• 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
09:00Opening Remarks
09:30Keynote 1: How covert metaphors shape timbral theories, listening, and practices, Nina Sun Eidsheim (University of California Los Angeles)
10:30Coffee Break (provided)
10:45Oral 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
11:45Lunch Break (provided)
13:15Tutorial 1: Neurophysiological simulation for digital audio effects, Cyrus Vahidi and Vincent Lostanlen
14:00Poster 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
14:45Coffee Break (provided)
15:00Oral 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
16:00Tutorial 2: The Akai MPC and the Ghosts in the Hip-Hop Machine, Mike D'Errico
18:30Social activities (optional)
Day 2: Tuesday, July 11
09:00Keynote 2: Disentangling style and structure in generative music models, Jesse Engel (Google Research)
10:00Oral 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
10:45Coffee Break (provided)
11:00Tutorial 3: Methods for Analyzing, Composing, and Arranging for Extreme Metal Choir, Eric Smialek and Pierre-Luc Senécal
11:45Lunch Break (provided)
13:15Keynote 3: Crossmodal correspondences involving timbre: theory and application, Charles Spence (University of Oxford)
14:15Oral 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
15:15Coffee Break (provided)
15:30Tutorial 4: Exploring the Semantics of 'Timbre Textures' with Granular Synthesis, Jason Noble, Takuto Fukuda, Caroline Traube, and Zachary Wallmark
16:15Poster 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
17:00Wine tasting event
18:00Welcome Reception (provided)
19:00Music Concert
21:00Conference Dinner (not provided, see here)
Day 3: Wednesday, July 12
09:00Keynote 4: Timbre and sound: notes on the resilience of the notion of timbre, Makis Solomos (University Paris 8)
10:00Poster 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
10:45Coffee Break (provided)
11:00Oral 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
11:45Lunch Break (provided)
13:15Oral 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
14:15Conference and Summer School Roundtable
15:45Closing Remarks