Schedule
Below is an overview of the schedule. The full conference schedule is available.
Day 1, Monday, July 10
08:00 | Registration |
09:00 | Opening Remarks |
09:30 | Keynote: Nina Sun Eidsheim (University of California Los Angeles) |
10:30 | Coffee Break (provided) |
10:45 | Oral session: Psychoacoustics |
11:45 | Lunch Break (provided) |
13:15 | Tutorial: Neurophysiological simulation for digital audio effects |
14:00 | Work in Progress poster session |
14:45 | Coffee Break (provided) |
15:00 | Oral session: Singing voice and speech |
16:00 | Tutorial: The Akai MPC and the Ghosts in the Hip-Hop Machine |
Day 2, Tuesday, July 11
08:30 | Registration |
09:00 | Keynote: Jesse Engel (Google Research) |
10:00 | Oral session: Cross-modality and semantics |
10:45 | Coffee Break (provided) |
11:00 | Tutorial: Methods for Analyzing, Composing, and Arranging for Extreme Metal Choir |
11:45 | Lunch Break (provided) |
13:15 | Keynote: Charles Spence (University of Oxford) |
14:15 | Oral session: Ethno-musicological and historical perspectives |
15:15 | Coffee Break (provided) |
15:30 | Tutorial: Exploring the Semantics of “Timbre Textures” with Granular Synthesis |
16:00 | Poster session |
17:00 | “Crossmodal” social event |
18:00 | Welcome reception |
19:00 | Concert |
21:00 | Conference dinner (not provided) |
Day 3, Wednesday, July 12
08:30 | Registration |
09:00 | Keynote: Makis Solomos (University Paris 8) |
10:00 | Poster session |
10:45 | Coffee Break (provided) |
11:00 | Oral session: Music analysis and theory |
12:00 | Lunch Break (provided) |
13:30 | Oral session: Orchestration and composition |
14:30 | Conference and Summer School Roundtable |
16:00 | Closing Remarks |
16:30 | Adjournment |
Accepted Papers
Kutanga, Mujimbu, and the Orchestration of Events Amongst the Luvale of ZambiaJason Winikoff
Comparison of perceived and imagined instrumental blendLinglan Zhu and Stephen McAdams
Scent of a timbre: cross-modal correspondences between synthetic timbres and essential oil aromasAsterios Zacharakis, Ioulia Michail and Konstantinos Pastiadis
“Beautiful Tone, Beautiful Heart”: Shinichi Suzuki and the Timbres of ChildhoodLindsay Wright
Implicit perception and learned categorization of atypically combined excitations and resonators of musical instrumentsErica Huynh and Stephen McAdams
Playing in Tongues: The Hammond Organ and Black Pentecostal InstrumentalityBraxton Shelley
Identifying Peking Opera Roles Through Vocal Timbre: An Acoustical and Conceptual Comparison between Laosheng and DanAnnie Liu and Zachary Wallmark
Eighteenth-Century Technological Sublime: Harmonics as Experiment and EvocationSarah Waltz
Structure, Texture and Bidimensional Form in Claude Vivier’s Zipangu (1980)Mylène Gioffredo
Vocal Timbre and the Conceptualization of the Persona in Lena PlatonosDespoina Panagiotidou
Timbre as a (de)constructing force in 1000 gecsLindsey Reymore
Marika Ninou vs. Sotiria Bellou: a timbral comparison between two iconic female singers in RebetikoAsterios Zacharakis, Savvas Kazazis and Emilios Cambouropoulos
Inharmonicity and Instrumental Synthesis in Grisey’s TransitoiresIngrid Pustijanac
Affective Qualities of Sustained Instrumental BlendsYifan Huang and Stephen McAdams
The Timbral Origins of Musical AffectIza 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 frequencySimon Jacobsen and Kai Siedenburg
When ChatGPT Talks TimbreCharalampos Saitis and Kai Siedenburg
When NIME and ISMIR Talk TimbreCharalampos Saitis, Maryam F. Torshizi, Vjosa Preniqi, Bleiz M. Del Sette and György Fazekas
Network Analysis of Instrumentation in Timbral Augmentation BlendsCorinne 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 TzompantliJennifer LeBlanc
Effects of Tonal Harmonic Content on the Statistical Learning of Melody from Differently Structure ScalesAdam Garrow and Marcus Pearce
Pitch and Timbre Interactions in Dynamically Varying Complex TonesRyan Anderson, Yi Shen and William Shofner
Vocal Production, Mimetic Engagement, and Social Media in Bedroom PopAlyssa Barna and Caroline McLaughlin
A Machine Learning Approach to Automatic Timbre Assessment in Violin PerformanceRafael Ramirez, Sergio Giraldo and George Waddell
Acoustic and musical features influencing listeners’ perception of affective intentionsLena Heng, Claire Wei and Stephen Mcadams
The Interaction of Pitch, Timbre, and Visual Bias in Voice Categorization by Cis and Trans ListenersJay Marchand Knight and Mickael Deroche
The Viola da Terra as Metaphor: Post-Colonial Sonorities of Azorean SaudadeAbigail Lindo
Playing Style Affects Steel-String Acoustic Guitar TimbreJackson Loth, Adrien Mamou-Mani and Mathieu Barthet
Testing the ‘contour hypothesis’: probing musical memory using the matching pairs gameJiaxin Li, David John Baker, John Ashley Burgoyne and Henkjan Honing
Effect of Timbre on Leman’s Model of Periodicity PitchIvan Jimenez, Tuire Kuusi, Juha Ojala, Isabella Czedik-Eysenberg and Christoph Reuter
Timbre Issues in the Performance of Partiels by Gérard Grisey: An Empirical StudyNathalie Hérold
Perceived Pleasantness of Instruments in the Lower RegistersNoam Amir, Lee Tirza, Sahar Alkaslassy, Noga Dagan and Shahar Meltz
Expanding a Taxonomy of Instrumental Grouping Effects to Align with Contemporary Musical PracticesYuval Adler
Anton Reicha’s Fugal Orchestration: A Historical Model of Orchestration TechniquesJames Renwick
Timbre or colour? Semantic considerations in German and French music treatises of the early 20th centuryMathieu Schneider
Investigating cone to cylinder transition in wind instruments using physical modellingVasileios Chatziioannou
Cross-domain Illusion in Hans Abrahamsen’s ‘Schnee’ (2008), Canons 2a and 2bChristopher Goddard
Comparative analysis of the perceptual fusion in Grisey’s Partiels: an approach with audio analysisMicael 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 NowRichard Drehoff
Sensing Makam: A Timbre-Oriented Study on Turkish Makam MusicEbru Yazici and Ozan Baysal
Decoding Modulations in Ripple Spectra by Gradient DescentCyrus 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 SynthesisSimon Schwär, Meinard Mueller and Sebastian J. Schlecht
There is Inharmonicity and InharmonicityLuca Danieli and Matthias Frank
The role of timbre in pitch perception and imitationYan Chen and Peter Pfordresher
Work in Progress
Choreographing Orchestration: A Novel Method for Analyzing Orchestral Timbre through BalletRebecca Moranis
Timbre and Choral Blending Analysis of Uruguayan Murga SingingIvan Meresman Higgs
Towards constructing a historically-grounded gesture-timbre space of Guqin playing techniquesHan Han and Cixian Lu
The Role of Timbre in Parsing the Acoustic StreamJoshua Rosner, Michael Wagner and Stephen McAdams
Intentional Instrumentation in Debussy’s Trio for Flute, Viola, and HarpAsh Mach
Influence of frequency modulations on the recognition of vocals and instrumentsMichel Bürgel and Kai Siedenburg
Live in Atlanta: Listening to Black Popular Music Performances in ConcertDanielle Davis
Timbre Semantics of the Singing VoiceTheodora 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 prospectsHubert Ho
Timbral simulation with a string quartetJonas Regnier and Robert Hasegawa
Identifying mechanisms through which music can influence wine appreciationAsterios Zacharakis
Sessions & Tutorials
Neurophysiological simulation for digital audio effectsCyrus Vahidi and Vincent Lostanlen
The Akai MPC and the Ghosts in the Hip-Hop MachineMike D’Errico
Methods for Analyzing, Composing, and Arranging for Extreme Metal ChoirEric Smialek and Pierre-Luc Senécal
Exploring the Semantics of “Timbre-Textures” with Granular SynthesisJason Noble, Takuto Fukuda, Caroline Traube and Zachary Wallmark