One of the most curious aspects of timbre and its manifestation through orchestration is its ability to create what is known as a timbral emergence: the synthesis of a new timbre whose component instruments are unidentifiable as themselves.

Successful musical interpretation in performance involves the ability to go beyond the written notation, to “take the music off the page,” so to speak. Music theoretical analysis often stops at written notation, where performers only begin their interpretive processes.

Technology and Timbre: An autoethnography on the influence of electronics on the composer's orchestration practice.

Analyzing the Perceptual Effects of Orchestration through the Lens of Auditory Grouping Principles.

In this video made for the 2020 meeting of Music Theory Midwest, Reymore describes some of her timbre research: building a cognitive linguistic model of timbre qualia, using the model to construct profiles for orchestral instruments, and applying these findings in analysis of the first movement of Mahler's first symphony, where Reymore looks at form and at the climactic breakthrough, or Durchbruch, moment.

Removing the Imaginary Boundary Between Score and Work: Interactive Geometrical Notation