Below is an overview of the schedule. The full conference schedule is available.

Day 1, Monday, July 10

09:00Opening Remarks
09:30Keynote: Nina Sun Eidsheim (University of California Los Angeles)
10:30Coffee Break (provided)
10:45Oral session: Psychoacoustics
11:45Lunch Break (provided)
13:15Tutorial: Neurophysiological simulation for digital audio effects
14:00Work in Progress poster session
14:45Coffee Break (provided)
15:00Oral session: Singing voice and speech
16:00Tutorial: The Akai MPC and the Ghosts in the Hip-Hop Machine

Day 2, Tuesday, July 11

09:00Keynote: Jesse Engel (Google Research)
10:00Oral session: Cross-modality and semantics
10:45Coffee Break (provided)
11:00Tutorial: Methods for Analyzing, Composing, and Arranging for Extreme Metal Choir
11:45Lunch Break (provided)
13:15Keynote: Charles Spence (University of Oxford)
14:15Oral session: Ethno-musicological and historical perspectives
15:15Coffee Break (provided)
15:30Tutorial: Exploring the Semantics of “Timbre Textures” with Granular Synthesis
16:00Poster session
17:00“Crossmodal” social event
18:00Welcome reception
21:00Conference dinner (not provided)

Day 3, Wednesday, July 12

09:00Keynote: Makis Solomos (University Paris 8)
10:00Poster session
10:45Coffee Break (provided)
11:00Oral session: Music analysis and theory
12:00Lunch Break (provided)
13:30Oral session: Orchestration and composition
14:30Conference and Summer School Roundtable
16:00Closing Remarks

Accepted Papers

Kutanga, Mujimbu, and the Orchestration of Events Amongst the Luvale of Zambia
Jason Winikoff

Comparison of perceived and imagined instrumental blend
Linglan Zhu and Stephen McAdams

Scent of a timbre: cross-modal correspondences between synthetic timbres and essential oil aromas
Asterios Zacharakis, Ioulia Michail and Konstantinos Pastiadis

“Beautiful Tone, Beautiful Heart”: Shinichi Suzuki and the Timbres of Childhood
Lindsay Wright

Implicit perception and learned categorization of atypically combined excitations and resonators of musical instruments
Erica Huynh and Stephen McAdams

Playing in Tongues: The Hammond Organ and Black Pentecostal Instrumentality
Braxton Shelley

Identifying Peking Opera Roles Through Vocal Timbre: An Acoustical and Conceptual Comparison between Laosheng and Dan
Annie Liu and Zachary Wallmark

Eighteenth-Century Technological Sublime: Harmonics as Experiment and Evocation
Sarah Waltz

Structure, Texture and Bidimensional Form in Claude Vivier’s Zipangu (1980)
Mylène Gioffredo

Vocal Timbre and the Conceptualization of the Persona in Lena Platonos
Despoina Panagiotidou

Timbre as a (de)constructing force in 1000 gecs
Lindsey Reymore

Marika Ninou vs. Sotiria Bellou: a timbral comparison between two iconic female singers in Rebetiko
Asterios Zacharakis, Savvas Kazazis and Emilios Cambouropoulos

Inharmonicity and Instrumental Synthesis in Grisey’s Transitoires
Ingrid Pustijanac

Affective Qualities of Sustained Instrumental Blends
Yifan Huang and Stephen McAdams

The Timbral Origins of Musical Affect
Iza Korsmit, Marcel Montrey, Alix Wong-Min 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

When ChatGPT Talks Timbre
Charalampos Saitis and Kai Siedenburg

When NIME and ISMIR Talk Timbre
Charalampos Saitis, Maryam F. Torshizi, Vjosa Preniqi, Bleiz M. Del Sette and György Fazekas

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

Tracing timbral subjectivity through listening encounters with Indigenous death doom band Tzompantli
Jennifer LeBlanc

Effects of Tonal Harmonic Content on the Statistical Learning of Melody from Differently Structure Scales
Adam Garrow and Marcus Pearce

Pitch and Timbre Interactions in Dynamically Varying Complex Tones
Ryan Anderson, Yi Shen and William Shofner

Vocal Production, Mimetic Engagement, and Social Media in Bedroom Pop
Alyssa Barna and Caroline McLaughlin

A Machine Learning Approach to Automatic Timbre Assessment in Violin Performance
Rafael Ramirez, Sergio Giraldo and George Waddell

Acoustic and musical features influencing listeners’ perception of affective intentions
Lena Heng, Claire Wei and Stephen Mcadams

The Interaction of Pitch, Timbre, and Visual Bias in Voice Categorization by Cis and Trans Listeners
Jay Marchand Knight and Mickael Deroche

The Viola da Terra as Metaphor: Post-Colonial Sonorities of Azorean Saudade
Abigail Lindo

Playing Style Affects Steel-String Acoustic Guitar Timbre
Jackson Loth, Adrien Mamou-Mani and Mathieu Barthet

Testing the ‘contour hypothesis’: probing musical memory using the matching pairs game
Jiaxin Li, David John Baker, John Ashley Burgoyne and Henkjan Honing

Effect of Timbre on Leman’s Model of Periodicity Pitch
Ivan Jimenez, Tuire Kuusi, Juha Ojala, Isabella Czedik-Eysenberg and Christoph Reuter

Timbre Issues in the Performance of Partiels by Gérard Grisey: An Empirical Study
Nathalie Hérold

Perceived Pleasantness of Instruments in the Lower Registers
Noam Amir, Lee Tirza, Sahar Alkaslassy, Noga Dagan and Shahar Meltz

Expanding a Taxonomy of Instrumental Grouping Effects to Align with Contemporary Musical Practices
Yuval Adler

Anton Reicha’s Fugal Orchestration: A Historical Model of Orchestration Techniques
James Renwick

Timbre or colour? Semantic considerations in German and French music treatises of the early 20th century
Mathieu Schneider

Investigating cone to cylinder transition in wind instruments using physical modelling
Vasileios Chatziioannou

Cross-domain Illusion in Hans Abrahamsen’s ‘Schnee’ (2008), Canons 2a and 2b
Christopher Goddard

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

Embodied Liminality: Musical Chimerism in Chaya Czernowin’s Infinite Now
Richard Drehoff

Sensing Makam: A Timbre-Oriented Study on Turkish Makam Music
Ebru Yazici and Ozan Baysal

Decoding Modulations in Ripple Spectra by Gradient Descent
Cyrus Vahidi, Han Han, Vincent Lostanlen, Gyorgy Fazekas and Mathieu Lagrange

How “vocal” is instrumental music?
Jason Noble, Louis Goldford, Gabriel Couturier, Theodora Nestorova, Jay Marchand Knight and Caroline Traube

Modifying Partials for Minimum-Roughness Sound Synthesis
Simon Schwär, Meinard Mueller and Sebastian J. Schlecht

There is Inharmonicity and Inharmonicity
Luca Danieli and Matthias Frank

The role of timbre in pitch perception and imitation
Yan Chen and Peter Pfordresher

Work in Progress

Choreographing Orchestration: A Novel Method for Analyzing Orchestral Timbre through Ballet
Rebecca Moranis

Timbre and Choral Blending Analysis of Uruguayan Murga Singing
Ivan Meresman Higgs

Towards constructing a historically-grounded gesture-timbre space of Guqin playing techniques
Han Han and Cixian Lu

The Role of Timbre in Parsing the Acoustic Stream
Joshua Rosner, Michael Wagner and Stephen McAdams

Intentional Instrumentation in Debussy’s Trio for Flute, Viola, and Harp
Ash Mach

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

Timbre Semantics of the Singing Voice
Theodora Nestorova, Kit Soden, J. Marchand Knight and Lindsey Reymore

Connecting spectromorphological principles in acousmatic music to a database of sonic gestures for timbre research: problems and prospects
Hubert Ho

Timbral simulation with a string quartet
Jonas Regnier and Robert Hasegawa

Identifying mechanisms through which music can influence wine appreciation
Asterios Zacharakis

Sessions & Tutorials

Neurophysiological simulation for digital audio effects
Cyrus Vahidi and Vincent Lostanlen

The Akai MPC and the Ghosts in the Hip-Hop Machine
Mike D’Errico

Methods for Analyzing, Composing, and Arranging for Extreme Metal Choir
Eric Smialek and Pierre-Luc Senécal

Exploring the Semantics of “Timbre-Textures” with Granular Synthesis
Jason Noble, Takuto Fukuda, Caroline Traube and Zachary Wallmark