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Departmental Publications List 2011

 

Publications, January - December 2011

 Beghin, Tom.

  • Solo and chamber performances in Montreal.

Recordings:

  • The Virtual Haydn: Complete Works for Solo Keyboard (rerelease of Blu-ray, remastered for CD and DVD – Naxos 8501203).

Biamonte, Nicole.

  • Editor of special issue on form in rock music, “(Per)Form in(g) Rock,” Music Theory Online 17.3 (2011).
  • “Contre Nous: Musical Otherness in Rush,” in Rush and Philosophy, ed. Durrell Bowman (Chicago, IL: Open Court, 2011).
  • Book review, David Damschroder, Listening to Harmony, Nineteenth-Century Music Review 7/2 (2011).
  • Reprint of article, “Modal and Pentatonic Triadic Systems in Rock Music,” in Rock Music, ed. Mark Spicer (Aldershot: Ashgate Press, 2011).

Bouliane, Denys.

Creation (World Premieres):

  • Tekeni - Ahsen (for vl, cello, piano, 2 perc and large electronic system; 11 min.) February 8, 2011; MMR Studio, Schulich School of Music. Jonathan Crow, vl; Chloé Dominguez, vc; Martin Karlicek, piano; Aiyun Huang, Ben Reimer, perc.; David Adamcyk, electronic regie; D. Bouliane, dir. CBC broadcast.
  • Vols et vertiges du Gamache (Concerto for cello; 25 min.) March 22, 2011; Place des Arts, Montreal, Orchestre symphonique de Montréal with soloist Matt Haimovitz under Kent Nagano. CBC broadcast.
  • Kahseta’s tekeni-ahsen (for orchestra; 10 min.) April 13, 2011; Eglise Notre-Dame-des Sept-Douleurs, Montreal, Orchestre Métropolitain under Yannick Nézet-Séguin.

Caplin, William.

  • “Criteria for Analysis: Perspectives on Riemann’s Mature Theory of Meter,” in The Oxford Handbook of Neo-Riemannian Music Theories, ed. Edward Gollin and Alexander Rehding, 419–39. New York, Oxford University Press, 2011.

Cherney, Brian.

  • “Aborder la modernité: Triptyque et Lignes et points de Pierre Mercure”. Circuit 21/3 (2011): 99-116.

Creation (World Premieres):

  • Twenty-two Arguments for the Suspension of Disbelief, for flute, cello & piano. Nu:BC Collective. Calgary, January 28, 2011.
  • Musiques nocturnes pour violon, violoncelle et piano. Trio Fibonacci. September 21, 2011 at La Chapelle du bon Pasteur, Montreal.

Cossette, Isabelle.

  • “Examples from Inquiry Network members.” In: Slapcoff, M., Dobler, E., & Tovar, M. (Eds.). (2011). Using coursework to enhance students’ understanding of research/scholarship: A report from the Inquiry Network. Montreal: Teaching and Learning Services, McGill University. 2011.

Cumming, Julie.

  • “Composing Imitative Counterpoint around a cantus firmus: Two Motets by Heinrich Isaac.” Journal of Musicology 28: (2011): 231–288. 

de Francisco, Martha.

Recordings (as producer):

  • Currier, Time Machines. Anne Sophie Mutter, New York Philharmonic, Alan Gilbert, Avery Fisher Hall New York. Deutsche Grammophon.
  • Carl Philip Emmanuel Bach, The Cello Concertos. Truls Mørk, cello, Les Violons du Roy, Bernard Labadie, conductor, Quebec City. Virgin Classics (EMI).
  • Bach Piano Concertos. Alexandre Tharaud, pianist, Les Violons du Roy, Bernard Labadie, conductor, Palais Montcalm, Quebec City. Virgin Classics.
  • Music of the Shaar, Traditional Synagogue Music. Cantor Gideon Zelermyer, The Shaar Hashomayim Synagogue Choir, conducted by Stephen Glass.
  • Beethoven String Quartet Op 135, Schubert String Quartet G major No 15. New Orford String Quartet, Jonathan Crow, et al, MMR, Schulich School of Music. Bridge Classics.
  • National Youth Orchestra, Jonathan Darlington conducting.
  • The Virtual Haydn: Complete Works for Solo Keyboard (rerelease of Blu-ray, remastered for CD and DVD – Naxos 8501203).

Depalle, Philippe.

  • Rolling Sound Synthesis, Acta Acustica United with Acustica, Vol. 97, No. 5, pp. 840-851, September/October 2011.
  • Barthet, M., Ph. Depalle, R. Kronland-Martinet, and S. Ystad, Analysis-by-synthesis of timbre, timing and dynamics in expressive clarinet performance, Music Perception, Vol. 28, No. 3, pp. 265-278, February 2011.
  • Lee, J. S., G. P. Scavone, Ph. Depalle, and K. Moonseok, Conformal method for the rectilinear Digital Waveguide Mesh, IEEE Workshop on Applied Signal Processing to Audio and Acoustics, New Paltz, U.S.A., October 16-19, 2011, New Paltz, NY, pp. 293-296.
  • Kereliuk, C., and Ph. Depalle, Sparse Atomic Modeling of Audio: A Review, Proceedings of the Workshop on Digital Audio Effects (DAFX’11), Paris, France, September 2011.
  • Lee, J. S., Ph. Depalle, and G. P. Scavone, On the Extraction of Excitation from a Plucked String Sound in Time Domain, in Proceedings of the Canadian Acoustical Association Conference, Québec City, October 12-14.
  • Scherrer, B., and Ph. Depalle, A Physically-Informed Audio Analysis Framework for the Identification of Plucking Gestures on the Classical Guitar, in Proceedings of the Canadian Acoustical Association Conference, Québec City, October 12-14, pp. 132-133.

Fujinaga, Ichiro.

  • De Roure, D., K. R. Page, B. Fields, T. Crawford, J. S. Downie, and I. Fujinaga. 2011. An e-Research approach to Web-scale music analysis. Philosophical Transactions of Royal Society A. 369: 3300–17.
  • Burgoyne, J. A., J. Wild, and I. Fujinaga. 2011. An expert ground truth set for audio chord recognition and music analysis. Proceedings of the International Society for Music Information Retrieval Conference. Miami, FL. 633–8.
  • Ehmann, A., M. Bay, J. S. Downie, I. Fujinaga, and D. De Roure, 2011. Music structure segmentation algorithm evaluation: Expanding on MIREX 2010 analysis and datasets. Proceedings of the International Society for Music Information Retrieval Conference. Miami, FL. 561–6.
  • Hankinson, A., P. Roland, and I. Fujinaga. 2011. MEI as a document encoding framework. Proceedings of the International Society for Music Information Retrieval Conference. Miami, FL. 293–8.
  • Knight, T., F. Upham, and I. Fujinaga. 2011. The potential for automatic assessment of trumpet tone quality. Proceedings of the International Society for Music Information Retrieval Conference. Miami, FL. 573–8.
  • Smith, J. B. L., J. A. Burgoyne, I. Fujinaga, D. De Roure, and J. S. Downie. 2011. Design and creation of a large-scale database of structural annotations. Proceedings of the International Society for Music Information Retrieval Conference. Miami, FL. 555-60.
  • Vigliensoni, G. J. A. Burgoyne, A. Hankinson, and I. Fujinaga. 2011. Automatic pitch detection in printed square notation. Proceedings of the International Society for Music Information Retrieval Conference. Miami, FL. 423–8.
  • Hockman, J. A., D. M. Weigl, C. Guastavino, and I. Fujinaga. 2011. Discrimination between phonograph playback systems. Audio Engineering Society 131st Convention. New York, NY.
  • Devaney, J., M. I. Mandel, and I. Fujinaga. 2011. Characterizing singing voice fundamental frequency trajectories. Proceedings of the 2011 Workshop on Applications of Signal Processing to Audio and Acoustics.  New Paltz, NY.
  • Ehmann, A., M. Bay, J. S. Downie, I. Fujinaga, and D. De Roure. 2011. Exploiting music structures for digital libraries. Proceedings of the Joint Conference on Digital Libraries. Ottawa, ON. 479–80.

Harman, Christopher.

Creation (World Premieres):

  • Schumann Scenes. PING! A Celebration of New Music for Young Musicians. Earl Haig Secondary School Junior Strings, Alan Torok: cond., Royal Conservatory of Music, Toronto.
  • Der Tag mit seinem Licht. Transmission Ensemble, SMCQ Concert Series, Chapelle Historique du Bon Pasteur, Montreal.
  • Coyote Soul. Esprit Orchestra, Koerner Hall, Toronto.
  • Sonatine. Bob Aitken; flute, Simon Fryer; cello. Women’s Musical Club of Toronto, Walter Hall, University of Toronto.

Huebner, Steven.

  • National Traditions in Nineteenth-Century Opera, vol 1 (The Ashgate Library of Essays in Opera Studies).  Farnham: Ashgate, 2010 (anthology of opera article reprints with historiographical introduction).
  • “Tristan’s traces.” Richard Wagner: Tristan und Isolde, ed. Arthur Groos. Cambridge: CUP, 2011. 142-166.
  • “Ravel’s Poetics: Literary Currents, Classical Takes.” Unmasking Ravel: New Perspectives on the Music, ed. Peter Kaminsky. Rochester: University of Rochester Press, 2011. 9-40.
  • Review of Jann Pasler, Composing the Citizen, in Journal of the American Musicological Society 63 (2010): 690-703.
  • “Clio’s Muse,” scholarly essay for program book to Les Huguenots, Théâtre de la Monnaie, April 2011.
  • “Dream, Desire, and Magic,” scholarly essay for program book to Cendrillon, Théâtre de la Monnaie, November 2011.

Hui, Melissa.

Recordings:

  • And blue sparks burn, for violin and piano. 30 Years: A Canadian Music Sampler. Centrediscs CMCCD 17311.

King, Richard.

Recordings (as engineer):

  • Contagious Words. (John Vanore and Abstract Truth) Acoustical Concepts Inc. AC-17.
  • Gladwell. (Julian Lage Group) Decca Records/Emarcy B0015502-02.
  • Glazunov: Complete Concertos. José Serebrier, Russian National Orchestra (various soloists) Warner Classics 2564 67946-5.
  • Ives: Four Sonatas. (Hilary Hahn, violin, Valentina Lisitsa, piano) Deutche Grammophon B00116082-02.
  • The Goat Rodeo Sessions. (Yo-Yo Ma, Stuart Duncan, Edgar Meyer, Chris Thile) Sony Classical 88697-96971-2.
  • Miles Espagnole. (Chick Corea, Ron Carter, John Scofield, etc) E-1 Entertainment EOM CD 2104.
  • Shuffle, Play, Listen. (Matt Haimovitz/Christopher O'Riley) Oxingale Records OX2019.
  • Vivaldi: The Four Seasons Concertos on Blu-Ray Disc. (Cho-Liang Lin/Sejong Orchestra & Anthony Newman) Naxos NBD0016.
  • Film Score: The Beaver. (Jodie Foster, director, Marcelo Zarvos, composer) Summit Entertainment.

Kok, Roe-Min.

  • Co-editor, Rethinking Schumann, New York: Oxford University Press.
  • “Who Was Mignon? What Was She? Popular Catholicism and Schumann’s Requiem, Op. 98b,” in Rethinking Schumann. 88-108.
  • “Music for a Postcolonial Child: Theorizing Malaysian Memories,” reprinted in Learning, Teaching, and Musical Identity: Voices across Cultures. Ed. Lucy Green. Bloomington: Indiana University Press, 2011. 73-90.
  •  “Schumann im anglophonen Kontext,” in Robert Schumann: Persönlichkeit, Werk und Wirkung: Bericht über die Internationale Musikwissenschaftliche Konferenz vom 22. bis 24. April 2010 in Leipzig, ed. Helmut Loos. Leipzig: Gudrun Schröder Verlag, 2011. 434-42.
  •    “Klaviermusik (Gattung, musikalische)”; “Hilary Hahn”; “Liza Lim”; “Midori”; “Younghi Pagh-Paan”; “Miki Yui” in Lexikon Musik und Gender, ed. Annette Kreutziger-Herr and Melanie Unseld. Kassel and Stuttgart: Bärenreiter Metzler, 2011 (online).

Leroux, Philippe.

  • « …Phraser le monde : continuité, geste et énergie dans l’œuvre musicale, » Circuit, Musiques contemporaines, 29-48, vol. 21, n° 2,  2011.

Creation (Publication):

  • L’entourage intime (nouvelle version) for 12 voices, Paris, Ed.Gerard Billaudot, 2011.
  • Cinq poemes de Jean Grosjean for 6 voices, Paris, Ed.Gerard Billaudot, 2011.
  • Extended Apocalypsis for 4 voices, 16 instruments, live electronics and video, Paris, Ed.Gerard Billaudot, 2011.
  • ...Ami…Chemin…Oser…Vie… for 15 instruments, Paris, Ed.Gerard Billaudot, 2011.

Creation (World Premieres):

  • Le cri de la pierre for bag-pipe. Erwa Keravec, Festival Musica, Conservatoire de Strasbourg – France.
  • Extended Apocalypsis for 4 voices, 16 instruments, electronics and video. Raphale Kennedy and Valérie Philippin (soprano), Francine Vis (Mezzo-soprano) et Romain Bishoff (Baryton), Ensemble Athelas, conducted by Pierre-André Valade, Elsinore, Denmark.
  • …Ami…Chemin…Oser…Vie… for 15 instruments. NEM Conducted by Lorraine Vaillancourt, Salle Claude Champagne, Montréal – Canada.

Lesage, Jean.

Creation (World Premieres):

  • Beatitudines, for large orchestra. Montreal Symphony Orchestra, Kent Nagano, Salle Wilfrid Pelletier.

Lorenzino, Lisa. 

  • Music education in Cuba schools.  Research Studies in Music Education 33 (2), pp.193-206.  

McAdams, Stephen.

  • Gingras, B. & McAdams, S. (2011). Improved score-performance matching using both structural and temporal information from MIDI recordings. Journal of New Music Research 40, 43-57.
  • Peters, N., Marentakis, G. & McAdams, S. (2011). Current technologies and compositional practices for spatialization: A qualitative and quantitative analysis. Computer Music Journal 35, 10-27.
  • Giordano, B.L., Guastavino, C., Murphy, E., Ogg, M., Smith, B.K. & McAdams, S. (2011). Comparison of methods for collecting and modeling dissimilarity data: Applications to complex sound stimuli. Multivariate Behavioral Research 46, 1-33.
  • Peeters, G., Giordano, B.L., Susini, P., Misdariis, N. & McAdams, S. (2011). The Timbre Toolbox: Extracting audio descriptors from musical signals. Journal of the Acoustical Society of America 130, 2902-2916.
  • Gingras, B., Lagrandeur-Ponce, T., Giordano, B. & McAdams, S. (2011). Perceiving musical identity: Performer identification is dependent on performer expertise and expressiveness, but not on listener expertise. Perception 40, 1206-1220.
  • Susini, P., Lemaitre, G. & McAdams, S. (2011). Psychological measurement for sound description and evaluation. In B. Berglund, G. B. Rossi, J. T. Townsend & L. R. Pendrill (Eds.), Measurements with Persons: Theory, Methods and Implementation Areas, pp. 227-253, Psychology Press, New York.
  • Marentakis, G., Griffiths, C. & McAdams, S. (2011). Detecting spatial displacement in musical scenes. Proceedings of Forum Acusticum 2011, Aalborg.

Neidhöfer, Christoph.            

  • “Inside Luciano Berio’s Serialism”, Music Analysis 28:2-3 (2009 [2011]), pp. 301-348.
  • “Energetik und Form: Analytische Reflexionen über Rudolf Kelterborns Four Pieces for Four Players (2005)”, Dissonance 115 (2011), pp. 18-31.

Rusch Daley, René.

  • “Rethinking Conceptions of Unity: Schubert’s Moment Musical in A-flat Major, D. 780 (Op. 94), No. 2.” Music Analysis 30/1 (2011): 1–31.
  • Book review, Ryan McClelland, Brahms and the Scherzo: Studies in Musical Narrative. Intersections: Canadian Journal of Music 30/2 (2010): 127–130.

Scavone, Gary.

  • Maestre, E., Scavone, G., and Smith, J. O. (2011). “Modeling of a violin input admittance by direct positioning of second-order resonators (A).” Journal of the Acoustical Society of America, 130, p. 2364.
  • Murphy, E., Lagrange, M., Scavone, G., Depalle, P. & Guastavino, C. (2011). Perceptual evaluation of rolling sound synthesis. Acta Acustica united with Acustica, 97(5), pp. 840-851.
  • Lee, J., Kim, M., Depalle, P. and Scavone, G. (2011). “Conformal method for the rectilinear digital waveguide mesh.” In Proceedings of the IEEE Workshop on Acoustics of Signal Processing to Audio and Acoustics (WASPAA '11), New Paltz, NY, Oct. 16-19, 2011, pp. 293-296.
  • Sinclair, S., Wanderley, M., Hayward, V., and Scavone, G. (2011). “Noise-free haptic interaction with a bowed-string acoustic model.”  In Proceedings of the IEEE World Haptics Conference 2011.
  • Lefebvre, A. and Scavone, G. (2011). “On the Bore Shape of Conical Instruments.” In Proceedings of the 2011 Canadian Acoustical Association Conference, Quebec City, Quebec, Canada, pp. 128-129.
  • Freour, V. and Scavone, G. (2011). “Development of an electrolabiograph embedded in a trombone mouthpiece for the study of lip oscillation mechanisms in brass instrument performance.” In Proceedings of the 2011 Canadian Acoustical Association Conference, Quebec City, Quebec City, Quebec, Canada, pp. 130-131.
  • Lee, J., Depalle, P. and Scavone, G. (2011). “On the extraction of excitation from a plucked string sound in time domain.” In Proceedings of the 2011 Canadian Acoustical Association Conference, Quebec City, Quebec, Canada, pp. 126-127.
  • Saitis, C., Giordano, B. L., Fritz, C. and Scavone, G. (2011). “Aspects of experimental design for the perceptual evaluation of violin qualities.” In Proceedings of the 2011 Canadian Acoustical Association Conference, Quebec City, Quebec, Canada, pp. 134–135.
  • Freour, V., Scavone G., Lefebvre A., and Germain F. (2011). “Acoustical properties of the vocal-tract in trombone performance.” In Proceedings of the 2011 Forum Acusticum Conference.
  • Saitis, C., Giordano, B. L., Fritz, C. and Scavone, G. (2011). “Investigating inter-individual differences in the preference for the violins.” In Proceedings of the 2011 Forum Acusticum Conference.
  • Lefebvre, A. and Scavone, G. (2011). “A Comparison of Saxophone Impedances and their Playing Behavior.” In Proceedings of the 2011 Forum Acusticum Conference.

Schubert, Peter.

  • “Global Perspective on Music Theory Pedagogy: Thinking in Music.” Journal of Music Theory Pedagogy 25 (2011): 217-33.
  • Choral conducting performances: VivaVoce, four-concert subscription series; Orpheus, three concerts

Stubley, Eleanor.

  • Multimedia choral performances in Montreal and Finland.

Recordings (as conductor):

  • Maisema elää (Selections from Living Gestures II), Rauma Fikkatten Göör with dancer, Kirsi Heimonen, Finnish Department of Heritage, released September 2011.

Wanderley, Marcelo.

  • “Hybrid Inverse Motion Control for Virtual Characters Interacting with Sound Synthesis: Application to Percussion Motion.” Alexandre Bouënard, Sylvie Gibet and Marcelo M. Wanderley. The Visual Computer Journal, 2011.
  • “Virtual Gesture Control and Synthesis of Music Performances: Qualitative Evaluation of Synthesized Timpani Exercises.” Alexandre Bouënard, Marcelo M. Wanderley, Sylvie Gibet and Fabrice Marandola. Computer Music Journal, 35(3):57-72, Fall 2011.
  • “Music to my Eyes: Cross-modal Interactions in the Perception of Emotions in Musical Performance.” Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley, Ioana M. Dalca, and Daniel J. Levitin. Cognition 118:157–170, 2011.
  • Joseph Malloch, Stephen Sinclair, Avrum Hollinger and Marcelo M. Wanderley. “Input Devices and Music Interaction.” In Kia Ng and Jorge Solis (Eds.): Musical Robots and Interactive Multimodal Systems, Springer Verlag. 2011.
  • "Evaluating of sensor technologies for The Rulers, a kalimba-like Digital Musical Instrument." Carolina B. Medeiros and Marcelo M. Wanderley. In Proc. of the 8th Sound and Music Computing Conference, Padova, Italy, 2011.
  • "A Learning Interface for Novice Guitar Players using Vibrotactile Stimulation." Marcello Giordano and Marcelo M. Wanderley. In Proc. of the 8th Sound and Music Computing Conference, Padova, Italy, 2011.
  • "Noise-free haptic interaction with a bowed-string acoustic model." Stephen Sinclair, Marcelo M. Wanderley, Vincent Hayward and Gary Scavone. In Proc. of the IEEE – World Haptics Conference, 2011.
  • "Examining the Effects of Embedded Vibrotatile Feedback on the Feel of a Digital Musical Instrument." Mark T. Marshall and Marcelo M. Wanderley. In Proc. of the 2011 International Conference on the Interfaces for Musical Expression (NIME11).

Whitesell, Lloyd.

  • “Musical Eclecticism and Ambiguity in The Sweet Hereafter,” American Music 29 (2011): 229-63.
  • Cumulative LGBTQ Music Bibliography, 200 new entries, updated August 2011, http://www.ams-lgbtq.org/

Wild, Jonathan.

  • (second author of 3) An expert ground truth set for audio chord recognition and music analysis, International Society for Music Information Retrieval, Proceedings.
  • (second author of 3) Intonation in solo vocal performance: A study of semitone and whole tone tuning in undergraduate and professional sopranos, International Symposium on Performance Science, Proceedings.

Woszczyk, Wieslaw.

  • Woszczyk,  W., “Active Acoustics in Concert Halls – A New Approach”, Archives of Acoustics, 36, 2, 1-14 (2011).
  • Olmos, A., Rushka, P., Ko, D., Foote, G., Woszczyk, W., and Cooperstock, J., “Where do you want your ears? Comparing performance quality as a function of listening position in a virtual jazz band”, Proceedings of the 8th Sound and Music Computing Conference.
  • Woszczyk, W., Ko, D.,  and Leonard, B., “Active (virtual) acoustics in the service of music performance and recording”, Proceedings of the 14th International Symposium on Sound Engineering and Tonmeistering.
  • Woszczyk, W., Ko, D.,  and Hong, Jonathan., “A new active acoustics system for enhancing musician’s environment on concert and recording stages”, Proceedings of the 162nd Meeting of the Acoustical Society of America.
  • Woszczyk, W., Ko, D.,  and Hong, Jonathan., “Playing the Room”: interactive virtual acoustics enhances musicians’ performance on concert and recording stage”, Presented at the 162nd Meeting of the Acoustical Society of America.

Recordings (as producer):

  • The Virtual Haydn: Complete Works for Solo Keyboard (rerelease of Blu-ray, remastered for CD and DVD – Naxos 8501203).
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