Music Analysis
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MPCL Bibliographies: Music Analysis
Compiled at the Music Perception and Cognition Laboratory (MPCL) — McGill University.
Updated March 28, 2022.
Attas, R. (2015). Form as Process: The buildup introduction in popular music. Music Theory Spectrum, 37(2), 275–296. https://doi.org/10.1093/mts/mtv020
Bauer, A. M. (2001). Composing the Sound Itself: Secondary Parameters and Structure in the Music of Ligeti. Indiana Theory Review, 22(1), 37–64.
Bauer, A. M. (2004). “Tone-color, movement, changing harmonic planes”: Cognition, constraints and conceptual blends in modernist music. In A. Ashby (Ed.), The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology (pp. 121–152). University of Rochester Press. https://escholarship.org/uc/item/3s27h884
Bertola, M. F. (2018). The sound’s remains: Some thoughts on Harrison Birtwistle’s Orpheus Elegies (2004) or: Timbre from Kant to Hegel. Contemporary Music Review, 1–24. https://doi.org/10.1080/07494467.2018.1427189
Cannon, S. C. (2016). Altered dynamics and instrumentation at the onset of recapitulation in the nineteenth-century symphony. Analitica-Rivista Online Di Studi Musicali, 8(1). http://www.gatm.it/analiticaojs/index.php/analitica/article/view/141/124
Clarke, M., Dufeu, F., & Manning, P. (2013). TIAALS: a new generic set of tools for the interactive aural analysis of electroacoustic music. Electroacoustic Music Studies Conference: Electroacoustic music in the context of interactive approaches and networks, Lisbon, Portugal.
Cogan, R. (1984). Introduction. In New Images of Musical Sound (pp. 1–19). Harvard University Press.
Couprie, P. (2004). Graphical representation: An analytical and publication tool for electroacoustic music. Organised Sound, 9(1), 109–113. https://doi.org/10.1017/S1355771804000147
Decroupet, P. (1994). Timbre diversification in serial tape music and its consequence on form. Contemporary Music Review, 10(2), 13–23. https://doi.org/10.1080/07494469400640261
DeThorne, J. (2014). Colorful plasticity and equalized transparency: Schoenberg’s orchestrations of Bach and Brahms. Music Theory Spectrum, 36(1), 121–145. https://doi.org/10.1093/mts/mtu003
Drott, E. (2013). The End (s) of Genre. Journal of Music Theory, 57(1), 1–45. https://doi.org/10.1215/00222909-2017097
Fennelly, B. (1967). A Descriptive Language for the Analysis of Electronic Music. Perspectives of New Music, 6(1), 79–95. https://doi.org/10.2307/832410
Goodchild, M., & McAdams, S. (2016). Developing orchestration theory from an empirical analysis method. 14th International Conference on Music Perception and Cognition, San Francisco, CA.
Halls, G. Arnold Schoenberg. Analysis of Five Pieces for Orchestra, Op. 16. #3 (1909). http://www.freejazz.ca/theory-harmony-analysis/Schoenberg.op16.3.analysis-glenhalls.pdf
Hérold, N. (2016). Timbral vectoriality: Some considerations in the context of post-tonal music. In Nuove Musiche. Pisa University Press.
Janello, D. A. (1994). Structural determinants in orchestration: An analytical investigation in the music of Ravel, Holst, Ligeti, Varese, Respighi, Feldman and Ellington. University of Southern California.
Keefe, S. P. (2008). “Die Ochsen am Berge”: Franz Xaver Süssmayr and the Orchestration of Mozart’s Requiem, K. 626. Journal of the American Musicological Society, 61(1), 1–65. https://doi.org/10.1525/jams.2008.61.1.1
Koivisto, T. (2004). Syntactical Space and Registral Spacing in Elliott Carter’s “Remembrance.” Perspectives of New Music, 42(2), 158–189.
Lalitte, P. (2003). L’architecture du timbre chez Varèse: La médiation de l’acoustique pour produire du son organisé. Analyse Musicale, 47, 34–43.
Lalitte, P. (2007). Son organisé et spéculation sur les distances chez Varèse. Cahiers de La Société Québécoise de Recherche En Musique, 9(1–2), 125–140.
Lalitte, P. (2011). The theories of Helmholtz in the work of Vare`se. Contemporary Music Review, 30(5), 329–344. https://doi.org/10.1080/07494467.2011.665578
Laursen, L. (2016). Orchestration strategies in Simon Steen-Andersen’s Double Up. Music Theory Online, 22(3).
Leydon, R. (2012). Clean as a whistle: Timbral trajectories and the modern musical sublime. Music Theory Online, 18(2). http://www.mtosmt.org/issues/mto.12.18.2/mto.12.18.2.leydon.php
Malloch, S. (2004). An Exploration of Timbre Analysis: The Game of Sound in Two Performances of Jeux Vénitiens. Musicae Scientiae, 8(1), 53–81. https://doi.org/10.1177/102986490400800103
Malloch, S. N. (1997). Timbre and technology: An analytical partnership ; the development of an analytical technique and its application to music by Lutoslawski and Ligeti [The University of Edinburgh]. http://hdl.handle.net/1842/21394
McAdams, S. (2015). Perception et cognition de la musique. Editions J. Vrin.
McFee, B., Nieto, O., Farbood, M. M., & Bello, J. P. (2017). Evaluating Hierarchical Structure in Music Annotations. Frontiers in Psychology, 8(1337). https://doi.org/10.3389/fpsyg.2017.01337
McMullan-Glossop, E. (2017). Hues, tints, tones, and shades: Timbre as colour in the music of rebecca saunders. Contemporary Music Review, 36(6), 488–529. https://doi.org/10.1080/07494467.2017.1452697
Michel, P. (1992). Quelques aspects du timbre chez Luigi Dallapiccola. Revue de Musicologie, 78(2), 307–330. JSTOR. https://doi.org/10.2307/946988
Mirka, D. (2001). To cut the Gordian Knot: The timbre system of Krzysztof Penderecki. Journal of Music Theory, 45(2), 435–456. https://doi.org/10.2307/3653444
Quayle, M. (2009). Orchestration as interpretation in three orchestrations of Musorgsky’s Boris Godunov [Thesis]. New York University.
Sheinbaum, J. J. (2006). Adorno’s Mahler and the Timbral Outsider. Journal of the Royal Musical Association, 131(1), 38–82. https://doi.org/10.1093/jrma/fkl002
Sisman, E. (2013). Haydn’s Solar Poetics. Journal of the American Musicological Society, 66(1), 5–102. https://doi.org/10.1525/jams.2013.66.1.5
Stévance, S. (2007). L’ambiguïté perceptive du timbre dans la musique mixte. Cahiers de La Société Québécoise de Recherche En Musique, 9(1–2), 111–123.
Stock, J. P. (1997). Orchestration as structural determinant: Mozart’s deployment of woodwind timbre in the slow movement of the C minor piano concerto K. 491. Music and Letters, 78(2), 210–219.
Tan, A. (2015). Ksana: Compositional control of spectral fusion as a parameter of timbre functionality [Thesis]. McGill University.
Teodorescu-Ciocanea, L. (2003). Timbre versus spectralism. Contemporary Music Review, 22(1–2), 87–104. https://doi.org/10.1080/0749446032000134751
Thoresen, L. (2009). Sound-objects, Values and Characters in Åke Parmerud’s Les objets obscurs, 3rd Section. Organised Sound, 14(3), 310–320. Cambridge Core. https://doi.org/10.1017/S1355771809990124
Thoresen, L. (2010). Form-Building Patterns and Metaphorical Meaning. Organised Sound, 15(2), 82–95. Cambridge Core. https://doi.org/10.1017/S1355771810000075
Thoresen, L. (2014). Emergent Musical Forms: Aural Explorations (Vol. 24). Dept. of Music Research and Composition, University of Western Ontario.
Thoresen, L., & Hedman, A. (2007). Spectromorphological analysis of sound objects: An adaptation of Pierre Schaeffer’s typomorphology. Organised Sound, 12(2), 129–141. Cambridge Core. https://doi.org/10.1017/S1355771807001793
Touizrar, M., & McAdams, S. Aspects perceptifs dans l’orchestration de The Angel of Death de Roger Reynolds: Timbre et groupement auditif. In P. Lalitte (Ed.), Analyse musicale et perception: Actes des Journées d’Analyse Musicale 2016. Editions universitaires de Dijon.
Tsang, L. (2000). Musical timbre in context: The Second Viennese School, 1909-1925. University of Southampton.
Tsang, L. (2002). Towards a theory of timbre for music analysis. Musicae Scientiae, 6(1), 23–52. https://doi.org/10.1177/102986490200600102
Tsatsishvili, V., Burunat, I., Cong, F., Toiviainen, P., Alluri, V., & Ristaniemi, T. (2018). On application of kernel PCA for generating stimulus features for fMRI during continuous music listening. Journal of Neuroscience Methods, 303, 1–6. https://doi.org/10.1016/j.jneumeth.2018.03.014
Tużnik, P., Augustynowicz, P., & Francuz, P. (2018). Electrophysiological correlates of timbre imagery and perception. International Journal of Psychophysiology, 129, 9–17. https://doi.org/10.1016/j.ijpsycho.2018.05.004
Ungeheuer, E. (1994). From the elements to the continuum: Timbre composition in early electronic music. Contemporary Music Review, 10(2), 25–33. https://doi.org/10.1080/07494469400640271
Vaggione, H. (1994). Timbre as syntax: A spectral modeling approach. Contemporary Music Review, 10(2), 73–83. https://doi.org/10.1080/07494469400640311
Vogels, B. (2018). Performative sounds: The threatening touch of timbre. Contemporary Music Review, 1–18. https://doi.org/10.1080/07494467.2018.1427185
Williams, D. (2015). Tracking timbral changes in metal productions from 1990-2013. Metal Music Studies, 1(1), 39–68. https://doi.org/10.1386/mms.1.1.39_1
Wolf, E. K. (1966). The recapitulations in Haydn’s London symphonies. Musical Quarterly, 52(1), 71–79. https://doi.org/10.1093/mq/LII.1.71