Schedule

The conference proceedings can be downloaded here.
The full conference schedule can be downloaded here.
A shorter ‘at-a-glance’ version of the schedule can be dowloaded here.
Keynote talks details can be found here.
Conference venue details can be found here.
Social activities details can be found here.

Day 1: Monday, July 10
08:00	Registration
09:00	Opening Remarks
09:30	Keynote 1: How covert metaphors shape timbral theories, listening, and practices, Nina Sun Eidsheim (University of California Los Angeles)
10:30	Coffee Break (provided)
10:45	Oral Session 1: Psychoacoustics [Chair: Emilios Cambouropoulos] Affective qualities of sustained instrument blends, Yifan Huang and Stephen McAdams The timbral origins of musical affect, Iza Korsmit, Marcel Montrey, Alix Wong-Min and Stephen McAdams Pitch and timbre interactions in dynamically varying complex tones, Ryan Anderson, Yi Shen and William Shofner Implicit perception and learned categorization of atypically combined excitations and resonators of musical instruments, Erica Huynh and Stephen McAdams
11:45	Lunch Break (provided)
13:15	Tutorial 1: Neurophysiological simulation for digital audio effects, Cyrus Vahidi and Vincent Lostanlen
14:00	Poster Session 1: Work in Progress Influence of frequency modulations on the recognition of vocals and instruments, Michel Bürgel and Kai Siedenburg Live in Atlanta: Listening to Black popular music performances in concert, Danielle Davis Towards constructing a historically-grounded gesture-timbre space of Guqin playing techniques, Han Han and Cixian Lu Connecting spectromorphological principles in acousmatic music to a database of sonic gestures for timbre research: Problems and prospects, Hubert Ho Intentional instrumentation in Debussy’s Trio for Flute, Viola, and Harp, Ash Mach Timbre and choral blending analysis of Uruguayan Murga singing, Ivan Meresman Higgs Choreographing orchestration: A novel method for analyzing orchestral timbre through ballet, Rebecca Moranis Timbre semantics of the singing voice, Theodora Nestorova, Kit Soden, J. Marchand Knight and Lindsey Reymore Timbral simulation with a string quartet, Jonas Regnier and Robert Hasegawa The role of timbre in parsing the acoustic stream, Joshua Rosner, Michael Wagner and Stephen McAdams Identifying mechanisms through which music can influence wine appreciation, Asterios Zacharakis
14:45	Coffee Break (provided)
15:00	Oral Session 2: Singing voice and speech [Chair: Jason Noble] The interaction of pitch, timbre, and visual bias in voice categorization by cis and trans listeners, Jay Marchand Knight and Mickael Deroche Vocal production, mimetic engagement, and social media in bedroom pop, Alyssa Barna and Caroline McLaughlin Marika Ninou vs. Sotiria Bellou: A timbral comparison between two iconic female singers in Rebetiko, Asterios Zacharakis, Savvas Kazazis and Emilios Cambouropoulos Vocal timbre and the conceptualization of the persona in Lena Platonos, Despoina Panagiotidou
16:00	Tutorial 2: The Akai MPC and the Ghosts in the Hip-Hop Machine, Mike D'Errico
16:45	Adjournment
18:30	Social activities (optional)
Day 2: Tuesday, July 11
08:30	Registration
09:00	Keynote 2: Disentangling style and structure in generative music models, Jesse Engel (Google Research)
10:00	Oral Session 3: Cross-modality and semantics [Chair: Lindsey Reymore] Cross-domain illusion in Hans Abrahamsen's 'Schnee' (2008), Canons 2a and 2b, Christopher Goddard Scent of a timbre: Cross-modal correspondences between synthetic timbres and essential oil aromas, Asterios Zacharakis, Ioulia Michail and Konstantinos Pastiadis When ChatGPT talks timbre, Charalampos Saitis and Kai Siedenburg
10:45	Coffee Break (provided)
11:00	Tutorial 3: Methods for Analyzing, Composing, and Arranging for Extreme Metal Choir, Eric Smialek and Pierre-Luc Senécal
11:45	Lunch Break (provided)
13:15	Keynote 3: Crossmodal correspondences involving timbre: theory and application, Charles Spence (University of Oxford)
14:15	Oral Session 4: Ethno-musicological and historical perspectives [Chair: Zachary Wallmark] Kutanga, Mujimbu, and the orchestration of events among the Luvale of Zambia, Jason Winikoff "Beautiful tone, beautiful heart": Shinichi Suzuki and the timbres of childhood, Lindsay Wright Tracing timbral subjectivity through listening encounters with indigenous death doom band Tzompantli, Jennifer LeBlanc Playing in tongues: The Hammond organ and Black Pentecostal instrumentality, Braxton Shelley
15:15	Coffee Break (provided)
15:30	Tutorial 4: Exploring the Semantics of 'Timbre Textures' with Granular Synthesis, Jason Noble, Takuto Fukuda, Caroline Traube, and Zachary Wallmark
16:15	Poster Session 2 Perceived pleasantness of instruments in the lower registers, Noam Amir, Lee Tirza, Sahar Alkaslassy, Noga Dagan and Shahar Meltz Investigating cone to cylinder transition in wind instruments using physical modelling, Vasileios Chatziioannou The role of timbre in pitch perception and imitation, Yan Chen and Peter Pfordresher Embodied liminality: Musical chimerism in Chaya Czernowin’s Infinite Now, Richard Drehoff Testing the ‘contour hypothesis’: probing musical memory using the matching pairs game, Jiaxin Li, David John Baker, John Ashley Burgoyne and Henkjan Honing The Viola da terra as metaphor: Post-colonial sonorities of Azorean Saudade, Abigail Lindo Anton Reicha’s fugal orchestration: A historical model of orchestration techniques, James Renwick When NIME and ISMIR talk timbre, Charalampos Saitis, Maryam F. Toshizi, Vjosa Preniqi, Bleiz M. Del Sette, and György Fazekas Modifying partials for minimum-roughness sound synthesis, Simon Schwär, Meinard Mueller and Sebastian J. Schlecht How “vocal” is instrumental music? Jason Noble, Louis Goldford, Gabriel Couturier, Theodora Nestorova, Jay Marchand Knight and Caroline Traube
17:00	Wine tasting event
18:00	Welcome Reception (provided)
19:00	Music Concert
21:00	Conference Dinner (not provided, see here)
Day 3: Wednesday, July 12
08:30	Registration
09:00	Keynote 4: Timbre and sound: notes on the resilience of the notion of timbre, Makis Solomos (University Paris 8)
10:00	Poster Session 3 Expanding a taxonomy of instrumental grouping effects to align with contemporary musical practices, Yuval Adler Comparative analysis of the perceptual fusion in Grisey's Partiels: An approach with audio analysis, Micael Antunes, Mylène Gioffredo, Javier Elipe Gimeno, Charles de Paiva, Sølvi Ystad, Samuel Poirot and Vincent Tiffon There is inharmonicity and inharmonicity, Luca Danieli and Matthias Frank Acoustic and musical features influencing listeners' perception of affective intentions, Lena Heng, Claire Wei and Stephen McAdams The dark and bright side of musical instrument sounds: auditory brightness emerging from spectral envelope statistics and its interaction with fundamental frequency, Simon Jacobsen and Kai Siedenburg Effect of timbre on Leman’s model of periodicity pitch, Ivan Jimenez, Tuire Kuusi, Juha Ojala, Isabella Czedik-Eysenberg and Christoph Reuter Playing style affects steel-string acoustic guitar timbre, Jackson Loth, Adrien Mamou-Mani and Mathieu Barthet Timbre or coulour? Semantic considerations in German and French music treatises of the early 20th century, Mathieu Schneider Sensing Makam: A timbre-oriented study on Turkish Makam music, Ebru Yazici and Ozan Baysal Identifying Peking opera roles through vocal timbre: An acoustical and conceptual comparison between Laosheng and Dan, Annie Liu and Zachary Wallmark
10:45	Coffee Break (provided)
11:00	Oral Session 5: Music analysis and theory [Chair: Ben Duinker] Timbre issues in the performance of Partiels by Gérard Grisey: An empirical study, Nathalie Hérold Inharmonicity and instrumental synthesis in Grisey’s Transitoires, Ingrid Pustijanac Structure, texture and bidimensional form in Claude Vivier’s Zipangu (1980), Mylène Gioffredo
11:45	Lunch Break (provided)
13:15	Oral Session 6: Orchestration and composition [Chairs: Andres Gutierrez Martinez and Kit Soden] Comparison of perceived and imagined instrumental blend, Linglan Zhu and Stephen McAdams Timbre as a (de)constructing force in 1000 gecs, Lindsey Reymore Network analysis of instrumentation in timbral augmentation blends, Corinne Darche, Ichiro Fujinaga and Stephen McAdams Re-considering Germaine Tailleferre's compositional voice: An orchestration-based analysis of her Petite suite pour petit orchestre (1957), Jade Roth
14:15	Conference and Summer School Roundtable
15:45	Closing Remarks
16:00	Adjournment