Collection's Items (Sorted by Submit Date in Descending order): 1 to 50 of 57
| Issue Date | Title | Author(s) |
| 2024 | LIE scales: Composing with scales of linear intervallic expansion | Bizzell-Browning, Nicholas John |
| 2021 | The Computer Music Designer in the context of physical computing and interactive instrument design | Gourtani, Ardeshir M. |
| 2021 | Points for Departures | London, Matt |
| 2021 | Improvisation and everyday life as creative tools for composing music for performers, live electronics and video | Giusti, Vinicius |
| 2020 | “The guy that hangs around with the musicians” : Exploring the relationship of pitched percussion to the rock band and the traditions of the rock drummer | Atherton, Tom |
| 2020 | The vocalization of the drum kit: An evolutive approach to a dynamic drumming style driven by sound phrases and evolving gestures | Fellay, Christophe |
| 2020 | …a settling stillness, weighted dust… A portfolio of original compositions and commentary | Cave, Samuel Charles |
| 2019 | Quantum Music – Towards a unified aesthetic | Bell, Adam |
| 2019 | An existentialist frame for singing and singing teaching | Clethero, Sara |
| 2018 | Wonder, grain, silence and notation: Commentary on a portfolio of compositions | Brignall, Oliver |
| 2017 | A pluralistic spectrum of the mimetic | Flett, Graham |
| 2017 | Towards hypertextual music: digital audio, deconstruction and computer music creation | Britton, Sam |
| 2011 | Hacking traditional instruments: approaches to sound-oriented instrumental composition | Morales Murguía, Hugo |
| 2011 | Towards a new aesthetic in contemporary instrumental ensemble, vocal and chamber opera composition | Thompson, Shirley J |
| 2016 | From virtuoso solo to ensemble opera | Tafreshipour, Amir Mahyar |
| 2016 | Paradigms, perspectives and participation: reconceptualising amateur orchestras as unique socio-musical communities of practice | Arrowsmith, James Donald |
| 2015 | Composing with an expanded instrumental palette | McGuire, Paul |
| 2014 | Collaborative computer music composition and the emergence of the computer music designer | Faia-Harrison, Carl |
| 2015 | A portfolio of compositions with commentary | Muenz, Harald |
| 2014 | Off the edge | Stoneham, Luke |
| 2015 | Actions towards freedom: Theoretical and practical perspectives on improvisation and composition | Hall, Andrew |
| 2014 | Opening offer or contractual obligation? On the prescriptive function of notation in music today | Fox, C |
| 2014 | Karnatic rhythmical structures as a source for new thinking in western music | Reina, Rafael |
| 2012 | A gesturally controlled improvisation system for piano | Nicolls, S; Gillian, N |
| 2007 | The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques | Niles, Richard |
| 2012 | New sounds and extended composition techniques | Ohara, Yuko |
| 2012 | Sight, sound, the chicken and the egg: Audio-visual co-dependency in music | Katan, Simon |
| 2013 | Form and freedom: the marriage of musical systems and intuition | Gotham, Nicholas |
| 2012 | Looking at sound / listening to image | Kolsoe Ágústsdóttir, Hallveig Guony |
| 2013 | Combining musical identities through composition and improvisation | Perks, Richard |
| 2013 | A holistic view of the creative potential of performance practice in contemporary music | Lüneburg, Barbara |
| 2010 | Seeking out the spaces between: Using improvisation for collaborative composition and interactive technology | Nicolls, S |
| 2008 | The psychological, psychophysical and ergogenic effects of music in sport: A review and synthesis | Karageorghis, CI; Terry, PC |
| 2011 | Methods and ideas for the creation of 'transparent' music in the classroom | Lawrence, Tom |
| 2011 | The instrument in space: The embodiment of music in the machine age | Wilkins, Caroline |
| 2011 | Discovering, creating and experiencing notions of theatricality in musical performance | Emfietzis, Grigorios |
| 2012 | Open, mobile and indeterminate forms | De Bièvre, Guy |
| 2012 | Music in the exercise domain: A review and synthesis (Part II) | Karageorghis, CI; Priest, DL |
| 2012 | Music in the exercise domain: A review and synthesis (Part I) | Karageorghis, CI; Priest, DL |
| 2010 | CuDAS: An interactive curriculum combining pedagogic composition with interactive software for the teaching of music technology | Leaman, Oliver |
| 2010 | The creative symbiosis of composer and performer (An examination of collaborative practice in partially improvised works) | Melvin, Andrew |
| 2010 | Interacting with the piano | Nicolls, Sarah Louise |
| 2011 | The physicality of sound production on acoustic instruments | Williams, Tristan Rhys |
| 2010 | Dirty light: The application of musical principles to the organisation of light as an extension of musical expression into the non-figurative visual realm | Ciciliani-Stiglmayer, Marko |
| 2011 | Reworking musical strategies in the digital age | Reuben Paris, Federico |
| 2010 | Metonymy as a creative structural principle in the work of J.H. Prynne, Derek Bailey and Helmut Lachenmann with a creative component | Lash, Dominic |
| 2010 | Block structures, multi-layering and memory. Composition portfolio: Commentary | Peters, Nicholas Rayfield |
| 2010 | In order and out of time: Compositions exploring processes, polymeters and balance | Gisby, Steven David |
| 2008 | My dirty stream: Pete Seeger, American folk music and environmental protest | Ingram, D |
| 2009 | Four pieces of music with critical commentary | Holter, Colin Kirkland |
Collection's Items (Sorted by Submit Date in Descending order): 1 to 50 of 57