Submissions

Submissions are closed

Key dates

  • Notification of results: 31 January 2018
  • Early registration opens: 1 February 2018
  • Preliminary program published online: 1  March 2018
  • Revised abstract submission and first author registration deadline: 1 May 2018
  • Final program published online: 7 May 2018
  • Early registration closes: 31 May 2018
  • Late registration opens: 1 June 2018
  • Conference: 4-7 July 2018

How to submit revised abstracts

Revisions of abstracts for oral and poster presentations and musical events must be submitted online on the EasyChair website.

Word templates for abstracts can be downloaded below. PLEASE RESPECT THE TEMPLATE FORMAT AND PAGE LIMIT. When submitting your file, please name it LastName.doc or LastName.docx, replacing LastName with your own family name.

Please remember that your presentation should be designed to communicate clearly to a highly interdisciplinary audience as can be gleaned from the range of target disciplines on the About page.

All authors of single-author presentations or curators of a musical event and at least one person for multi-author presentations or multi-curator events are required to register for the conference.

Topics

Potential topics include, but are not limited to:

  • history of the concept of timbre and of orchestration practice,
  • compositional approaches to the creation of musical structures in which timbre plays a significant role,
  • issues in analyzing timbre in notated and unnotated musics using score analysis and sound analysis (spectrographic, modulation power spectra and sound field analysis approaches),
  • exploring the historical reasons behind the relative lack of timbre research in music theory, musicology, and ethnomusicology,
  • the perception and cognition of timbre and timbral structures in traditional, vernacular and art musics, with particular attention paid to the evolution of “acceptable” sound palettes through history,
  • problems and opportunities of communicating about timbre with language,
  • cross-cultural differences in the conceptions and use of timbre in music,
  • the differences in approaches to timbral sculpting in acoustic, electroacoustic and mixed music,
  • timbre and tone in traditional and vernacular musics,
  • the role of timbre in the evocation of emotion by music,
  • approaches to orchestration and its pedagogy,
  • the effect of the acoustics of instruments and spaces on the reception of orchestration and perceived timbre,
  • sound recording practices related to capture, preservation, modification and creation of timbre,
  • computer-aided orchestration and orchestral rendering, 
  • big data approaches to orchestration and timbre perception,
  • the role of conductors and performers in realizing timbral goals,
  • neural responses to timbre in musical contexts.