Bernard, Emma; Gough, Orlando; Pappenheim, Melanie and Askew, Rebecca. 2012. Jilted. In: "Bloomsbury Festival, Foundling Museum", London, United Kingdom, 20 Oct - 21 Oct 2012. [Performance]

Exarchos, Dimitris. 2018. 'Analysis and Composition as Research'. In: Can Musical Conservatism be Progressive? 2nd Annual Conference of the Critical Theory for Musicology Study Group. University of London, Senate House, United Kingdom 12th–13th January 2018. [Conference or Workshop Item]

Exarchos, Dimitris. 2017. 'The Berlin sketches and Xenakis's middle period style'. In: Exploring Xenakis: Performance, Practice, Philosophy. School of Music, University of Leeds, United Kingdom 12 September 2017. [Conference or Workshop Item]

Exarchos, Dimitris. 2019. The Berlin sketches and Xenakis’s middle period style. In: Alfia Nakipbekova, ed. Exploring Xenakis: Performance, Practice, Philosophy. Wilmington, Delaware: Vernon Press, pp. 21-36. ISBN 9781622733231 [Book Section]

Exarchos, Dimitris. 2006. 'Concerning Sieve-based Composition'. In: The Creative and Scientific Legacies of Iannis Xenakis Conference. University of Guelph/Fields Institute/Perimeter Institute, Canada 8-10 June 2006. [Conference or Workshop Item]

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

Exarchos, Dimitris. 2006. 'Iannis Xenakis as Composer and Theorist'. In: Society for Music Analysis TAGS Day. Southampton, United Kingdom. [Conference or Workshop Item]

Exarchos, Dimitris. 2016. 'Indeterminism in Cage & Xenakis'. In: Anglo-Hellenic Modernism Workshop. School of Advanced Study, Institute of English Studies, University of London, United Kingdom. [Conference or Workshop Item]

Exarchos, Dimitris. 2012. 'Listening Outside of Time'. In: Xenakis: The electroacoustic music. Paris, France 23-25 May 2012. [Conference or Workshop Item]

Exarchos, Dimitris. 2019. Music's Immanent Future: The Deleuzian Turn in Music Studies. Edited by Sally Macarthur, Judy Lochhead, Jennifer Shaw. Abingdon, Oxon, Eng.: Routledge, 2016. (Review). Notes, 75(3), pp. 529-532. ISSN 0027-4380 [Article]

Exarchos, Dimitris. 2010. Notation, improvisation, writing: The early music of Roger Redgate. Beyond the Centres: Musical Avant-gardes since 1950, [Article]

Exarchos, Dimitris. 2018. 'On the Work of Analysis and Composition'. In: ENIM 2018: 8th Conference On Musical Research. Porto, Portugal 8-10 November 2018. [Conference or Workshop Item]

Exarchos, Dimitris. 2018. 'On the Work of Modern Composition'. In: Composing Music Today. Lisbon, Portugal 21-23 November 2018. [Conference or Workshop Item]

Exarchos, Dimitris. 2017. Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis. By Judy Lochhead (Review). Notes, 73(3), pp. 533-536. ISSN 0027-4380 [Article]

Exarchos, Dimitris. 2017. 'Roger Redgate’s Compositional Thinking and the Limits of Writing'. In: Writing About Contemporary Artists: Challenges, Practices and Complexities. University of Surrey,, United Kingdom 20 October 2017 - 22 October 2017. [Conference or Workshop Item]

Exarchos, Dimitris. 2019. 'Scelsi, Sense, and the Musical Matter'. In: Music and Materialisms: A Free One-day Conference. Visconti Studio, Kingston University, United Kingdom 23rd February 2019. [Conference or Workshop Item]

Exarchos, Dimitris. 2018. The Skin of Spectral Time in Grisey's Le Noir de l’Étoile. Twentieth-Century Music, 15(1), ISSN 1478-5722 [Article]

Exarchos, Dimitris. 2013. 'Sonority and Proportionality in Xenakis’s Dikhthas'. In: Empirics, Computation, Mathematics, Science & Technology in Music and Acoustical Signal Analysis III. Berlin, Germany 04 July - 1 September 2013. [Conference or Workshop Item]

Exarchos, Dimitris. 2010. 'Symmetry and Periodicity in the Sieves of Xenakis’s Shaar'. In: Empirics, Computation, Mathematics, Science & Technology in Music and Acoustical Signal Analysis II. Berlin, Germany 9-28 August 2010. [Conference or Workshop Item]

Exarchos, Dimitris. 2016. Temporality in Xenakis and Ferneyhough. The Journal of Music and Meaning, ISSN 1603-7170 [Article]

Exarchos, Dimitris. 2014. Xenakis, Sound, and the City. SNÆ #3. Papay Gyro Nights Art Festival Boogazine, [Article]

Exarchos, Dimitris and Antoniadis, Pavlos. 2013. 'Notation and Temporality in Ferneyhough and Xenakis'. In: Notation in Contemporary Music: Composition, Performance, Improvisation. Contemporary Music Research Unit, Goldsmiths, University of London, United Kingdom 18-20. [Conference or Workshop Item]

Exarchos, Dimitris and Jones, Daniel. 2011. Sieve Analysis and Construction: Theory and Implementation. Xenakis International Symposium, [Article]

Exarchos, Dimitris and Stamos, Yannis. 2008. Iannis Xenakis’s Writing and Outside-Time Musical Structures. 4th Conference on Interdisciplinary Musicology, [Article]

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]

Hollis, Simon and Exarchos, Dimitris. 2017. Grid. [Broadcast]

Peyton Jones, Jeremy. 2009. 18 Guitars. [Composition]

Peyton Jones, Jeremy. 2011. 'Accommodating the threat of the machine: the act of repetition in live performance'. In: Third Colloquiuum of the Society for Minimalist Music. University of Wolverhampton, United Kingdom. [Conference or Workshop Item]

Peyton Jones, Jeremy. 2013. Accommodating the threat of the machine: the act of repetition in live performance. In: Pwyll Ap Sion; Kyle Gann and Keith S. Potter, eds. Research Companion to Minimalist and Postminimalist Music. Farnham: Ashgate, pp. 141-160. ISBN 9781409435495 [Book Section]

Peyton Jones, Jeremy. 2007. Against Oblivion (Part 1). [Composition]

Peyton Jones, Jeremy. 2009. Against Oblivion (Part 1). In: "Against Oblivion (Part 1)", Toynbee Studios Theatre, London, United Kingdom, 29/3/07 - 30/3/07. [Performance]

Peyton Jones, Jeremy. 2014. Against Oblivion Part 3. [Composition]

Peyton Jones, Jeremy. 2014. Against Oblivion Part 3. In: "Against Oblivion Part 3", Teatro Garibaldi, Palermo, Italy, 3 April 2014 - 4 April 2014. [Performance]

Peyton Jones, Jeremy. 2002. Against Oblivion Sketches 1 & 2. [Composition]

Peyton Jones, Jeremy. 2012. 'Beyond Opera - sound production as theatrical action'. In: Research Forum, Dept of Music, University of Surrey. Music DEpt, University of Surrey. [Conference or Workshop Item]

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]

Peyton Jones, Jeremy. 2012. 'Composition, interaction and collaboration'. In: CADRE 2012-13 Public Lecture Series, Centre for Art, Design, Research and Experimentation. University of Wolverhampton, United Kingdom. [Conference or Workshop Item]

Peyton Jones, Jeremy. 2014. A Farewell to Arms. [Composition]

Peyton Jones, Jeremy. 2014. A Farewell to Arms. In: "A Farewell to Arms", The Dukes, Lancaster, United Kingdom, 10.10.14 - 25.10.14. [Performance]

Peyton Jones, Jeremy. 2002. The Gazetteer of World Order. [Composition]

Peyton Jones, Jeremy. 2007. Halelujah. [Composition]

Peyton Jones, Jeremy. 2018. Heart of Darkness. [Composition]

Peyton Jones, Jeremy. 2018. Heart of Darkness. In: "Heart of Darkness", Teatro Sperimantale, Ancona, Italy, 10/11/18 to 11/5/19. [Performance]

Peyton Jones, Jeremy. 2015. 'Hierarchies of creative interaction – the political aspects of collaboration between composer and improvising musicians in Against Oblivion, Part 3'. In: COMPOSITIONAL AESTHETICS AND THE POLITICAL. Goldsmiths, University of London, United Kingdom 20-22 Feb 2015. [Conference or Workshop Item]

Peyton Jones, Jeremy. 2009. Hot Milk Madonna film score. [Film/Video]

Peyton Jones, Jeremy. 2007. In Memoriam Gat and Brodszky. [Composition]

Peyton Jones, Jeremy. 2013. 'Liveness (for Curating Sound)'. In: Curating Sound. Nottingham Contemporary, United Kingdom 11 Dec 2013. [Conference or Workshop Item]

Peyton Jones, Jeremy. 2009. The Multiplier: Jeremy Peyton Jones Guitar Ensemble works for multiple electric guitars. In: "The Multiplier", Kings Place, London, United Kingdom, 19 May 2009. [Performance]

Peyton Jones, Jeremy. 2010. NEW SOUNDS Guitar Multiples: 18 Guitars. [Broadcast]

Peyton Jones, Jeremy. 2009. NEW SOUNDS Minimal Borrowing: Purcell Manoeuvres, No. 2, Purcell Manoeuvres, No. 4, War Dance No. 1. [Broadcast]

Peyton Jones, Jeremy. 2007. NEW SOUNDS New Music from the UK: The Third Dream. [Broadcast]

Peyton Jones, Jeremy. 2008. Out of Gat and Brodszky. [Composition]

Peyton Jones, Jeremy. 2011. 'Repetition, narrative, and the concept of ‘endings’ (musical and metaphorical)'. In: Goldsmiths Graduate Forum, Centre for Contemporary Music Cultures. Goldsmiths, University of London, United Kingdom. [Conference or Workshop Item]

Peyton Jones, Jeremy. 2008. Sounding Boxes. [Composition]

Peyton Jones, Jeremy. 2008. Sounding Boxes. In: "Concert by Keynote+", Goldsmiths, University of London, United Kingdom, 7 March 2008. [Performance]

Peyton Jones, Jeremy. 2011. Sounding Boxes. In: "Massed Pianos. Performance by Keynote+", Royal Festival Hall, United Kingdom, 20 May 2011. [Performance]

Peyton Jones, Jeremy. 2011. Sounding Boxes. In: "Connect Festival, Malmo", Inter Arts Center, Malmo, Sweden, 17 November 2011. [Performance]

Peyton Jones, Jeremy. 2013. Soundtrack for The Zero Hour. [Audio]

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

Peyton Jones, Jeremy. 2015. The Train. In: "The Train", Marche Teatro, Ancona, Italy, 30.9.15-25.10.15. [Performance]

Peyton Jones, Jeremy; Brooks, Pete; Quick, Andrew and Wainwright, Simon. 2012. The Zero Hour (aka Stunde Null). In: "The Zero Hour", Platform Theatre, London, United Kingdom, 9 Jan 2012. [Performance]

Peyton Jones, Jeremy; Brooks, Pete; Quick, Andrew and Wainwright, Simon. 2013. The Zero Hour (aka Stunde Null). In: "The Zero Hour", West Yorkshire Playhouse, Leeds, United Kingdom, 14-16 February 2013. [Performance]

Peyton Jones, Jeremy; Gale, David and Hayward, Charles. 2009. Against Oblivion (Part 2). [Composition]

Peyton Jones, Jeremy; Gale, David and Hayward, Charles. 2009. Against Oblivion (Part 2), Tete a Tete Opera Festival: Regular Music II. In: "Tete a Tete Opera Festival: Against Oblivion (Part 2)", Riverside Studios, London, United Kingdom, 30/7/09 - 31/7/09. [Performance]

Peyton Jones, Jeremy and Matthews, Kaffe. 2012. Endings. In: "Endings", Southbank Centre, London, United Kingdom, 26 May 2012. [Performance]

Peyton Jones, Jeremy and Matthews, Kaffe. 2012. Endings. In: "Endings", De La Warr Pavilion, Bexhill, United Kingdom, 24 May 2012. [Performance]

Peyton Jones, Jeremy and Matthews, Kaffe. 2012. Endings. In: "Endings", Arnolfini, Bristol, United Kingdom, 31 May 2012. [Performance]

Peyton Jones, Jeremy and Matthews, Kaffe. 2012. Endings. [Composition]

Peyton Jones, Jeremy and Matthews, Kaffe. 2012. Endings (Live recording). [Audio]

Redgate, Roger. 1995. Atemkristall. [Composition]

Redgate, Roger. 1982. Ausgangspunkte. [Composition]

Redgate, Roger. 1992. Beuys. [Composition]

Redgate, Roger. 2014. Black Icons. [Audio]

Redgate, Roger. 2011. Black Icons (for solo cello and ensemble). [Composition]

Redgate, Roger. 1994. Blue Scars (Film Soundtrack). [Composition]

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

Redgate, Roger. 2022. Caprices I-VII for solo violin. [Composition]

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

Redgate, Roger. 2020. 'Complexity: The Precise Articulation of the Imprecise'. In: Imperfection as an Aesthetic Idea in Music. Institute for Music Aesthetics and the Artistic Research Doctoral School of the University for Music and Performing Arts Graz, Austria, Austria 19 – 21 November 2020. [Conference or Workshop Item]

Redgate, Roger. 2014. Concerto for Improvising Soloist and Two Ensembles. [Audio]

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. 2005. Disjecta for solo 10 string guitar. [Composition]

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. 2023. Duo Galeano/Javaid | Roger Redgate: TAG (2009). [Audio]

Redgate, Roger. 1985. Eidos. [Composition]

Redgate, Roger. 2017. Emergent Material: Reinventing the Compositional Process. Principles of Music Composing, 17, pp. 117-126. ISSN 2351-5155 [Article]

Redgate, Roger. 1984. Eos. [Composition]

Redgate, Roger. 2009. Eperons. [Audio]

Redgate, Roger. 2014. Eperons. [Audio]

Redgate, Roger. 1988. Eperons. [Composition]

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

Redgate, Roger. 1992. Feu la cendre. [Composition]

Redgate, Roger. 1980. Genoi Hoios Essi. [Composition]

Redgate, Roger. 1993. Graffiti. [Composition]

Redgate, Roger. 2016. Graffiti for solo soprano sax. [Audio]

Redgate, Roger. 2016. 'The Ideality of Time'. In: Making Time in Music. University of Oxford, United Kingdom 12-14 September 2016. [Conference or Workshop Item]

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. 2008. Labyrinths for prepared piano and harpsichord/clavichord. [Composition]

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

Redgate, Roger. 2004. Mirlitonnades. [Composition]

Redgate, Roger. 2007. Monk. [Composition]

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. Oboe Quintet. [Composition]

Redgate, Roger. 2009. Oboe Quintet. [Audio]

Redgate, Roger. 1989. Pas au-delà. [Composition]

Redgate, Roger. 1998. Pierrot on the Stage of Desire. [Composition]

Redgate, Roger. 1991. +R. [Composition]

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

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

Redgate, Roger. 2005. Residua. [Composition]

Redgate, Roger. 2009. Residua. [Audio]

Redgate, Roger. 2008. Roger Redgate Complete Piano Music Recording. [Audio]

Redgate, Roger. 2020. Roger Redgate Lecture Presentation: Культурный Центр ЗИЛ & Gnesin Contemporary Music Week. [Audio]

Redgate, Roger. 2014. Runa. [Composition]

Redgate, Roger. 2016. Runa. [Audio]

Redgate, Roger. 1984. String Quartet No 1. [Composition]

Redgate, Roger. 1985. String Quartet No 2. [Composition]

Redgate, Roger. 2015. 'Towards an Aesthetic of Resistance'. In: For Cryin' Outloud: Music and Politics. University of Utrecht, Netherlands 6-8 September 2015. [Conference or Workshop Item]

Redgate, Roger. 1990. Vers-Glas. [Composition]

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. 2005. mirlitonnades. [Audio]

Redgate, Roger. 1997. moments and contacts (Film Soundtrack). [Composition]

Redgate, Roger. 1985. ...of torn pathways. [Composition]

Redgate, Roger. 2019. The ontology of the work: exploring the creative discourse. Contemporary Musicology, 2019-2(2), pp. 43-59. ISSN 2597-9731 [Article]

Redgate, Roger. 2004. ruins true refuge. [Audio]

Redgate, Roger. 2004. ruins true refuge. [Composition]

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

Redgate, Roger. 1996. trace. [Composition]

Redgate, Roger and Cox, Franklin. 2015. The New Cello, Vol 2: European Composers. [Audio]

Redgate, Roger and Wright, Matthew. 2014. Single Combat. [Audio]

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]

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]