelfth Conference of the Répertoire International d'Iconographie Musicale. New York, United States. [Conference or Workshop Item]

Joncus, Berta. 2005. One God, so many Farinellis: Mythologising the Star Castrato. Journal for Eighteenth-Century Studies (formerly British Journal for Eighteenth-Century Studies), 28(3), pp. 437-496. [Article]

Joncus, Berta. 2014. Opera librettos and British politics. Early Music, 42(2), pp. 297-299. ISSN 0306-1078 [Article]

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Joncus, Berta. 2018. Panel member. François Couperin: lumière et ombre Les Talens Lyriques. In: "François Couperin: lumière et ombre", Barbican, Milton Court Concert Hall, United Kingdom, 14 January 2018. [Performance]

Joncus, Berta. 2010. '"Poison if you taste and go, Nectar if you stay": Struggling with the Orient in Eighteenth-Century British Musical Theatre'. In: Staging the East: Oriental Masking in the British Theatre, 1660-1830. Theatre Royal, Bury St. Edmunds, United Kingdom 11-12 June 2010. [Conference or Workshop Item]

Joncus, Berta. 2008. 'The Polly Row, 25 May 2008'. In: The Polly Row. Handel House, London, United Kingdom. [Conference or Workshop Item]

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Joncus, Berta. 2008. '“The Power of Sound and Sing-Song”: The Production of Star Tenor John Beard'. In: John Rich and the Eighteenth-Century London Stage: Commerce, Magic and Management. Royal College of Surgeons, United Kingdom 25 - 27 January 2008. [Conference or Workshop Item]

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Joncus, Berta. 2009. Private Music in Public Spheres: Chamber Cantata and Song. In: Simon P. Keefe, ed. The Cambridge History of Eighteenth-Century Music. Cambridge: Cambridge University Press, pp. 513-40. ISBN 9780521663199 [Book Section]

Joncus, Berta. 2007. Producing Stars in dramma per musica. In: Melania Bucciarelli and Berta Joncus, eds. Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm. Woodbridge, Suffolk: Boydell & Brewer, pp. 275-93. ISBN 9781843833178 [Book Section]

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Joncus, Berta. 2014. '“The Queen’s lov’d presence to each step adds life”: Caroline of Ansbach’s Musical Patronage and Dance’s Theatre'. In: Enlightened Princesses: Caroline, Augusta, Charlotte & the Shaping of the Modern World. Hampton Court Palace, London, United Kingdom 7 - 9 July 2014. [Conference or Workshop Item]

Joncus, Berta. 2013. Review: Stefanie Tcharos, Opera's Orbit: Musical Drama and the Influence of Opera in Arcadian Rome. Eighteenth-Century Music, 10(1), pp. 136-139. ISSN 1478-5706 [Article]

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Joncus, Berta. 2016. 'Scoring for Celebrity: The Authority of the Vocalist in Love in a Village (1762)'. In: Music and Theater in Eighteenth-Century Britain. Jan Popper Theater, Schoenberg Music Building, University of California, Los Angeles, United States 4 – 5 November 2016. [Conference or Workshop Item]

Joncus, Berta and Barlow, Jeremy, eds. 2011. "The Stage's Glory": John Rich (1692-1761). Newark, Delaware: University of Delaware Press. ISBN 9781611490329 [Edited Book]

Joncus, Berta. 2003. 'A Star is Born: Kitty Clive and Female Representation in Eighteenth-Century English Musical Theatre'. In: Sixty-ninth Annual Meeting of the American Musicological Society. Houston, Texas, United States. [Conference or Workshop Item]

Joncus, Berta. 2009. ''This glorious Approbation of Sounds': Handel, Purcell and London’s Eighteenth-Century Entertainments'. In: Purcell, Handel & Literature. Institute of Musical Research, London, United Kingdom 20-21 November 2009. [Conference or Workshop Item]

Joncus, Berta. 2013. ‘To Propagate Sound for Sense’: Music for Diversion and Seduction at Ranelagh Gardens. The London Journal, 38(1), pp. 34-66. ISSN 0305-8034 [Article]

Joncus, Berta. 2008. '"To propagate Sound for Sense": Music for Diversion and Seduction at Ranelagh Gardens'. In: Vauxhall Revisited: Pleasure Gardens and their Publics, 1660-1880. Tate Britain, London, United Kingdom 14-16 July 2008. [Conference or Workshop Item]

Joncus, Berta. 2013. “United voices formed the very perfection of harmony”: Music and the Invention of Harriett Abrams (c1758–1821)’,. In: Bärbel Czennia, ed. Celebrity: The Idiom of a Modern Era. New York: AMS Press, pp. 67-106. ISBN 9780404648701 [Book Section]

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Joncus, Berta. 2020. ‘When Farce and when Musick can eke out a Play’: Ballad Opera and Theatre’s Commerce. In: Delia da Sousa Correa, ed. The Edinburgh Companion to Literature and Music. Edinburgh: Edinburgh University Press, pp. 296-303. ISBN 9780748693122 [Book Section]

Joncus, Berta. 2009. 'Women's Song in Georgian England' [Book Review]. Early Music, 37(3), pp. 479-481. ISSN 0306-1078 [Article]

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Joncus, Berta. 2022. '“Zealous partisans of both, I think, must have applauded”: Kitty Clive, Regina Mingotti and Mimic Italian Song'. In: Nach der Norm: Musikwissenschaft. 21. Jahrhundert. Jahrestagung der Gesellschaft für Musikforschung, Berlin, 2022. Humboldt University, Germany 28 September - 1 October 2022. [Conference or Workshop Item]

Joncus, Berta; Burden, Michael; Rogers, Vanessa L. and Lipinski, Thaddeus. 2008 to present Ballad Opera Online. [Project]

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Joncus, Berta and Meyers, Amy. 2019. '‘Such and so great was the Affection he bare to Musick’: Hearing London's Eighteenth-century Black Community'. In: Black Music in Eighteenth-Century London. Yale Center for British Art, New Haven, United States 25 - 26 April 2019. [Conference or Workshop Item]

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Joncus, Berta; Ozmo, Žak and Rogers, Vanessa. 2020. Love in a Village: A Comic Opera. Bärenreiter, Kassel, Germany. [Other]

Joncus, Berta and Rogers, Vanessa. 2013. 'United voices formed the very perfection of harmony': Music and the invention of Harriett Abrams (c.1758-1821). In: Baerbel Czennia, ed. Celebrity: the idiom of a modern era. 70 New York: AMS Press. ISBN 978-0-404-64870-1 [Book Section]

Joncus, Berta and Rogers, Vanessa L.. 2014. Ballad Opera and British double entendre: Henry Fielding’s The Mock Doctor. In: Judith Le Blanc and Herbert Schneider, eds. Pratiques du timbre et de la parodie d'opéra en Europe (XVIe - XIXe siècles)/Timbre-Praxis und Opernparodie im Europa des 16. bis 19. Jahrhunderts. (40) Hildesheim: Georg Olms Verlag, pp. 101-140. ISBN 9783487150727 [Book Section]

Joncus, Berta and Rogers, Vanessa L.. 2011. Beyond 'The Beggar’s Opera': John Rich and English Ballad Opera. In: Berta Joncus and Jeremy Barlow, eds. 'The Stage’s Glory’: John Rich (1692-1761). Newark, Delaware: University of Delaware Press, pp. 184-204. ISBN 9781611490329 [Book Section]

Joncus, Berta; Rogers, Vanessa and Ozmo, Žak. 2009. 'Music for the Common Man: Handel, Purcell and London’s Eighteenth-Century Entertainments'. In: Seventy-fifth Annual Meeting of the American Musicological Society. Philadelphia, United States. [Conference or Workshop Item]

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Jones, Elfyn. 2022. Sound design for the opera composer: concepts and methods. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Kalodiki, Georgia. 2014. Interactive Performance Systems Conceptual interacting strategies in forming electroacoustic sound identities. In: G. Kouroupetroglou and A. Georgaki, eds. Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos. , pp. 314-317 ISBN 978-960466137-4 [Book Section]

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Kalodikis, Georgia. 2007. PhD in Composition. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Kampman, Anneke. 2024. All Fidelity. In: "Voices in Buildings", Dissenter Space, Edinburgh, United Kingdom, 1 June 2024. [Performance]

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Kampman, Anneke. 2023. Baby-G. [Film/Video]

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Kampman, Anneke. 2018. Dead. Air. Management.. [Film/Video]

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Kampman, Anneke. 2019. Ella. [Film/Video]

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Kampman, Anneke. 2023. An Endless Archive. In: "An Endless Archive", San Mei Gallery, United Kingdom, 28 April – 10 June 2023. [Show/Exhibition]

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Kampman, Anneke. 2024. 'Figures of Capital: Music-video as Immanent Critique'. In: Marxism in Culture seminar series. Institute of Advanced Studies (IAS). London, United Kingdom 31 May 2024. [Conference or Workshop Item]

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Kampman, Anneke. 2017. Figures. Figure. Stuck.. In: "Undoing Listening", Transmission Gallery, Glasgow, United Kingdom, 28 – 29 July 2017. [Performance]

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Kampman, Anneke. 2019. Four Decades of Selling Time. In: "Experiments in Standard Time", Pump House Gallery, London, United Kingdom, 23 January – 31 March 2019. [Performance]

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Kampman, Anneke. 2018. Global Contemporary ‘1989’ Edits 23.04.2018. In: "We Are Having a Little Flirt", Pump House Gallery, London, United Kingdom, 25 April – 8 July 2018. [Show/Exhibition]

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Kampman, Anneke. 2019. Labour's Own Sounding Ideal. In: "Labour's Own Sounding Ideal", Pump House Gallery, London, United Kingdom, 23 January – 31 March 2019. [Show/Exhibition]

Kampman, Anneke. 2019. 'Labour’s Own Sounding Ideal Presentation'. In: Citation: European Artistic Research Network (EARN) Annual Conference. Leeds Art Gallery, United Kingdom 7 - 8 November 2019. [Conference or Workshop Item]

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Kampman, Anneke. 2021. 'Negative Product Media: Music-video as Immanent Critique'. In: Sonoridades Fronteiricas. Florianópolis, Brazil 9 – 11 June 2021. [Conference or Workshop Item]

Kampman, Anneke. 2022. 'Re-structing Feeling: Form as Contradiction in Rosalia’s ‘Motomami’'. In: Goldsmiths Music Research Series. Goldsmiths, University of London, United Kingdom 17 November 2022. [Conference or Workshop Item]

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Kampman, Anneke. 2023. Science and Technology. [Film/Video]

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Kampman, Anneke. 2019. Sleeping Lions. [Film/Video]

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Kampman, Anneke. 2019. Slogan of a Living Person. In: "Christof Migone's Mixer", South London Gallery, United Kingdom, 19 March 2019. [Performance]

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Kampman, Anneke. 2017. Songs for Another Voice. In: "These Rotten Words", Chapter Arts Centre, Cardiff, United Kingdom, 18 March – 11 June 2017. [Show/Exhibition]

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Kampman, Anneke. 2016. Where Blips of Light Called Players Disintegrate. In: "Blend the Acclaim of You Chant with the Timbrals", Jerwood Space, London, United Kingdom, 12 July 2016. [Performance]

Kampman, Anneke and Dickson, Jane. 2016. 'Inside and outside the institution: Women Pioneers of Electronic Music'. In: Working in Music Conference, Musicians Union. Mitchell Library, Glasgow, United Kingdom 14 - 15 January 2016. [Conference or Workshop Item]

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Kampman, Anneke and MacBride, Cannach. 2018. A Library of and for Listening. In: "Show/Exhibition", Glasgow International, United Kingdom, 20 April – 7 May 2018. [Show/Exhibition]

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Kampman, Anneke and Simensky, Nastassja. 2022. TESTCARD. [Broadcast]

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Kanga, Zubin; Dyer, Mark; Rowley, Caitlin; Packham, Jonathan; Benjamin, Mira; Climent, Ricardo; Gioti, Artemi-Maria; Gorton, David; Hayden, Sam; Howard, Emily; Hunt, Edmund; Laidlow, Robert; McLaughlin, Scott; Nickel, Luke and Redhead, L. 2024. Technology and Contemporary Classical Music: Methodologies in Practice-Based Research. Project Report. National Centre for Research Methods, Southampton. [Report]

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Kean, Paul David. 2020. The Analysis and Performance of Minimalist Keyboard Music: Three Case Studies. Doctoral thesis, Goldsmiths, University of London [Thesis]

Keeffe, Charlotte; Eastmond, Sam and Ghosh, Arun. Performances with other ensembles. In: "Charlotte Keeffe Quartet; Sam Eastmond; Union Division; Arun Ghosh", Arun Ghosh, The Seagull, Lowestoft, United Kingdom, September 2022 - ongoing. [Performance]

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Keenan, Jeremy. 2011. The Aural and the Quotidian: Everyday Experience in Listening and Practice. Doctoral thesis, Goldsmiths, University of London [Thesis]

Kennedy-McCracken, Caroline. 2024. The Critical Song of Serge Gainsbourg. In: Olivier Julien and Olivier Bourderionnet, eds. Serge Gainsbourg: An International Perspective. London: Bloomsbury Academic, pp. 55-62. ISBN 9781501365669 [Book Section]

Kennedy-McCracken, Caroline. 2020. When A Mouth Is A Gun: Complicating Gendered Bodies In Song-based Work. In: Jon Stratton; Jon Dale and Tony Mitchell, eds. An Anthology Of Australian Albums: Critical Engagements. New York: Bloomsbury Academic, pp. 67-82. ISBN 9781501339851 [Book Section]

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Kirby, Jenn. 2023. Approaches for Working with the Body in the Design of Electronic Music Performance Systems. Contemporary Music Review, 42(3), pp. 304-318. ISSN 0749-4467 [Article]

Kirby, Jenn. 2020. Being Time. [Audio]

Kirby, Jenn. 2023. Body Fragmented. [Composition]

Kirby, Jenn. 2024. 'The Body in Digital Musical Instrument Design'. In: CHIME Seminar. Online, United Kingdom 28 February 2024. [Conference or Workshop Item]

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Kirby, Jenn. 2015. Composing Perceivable Time. Leonardo, 48(1), pp. 6-12. ISSN 0024-094X [Article]

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Kirby, Jenn. 2019. Defining and Evaluating the Performance of Electronic Music. In: Russ Hepworth-Sawyer; Jay Hodgson; Justin Paterson and Rob Toulson, eds. Innovation in Music: Performance, Production, Technology and Business. New York: Routledge, pp. 77-86. ISBN 9781138498211 [Book Section]

Kirby, Jenn. 2019. 'Design Considerations for Digital Instruments'. In: Invited speaker, BBC Salford. Manchester, United Kingdom. [Conference or Workshop Item]

Kirby, Jenn. 2019. 'Digital Instrument Design'. In: BBC:Develop at BBC Radio Theatre. London, United Kingdom. [Conference or Workshop Item]

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Kirby, Jenn. 2022. Five Sonic Artists Practices and Experiences in Lock-down. Interference Journal(8), ISSN 2009-3578 [Article]

Kirby, Jenn. 2020. Hear to Listen. [Composition]

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Kirby, Jenn. 2021. Legacy is. In: "Woman in the Machine, Carlow Arts Festival", Carlow, Ireland. [Show/Exhibition]

Kirby, Jenn. 2020. 'Live Electronics: Performer Agency and Audience Reception'. In: IRCAM Forum. Paris, France. [Conference or Workshop Item]

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Kirby, Jenn. 2023. Melding Streams. [Composition]

Kirby, Jenn. 2021. 'Performer Agency in Live Electronic Music'. In: Musicians Playing With Computers, Musicians Interacting With The World. Online. [Conference or Workshop Item]

Kirby, Jenn. 2022. Ravel. [Audio]

Kirby, Jenn. 2024. 'Spiral: a two-player entangled performance system'. In: Creative Machines: Technology and Collaborative Practice in Contemporary Music Symposium. Royal Holloway, University of London, United Kingdom 7 June 2024. [Conference or Workshop Item]

Kirby, Jenn. 2022. music: a movement. [Composition]

Kirby, Jenn and Kilshaw, Simon. 2016. 'Swansea Laptop Orchestra: Composing for Laptops'. In: BEAST FEaST 2017. Birmingham, United Kingdom 28 - 29 April 2017. [Conference or Workshop Item]

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Kirk, Pedro; Grierson, Mick; Bodak, Rebeka; Ward, Nick; Brander, Fran; Kelly, Kate; Newman, Nicholas and Stewart, Lauren. 2016. 'Motivating Stroke Rehabilitation Through Music: A Feasibility Study Using Digital Musical Instruments in the Home'. In: Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems. San Francisco, United States. [Conference or Workshop Item]

Kivy, Peter. 2006. Ars Perfecta: toward perfection in musical performance? The British Journal of Aesthetics, 46(2), pp. 111-132. ISSN 14682842 [Article]

Kivy, Peter. 2004. Music, Language and Cognition: which doesn't belong? In: K. Korta and J. Larrazabal J, eds. Truth, Rationality, Cognition and Music, Proceedings of the Seventh International Colloquium on Cognitive Science. Kluwer, pp. 157-174. ISBN 1402019122 [Book Section]

Kivy, Peter. 2006. The Performance of Reading: an essay in the philosophy of literature. Blackwell. ISBN 1405146923 [Book]

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Kivy, Peter. 2001. The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius. New Haven: Yale University Press. ISBN 0300087586 [Book]

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Kondrashina, Evgeniya. 2020. Music from Beyond the Curtain: Soviet Recordings and Cold War Cultural Relations, 1950s – 70s. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Koren, Réka and Gingras, Bruno. 2014. Perceiving individuality in harpsichord performance. Frontiers in Psychology, 5, 141. ISSN 16641078 [Article]

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Krivenski, Maria. 2019. 'Becoming a musical performer: Conceptions of the classical musician promoted at university'. In: RMA Study Day: The Classical Musician in the 21st Century. University of Cambridge, United Kingdom 23 May 2019. [Conference or Workshop Item]

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Krivenski, Maria. 2013. ‘Feeding back’ in musical performance: Exploring feedback practice in relation to students’ and tutors’ learning and teaching experience. Project Report. PALATINE (Performing Arts Learning and Teaching Innovation Network), Lancaster. [Report]

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Langley, Leanne. 2007. Agency and Change: Berlioz in Britain, 1870-1920. Journal of the Royal Musical Association, 132(2), pp. 306-348. ISSN 02690403 [Article]

Langley, Leanne. 2007. Building an Orchestra, Creating an Audience: Robert Newman and The Queen's Hall Promenade Concerts, 1895-1926. In: N. Kenyon; J. Doctor and D. Wright, eds. The Proms: A New History. Thames and Hudson, pp. 32-73. ISBN 9780500513521 [Book Section]

Langley, Leanne. 2001. Dictionary entries on English music critics and criticism. In: Sadie Stanley, ed. The New Grove Dictionary of Music and Musicians. Macmillan, p. 57. ISBN 0333608003 [Book Section]

Langley, Leanne. 2003. Roots of a Tradition: The First Dictionary of Music and Musicians. In: M. Musgrave, ed. George Grove, Music and Victorian Culture. Palgrove, pp. 168-215. ISBN 0004707729 [Book Section]

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Leadley, Marcus. 2015. In Situ Listening:Soundscape, Site and Transphonia. Doctoral thesis, Goldsmiths, University of London [Thesis]

Lewis, Lis. 2015. English Flute School Performance Aesthetics (1706–1972): A National Style?. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Lewis, Matt. 2015. Ventriloquial Acts: Critical reflections on the art of Foley and the role of sound in social space. Doctoral thesis, Goldsmiths, University of London [Thesis]

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March, Neil. 2015. Developing an Urban Art Music. Doctoral thesis, Goldsmiths, University of London [Thesis]

Matsumoto, Naomi. 2007. 1001 Classical Recordings. In: Matthew Rye, ed. 1001 Classical Recordings. London: Quintessence, 24-34, 38, 42-48, 50-54, 56-59, 62-64. [Book Section]

Matsumoto, Naomi. 2025. The Challenge of Music History: 10 Works from the 'Musical Canon' and Their Meanings. Tokyo: Asahi Newspaper Publications Inc.. [Book] (Forthcoming)

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Matsumoto, Naomi. 2015. Charles Marshall’s “Dioramic” Scenery: Staging Verdi in Victorian London. In: , ed. Staging Verdi and Wagner. Turnhout: Brepols, pp. 53-80. ISBN 9782503564821 [Book Section]

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Matsumoto, Naomi. 2022. Critical Edition of Anonymous, Lo Spedale. Middleton, Wisconsin, United States: A-R Editions. ISBN 9781987208146 [Book]

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Matsumoto, Naomi. 2025. Dreaming of Wagner: Opera in Japan, Gluck and the Aspiration for 'National Theatre'. In: Clair Rowden and Paulo M Kuhl, eds. Opera in Transnational Contexts: Circulating Identities and Cultures. Routledge. [Book Section] (Forthcoming)

Matsumoto, Naomi. 2010. Englishness and Burlesque on the London Stage: the Case of The Dragon of Wantley. The Journal of the Musicological Society of Japan, 55(2), pp. 97-110. [Article]

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Matsumoto, Naomi. 2016. "Ghost Writing”: an Exploration of Presence and Absence in Lucia di Lammermoor (1835)’. Word and Music Studies, 15, pp. 63-84. ISSN 1566-0958 [Article]

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Matsumoto, Naomi. 2017. Giovanni Vittorio Rosi's Musical Theatre: Opera, Operetta and the Westernisation of Modern Japan. In: Michela Niccolai and Clair Rowden, eds. Musical Theatre in Europe 1830-1945. Turnout: Brepols, pp. 351-385. ISBN 9782503577661 [Book Section]

Matsumoto, Naomi. 2002. 'Global Presentations of Madness in Musical Theatres: a Comparative Study of Britten’s Curlew River and Juro Motomasa’s Sumidagawa'. In: Musicology and Globalization: Proceedings of the International Congress. Shizuoka, Japan. [Conference or Workshop Item]

Matsumoto, Naomi. 2008. The Identity of the librettist of Monteverdi’s Il ritorno d’Ulisse in patria. The Journal of the Musicological Society of Japan, 53(2), pp. 134-137. [Article]

Matsumoto, Naomi. 2012. Instrumental Music and the Industrial Revolution. Ad Parnassum: Journal of 18th and 19th century Instrumental Music, 10(20), [Article]

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Matsumoto, Naomi. 2018. L'opera dei pupi, Torneo, and Early Opera: Shared Traditions and Intangible Experiences. In: Barley Norton and Naomi Matsumoto, eds. Music as Heritage: Historical and Ethnographic Perspectives. Routledge-Taylor and Francis. ISBN 9781138228047 [Book Section]

Matsumoto, Naomi. 2012. Liner notes to Quintetto Vocale Italiano, Gesualdo. Gesualdo Six Books of Madrigals for 5 Voices, [Article]

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Matsumoto, Naomi. 2019. The Mad Scene: Portrayals of Insanity in Opera. Japanese Journal of Clinical Psychiatry, 48(3), ISSN 0300-032X [Article]

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Matsumoto, Naomi. 2021. Madam Butterfly and the Forging of Japanese Identity. History Today, 71(3), pp. 28-37. ISSN 0018-2753 [Article]

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Matsumoto, Naomi. 2023. "Madama Butterfly": Prospettive occidentali e giapponesi a confronto. Commentari dell'Ateneo di Brescia, ISSN 1594-8218 [Article] (Forthcoming)

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Matsumoto, Naomi. 2011. Manacled Freedom: 19th-Century Vocal Improvisation and the Flute-Accompanied Cadenza in Donizetti’s Lucia di Lammermoor. In: Rudolf Rasch, ed. Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries. Turnhout: Brepols, pp. 295-316. ISBN 978-2503542447 [Book Section]

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Matsumoto, Naomi. 2014. Michael Costa at the Haymarket: the Establishment of the Modern Role of 'The Director of Music'. In: Roberto Illiano and Michela Niccolai, eds. Orchestral Conducting in the Nineteenth Century. Turnhout: Brepols, pp. 25-60. ISBN 9782503552477 [Book Section]

Matsumoto, Naomi. 2008. Motoo Ohtaguro interviews Prokofiev. Three Oranges: the Journal of the Sergey Prokofiev Foundation, 15, pp. 9-13. [Article]

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Matsumoto, Naomi. 2023. Music Historiography: How and why music history has been written. Tokyo: Yamaha Music Entertainment Holdings, Inc.. ISBN 9784636101164 [Book]

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Matsumoto, Naomi. 2014. Nature in Music, Music in Nature: Imitation, Quotation and Representation. In: Naomi Matsumoto and Kazuto Yamamoto, eds. SHIZENGAKU: the Search for a Coming Aesthetic. Kyoto, Japan: Nakanishiya, pp. 124-133. ISBN 9784779507915 [Book Section]

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Matsumoto, Naomi. 2022. Notice sur l'établissement de la musique. In: Marie-Claude Canova-Green and Suzanne Jones, eds. Raymond Poisson: Théâtre complet. Paris: Classique Garnier, pp. 53-60. ISBN 9782406125198 [Book Section]

Matsumoto, Naomi. 2020. The Other Reversed? Japan’s Assimilation of Carmen, 1885 to 1945. In: Richard Langham Smith and Clair Rowden, eds. Carmen Abroad: Bizet's Opera on the Global Stage. Cambridge: Cambridge University Press, pp. 284-303. ISBN 9781108481618 [Book Section]

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Matsumoto, Naomi. 2018. Pio Enea Obizzi: Power and Authorship. In: R Rasch, ed. Music and Power in the Baroque Era. 6 Turnhout: Brepols, pp. 275-298. ISBN 9782503580715 [Book Section]

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Matsumoto, Naomi. 2011. Pio Enea degli Obizzi and the Opera Torneo Genre – Towards an Understanding of the Commercialisation of Early Italian Opera’. The Journal of the Musicological Society of Japan, lvii(1), pp. 56-68. ISSN 00302597 [Article]

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Matsumoto, Naomi. 2023. Realising Arianna: the Problematic Accompaniments of Claudio Monteverdi's Lamento d'Arianna. In: Marcello Mazzetti, ed. Basso Continuo in Italy: Sources, Pedagogy and Performance. Turnhout, Belgium: Brepols, pp. 3-29. ISBN 9782503608501 [Book Section]

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Matsumoto, Naomi. 2023. Representational Conventions and Varieties of Operatic Madness: The Gap between Dramaturgy and Diagnosis. In: Lorenzo Lorusso; Michele Augusto Riva and Vittorio Alessandro Sironi, eds. Effects of Opera Music from Brain to Body: A Matter of Wellbeing. Cham, Switzerland: Springer, pp. 125-129. ISBN 9783031347689 [Book Section]

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Matsumoto, Naomi. 2024. Representing Insanity and the Crisis of Identity through Henry Purcell's 'Bess of Bedlam'. Swiss Journal of Musicology, 40, pp. 11-40. ISSN 0259-3165 [Article]

Matsumoto, Naomi. 2006. An anonymous setting of L’Ospedale and the question of an “asylum opera” genre. The Journal of the Musicological Society of Japan, pp. 45-61. [Article]

Matsumoto, Naomi. 2009. The dating of MS, GB-Lcm: n. 927, The Dragon of Wantley. The Journal of the Musicological Society of Japan, 54(1), pp. 75-77. [Article]

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Matsumoto, Naomi. 2005. The operatic mad scene: its origins and early development up to c.1700. Doctoral thesis, Goldsmiths, University of London [Thesis]

McFarlane, Meredith and McVeigh, Simon. 2004. The String Quartet in London Concert Life, 1769–1799. In: Susan Wollenberg and Simon McVeigh, eds. Concert Life in Eighteenth-Century Britain. Aldershot: Ashgate, pp. 161-190. ISBN 0754638685 [Book Section]

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McKeon, EJ. 2021. The Concept Album as Curatorial 'Medium': Colin Riley's "In Place". Tempo, 75(296), pp. 46-56. ISSN 0040-2982 [Article]

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McLaughlin, Scott; Benjamin, Mira and Kanga, Zubin. 2024. we are environments for each other. [Audio]

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McLaughlin, Scott; Kanga, Zubin and Benjamin, Mira. 2021. Composing Technique, Performing Technique. Journal for Artistic Research(23), ISSN 2235-0225 [Article]

McVeigh, Simon. 2018. Academy of Ancient Music (Eighteenth Century); Programmes (of Concerts), Tartini (Giuseppe). In: Colin Lawson and Robin Stowell, eds. The Cambridge Encyclopedia of Historical Performance in Music. Cambridge: Cambridge University Press. ISBN 9781107108080 [Book Section]

McVeigh, Simon. 2010. 'As the Sand on the Sea Shore': Women Violinists in London’s Concert Life around 1900. In: Emma Hornby and David Maw, eds. Essays on the History of English Music in Honour of John Caldwell. Woodbridge: Boydell & Brewer, pp. 232-258. ISBN 9781843835356 [Book Section]

McVeigh, Simon. 2004. An Audience for High-Class Music: Concert Promoters and Entrepreneurs in Nineteenth-Century London. In: W. Weber, ed. The Musician as Entrepreneur, 1700-1914: Managers, Charlatans and Idealists. Indiana University Press, pp. 162-182. ISBN 0253344565 [Book Section]

McVeigh, Simon. 1999. The Benefit Concert in Nineteenth-Century London: From 'tax on the nobility' to 'monstrous nuisance'. In: Bennett Zon, ed. Nineteenth-Century British Music Studies 1. Aldershot: Ashgate, pp. 242-266. ISBN 1840142596 [Book Section]

McVeigh, Simon. 2019. “Brightening the lives of the people on Sunday”: the National Sunday League and Liberal Attitudes towards Concert Promotion in Victorian Britain. In: Sarah Collins, ed. Music and Victorian Liberalism: Composing the Liberal Subject. Cambridge: Cambridge University Press, pp. 37-59. ISBN 9781108628778 [Book Section]

McVeigh, Simon. 2018. Britain and Europe in the Time of Clementi: Cosmopolitanism and Perceptions of National Culture. In: Luca Lévi Sala and Rohan H. Stewart-MacDonald, eds. Muzio Clementi and British Musical Culture: Sources, Performance Practice and Style. Abingdon: Routledge, pp. 10-31. ISBN 9781138633896 [Book Section]

McVeigh, Simon. 2018. Building a Concert Career in Edwardian London. In: Rosemary Golding, ed. The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Abingdon: Routledge, pp. 189-219. ISBN 9781138291867 [Book Section]

McVeigh, Simon. 2002. Clementi, Viotti and the London Philharmonic Society. In: Roberto Illiano; Luca Sala and Massimiliano Sala, eds. Muzio Clementi: Studies and Projects. Bologna: Ut Orpheus, pp. 67-80. ISBN 8881094487 [Book Section]

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McVeigh, Simon. 1993. Concert Life in London from Mozart to Haydn. Cambridge: Cambridge University Press. ISBN 0521413532 [Book]

McVeigh, Simon. 2009. Concerto of the Individual. In: Simon P. Keefe, ed. Cambridge History of Eighteenth-Century Music. Cambridge: Cambridge University Press, pp. 583-612. ISBN 9780521663199 [Book Section]

McVeigh, Simon. 2008. The Constrained Entrepreneur: Concert Promotion in Eighteenth-Century London. In: Hans Erich Bödeker; Patrice Veit and Michael Werner, eds. Organisateurs et formes d’organisation du concert en Europe 1700–1920: Institutionnalisation et pratiques. Berlin: Berliner Wissenschafts-Verlag, pp. 47-56. ISBN 9783830515517 [Book Section]

McVeigh, Simon. 1983. Felice Giardini: a Violinist in Late Eighteenth-Century London. Music and Letters, 64, pp. 162-172. ISSN 0027-4224 [Article]

McVeigh, Simon. 2007. A Free Trade in Music: London during the Long 19th Century in a European Perspective. Journal of Modern European History, 5(1), pp. 67-94. ISSN 16118944 [Article]

McVeigh, Simon. 2000. Freemasonry and Musical Life in London in the late Eighteenth Century. In: David Wyn Jones, ed. Music in Eighteenth-Century Britain. Aldershot: Ashgate, pp. 72-100. ISBN 1840146885 [Book Section]

McVeigh, Simon. 2014. Handel in Concert: Social, National and Cultural Roles in Later Eighteenth-Century Britain. In: Laurenz Lütteken and Wolfgang Sandberger, eds. Göttinger Händel-Beiträge 15. Göttingen: Vanderkoeck & Ruprecht, pp. 161-176. ISBN 9783525278321 [Book Section]

McVeigh, Simon. 2010. Industrial and Consumer Revolutions in Instrumental Music: Markets, Efficiency, Demand. In: Roberto Illiano and Luca Sala, eds. Instrumental Music and the Industrial Revolution. Bologna: Ut Orpheus, pp. 3-35. ISBN 9788881094684 [Book Section]

McVeigh, Simon. 2001. Italian Violinists in Eighteenth-Century London. In: Reinhard Strohm, ed. The Eighteenth-Century Diaspora of Italian Music and Musicians. Turnhout: Brepols, pp. 139-176. ISBN 2503510205 [Book Section]

McVeigh, Simon. 1996. London Newspapers 1750 to 1800: a Checklist and Guide for Musicologists. In: Michael Burden and Irena Cholij, eds. A Handbook for Studies in 18th-Century English Music VI. Oxford: Burden & Cholij, pp. 1-60. ISBN 0951278584 [Book Section]

McVeigh, Simon. 2013. The London Symphony Orchestra: the First Decade Revisited. Journal of the Royal Musical Association, 138(2), pp. 313-376. ISSN 0269-0403 [Article]

McVeigh, Simon. 1988. Music and Lock Hospital in the 18th Century. Musical Times, 129, pp. 235-240. ISSN 0027-4666 [Article]

McVeigh, Simon. 2002. The Musician as Concert-Promoter in London, 1780-1850. In: Hans-Erich Bödeker; Patrice Veit and Michael Werner, eds. Le concert et son public. Paris: Editions Maison des Sciences de l’Homme, pp. 71-92. ISBN 2735109143 [Book Section]

McVeigh, Simon. 2020. The Nineteenth-Century Concert Series: a Contested Space. In: Paul Watt; Sarah Collins and Michael Allis, eds. The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century. New York: Oxford University Press. ISBN 9780190616922 [Book Section]

McVeigh, Simon. 2012. Performance in the 'Long Eighteenth Century': an Overview. In: Colin Lawson and Robin Stowell, eds. The Cambridge History of Musical Performance. Cambridge: Cambridge University Press, pp. 473-505. ISBN 9780521896115 [Book Section]

McVeigh, Simon. 2022. Piano Manufacturers and Concert Promotion in Edwardian London: New Light on the Broadwood Concerts (1902-1912). In: Étienne Jardin, ed. Financing Music in Europe. Turnhout, Belgium: Brepols, pp. 319-342. ISBN 9782503602899 [Book Section]

McVeigh, Simon. 2016. The Prince of Wales, Giardini and Pleyel: Searching for the Source of the Public String Quartet in London Concert Life. In: Christian Speck, ed. The String Quartet: From the Private to the Public Sphere. 27 Turnhout: Brepols, pp. 165-197. ISBN 9782503568003 [Book Section]

McVeigh, Simon. 1989. The Professional Concert and Rival Subscription Series in London, 1783-93. Royal Musical Association Research Chronicle, 22, pp. 1-135. ISSN 00804460 [Article]

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McVeigh, Simon. 2020. Rescuing a Heritage Database: Some Lessons from London Concert Life in the Eighteenth Century. Research Data Journal for the Humanities and Social Sciences, 5(2), pp. 50-61. ISSN 2452-3666 [Article]

McVeigh, Simon. 2000. The Society of British Musicians (1834-1865) and the Campaign for Native Talent. In: Christina Bashford and Leanne Langley, eds. Music and British Culture, 1785-1914: Essays in Honour of Cyril Ehrlich. Oxford: Oxford University Press, pp. 145-168. ISBN 019816730 [Book Section]

McVeigh, Simon. 2012. The Symphony in Britain. In: Mary Sue Morrow and Bathia Churgin, eds. The Symphonic Repertoire: The Eighteenth-Century Symphony. Bloomington: Indiana University Press, pp. 629-661. ISBN 9780253356406 [Book Section]

McVeigh, Simon. 2012. Trial by Dining Club: the Instrumental Music of Haydn, Clementi and Mozart at London's Anacreontic Society. In: Bennett Zon, ed. Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley. Farnham: Ashgate, pp. 105-138. ISBN 9781409495536 [Book Section]

McVeigh, Simon. 1992. The Violinists of the Baroque and Classical Periods. In: Robin Stowell, ed. The Cambridge Companion to the Violin. Cambridge: Cambridge University Press, pp. 46-60. ISBN 0521399238 [Book Section]

McVeigh, Simon. 2006. Viotti and London Violinists during the 1790s: A Calendar of Performances. In: Massimiliano Sala, ed. Giovanni Battista Viotti: A Composer between the Two Revolutions. Turnhout: Brepols, pp. 87-119. ISBN 8881094576 [Book Section]

McVeigh, Simon. 2021. Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra. In: Peter Lynan and Julian Rushton, eds. British Music, Musicians and Institutions, c. 1630-1800: Essays in Honour of Harry Diack Johnstone. Woodbridge: Boydell Press, pp. 32-53. ISBN 9781783276479 [Book Section]

McVeigh, Simon and Ehrlich, C.. 2002. The Modernisation of London Concert Life Around 1900. In: M. Talbot, ed. The Business of Music. Liverpool University Press, pp. 96-120. ISBN 0853235287 [Book Section]

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McVeigh, Simon and Hirshberg, J.. 2004. The Italian Solo Concerto, 1700-1760: Rhetorical Strategies and Style History. Boydell Press. ISBN 1843830922 [Book]

McVeigh, Simon and Weber, William. 2020. From the Benefit Concert to the Solo Song Recital in London, 1870-1914. In: Natasha Loges and Laura Tunbridge, eds. German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries. Bloomington, Indiana: Indiana University Press, pp. 179-202. ISBN 9780253047007 [Book Section]

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Minou, Andriana. 2010. Sibyl's Leaves: Understanding Musical Performance Issues in Jani Christou's Anaparastasis III: The Pianist. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Moreno, Louis; Rekret, Paul; George, Edward; Sharma, Ash and Kampman, Anneke. 2023. 'Visible Music'. In: An Endless Archive. San Mei Gallery, London, United Kingdom 8 June 2023. [Conference or Workshop Item]

Mwamba, Corey and Elcombe, Chris. 2022. Screaming, like a bell. [Broadcast]

Mwamba, Corey and Elcombe, Chris. 2022. Voice of The Vibraphone: Hit it!. [Broadcast]

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Nalimova, Elena. 2012. Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation.. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Negus, Keith. 2011. Authorship and the Popular Song. Music and Letters, 92(4), pp. 607-629. ISSN 0027-4224 [Article]

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Negus, Keith. 2002. Belonging and detachment - musical experience and the limits of identity. Poetics, Journal of Empirical Research on Culture, the Media and the Arts, 30(1-2), pp. 133-145. ISSN 00484571 [Article]

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Negus, Keith. 2008. Bob Dylan. London: Equinox London. ISBN 13 978 1 904768 25 8 [Book]

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Negus, Keith. 2010. Bob Dylan's Phonographic Imagination. Popular Music, 29(2), pp. 213-228. ISSN 0261-1430 [Article]

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Negus, Keith. 2023. Book Review: Made in Hong Kong: Studies in Popular Music. Global Media and China, ISSN 2059-4364 [Article] (In Press)

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Negus, Keith. 2005. Elvis Costello at 50. Popular Music, 24(3), pp. 453-457. ISSN 0261-1430 [Article]

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Negus, Keith. 1996. Globalization and the Music of the Public Spheres. In: Sandra Braman and Annabelle Sreberny-Mohammadi, eds. Globalisation, Communication and Transnational Civil Society. Cresskill, New Jersey: Hampton Press, pp. 179-195. ISBN 1-57273-020-X [Book Section]

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Negus, Keith. 2007. Living, Breathing Songs: Singing Along With Bob Dylan. Oral Tradition, 22(1), pp. 71-83. ISSN 0883-5365 [Article]

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Negus, Keith. 1999. Music Genres and Corporate Cultures. London: Routledge. ISBN 0-415-17399-X [Book]

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Negus, Keith. 2018. Musicians on Television at the BBC, 1936-1972. Discussion Paper, [Article]

Negus, Keith. 2006. Musicians on Television: Visible, Audible and Ignored. Journal of the Royal Musical Association, 131(2), pp. 310-330. ISSN 02690403 [Article]

Negus, Keith. 2012. Narrative Time and the Popular Song. Popular Music and Society, 35(4), pp. 483-500. ISSN 0300-7766 [Article]

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Negus, Keith. 2012. Narrative, Interpretation and the Popular Song. Musical Quarterly, 95(2-3), pp. 368-395. ISSN 1741-8399 [Article]

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Negus, Keith. 2024. Perspectives on cultural economy: personal, institutional, historical. Journal of Cultural Economy, 17(5), pp. 694-699. ISSN 1753-0350 [Article]

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Negus, Keith. 2011. Producing Pop: Culture and Conflict in the Popular Music Industry. London: Edward Arnold. ISBN 0340575123 [Book]

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Negus, Keith. 2005. 'When the artist meets the audience: amour, anxiety and ambivalence'. In: 13th Biennial IASPM Conference, Making Music, Making Meaning. Università La Sapienza, Rome, Italy, Italy 25-30 July 2005. [Conference or Workshop Item]

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Negus, Keith. 2002. The Work of Cultural Intermediaries and the Enduring Distance between Production and Consumption. Cultural Studies, 16(4), pp. 501-515. ISSN 09502386 [Article]

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Negus, Keith and Astor, Pete. 2022. Authenticity, empathy, and the creative imagination. Rock Music Studies, 9(2), pp. 157-173. ISSN 1940-1159 [Article]

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Negus, Keith; Du Gay, Paul; Hall, Stuart; Janes, Linda and Mackay, Hugh. 1997. Doing Cultural Studies: The Story of the Sony Walkman. London: Sage. ISBN 0-7619-5402-3 [Book]

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Negus, Keith and Sledmere, Adrian. 2022. Postcolonial paths of pop: a suburban psychogeography of George Michael and Wham! Popular Music, 41(2), pp. 131-151. ISSN 0261-1430 [Article]

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Negus, Keith and Street, John. 2016. The Mediations of Music and Alcohol. Popular Music, 35(02), pp. 161-165. ISSN 0261-1430 [Article]

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Nex, Jennifer Susan. 2013. The Business of Musical-Instrument Making in Early Industrial London. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Nielinger-Vakil, Carola. 2006. 'Between Memorial and Political Manifesto: Nono's Anti-fascist Pieces, 1951-1966'. In: International Nono Conference. Padova 2006. [Conference or Workshop Item]

Nielinger-Vakil, Carola. 2006. 'Between Memorial and Political Manifesto: Nono's Anti-fascist Works, 1951-1966'. In: International Conference 'Presenza storica di Luigi Nono'. UNDEFINED 12/1/2006. [Conference or Workshop Item]

Nielinger-Vakil, Carola. 2006. Intolleranza 1960. In: , ed. Intolleranza 1960. , pp. 8-17 ISBN 00000000 [Book Section]

Nielinger-Vakil, Carola. 2007. Own version of 'Improvvisazione finale' of Luigi Nono's Das Atmende Klarsein. In: "Own version of 'Improvvisazione finale' of Luigi Nono's Das Atmende Klarsein", Corso d'interpretazione sulle opere di Luigi Nono con live electronics e con nastro magnetico, 11/3/2007 - 11/7/2007. [Performance]

Nielinger-Vakil, Carola. 2006. 'The Song Unsung': Luigi Nono's Il canto sospeso. Journal of the Royal Musical Association, 131(1), pp. 83-150. ISSN 14716933 [Article]

Norton, Barley. 2008. CD Review: Huong Thanh, Cai Luong Music. Songlines: The World Music Magazine., 53, p. 77. [Article]

Norton, Barley. 2007. CD Review: Que Huong (Homeland). Songlines: The World Music Magazine., 44, p. 75. [Article]

Norton, Barley. 2007. CD Review: The Rough Guide to the Music of Vietnam. Songlines: The World Music Magazine, 46, p. 67. [Article]

Norton, Barley. 2007. CD Review: Vietnam: Vocal music from the Northern Plains. Songlines: The World Music Magazine, 41, p. 75. [Article]

Norton, Barley. 2008. Ca Tru Restoration: Issues and Challenges. In: . Vietnamese Institute for Musicology, ed. Ca Tru Singing of the Viet People. Hanoi: Vietnamese Institute for Musicology, pp. 187-192. ISBN No ISBN [Book Section]

Norton, Barley. 2001. Ca tru: the music of north Vietnam. Nimbus Records NI5626, Wyastone. [Other]

Norton, Barley. 2006. Effeminate’ Men and ‘Hot-Tempered’ Women: The Performance of Music and Gender in Vietnamese Mediumship. In: Karen Fjelstad and Hien Thi Nguyen, eds. Possessed by the Spirits: Mediumship in Contemporary Vietnamese Communities. Ithaca, NY: Cornell University Press, pp. 55-75. ISBN 0877271410 [Book Section]

Norton, Barley. 2014. Engendering Emotion and the Environment in Vietnamese Mediumship. Vietnam Social Sciences Review, 164(6), pp. 1-16. [Article]

Norton, Barley. 2013. Engendering Emotion and the Environment in Vietnamese Music and Ritual. In: Fiona Magowan and Louise Wrazen, eds. Performing Gender, Place and Emotion in Music: Global Perspectives. Rochester, New York: Rochester University Press, pp. 29-59. ISBN 9781580464642 [Book Section]

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Norton, Barley. 2021. Ethnomusicology and Filmmaking. In: Stephen Cottrell, ed. Music, Dance, Anthropology. Hertfordshire: Sean Kingston Publishing, pp. 121-143. ISBN 978-1-912385-31-7 [Book Section]

Norton, Barley. 2007. Feature article "Postcard from Hanoi, Vietnam". Songlines: The World Music Magazine., 45, p. 51. [Article]

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Norton, Barley. 2019. Feature article “Dispatch from Vietnam”. Songlines: The World Music Magazine, 144, p. 85. [Article]

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Norton, Barley. 2018. Filming Music as Heritage. In: Hui Yu, ed. Ethnomusicology in Audiovisual Time. Zheijang: Zheijang University Press, pp. 78-90. ISBN 978-7-308-18210-2 [Book Section]

Norton, Barley. 2019. Filming Music as Heritage: The Cultural Politics of Audiovisual Representation. In: Barley Norton and Naomi Matsumoto, eds. Music as Heritage: Ethnographic and Historical Perspectives. Abingdon: Routledge, pp. 79-101. ISBN 9781138228047 [Book Section]

Norton, Barley. 2011. Huong Thanh - Vietnam's Song Bird. Songlines, 80, p. 27. [Article]

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Norton, Barley. 2024. Intimacy in Ethnographic Film: Listening to How to Improve the World by Nguyễn Trinh Thi. In: Stephen Cottrell; Dafni Tragaki and Stephen Wilford, eds. Ethnomusicology and its Intimacies. New York: Routledge, pp. 148-162. ISBN 9781032431314 [Book Section]

Norton, Barley. 2004. Lên đồng Việt Nam: Cấu tạo âm nhạc của thần thánh (Vietnamese mediumship rituals: the musical construction of the spirits). In: Đức Thịnh Ngô, ed. Đạo Mẫu và các hình thức Shaman trong các tộc người ở Việt Nam và châu Á (The Mother Religion and Forms of Shamanism among Ethnic Groups in Vietnam and Asia). Hanoi: Social Science Publishing House, pp. 310-341. [Book Section]

Norton, Barley. 2002. The Moon Remembers Uncle Ho: The Politics of Music and Mediumship in Northern Vietnam. British Journal of Ethnomusicology, 11(1), pp. 71-100. ISSN 1741-1912 [Article]

Norton, Barley. 2014. Music Revival, Ca Trù Ontologies, and Intangible Cultural Heritage in Vietnam. In: Caroline Bithell and Juniper Hill, eds. The Oxford Handbook of Music Revival. New York: Oxford University Press, pp. 160-181. ISBN 9780199765034 [Book Section]

Norton, Barley. 2018. Music and Censorship in Vietnam since 1954. In: Patricia Hall, ed. The Oxford Handbook of Music Censorship. New York: Oxford University Press, pp. 303-331. ISBN 9780199733163 [Book Section]

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Norton, Barley. 2016. 'Music, Ethnicity and Heritage: A Comparison of Then and Lên đồng Rituals in Vietnam (Âm nhạc, Tộc người và Di Sản: So sánh giữa nghi lễ Then và Lên đồng của Việt Nam)'. Thông Báo Khoa Học Viện Âm Nhạc (Bulletin of Vietnamese Institute for Musicology), 156, pp. 22-33. ISSN 18594360 [Article]

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Norton, Barley. 2013. Music, Protest & the Vietnam War. Goldlink Magazine(40), pp. 18-20. [Article]

Norton, Barley. 2010. “Nhân Học Âm Nhạc Việt?” (“The Anthropology of Vietnamese Music?”). In: Hy Van Luong, ed. Hiện Đậi và Động Thái của Truyền Thống Ở Việt Nam: Những Cách Tiếp Cận Nhân Học (Modernities and the Dynamics of Tradition in Vietnam: Anthropological Approaches). 2 Ho Chi Minh City: National University of Ho Chi Minh Press, pp. 623-636. [Book Section]

Norton, Barley. 2018. Orchestrating the Nation: Court Orchestras, Nationalism and Agency in Vietnam. In: Tina K. Ramnarine, ed. Global Perspectives on Orchestras: Collective Creativity and Social Agency. New York: Oxford University Press, pp. 301-323. ISBN 9780199352227 [Book Section]

Norton, Barley. 2007. A Review Essay on Recordings of Music from Vietnam. World of Music, 49(1), pp. 215-222. [Article]

Norton, Barley. 2011. Review of the CD "Burma: Classical Theatre Music". VDE-Gallo. Songlines: The World Music Magazine, 74, p. 78. [Article]

Norton, Barley. 2008. Review of the CD "Fragile Beauty" by Huong Thanh and Nguyen Le. ACT 94512. Songlines: The World Music Magazine., 50, p. 101. [Article]

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Norton, Barley. 2020. Review of the CD 'Hoạ Âm Xưa' by Saigon Soul Revival, Saigon Supersound. Songlines: The World Music Magazine, 156, p. 62. [Article]

Norton, Barley. 2018. Review of the CD 'Lao Dreaming' by Wonderfeel, Skeletone. Songlines: The World Music Magazine, 136, p. 65. [Article]

Norton, Barley. 2015. Review of the CD 'Radio Vietnam', compiled by Mark Gergis. Sublime Frequencies. Songlines: The World Music Magazine, 109, p. 71. [Article]

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Norton, Barley. 2019. Review of the CD 'Saigon Supersound, 1964-75 Volume 2', INFRACom! Songlines: The World Music Magazine, 144, p. 68. [Article]

Norton, Barley. 2017. Review of the CD 'Saigon Supersound, 1965-75 Volume 1', INFRACom! Songlines: The World Music Magazine, 131, p. 59. [Article]

Norton, Barley. 2009. Review of the CD 'Saiyuki' by Nguyen Le, ACT 9483-2. Songlines: The World Music Magazine, 64, p. 97. [Article]

Norton, Barley. 2012. Review of the CD 'Song Hanh' by Onno Krijn and Ngo Hong Quang. Noon Records. Songlines: The World Music Magazine., 84, p. 94. [Article]

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Norton, Barley. 2019. Review of the CD 'Streams' by Nguyên Lê Quartet, ACT. Songlines: The World Music Magazine(147), p. 65. ISSN 2059-6782 [Article]

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Norton, Barley. 2019. Review of the CD 'The Art of the Vietnamese Zither: Đàn Tranh' by Tri Nguyen, ARC Music. Songlines: The World Music Magazine(147), p. 60. ISSN 1464-8113 [Article]

Norton, Barley. 2012. Review of the CD 'Tree of Dreams' by Huong Thanh. Buda Musique. Songlines: The World Music Magazine., 83, p. 88. [Article]

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Norton, Barley. 2005. Singing the Past: Vietnamese Ca Tru, Memory and Mode. Asian Music, 36(2), pp. 27-56. [Article]

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Norton, Barley. 2009. Songs for the Spirits: Music and Mediums in Modern Vietnam. Urbana and Chicago: University of Illinois Press. ISBN 9780252033995 [Book]

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Norton, Barley. 2020. "Sự Truyền Tải Bằng Hình Thức Nghe Nhìn Của Di Sản Văn Hoá Trong Xã Hội Đương Đại" [“The Audiovisual Mediation of Cultural Heritage in Contemporary Society”]. In: Lâm Đoàn Trần, ed. Bảo Vệ Và Phát Huy Giá Trị Nghệ Thuật Xoè Thái Trong Xã Hội Đương Đại [“Safeguarding and Promoting of the Art of Xòe Dance of the Tai People in Contemporary Society"]. Hanoi: Nhà Xuất Bản Thế Giới, pp. 534-549. ISBN 9786047786602 [Book Section]

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Norton, Barley. 2017. Vietnam: Popular Music and Censorship. In: Marie Korpe, ed. Targeting the Arts. Copenhagen, Denmark: Freemuse, pp. 21-31. ISBN 9788799886814 [Book Section]

Norton, Barley. 2013. Vietnamese Popular Song in ‘1968’: War, Protest and Sentimentalism. In: Beate Kutschke and Barley Norton, eds. Music and Protest in 1968. Cambridge: Cambridge University Press, pp. 97-118. ISBN 9781107007321 [Book Section]

Norton, Barley and Blackburn, Philip. 2009. Vietnam: Music on the Move. In: Simon Broughton, ed. The Rough Guide to World Music: Europe and Asia. 2 London: Rough Guides, pp. 778-797. ISBN 1843538660 [Book Section]

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Norton, Barley and Hoang, Van Chung. 2020. Heritage of Future Past - Story Collection. Project Report. British Council, Vietnam. [Report]

Norton, Barley and Matsumoto, Naomi. 2019. Introduction: Historical and Ethnographic Perspectives on Music as Heritage. In: Barley Norton and Naomi Matsumoto, eds. Music as Heritage: Historical and Ethnographic Perspectives. London and New York: Routledge, pp. 1-17. ISBN 9781138228047 [Book Section]

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Ohno, Mari. 2021. Composing with Matter: Interdisciplinary Explorations Between the Natural and the Artificial. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Okumura, Hiromi; Williams, Valerie; Kirby, Jenn; Jobson, Thomas B and Vaughan, Joseph. 2022. 'AtmosActions: An Interactive Audiovisual Installation for a Human/Weather Interface'. In: Data Art for Climate Action. Hong Kong 21-26 February 2022. [Conference or Workshop Item]

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Olowe, Ireti; Barthet, Mathieu; Grierson, Mick and Bryan-Kinns, Nick. 2016. 'FEATUR.UX: exploiting multitrack information for artistic visualization'. In: Proceedings of the International Conference on Technologies for Music Notation and Representation - TENOR2016. TENOR, United Kingdom. [Conference or Workshop Item]

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Pavlopoulou, Argyro. 2012. Musical tradition and change on the island of Crete. Doctoral thesis, Goldsmiths, University of London [Thesis]

Perchard, Thomas. 2015. 'Roundtable contributor'. In: ‘New Directions in Jazz Studies’ symposium.. Senate House, University of London, United Kingdom. [Conference or Workshop Item]

Perchard, Tom. 2017. 'Experiments in Critical Music Writing'. In: Experimental Approaches to Writing Research symposium. Birmingham City University, United Kingdom. [Conference or Workshop Item]

Perchard, Tom. 2011. 'Four Histories of 20th-Century Music.'. In: Cabaret Voltaire art foundation course. GBS University, St. Gallen, Switzerland. [Conference or Workshop Item]

Perchard, Tom. 2012. 'Going Cold on Cool: Miles Davis and Ascenseur pour l’échafaud’'. In: Invited research seminar. King’s College London. [Conference or Workshop Item]

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Perchard, Tom. 2017. Growing Old Together: Pop Studies and Music Sociology Today. Twentieth-Century Music, 14(2), pp. 335-343. ISSN 1478-5722 [Article]

Perchard, Tom. 2018. 'Hearing, Seeing, Talking, Touching: Pop Music Experiences in the Postwar British Home'. In: 8th William A. Kern Conference in Visual Communication. Rochester Institute of Technology, United States. [Conference or Workshop Item]

Perchard, Tom. 2012. 'Hip Hop Samples Jazz: Dynamics of Cultural Memory and Musical Tradition in the African American 1990s'. In: Unofficial Histories. Bishopsgate Institute, London. [Conference or Workshop Item]

Perchard, Tom. 2011. 'Hip Hop Samples Jazz: Dynamics of Cultural Memory and Musical Tradition in the African American 1990s'. In: Invited research seminar, ‘Directions in Musical Research’ series.. Institute of Musical Research, School of Advanced Study. [Conference or Workshop Item]

Perchard, Tom. 2017. 'Historiography and Popular Music'. In: 53rd Royal Music Association annual conference. University of Liverpool, United Kingdom. [Conference or Workshop Item]

Perchard, Tom. 2009. 'Hugues Panassié and Readings of Primitivism in Early French Jazz Criticism'. In: Invited research seminar. University of Sheffield. [Conference or Workshop Item]

Perchard, Tom. 2011. 'Ideologies of Improvisation: Miles Davis’ music for Ascenseur pour l’échafaud'. In: Invited research seminar. University of York. [Conference or Workshop Item]

Perchard, Tom. 2012. 'Jazz Trumpet and the Semiotics of Vulnerability'. In: 19th International Congress of the International Musicological Society. Rome, Italy. [Conference or Workshop Item]

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Perchard, Tom. 2006. Lee Morgan: His Life, Music and Culture. London: Equinox. ISBN 1845532058 [Book]

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Perchard, Tom. 2009. Lee Morgan: La vita, la musica e il suo tempo. Bologna: Odoya. ISBN 978-88-6288-014-5 [Book]

Perchard, Tom. 2016. 'The Look of Listening: Audio Technology and the British Home, 1955-70'. In: Research Symposium. Canterbury Christ Church University, United Kingdom. [Conference or Workshop Item]

Perchard, Tom. 2012. 'Miles Davis’s Music for Louis Malle’s Ascenseur pour l’échafaud (1958): Improvisation, Realism and Ideology'. In: Perspectives on Musical Improvisation. University of Oxford. [Conference or Workshop Item]

Perchard, Tom. 2012. 'Monk Meets the French Critics'. In: Piacenza Jazz Fest study day. Piacenza, Italy. [Conference or Workshop Item]

Perchard, Tom. 2015. 'Popular Music teaching at Goldsmiths'. In: Reconcile Your Body and Soul (But How?)’. Symposium on academic and creative practice in popular music education. Seika University, Kyoto, Japan. [Conference or Workshop Item]

Perchard, Tom. 2011. 'Re-reading Primitivism in Hugues Panassié’s Writing on Jazz'. In: Jazz and Race, Past and Present. Open University. [Conference or Workshop Item]

Perchard, Tom. 2017. 'Reimagining Popular Music History'. In: Research Colloquium. University of Oxford, United Kingdom. [Conference or Workshop Item]

Perchard, Tom. 2011. 'Thelonious Monk Meets the French Critics: Art and Entertainment, Improvisation, and its Simulacrum'. In: Salford Jazz Research Seminar. University of Salford. [Conference or Workshop Item]

Perchard, Tom. 2009. 'Thelonious Monk Meets the French Critics: Improvisation and its Simulacra'. In: Mediating Jazz. University of Salford. [Conference or Workshop Item]

Perchard, Tom. 2018. 'Towards a History of Pop Music in the 20th-Century Home'. In: Research Symposium. Kunstuniversität Graz, Austria. [Conference or Workshop Item]

Perchard, Tom. 2016. 'Towards a History of Pop Music in the British Home'. In: Research symposium. University of York, United Kingdom. [Conference or Workshop Item]

Perchard, Tom. 2016. 'Utopia in the Living Room'. In: Jazz Utopia. Birmingham City University, United Kingdom. [Conference or Workshop Item]

Perchard, Tom. 2017. 'What Next for the History of Popular Music?'. In: 19th Biennial Conference of the International Association for the Study of Popular Music. Kassel, Germany. [Conference or Workshop Item]

Perchard, Tom. 2007. Writing Jazz Biography: Race, Research and Narrative Representation. Popular Music History, 2(2), pp. 119-145. ISSN ISSN: 1740-7133 [Article]

Perchard, Tom; Graham, Stephen; Rutherford-Johnson, Tim and Rogers, Holly. 2022. Twentieth-Century Music in the West. Cambridge: Cambridge University Press. ISBN 9781108481984 [Book]

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Perry, Phoenix and Abtan, Freida. 2016 - 2018 Bot Party. [Project]

Peyton Jones, Jeremy. 2013. Composing music for The Zero Hour. In: Andrew Quick, ed. Theatricalising Cinema: imitating the dog's The Zero Hour and 6 Degrees Below the Horizon. Lancaster: Live at LICA, n/a-n/a. ISBN 978-1-86220-308-2 [Book Section]

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Peyton Jones, Jeremy. 2014. Sound Production as Theatrical Action. In: Marilyn Wyers and Osvaldo Gileca, eds. Sound, Music and the Moving Thinking Body. Cambridge Scholars Publishing. [Book Section]

Peyton Jones, Jeremy. 2015. The Train. [Composition]

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Peyton Jones, Jeremy and Gardiner, Ian R.. 2022. And Then He Asked Me. [Composition]

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Peyton Jones, Jeremy and Gardiner, Ian R.. 2022. Going Down. [Composition]

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Peyton Jones, Jeremy and Gardiner, Ian R.. 2022. Tuning. [Composition]

Pickens, Jeremy; Bello, Juan Pablo; Monti, Giuliano; Sandler, Mark; Crawford, Tim and Dovey, Matthew. 2003. Polyphonic Score Retrieval Using Polyphonic Audio Queries: A Harmonic Modeling Approach. Journal of New Music Research, 32(2), pp. 223-236. ISSN 09298215 [Article]

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Pickering, M. and Negus, Keith. 2004. Creativity, Communication & Cultural Value. Sage. ISBN 0761970754 [Book]

Potter, Keith. 2007. '1976 and All That: Minimalism and Postminimalism, Analysis and Listening Strategies.'. In: Proceedings of the First International Conference on Music and Minimalism. Bangor, United Kingdom 11/1/2007. [Conference or Workshop Item]

Potter, Keith. 2000. Booklet essay for Philip Glass: Violin Concerto, Prelude and Dance from Akhnaten and Company (Naxos 8 554568). Philip Glass: Violin Concerto, Prelude and Dance from Akhnaten and Company, [Article]

Potter, Keith. 2003. A Conversation with James Dillon. In: P. O'Hagan, ed. Aspects of British Music of the 1990's. Ashgate, pp. 131-140. ISBN 0004707729 [Book Section]

Potter, Keith. 1995. 'Cornelius Cardew: some (Postmodern?) reflections on Experimental Music and political music. In: Mark Delaere, ed. New Music, Aesthetics and Ideology/Neue Musik, Asthetik und Ideologie. Wilhelshaven: Germany: Florian Noetzel, pp. 152-169. [Book Section]

Potter, Keith. 1993. The Current Musical Scene. In: Robert P. Morgan, ed. Modern Times: from World War I to the present. Englewood Cliffs, NJ/Basingstoke: Prentice Hall/Macmillan, pp. 349-387. ISBN 0 13 590159 6 [Book Section]

Potter, Keith. 2001. Entry on David Bedford. In: L. Finscher, ed. Die Musik in Geschichte und Gegenwart. Kassel: Barenreiter. [Book Section]

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Potter, Keith. 2017. Harmonic Progressions as a Gradual Process: towards an understanding of the development of tonality in the music of Steve Reich. In: Felix Woerner and Philip Rupprecht, eds. Tonality Since 1950. Stuttgart: Franz Steiner Verlag, pp. 189-207. ISBN 978-3-515-11582-7 [Book Section]

Potter, Keith. 2013. Le Minimalisme. In: Nicolas Donin and Laurent Feneyrou, eds. Théories de la composition musicale au xxe siècle. 2 Lyon, France: Symétrie, pp. 775-800. ISBN 978-2-914373-60-9 [Book Section]

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Potter, Keith. 2013. Mapping Early Minimalism. In: Keith S. Potter; Kyle Gann and Pwyll ap Siôn, eds. The Ashgate Research Companion to Minimalist and Postminimalist Music. Farnham, UK: Ashgate, pp. 19-37. ISBN 9781409435495 [Book Section]

Potter, Keith. 2000. 'Notes on Cage'. 'John Cage: The Seasons' (ECM New Series 1696), [Article]

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Potter, Keith. 2010. Philip Glass: First Classics, 1968-1969. London and New York: Chester Music. ISBN 0-521-48250 [Book]

Potter, Keith. 2008. Philip Glass: the compositions and some contexts. Glass: a Nonesuch Retrospective Box, pp. 49-72. ISSN Nonesuch 424508-2 [Article]

Potter, Keith. 2008. Programme Notes. BBC Symphony Orchestra/Mikhail Agrest, [Article]

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Potter, Keith. 2019. Sketching a New Tonality: A Preliminary Assessment of Steve Reich’s Sketches for Music for 18 Musicians in Telling the Story of This Work’s Approach to Tonality. In: Sumanth Gopinath and Pwyll ap Sion, eds. Rethinking Reich. New York: Oxford University Press, pp. 191-215. ISBN 9780190605292 [Book Section]

Potter, Keith. 2004. What's The Score? The Independent, [Article]

Potter, Keith. 2000. A ripe harvest of Eastern promise. The Independent, p. 16. [Article]

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Potter, Keith; Gann, Kyle and ap Sion, Pwyll. 2013. Introduction: experimental, minimalist, postminimalist? Origins, definitions, communities. In: Keith S. Potter; Kyle Gann and Pwyll ap Sion, eds. The Ashgate Research Companion to Minimalist and Postminimalist Music. Farnham: Ashgate, pp. 1-16. ISBN 9781 409435495 [Book Section]

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Potter, Keith; Wilkins, Suzie and Wiggins, Geraint. 2016. On the Nature of Subjectivity in Music Analysis: some observations on analysing an early score by Philip Glass. In: Lauren Redhead and Vanessa Hawes, eds. Music and/as Process. Newcastle: Cambridge Scholars Publishing, pp. 34-55. ISBN 978-1-4438-9491-3 [Book Section]

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Powers, Devon and Perchard, Tom. 2017. Introduction: The Critical Imperative. Popular Music, 36(1), pp. 1-5. ISSN 0261-1430 [Article]

Pryer, Anthony J.. 2007. Approaching Monteverdi: His Cultures and Ours, Chapter 1. In: J. Whenham and R. Wistreich R, eds. The Cambridge Companion to Monteverdi. Cambridge University Press, pp. 1-19. ISBN 9780521875257 [Book Section]

Pryer, Anthony J.. 1996. Authentic Performance, Authentic Experience and "Pur ti miro" from Poppea. In: Raffaello Monterosso, ed. Performing Practice in Monteverdi's Music: the Historic-Philological Background. Cremona: Fondazione Claudio Monteverdi, pp. 191-213. ISBN 88-86288-25-5 [Book Section]

Pryer, Anthony J.. 2012. Claudio Monteverdi: Sacrae Cantiunculae; Madrigali Spirituali; Canzonette a 3 Voci. Cremona (Italy): Fondazione Claudio Monteverdi. ISBN 9788886288361 [Book]

Pryer, Anthony J.. 1977. Guillaume de Machaut, c. 1300-1377. Music and Musicians, pp. 26-30. [Article]

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Pryer, Anthony J.. 2013. Hanslick, Legal Processes and Scientific Methodologies: How Not to Construct an Ontology of Music. In: Nicole Grimes; Siobhán Donovan and Wolfgang Marx, eds. Rethinking Hanslick: Music, Formalism and Expression. Rochester New York: University of Rochester Press, pp. 52-69. ISBN 9781580464321 [Book Section]

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Pryer, Anthony J.. 1997. Introduction to the Complete Secular Music of Guillaume Dufay (c. 1400-1474). Complete recording of the secular music of Guillaume Dufay (c. 1400-1474) by the Medieval Ensemble of London, [Article]

Pryer, Anthony J.. 2000. Machaut and the Moderns: A Distant Mirror. BBC Music Magazine, pp. 26-28. [Article]

Pryer, Anthony J.. 2011. Monteverdi, Two Sonnets and a Letter. In: Richard Wistreich, ed. Monteverdi. 5 Farnham: Ashgate, pp. 337-352. ISBN 9780754629023 [Book Section]

Pryer, Anthony J.. 1997. Monteverdi, two sonnets and a letter. Early Music, 25(3), pp. 357-371. ISSN 0306-1078 [Article]

Pryer, Anthony J.. 2004. Mozart's Operatic Audition. The Milan Concert, 12 March 1770: A reappraisal and revision. Eighteenth Century Music, 1(2), pp. 265-288. ISSN 14785706 [Article]

Pryer, Anthony J.. 1996. Nattiez's 'Music and Discourse': Situating the Philosophy. Music Analysis, 15(1), pp. 101-116. ISSN 0262-5245 [Article]

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Pryer, Anthony J.. 2010. 'The Ontology of Music and the Challenge of Performance: Identity versus Variety, and the Persistence of the "Text"'. In: The Embodiment of Authority: Perspectives on Performance. Sibelius Academy, Helsinki, Finland. [Conference or Workshop Item]

Pryer, Anthony J.. 2014. The Ontology of Music and the Challenge of Performance: Identity versus Variety, and the Persistence of the ‘Text’. In: Taina Riikonen and Arjaana Virtanen, eds. The Embodiment of Authority: Perspectives on Performances, Interdisziplinäre Studien zur Musik. Frankfurt: Peter Lang, pp. 87-102. ISBN 978-3-631-65085 [Book Section]

Pryer, Anthony J.. 1994. Re-thinking History. The Musical Times, 135(1), pp. 682-690. ISSN 0027-4666 [Article]

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Pryer, Anthony J.. 2013. 'Real' Nature, 'Aesthetic' Nature and the Making of Artworks: Some Challenges of Cross-Cultural Collaboration. In: Kazuto Yamamoto and Naomi Matsumoto, eds. Shizengaku: A Search for the Coming Aesthetic. Kyoto: Nakanishiya, pp. 6-26. ISBN 978-4-7795-0791-5 [Book Section]

Pryer, Anthony J.. 2014. ‘Real’ Nature, ‘Aesthetic’ Nature and the Making of Artworks: Some Challenges of Cross-Cultural Collaboration (in Japanese Translation). In: Kazuto Yamamoto and Naomi Matsumoto, eds. Shizengaku: a Search for the Coming Aesthetic. Kyoto: Nakanishiya, pp. 6-26. ISBN ISBN 978-4-7795-0791-5 [Book Section]

Pryer, Anthony J.. 1996. Settling Old Scores: The Authentic Performance Argument. In: Erik Levy and Calum MacDonald, eds. BBC Music Magazine Top 1000 CDs Guide. London: BBC Worldwide, pp. 19-22. ISBN 0-563-38709-2 [Book Section]

Pryer, Anthony J.. 1999. Trouble in Arcadia: Music Aesthetics and the Bounds of Culture. Journal of the Royal Musical Association, 124(1), pp. 134-152. ISSN 0269-0403 [Article]

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Pryer, Anthony J.. 2004. 'Vivaldi's Four Seasons and the Globalization of Musical Taste'. In: Musicology and Globalization: International Congress in Shizuoka. Shizuoka, Japan 2-4 November, 2002. [Conference or Workshop Item]

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Pyke, Cameron. 2011. Benjamin Britten's Creative Relationship with Russia. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Redgate, Roger. 1995. Atemkristall. [Composition]

Redgate, Roger. 1992. Beuys. [Composition]

Redgate, Roger. 2021. 'Beyond the Text: Capturing the Reality of the Image'. In: Technique of Musical Сomposition: Нistorical Avatars Analytical Musicology. Gnesin Russian Academy of Music, Russian Federation 13–15 April 2021. [Conference or Workshop Item]

Redgate, Roger. 2001. Brian Ferneyhough's etudes transcendantales. Contemporary Music Review, 20(1), pp. 79-100. ISSN 0749-4467 [Article]

Redgate, Roger. 1994. Celan Songs. [Composition]

Redgate, Roger. 2018. Contemporary British Music: Technique and the Compositional Process. In: P. Archblod and R. Saxton, eds. Contemporary British Music: Technique and the Compositional Process. Ashgate. ISBN 978-0-7546-6367-6 [Book Section] (Forthcoming)

Redgate, Roger. 2022. 'Disseminative Notation and the Impurities of Performance.'. In: The Performer-Composer in the second half of the 20th century. Orpheus Institute, Ghent, Belgium 10-12 October 2022. [Conference or Workshop Item]

Redgate, Roger. 1985. Eidos. [Composition]

Redgate, Roger. 1988. Eperons. [Composition]

Redgate, Roger. 1995. Ferneyhough as teacher. Contemporary Music Review, 13(1), pp. 19-21. [Article]

Redgate, Roger. 2022. 'Improvisation as Creative Impulse for Composition'. In: Principles of Music Composing XXI: Phenomenon of Creativity. Lithuanian Academy of Muisc and Theatre, Lithuania 17-19 November 2022. [Conference or Workshop Item]

Redgate, Roger. 1990. Inventio. [Composition]

Redgate, Roger. 2007. Koan. [Composition]

Redgate, Roger. 2000. Marginalisierung und Subversion. Musik & Asthetik, 13, pp. 94-98. [Article]

Redgate, Roger. 1998. Michael Finnissy: The Chamber Music, in Uncommon Ground: The Music of Michael Finnissy. In: Henrietta Brougham; Christopher Fox and Ian Pace, eds. Uncommon Ground: The Music of Michael Finnissy. Aldershot: Ashgate, pp. 135-168. ISBN ISBN 1 85928365 X [Book Section]

Redgate, Roger. 2004. Mirlitonnades. [Composition]

Redgate, Roger. 2018. Music after the Death of Art. Twentieth Century Music, 14(3), pp. 41-44. ISSN 1478-5722 [Article]

Redgate, Roger. 1999. Neue Musik in Grossbritannien: Ein Situationsbericht. Musik & Asthetik, 10, pp. 59-66. [Article]

Redgate, Roger. 2017. Notation, Structure and Performance: Towards a Grammatology of Music. In: R. Woodley, ed. Notation and Practice: Essays in Musical Performance and Textuality. Cambridge: Cambridge University of Press. [Book Section] (Forthcoming)

Redgate, Roger. 2005. +R. [Audio]

Redgate, Roger. 2021. Radix, Matrix. [Composition]

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Redgate, Roger. 2014. Sgraffito. [Composition]

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Redgate, Roger. 2019. When is an Orchestra not an Orchestra? Principles of Music Composing, 19, pp. 9-21. ISSN 2351-5155 [Article]

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Redgate, Roger. 2020. Where Are We Going? Teleological Structures in New Music. Principles of Music Composing, 20, pp. 23-34. ISSN 2351-5155 [Article]

Redgate, Roger. 1999. arc. [Composition]

Redgate, Roger. 2004. écart. [Composition]

Redgate, Roger. 2004. …still…. [Composition]

Redgate, Roger. 1996. trace. [Composition]

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Redhead, L. 2018. The Avant Garde as Exform. Tempo, 72(286), pp. 7-16. ISSN 0040-2982 [Article]

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Redhead, L. 2015. The Beautiful and the Political. Contemporary Music Review, 34(2-3), pp. 247-255. ISSN 0749-4467 [Article]

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Redhead, L. 2018. A Common Method? Distributed Creativity in Composition and/as Practice Research. In: L Redhead and R Glover, eds. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars, pp. 27-44. ISBN 978-1-5275-1398-3 [Book Section]

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Redhead, L. 2022. Creative Textual Practices as Critical Re-writings. In: "NoiseFloor 2022", Staffordshire University, United Kingdom, 12 May 2022. [Performance]

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Redhead, L. 2023. ‘Developing Live-interactive Approaches to New Music for Organ and Electronics Through Collaboration’. Contemporary Music Review, 42(3), pp. 339-350. ISSN 0749-4467 [Article]

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Redhead, L. 2020. Introduction: Musik und Sprache: Music/Language/Speech. Contemporary Music Review, 39(3), ISSN 0749-4467 [Article]

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Redhead, L. 2022. Iterative Processes: Notating, Composing, and Performing as Journey Forms. Contemporary Music Review, 41(2-3), pp. 266-280. ISSN 0749-4467 [Article]

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Redhead, L. 2020. Language as a Material Process. Contemporary Music Review, 39(3), ISSN 0749-4467 [Article]

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Redhead, L. 2021. Language as a Material Process. [Film/Video]

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Redhead, L. 2024. Listening Intertextually in Beat Furrer's Music Theatre Works. Tempo, 78(307), pp. 51-61. ISSN 0040-2982 [Article]

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Redhead, L. 2019. The Medium is Now the Material: The ‘Folklore’ of Chris Newman and Michael Finnissy. In: I Pace and N McBride, eds. Critical Perspectives on the Music of Michael Finnissy: Bright Futures, Dark Pasts. Routledge. ISBN 9781138491977 [Book Section]

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Redhead, L. 2022. Music Composition and Epistemic Injustice. Tempo, 76(302), pp. 32-41. ISSN 0040-2982 [Article]

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Redhead, L. 2015. 'New Music' as Patriarchal Category. In: C Haworth and L Colton, eds. Gender, Age and Musical Creativity. London: Routledge, pp. 171-184. [Book Section]

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Redhead, L. 2016. Notation as Process: 
Interpretation of Open Scores 
and the ‘Journey Form’. In: V Hawes and L Redhead, eds. Music and/as Process. Newcastle: Cambridge Scholars, pp. 116-134. ISBN 978-1-4438-9491-3 [Book Section]

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Redhead, L. 2022. ‘Nothing Really Changes’: Material Processes in and as Time in hearmleoþ—gieddunga. In: Michelle Phillips and Matthew Sergeant, eds. Music and Time: Psychology, Philosophy, Practice. Woodbridge, Suffolk: Boydell & Brewer. ISBN 9781783277087 [Book Section]

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Redhead, L. 2021. 'Practice Research: Accessibility and Reproducibility Enhancing searchability: archiving practice research'. In: Enhancing searchability: archiving practice research. Online workshop, United Kingdom 15 November 2021. [Conference or Workshop Item]

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Redhead, L. 2023. 'The Practice of Practice Research'. In: Public Research Seminar: Dr Lauren Redhead - The Practice of Practice Research. Royal Birmingham Conservatoire, United Kingdom 21 February 2023. [Conference or Workshop Item]

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Redhead, L. 2014. Quotation and Psychogeographic Experience as Repetition in the Music of Bernhard Lang and Chico Mello. Contemporary Music Review, 33(2), pp. 148-166. ISSN 0749-4467 [Article]

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Redhead, L. 2022. 'Using Collaborative Event Ethnography to Explore Embodied Approaches to Performing Experimental Music'. In: Performance Studies Network Conference 2022. University of Surrey, United Kingdom 30 June - 3 July 2022. [Conference or Workshop Item]

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Redhead, L. 2020. Vibrant Echoes: A Material Semiotics of the Voice in Music by Iris Garrelfs and Marlo Eggplant. Contemporary Music Review, 39(5), pp. 564-579. ISSN 0749-4467 [Article]

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Redhead, L. 2019. The Whale. [Composition]

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Redhead, L. 2015. boxmusic. [Composition]

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Redhead, L. 2017. a common method. [Composition]

Redhead, L. 2014. concerto. [Audio]

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Redhead, L. 2017. entoptic landscape and ijereja: music as an iterative process. New Sound International Journal of Music, 49, pp. 97-113. ISSN 0354-818X [Article]

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Redhead, L. 2016. for Luc Brewaeys. [Composition]

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Redhead, L. 2022. hearmleoþ-gieddunga (research portfolio). pan y rosas discos, Orpheus Instituut, Boydell & Brewer. [Other]

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Redhead, L. 2020. hearmleoþ-gieddunga: temporal and material layeredness. ECHO, 1, ISSN 1424-3644 [Article]

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Redhead, L. 2018. humata, hukhta, huvarshta. [Composition]

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Redhead, L. 2016. ijereja. [Audio]

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Redhead, L. 2022. the octopus (research portfolio). pan y rosas discos, BBC. [Other]

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Redhead, L. 2020. the octopus. [Audio]

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Redhead, L. 2018. ore. [Composition]

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Redhead, L. 2015. parergons. [Composition]

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Redhead, L. 2019. puer natus est. [Composition]

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Redhead, L. 2022. the whale: Creative Textual Practices. INMM Darmstadt, Buxton Fringe Festival. [Other]

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Redhead, L; Kirby, Jenn and Zaldua, Alistair. 2024. what are notes anyway?. In: "Noise Floor", Escola Superior de Música de Lisboa, Portugal, 27-29 May 2024. [Performance]

Redhead, L and Zaldua, Alistair. 2015. Diapason: Music for Organ and Electronics. [Audio]

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Redhead, L and Zaldua, Alistair. 2016. 'The Organ as Live Interface'. In: International Conference on Live Interfaces. University of Sussex 29 June - 3 July 2016. [Conference or Workshop Item]

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Redhead, L and Zaldua, Alistair. 2019. hearmleoþ-gieddunga: performance at Summit Salford, 26.09.19. In: "Summit No.11", Eagle Inn, Salford, United Kingdom, 26.09.2019. [Performance]

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Redhead, L and Zaldua, Alistair. 2020. vox humana. In: "vox humana", Ideas of Noise Festival, United Kingdom, February 2020. [Performance]

Redhead, L; Zaldua, Alistair and Cannon, J. 2018. hearmleoþ—gieddunga. [Audio]

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Redhead, L; Zaldua, Alistair; Gisby, S and Stone, S. 2017. Performing Temporal Processes. New Sound International Journal of Music, 50, pp. 113-127. ISSN 0354-818X [Article]

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Rodrigues, Indioney Carneiro. 2019. The Rhythmic Idea and the Musical Representation of Time. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Rogers, Holly. 2006. Acoustic Architecture: Music and Space in the Video Installations of Bill Viola. twentieth-century music, 2(02), pp. 197-219. ISSN 1478-5722 [Article]

Rogers, Holly. 2005. Alternative Models of Music-Image Interaction in Film. Doctoral thesis, Magdalene College, Cambridge University [Thesis]

Rogers, Holly. 2008. ‘Audio-Visual Biography: Music and Image in Derek Jarman’s Caravaggio’. The Journal of Musicological Research, 27(2), pp. 134-168. ISSN 0141-1896 [Article]

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Rogers, Holly. 2017. ‘Audio-Visual Dissonance in Found Footage Films’. In: Holly Rogers and Jeremy Barham, eds. The Sound and Music of Experimental Film. New York: Oxford University Press. ISBN 9780190469900 [Book Section]

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Rogers, Holly. 2019. Audio-visual Collisions: Moving Image Technology and the Laterna Magika Aesthetic in New Music Theatre. In: Robert Adlington, ed. New Music Theatre in Europe: Transformations Between 1955-1975. Abingdon: Routledge, pp. 79-100. ISBN 9781138323018 [Book Section]

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Rogers, Holly. 2019. The Audiovisual Eerie: Transmediating Thresholds in the Work of David Lynch. In: Carol Vernallis; Holly Rogers and Lisa Perrott, eds. Transmedia Directors: Artistry, Industry and the New Audiovisual Aesthetics. New York: Bloomsbury, pp. 241-270. ISBN 9781501341007 [Book Section]

Rogers, Holly. 2000. Beethoven on Film. Masters thesis, King's College, London [Thesis]

Rogers, Holly. 2006. 'Beethoven’s Myth Sympathy: Hollywood’s Biographical Reconstruction'. British Postgraduate Musicology, 8, ISSN 1460-9231 [Article]

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Rogers, Holly. 2015. ‘Beethoven’s Myth Sympathy: Hollywood’s Reconstruction’. In: Michael Spitzer, ed. Beethoven. Farnham: Ashgate, pp. 509-521. ISBN 978-1-4724-4030-3 [Book Section]

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Rogers, Holly. 2013. ‘“Betwixt and Between” Worlds: Spatial and Temporal Liminality in Video Art-Music’. In: Claudia Gorbman; John Richardson and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press, pp. 525-542. ISBN 9780199733866 [Book Section]

Rogers, Holly. 2022. Canons. In: Tom Perchard; Stephen Graham; Tim Rutherford-Johnson and Holly Rogers, eds. Twentieth Century Music in the West. Cambridge: Cambridge University Press, pp. 104-128. ISBN 9781108481984 [Book Section]

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Rogers, Holly. 2013. Composing with Reality: Digital Sound and Music in Documentary Film. ZDOK: Zürcher Hochschule der Künste, 13, pp. 1-13. [Article]

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Rogers, Holly. 2012. ‘Death for Five Voices: Gesualdo’s “poetic truth”’. In: Brad Prager, ed. A Companion to Werner Herzog. Hoboken, N.J: Wiley-Blackwell, pp. 187-207. ISBN 978-1-4051-9440-2 [Book Section]

Rogers, Holly. 2004. 'Fitzcarraldo’s Search for Aguirre: Music and Text in the Amazonian Films of Herzog'. Journal of the Royal Musical Association, 129(1), pp. 77-99. ISSN 0269-0403 [Article]

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Rogers, Holly. 2023. “I feel like I’ve heard it before”: The Audiovisual Echoes of YouTube. In: Holly Rogers; Joana Freitas and João Francisco Porfírio, eds. Remediating Sound: Repeatable Culture, YouTube and Music. London: Bloomsbury, pp. 1-34. ISBN 9781501387326 [Book Section]

Rogers, Holly. 2022. Instruments. In: Tom Perchard; Stephen Graham; Tim Rutherford-Johnson and Holly Rogers, eds. Twentieth Century Music in the West. Cambridge: Cambridge University Press, pp. 202-226. ISBN 9781108481984 [Book Section]

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Rogers, Holly. 2023. Listening Through Social Media: Soundscape Composition, Collaboration and Networked Sonic Elongation. In: Holly Rogers; Joana Freitas and João Francisco Porfírio, eds. Remediating Sound: Repeatable Culture, YouTube and Music. London: Bloomsbury Academic, pp. 113-144. ISBN 9781501387326 [Book Section]

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Rogers, Holly. 2020. Locked Down Listening / Communal Re-Imagination. Flow: A Critical Forum on Media and Culture, [Article]

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Rogers, Holly. 2013. Multimedia Art: Video Art-Music. In: Tim Shepherd and Anne Leonard, eds. Routledge Companion to Music and Visual Art. New York: Routledge, pp. 367-375. ISBN 9780415629256 [Book Section]

Rogers, Holly. 2022. Music and the Moving Image. In: Tom Perchard; Stephen Graham; Tim Rutherford-Johnson and Holly Rogers, eds. Twentieth Century Music in the West. Cambridge: Cambridge University Press, pp. 295-318. ISBN 9781108481984 [Book Section]

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Rogers, Holly. 2014. ‘Music, Sound and the Nonfiction Aesthetic’. In: Holly Rogers, ed. Music and Sound in Documentary Film. New York: Routledge, pp. 1-19. [Book Section]

Rogers, Holly. 2008. ‘“Noises, Sounds and Sweet Airs”: Singing the Film Space in Prospero’s Books’. In: David Cooper, ed. Cinemusic: Constructing the Film Score. Cambridge: Cambridge Scholar's Publishing, pp. 141-164. [Book Section]

Rogers, Holly. 2024. Re/Sounding Spaces: Listening Across Audiovisual Culture. Cambridge, Massachusetts: MIT Press. [Book] (Forthcoming)

Rogers, Holly. 2022. Recording and Production. In: Tom Perchard; Stephen Graham; Tim Rutherford-Johnson and Holly Rogers, eds. Twentieth Century Music in the West. Cambridge: Cambridge University Press, pp. 229-252. ISBN 9781108481984 [Book Section]

Rogers, Holly. 2011. ‘Review: A History of Film Music (Mervyn Cooke)’. Twentieth Century Music, 7(2), pp. 245-248. ISSN 1478-5722 [Article]

Rogers, Holly. 2007. ‘Review: EcoMedia (Sean Cubitt)’. Scope: Journal of Film Studies, 7, [Article]

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Rogers, Holly. 2024. “The Shock of Time”: Hauntological Echoes of La Folia in Max Richter’s Woolf Works. In: Delphine Vincent and Holly Rogers, eds. Max Richter: History, Memory, Nostalgia. Turnhout, Belgium: Brepols, pp. 181-196. ISBN 978-2-503-61185-3 [Book Section]

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Rogers, Holly. 2021. Sonic Elongation and Sonic Aporia: Two Modes of Disrupted Listening in Film. In: Carlo Cenciarelli, ed. The Oxford Handbook of Cinematic Listening. Oxford: Oxford University Press, pp. 427-449. ISBN 9780190853617 [Book Section]

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Rogers, Holly. 2020. Sonic Elongation: Creative Audition in Documentary Film. JCMS: Journal of Cinema and Media Studies, 59(2), pp. 88-113. ISSN 0009-7101 [Article]

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Rogers, Holly. 2013. Sound and Vision. Wire Magazine, London. [Other]

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Rogers, Holly. 2013. Sounding the Gallery: Video and the Rise of Art Music. Oxford: Oxford University Press. ISBN 978-0-19-986142-2 [Book]

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Rogers, Holly. 2013. ‘Spatial Reconfiguration in Interactive Video Art-Music’. In: Karen Collins; Bill Kapralos and Holly Tessler, eds. The Oxford Handbook of Interactive Audio. Oxford: Oxford University Press, pp. 15-30. ISBN 9780199797226 [Book Section]

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Rogers, Holly. 2014. ‘Twisted Synaesthesia: Visual Artists and the Music Video’. In: Germano Celant, ed. Music or Art. Milan: Fondazione Prada, pp. 281-288. [Book Section]

Rogers, Holly. 2011. ‘The Unification of the Senses: Intermediality in Video Art-Music’. The Journal of the Royal Music Association, 136(2), pp. 399-428. ISSN 0269-0403 [Article]

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Rogers, Holly. 2013. Video Art Primer. [Digital]

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Rogers, Holly. 2023. “Welcome to your world”: YouTube and the Reconfiguration of Music’s Gatekeepers. In: Holly Rogers; Joana Freitas and João Francisco Porfírio, eds. YouTube and Music: Online Culture and Everyday Life. London: Bloomsbury Academic, pp. 1-38. ISBN 9781501387272 [Book Section]

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Rogers, Holly; Alvim, Luíza and Paiva Chaves, Renan. 2022. Contemporary Audiovisualities, Intermediality and Remediation. Revista Eco-Pós, 21(1), pp. 320-341. ISSN 2175-8689 [Article]

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Rogers, Holly and Britton, Heather. 2022. The Spaces Beyond: Experimenting with the Theory of Audiovisual Concrète. [in]Transition: Journal of Videographic Film & Moving Image Studies, 9(1), ISSN 2469-4312 [Article]

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Rogers, Holly; McGrath, John; Vernallis, Carol and Chapman, Dale. 2021. Ben Salisbury: Scoring Science for Alex Garland. In: Holly Rogers; Carol Vernallis; Selmin Kara and Jonathan Leal, eds. Cybermedia: Explorations in Science, Sound, and Vision. New York: Bloomsbury, pp. 130-137. ISBN 9780190853617 [Book Section]

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Rogers, Holly and Vernallis, Carol. 2021. Terence Nance: Random Acts of Flyness. In: Holly Rogers; Carol Vernallis; Selmin Kara and Jonathan Leal, eds. Cybermedia: Explorations in Science, Sound, and Vision. New York: Bloomsbury, pp. 311-328. ISBN 9780190853617 [Book Section]

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Rogers, Holly; Vernallis, Carol and Perott, Lisa. 2016. Beyoncé’s Lemonade: She Dreams in Both Worlds. Film International, [Article]

Rogers, Holly; Vernallis, Carol and Perrott, Lisa. 2016. New Approaches to Sound, Music and Media. Bloomsbury. [Book]

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Rosani, Silvia. 2016. Intermezzo 1, for live electronics. In: "White Masks", Great Hall, Goldsmiths, United Kingdom. [Performance]

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Rosani, Silvia. 2016. Intermezzo 2, for live electronics.. In: "White Masks", Great Hall, Goldsmiths, United Kingdom. [Performance]

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Rosani, Silvia. 2016. Intermezzo 3, for live electronics. In: "White Masks", Great Hall, Goldsmiths, United Kingdom. [Performance]

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Rosani, Silvia. 2016. Li Rin. [Composition]

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Rosani, Silvia. 2016. Li Rin, for soprano and piano. In: "Confessions", Theaterhaus (Stuttgart), Germany. [Performance]

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Rosani, Silvia. 2016. No doubt they can feel pain. [Composition]

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Rosani, Silvia. 2016. No doubt they can feel pain. In: "Concert presenting the eight new pieces of the participants of the Composition Summer School 2016", Neimëister, United Kingdom. [Performance]

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Rosani, Silvia. 2013. Resistance music finds new shapes. Political Perspectives, 7(2), pp. 61-84. [Article]

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Rosani, Silvia. 2016. T-O for five voices, performed at Onassis Cultural Centre in Athens by the Neue Vocalsolisten. In: "Voices in Space", Athens, United Kingdom, 13/05/16. [Performance]

Rosani, Silvia. 2016. T-O for five voices, performed by the Neue Vocalsolisten at the Onassis Cultural Centre in Athens (Greece).. In: "Voices in Space", Onassis Cultural Centre (Athens), Greece, 13/05/2016. [Performance]

Rosani, Silvia. 2016. T-O for five voices. Performed by Neue Vocalsolisten at Centro Kursaal (San Sebastian). In: "Mediterranean voices", Centro Kursaal (San Sebastian), Spain, 26/08/2015. [Performance]

Rosani, Silvia. 2014. T-O for five voices. Performed by the Neue Vocalsolisten at Biennale Venice 2014. In: "MEDITERRANEAN VOICES Video-concerto-architettura per 12 identità mediterranee", Teatro Fondamenta Nuove (Venice Biennale), Italy, 26/07/2014. [Performance]

Rosani, Silvia. 2014. T-O for five voices. Performed by the Neue Vocalsolisten at MATA Festival 2014. In: "MATA Festival 2014", The Kitchen (NY), United States, 20th April 2014. [Performance]

Rosani, Silvia. 2014. T-O for five voices. Performed by the Neue Vocalsolisten at Teatro de la Zarzuela (Madrid). In: "Eine Video-Konzert-Architektur über 12 mediterrane Identitäten in zwei Teilen", Teatro de la Zarzuela (Madrid), Spain. [Performance]

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Rosani, Silvia. 2016. White Mask, for solo cello. In: "White Masks", Goldsmiths, Great Hall, United Kingdom, 24/11/2016. [Performance]

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Rosani, Silvia. 2016. White Mask, for solo cello. [Composition]

Rosani, Silvia; Tóth, Kinga and Bolm, Andreas. 2016. Controller. In: "Chouftouhonna 2016, International Feminist Art Festival", Tunis, Tunisia. [Show/Exhibition]

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Rosani, Silvia; Tóth, Kinga and Bolm, Andreas. 2016. 'Controller, video and stereo fixed media'. In: WISWOS 2016. Lancaster Institute for the Contemporary Arts, United Kingdom. [Conference or Workshop Item]

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Roy, Anupam. 2019. Re-Contextualising Beethoven’s Violin Concerto, Op. 61. Other thesis, Goldsmiths, University of London [Thesis]

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Sandys, Kathrine. 2012. I Thought I Grew An Ear in My Stomach: The Phenomenological Experience of the Art Event as Sublime Encounter. Doctoral thesis, Goldsmiths, University of London [Thesis]

Sarcich, Paul. 2010. Commentary on the Submitted Portfolio of Compositions. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Sarlo, Dario. 2010. Investigating Performer Uniqueness: The Case of Jascha Heifetz. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Saywood, Laurence. 2024. Identifying the Vicwardian Continuum in British Popular Music: Working-Class Performance and Cultural Continuity, 1945-1979. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Scarfe, Dawn. 2011. Resonating bodies: an artist's enquiry into sympathies between the audible and the material. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Scovell, Adam. 2018. The Audio-Visuality Of Transcendental Style in Film. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Selaocoe, Abel and Gardiner, Ian R.. 2021. Qhawe by Abel Selaocoe [Arranger Ian Gardiner]. [Composition]

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Selaocoe, Abel and Gardiner, Ian R.. 2021. Zawose by Abel Selaocoe [Arranger Ian Gardiner]. [Composition]

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Siclari, Alessio. 2006. The 'objets sonores': Rethinking Structural Conventions in Schaeffer, Boulez, Grisey. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Sledmere, Adrian. 2010. Interrogating Talent: Struggles and Strategies in the Popular Music Industry. Doctoral thesis, Goldsmiths, University of London [Thesis]

Smirnov, Dmitri. 2003. “Dodecamania” of Pierre Boulez or The notes on his “Notations”. In: Various, ed. SATOR TENET OPERA ROTAS: Yuri Kholopov and His School. Moscow, pp. 238-253. [Book Section]

Smirnov, Dmitri. 2003. “Dodecamania” of Pierre Boulez or The notes on his “Notations”. Muzykalnaya Academia(4), pp. 112-119. ISSN 0869–4516 [Article]

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Smirnov, Dmitri. 2003. A Geometer of Sound Crystals: a book on Philip Herschkowitz. Verlag Ernst Kuhn. ISBN 3928864998 [Book]

Smirnov, Dmitri. 1996. Going beyond the borders – On Brian Ferneyhough (Russian). Muzykalnaya Academia, 2, pp. 202-208. ISSN 0869–4516 [Article]

Smirnov, Dmitri. 2002. Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke. Tempo (New Series)(220), pp. 2-10. ISSN 0040-2982 [Article]

Smirnov, Dmitri. 2003. Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke in “Shostakovich and the Consequences”. In: Ernst Kuhn, ed. Schostakowitsch-Studien. (220) Berlin: Band 6, SSM 32 Studia Slavica Musicologica, Verlag, p. 1. ISBN 3-928864-93-9 [Book Section]

Smirnov, Dmitri. 2005. Melos of Prokofiev’s Visions: On the thematic patterns of his “Visions fugitives”. In: Ernst Kuhn, ed. “Schraeg zur Linie des Sozialistichen Realismus?” Prokofjew-Studien, Band 3. SSM 37 Studia Slavica Musicologica. Berlin: Verlag. ISBN 3-9366637-03-2 [Book Section]

Smirnov, Dmitri. 2002. Musical Idea: About the Mystery of creation processes in music. Muzykalnaya Academia, 2, ISSN 0869–4516 [Article]

Smirnov, Dmitri. 2006. My Shostakovich (English). DSCH(24), pp. 13-17. [Article]

Smirnov, Dmitri. 2006. My Shostakovich (Russian). Muzykal’naya Akademia(3), pp. 30-34. [Article]

Smirnov, Dmitri. 1995. On the Symphony by Anton Webern (Russian). Muzykalnaya Academia(3), pp. 204-220. [Article]

Smirnov, Dmitri. 1998. On the Symphony by Anton Webern (Russian). “I svet vo t’me svetit” About music by Webern, 25, pp. 91-116. [Article]

Smirnov, Dmitri. 1999. The Panic in the United Kingdom: On music by Harrison Birtwistle. Muzykalnaya Academia(2), pp. 145-150. ISSN 0869–4516 [Article]

Smirnov, Dmitri. 2001. Postlude in memory of Schnittke Op112 – Composer's note (Russian). Muzykalnaya Academia(2), pp. 21-24. ISSN 0869–4516 [Article]

Smirnov, Dmitri. 2005. “Prokofjew and Schostakowich (in German). In: Ernst Kuhn, ed. “Schraeg zur Linie des Sozialistichen Realismus?” Prokofjew-Studien, Band 3. SSM 37 Studia Slavica Musicologica. Berlin: Verlag. ISBN 3-9366637-03-2 [Book Section]

Smirnov, Dmitri. 1998. Shostakovich, Symphony No, 1. BBC Music Magazine, p. 21. [Article]

Smirnov, Dmitri. 1999. Symbolism in the Flute Concerto by Edison Denisov (Russian). In: Various, ed. SVET. DOBRO. VECHNOST. Moscow: Moskovskaja Gosudarstvennaja konservatorija, pp. 369-381. ISBN 978-5895980521 [Book Section]

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Smith, Bethan Evie. 2017. The Pianoforte at the Great Exhibition of 1851: Investigating Cultural Value. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Sophocleous, Charalambos. 2013. Portfolio and Exegesis: Composing Through a Spectral Scope. Doctoral thesis, Goldsmiths, University of London [Thesis]

Spillane, Jeremiah. 2017. 'Bebop [r]evolution: understanding the new sound of jazz in Postwar France'. In: Royal Musical Association: Identity and Vinyl Culture Conference. University of Birmingham, United Kingdom Saturday 18th November 2017. [Conference or Workshop Item]

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Spillane, Jeremiah. 2017. [Book Review] Blue Rhythm Fantasy: Big Band jazz Arranging in the Swing Era, by John Wriggle. University of Illinois Press. Journal of the International Association for the Study of Popular Music (IASPM), 7(2), ISSN 2079-3871 [Article]

Spillane, Jeremiah. 2020. [Book Review] Jazz Diaspora: Music and Globalisation By Bruce Johnson (2019). Journal of the International Association for the Study of Popular Music (IASPM), ISSN 2079-3871 [Article]

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Spillane, Jeremiah. 2019. 'Codifying Jazz Manouche: A Brief History and Definition of Jazz Manouche in Relation to the Belgian and Dutch Manouche community.'. In: Jazz and Cultural Identity: In and Out of Europe. UCLAN, Preston, United Kingdom 07/06/2019. [Conference or Workshop Item]

Spillane, Jeremiah. 2017. 'Djangology: Examining the posthumous influence of Django Reinhardt and the formation of “Gypsy Jazz” through pedagogy and performance online.'. In: The Fourth Westminster-Goldsmiths Symposium for Student Research in Popular Music. University of Westminster, London, United Kingdom Friday, 26 May 2017. [Conference or Workshop Item]

Spillane, Jeremiah. 2020. '‘Footprints: Considering the environmental impact of the 2019 Galway Jazz Festival’'. In: Research Cafe. Goldsmiths, University of London, United Kingdom 18 March 2020. [Conference or Workshop Item]

Spillane, Jeremiah. 2014. 'Hybridized cultural musical expressions and their impact on creative musical expressions. An examination of Musette and its impact on Django Reinhardt’s creative vision and stylistic development'. In: ‘Vision and Articulation’, Graduate School Festival. Goldsmiths, University of London, United Kingdom. [Conference or Workshop Item]

Spillane, Jeremiah. 2015. Hybridizing the intangible: unraveling Django Reinhardt's socio-cultural milieu. HANDAI ONGAKUGAKUHO, Journal of HANDAI Music Studies, [Article]

Spillane, Jeremiah. 2014. 'Hybridizing the intangible: unraveling Django Reinhardt's socio-cultural milieu'. In: Safeguarding the Intangible: Cross-Cultural Perspectives on Music and Heritage’. Goldsmiths, University of London, United Kingdom. [Conference or Workshop Item]

Spillane, Jeremiah. 2020. Jazz Manouche. In: David Horn and John Shepherd, eds. Bloomsbury Encyclopedia of Popular Music of the World (EPMOW). Vol. XIII. London: Bloomsbury. [Book Section] (Forthcoming)

Spillane, Jeremiah. 2015. '"Les Yeux Noirs": Django Reinhardt’s encounters with visual art'. In: The Second Westminster - Goldsmiths Symposium for Student Research in Popular Music. Westminster University, United Kingdom. [Conference or Workshop Item]

Spillane, Jeremiah. 2015. '"Les Yeux Noirs": Django Reinhardt’s encounters with visual art'. In: New Directions in Jazz Studies. Senate House, London, United Kingdom. [Conference or Workshop Item]

Spillane, Jeremiah. 2014. 'Mapping hybridities: exploring indigenous popular precursors to gypsy jazz'. In: London Popular Music PhD Symposium. University of Westminster, United Kingdom. [Conference or Workshop Item]

Spillane, Jeremiah. 2016. 'Transatlantic Swing: The Influence of Louis Armstrong on Django Reinhardt and the Development of Jazz in France'. In: Third Westminster-Goldsmiths Symposium for Student Research in Popular Music. Westminster University, London, United Kingdom. [Conference or Workshop Item]

Spillane, Jeremiah. 2013. 'A phonomusicological approach to investigating the stylistic development Django Reinhardt'. In: 'Music as Communication', Graduate School Festival. Goldsmiths, University of London, United Kingdom. [Conference or Workshop Item]

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Spillane, Jeremiah; Givan, Benjamin; Hannum, Andrew and Bulley, James. 2016. 'Open in Action: Music, Computing and Open Data'. In: Open in Action: Music, Computing and Open Data. Special Collections Reading Room, Goldsmiths, United Kingdom 24/10/2016. [Conference or Workshop Item]

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Statherou, Stamatia. 2014. Forming a Musical Discourse: ‘Voice Interchangeability’ and Prolongation as Structural Devices and Means of Development. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Stavlas, Nikolaos. 2012. Reconstructing Beethoven: Mauricio Kagel’s Ludwig van. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Stonehouse, Ian. 2024. 'Looking for Lily Greenham'. In: Tune in to Reality. Badischer Kunstverein, Karlsruhe, Germany 3-4 May 2024. [Conference or Workshop Item]

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Taylor, Jasmin. 2020. Billie Holiday and the Gendered Politics of Jazz Creativity. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Toledo, Alejandro. 2013. World Music, Creative Reinterpretation, and the East Moldavian Roma Tradition. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Tsahourides, Matthaios. 2007. The Pontic lyra in contemporary Greece. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Tsiris, Giorgos. 2018. Performing spirituality in music therapy: Towards action, context and the everyday. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Welbanks, Valerie. 2017. Foundations of Modern Cello Technique; Creating the Basis for a Pedagogical Method. Doctoral thesis, Goldsmiths, University of London [Thesis]

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White, Alastair. 2023. Contingency Dialectics in Fashion-Opera. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Wigens, Jeremy. 2014. Portfolio of Compositions for Creative Musicians and Accompanying Commentary. Doctoral thesis, Goldsmiths, University of London [Thesis]

Wilshere, Brian. 2007. Brian Wilshere: The Drummer as Composer. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Wiltshire, Christopher Robin. 1993. The British Male Voice Choir: A History and Contemporary Assessment. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Winston, Emma. 2017. Nightcore and the Virtues of Virtuality. Brief Encounters, 1(1), ISSN 2514-0612 [Article]

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Yamamoto, Mizuka. 2013. Forming an interpretation of the violin works of Boulez, Cage, Nono : a comparative study. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Yee-King, Matthew; Krivenski, Maria; Brenton, Harry and d'Inverno, Mark. 2015. Music circle: designing educational social machines for effective feedback. In: Luc Steels, ed. Music learning with Massive Open Online Courses (MOOCs). 6 Amsterdam: IOS Press, pp. 87-100. ISBN 9781614995920 [Book Section]

Young, Michael W.. 2004. Argrophylax. [Composition]

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Young, Michael W.. 2009. Creative Computers, Improvisation and Intimacy. Dagstuhl Seminar Proceedings(09291), pp. 1-7. [Article]

Young, Michael W.. 2006. Ebbs. [Composition]

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Young, Michael W.. 2010. Identity and Intimacy in Human-Computer Improvisation. Leonardo Music Journal, 20(n/a), p. 97. ISSN 0961-1215 [Article]

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Young, Michael W.. 2007. 'NN Music: Improvising with a 'Living' Computer'. In: International Computer Music Conference. San Francisco 2007. [Conference or Workshop Item]

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Young, Michael W.. 2008. oboe_prosthesis (live performance). In: "Cutting Edge Series (BMIC)", The Warehouse, London, United Kingdom. [Performance]

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Young, Michael W.. 2008. piano_prosthesis (live performance). In: "Cutting Edge Series (BMIC)", The Warehouse, London, United Kingdom. [Performance]

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Young, Michael W.. 2010. piano_prosthesis2 (live performance). In: "Australasian Computer Music Conference 2010", Canberra, Australia. [Performance]

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Young, Michael W. and Adderley, Paul. 2012. Exposure: Living in Extreme Environments: Video. [Film/Video]

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Young, Michael W. and Adderley, Paul. 2007. Here is Now and There the Sound of the Land: 'Ground-breaking'. MutaMorphosis: Challenging Arts and Sciences Conference Proceedings, p. 1. [Article]

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Young, Michael W. and Bown, Oliver. 2010. Clap-along: A negotiation strategy for creative musical interaction with computational systems. Proceedings of the International Conference on Computational Creativity 2010, pp. 215-222. [Article]

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Young, Michael W.; Drever, John L.; Grierson, Mick and Stonehouse, Ian. 2008. Goldsmiths Electronic Music Studios: 40 Years. International Computer Music Conference Proceedings 2008, pp. 315-318. [Article]

Young, Michael W. and Goto, J.. 2002. 1. Loss of Face and 2. New World Circus. In: "1. Loss of Face and 2. New World Circus", 1. Loss of Face. Norwich Gallery, Wolsey Art Gallery, Hartlepool Art Gallery 2002. 2. New World Circus Mercer Art Gallery, Harrogate. Focal Point Gallery, Southend on Sea. Stephen Lawrence Gallery, London. 4U of Brighton Gallery. Ovada Gallery, Oxford., 6/30/2006 - 11/3/2007. [Show/Exhibition]

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Zagorac, Slavko. 2024. Comprov Exposition Recording. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Comprov Full Score. [Composition] (Submitted)

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Zagorac, Slavko. 2024. Comprov Workshop Recording. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Comprov ZScore Package. [Software] (Submitted)

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Zagorac, Slavko. 2024. Networked Music Composition and Performance. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Zagorac, Slavko. 2024. Red Mass Full Score. [Composition] (Submitted)

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Zagorac, Slavko. 2024. Red Mass Workshop Recording. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Socket Dialogues Full Score. [Composition] (Submitted)

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Zagorac, Slavko. 2024. Ukodus Full Score. [Composition] (Submitted)

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Zagorac, Slavko. 2024. Ukodus Score Follow. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Ukodus ZScore Package. [Software] (Submitted)

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Zagorac, Slavko. 2024. Union Rose Full Score. [Composition] (Submitted)

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Zagorac, Slavko. 2024. Union Rose Performance Recording. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Union Rose Score Follow. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Union Rose ZScore Package. [Software] (Submitted)

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Zagorac, Slavko. 2024. Union Rose, Setup Instructions Video. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Vexilla Full Score. [Composition]

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Zagorac, Slavko. 2024. Vexilla Performance Recording. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Vexilla Score Follow. [Film/Video] (Submitted)

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Zagorac, Slavko. 2024. Vexilla ZScore Package. [Software] (Submitted)

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Zagorac, Slavko and Alessandrini, Patricia. 2018. 'ZScore: A Distributed System For Integrated Mixed Music Composition and Performance'. In: International Conference on Technologies for Music Notation and Representation — TENOR'18. Montreal, Canada 24 - 26 May 2018. [Conference or Workshop Item]

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Zagorac, Slavko and Zbyszynski, Michael. 2020. 'Networked Comprovisation Stratagies with ZScore'. In: Proceedings of the International Conference on Technologies for Music Notation and Representation — TENOR'20. Hochschule für Musik und Theater, Hamburg, Germany. [Conference or Workshop Item]

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Zaldua, Alistair. 2015. The Concept of the Meta-Instrument and its Implementation in Pre-Composition. Doctoral thesis, Goldsmiths, University of London [Thesis]

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Zheng, Zhou and Negus, Keith. 2023. Creating an Oriental Fantasy: Transnational Game Production and New Nationalism in Honor of Kings. In: Kimi Kärki, ed. Popular Music Climates. Turku, Finland: Turku: International Insitute of Popular Culture,, pp. 105-110. ISBN 9789512994274 [Book Section]

Zolinsky, Andrew. 2001. Old, new, borrowed, blue: a series of three solo piano recitals. In: "Old, new, borrowed, blue: a series of three solo piano recitals", Purcell Room, London (first recital); The Warehouse, London (second and third recitals), 2/3/2001 - 6/6/2001. [Performance]

Zolinsky, Andrew. 2006. Unsuk Chin: Piano Concerto. In: "Unsuk Chin: Piano Concerto", Piano Concerto: BBC Maida Vale Studios, London, 4/13/2006 - 10/7/2007. [Performance]

Zorn, John and Eastmond, Sam. 2023. John Zorn's Bagatelles - Sam Eastmond, Vol. 16. [Audio]

This list was generated on Thu Nov 21 02:48:27 2024 GMT.