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.

The Analysis, Creation and Teaching of Orchestration (ACTOR) Project and the Centre for Interdisciplinary Research is Music Media and Technology (CIRMMT) co-host a hybrid (in person/virtual) symposium on orchestration research on Wednesday, November 17, 4:30-6:30pm (EDT). The event includes four presentations on the composer-performer collaboration based on work by Stephen McAdams, Eliot Britton, Keith Hamel, Roger Reynolds, Caroline Traube, Yuval Adler, Robert Hasegawa, Joshua Rosner, Justine Maillard, Lindsey Reymore, and Eliazer Kramer.

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.

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

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.

There are several key attributes designated by sound experts to characterize timbre. Their use is common but varies greatly depending on the professional field.

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

Nova Contemporary Music Meeting, May 5–7, 2021

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.

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.

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 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.