Title of Work

First Author1†, Second Author1, Third Author2 and Last Author1,2

1 Your Department, Your University Name, City, State (if applicable), Country

2 Colleagues’ Department, University Name, City, State (if applicable), Country

† Corresponding author: name@mail.com

Discipline(s): Add the discipline(s), such as acoustics, musicology, composition. See the call for papers at https://timbreconference.org/timbre2023/cfp/ for the suggested topics of contributions. The discipline(s) will help the evaluation committee assign reviewers to the submission, since the call reaches across several communities working on timbre.

Keywords: List all the relevant keywords related with the work. Remember that these are meant to contextualize the work and help with the peer-review process (and later organization of sessions, etc)

Abstract

Regular submissions can have between 500 and 1000 words, excluding references, headings, author information, and figures or tables.

These guidelines are flexible to accommodate for the different requirements of all the disciplines working on timbre. The peer-review process will focus on content rather than form.

Authors will have the opportunity to expand their manuscripts to up to 5 pages (including figures, references , etc) upon acceptance.

The abstract can have subsections with the experimental protocol, materials and methods, results, etc. However, these are not necessary upon submission since the structure varies across disciplines. The extended version can be restructured as necessary within the 5-page limit.

Do not change the font type, font size, margins, or any other formatting options.

The abstract can also include figures, diagrams, tables. Below are examples of a figure and a table simply to illustrate the formatting options.

Example of a table:

Table 1: Measures-of-fit for different MDS dimensionalities of the two experiments.

Experiment 1	Experiment 2
Dimensionality	Stress 1	D.A.F.	Stress 1	D.A.F.
1D	.35	.79	.38	.78
2D	.24	.90	.25	.89
3D	.12	.95	.10	.96
4D	.09	.97	.06	.98

Example of a figure:

Figure 1: The two 3-dimensional timbre spaces for each experiment.

References

Reference list in APA style.

Hajda, J. M. (2007). The effect of dynamic acoustical features on musical timbre. In J. W. Beauchamp (Ed.), Analysis, synthesis, and perception of musical sounds (pp. 250–271). New York, USA: Springer.

Kendall, R. A., & Carterette, E. C. (1996). Difference thresholds for timbre related to spectral centroid. In Proceedings of the 4th International Conference on Music Perception and Cognition ICMPC 04 (pp. 91–95).

McAdams, S., Winsberg, S., Donnadieu, S., Soete, G. D., & Krimphoff, J. (1995). Perceptual scaling of synthesized musical timbres: Common dimensions, specificities, and latent subject classes. Psychological Research, 58, 177–192.