Abstract Workshop
On December 6, 2021, the ACTOR Training and Mentoring Committee (TMC) hosted an online workshop on conference proposal abstract writing with professors Robert Hasegawa (McGill University) and Malte Kob (Detmold University of Music).
Penderecki's Phantom Bell
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.
Taking it off the page: Interpretation and performance-driven analysis
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.
Evaluation and reconstruction of a blended string ensemble: Recent developments & findings
The blending between sound sources in a joint performance is an important feature relevant in the evaluation and reconstruction of the sound field of an orchestra/ensemble in real life and also in virtual reality domain. I
Cross-cultural orchestration in contemporary music : adaptation of traditional Middle Eastern playing techniques to Western instruments
La recherche est generalement recentrée sur les strategies d'integration et d'adaptation des elements ésthetiques des modes particulieres du Moyen-Orient vers un langage contemporaine occidentale.
Investigating timbral attribute perception using Best-Worst Scaling
There are several key attributes designated by sound experts to characterize timbre. Their use is common but varies greatly depending on the professional field.
Timbre and orchestration of big bands and jazz orchestras
Current timbre research has focused overwhelmingly on what George Lewis (1996) describes as Eurological traditions; musical traditions that are based in European-derived beliefs, behaviors, and logics.
Technology and Timbre
Technology and Timbre: An autoethnography on the influence of electronics on the composer's orchestration practice.
Composer-performer Orchestration Research Ensembles
Throughout the CORE project, the creative processes of exploration, orchestrational problemsolving, and the realization of new music were recorded, documented, and archived for consideration. This presentation will describe the project’s goals, aims and methodological approaches at the five partner institutions, certain facets of which will be detailed in other presentations.
Documenting Composer-Performer Collaboration on Orchestrational Problem Solving
Through score and audio analysis using a perceptually based taxonomy of orchestrational effects, we studied three compositions written by McGill University graduate students in collaboration with the ensemble’s performers. Our analytical approach considered perceptual issues of auditory fusion, segregation, integration, and stratification, focusing largely on the strategies developed by each composer to achieve their desired textural effects.
Orchestrational thinking and composer-performer relationships
This paper discusses preliminary analyses of the data collected during the initiation phase in the Fall of 2019. Verbatim extracts from the interviews were manually coded on the basis of a qualitative research method inspired by grounded theory. The analyst assigns a “code” to each verbatim segment, thus attributing a significant evocative attribute to each portion of the verbal data.
E-Rock: Creating Blend, Combining Styles, and Composing through Collaboration
E-Rock is a composition for violin, bass clarinet, trombone, and vibraphone/small percussion that explores klezmer-inspired music while complexifying it and imitating different instruments and musical styles.
Analyzing the Perceptual Effects of Orchestration through the Lens of Auditory Grouping Principles
Analyzing the Perceptual Effects of Orchestration through the Lens of Auditory Grouping Principles.
L'Orchestre de l'Université de Montréal - Distanciation: si loin, si proches
Malgré la distance, il y a une connexion qui se fait avec l'écoute, la respiration et les silences. Tout est là, tout est dans l'air.
The Orchestration Analysis and Research Database (Orchard)
To provide a tool for researching the role of auditory grouping effects in orchestration practice and thereby the role of timbre as a structuring force in music, a first-of-its-kind online database was created, and an analysis taxonomy and methodology were established.
Spatial sound art in public spaces
We present an interdisciplinary collaboration between McGill, Audiotopie and Plateau-Mont-Royal borough around the design and evaluation of spatial sound installations in Montreal.
A case study of the perceptual challenges and advantages of homogeneous orchestration
Orchestration is defined by Stephen McAdams as “the choice, combination or juxtaposition of sounds to achieve a musical end.” This typically invokes a palette of heterogeneous sounds, especially those of the instruments of the symphony orchestra, but McAdams’ definition equally applies to homogeneous sound palettes encountered in ensembles of uniform composition, such as the guitar orchestra.