December 31, 2013 Submitted by Christoph Neidhöfer, Chair

Annual Report 2013 Department of Music Research January 1 – December 31, 2013 Submitted by Christoph Neidhöfer, Chair

Research and publications: Articles by faculty members and students appeared in a broad range of journals that include the most prestigious in their fields, such as Journal of the American Musicological Society, Journal of the Audio Engineering Society, Journal of the Acoustical Society of America, Journal of Historical Research in Music Education, Musical Quarterly, Intégral, Theory and Practice, Tijdschrift voor Muziektheorie, Music Theory Online, Circuit, 19th- Century Music, Autism, Music Perception, and Computer Music Journal. Faculty and students presented over 50 papers at major conferences, including those of the Audio Engineering Society, Society for Music Perception and Cognition, German Studies Association, Society for Mathematics and Computation in Music, Acoustical Society of America, Psychonomic Society, and Society for Music Theory, and gave over 30 invited lectures in 9 countries. Faculty were featured keynote speakers at 6 conferences in 5 countries. 4 works by composers in the Department received world premieres. Composers were commissioned 10 new works in 2013. In addition, faculty were involved in the release of 13 sound recordings. Aside from ongoing research grants and numerous new smaller grants, 10 new major research grants began in 2013: • Stephen McAdams (PI), with Denys Bouliane, John Rea, Jonathan Wild, McGill; C. Agon, Ircam-Centre Pompidou, France; E. Daubresse, M. Jarrell, Haute École de Musique de Genève, Switzerland: FRQSC Soutiens aux équipes de recherche (2013-17) for the project “Orchestration and perception: Research, theory and technological applications” ($415,665). • Julie Cumming (co-investigator on the team led by Paul Yachnin, PI): SSHRC Partnership Grant (2013-2018) for “Forms of Conversion: Religion, Culture, and Cognitive Ecologies in Early Modern Europe and its Worlds” ($2,457,800). http://earlymodernconversions.com/ • Ichiro Fujinaga (co-PI with Susan F. Weiss): NEH Digital Humanities Start-up Grant: Level-II (2013–14) for “Digital Prosopography for Renaissance Musicians: Discovery of Social and Professional Network” (US$54,466). • Robert Hasegawa (PI): FRQSC Établissement de nouveaux professeurs-chercheurs (2013-16), “Spectral Music in France and Canada, 1975-2010” ($39,600). • Philippe Leroux: 2013 FCI Fonds des leaders – CFI Leaders Opportunity Fund ($200,000). • The International Institute for Critical Studies in Improvisation, a partnered research institute (Ajay Heble, PI, University of Guelph) whose team includes Ichiro Fujinaga, Lisa Lorenzino, and Stephen McAdams from the Department of Music Research, was awarded a SSHRC Partnership Grant (2013-20, $2,523,923). http://www.improvcommunity.ca/news/international-institute-critical-studies-improvisation-iicsi-recipient-sshrc- partnership-grant • Gary Scavone: Natural Sciences and Engineering Research Council of Canada, Engage Grant for “Design and development of a quality control system for guitars” (with Godin Guitars, $24,958 for 2013). • Jonathan Wild (PI) and Peter Schubert (collaborator): SSHRC Public Outreach Grant (2013) for “Virtual Museum of Ancient and Unexpected Tunings” ($36,060). • Massimiliano Guido (PI) and Peter Schubert (collaborator): SSHRC Connection Grant (2013-14) for “Improvisation in classical music education: rethinking our future by learning our past” ($50,000). • Marcelo Wanderley (NSERC Grand NCE) (PI) and Chris Salter (CCA) (PI): Natural Sciences and Engineering Research Council of Canada (NSERC), Grand Network Centre of Excellence (NCE) / Canada Council for the Arts (CCA), “Disequilibrium” ($60,000, 2013-14, NSERC & $60,000, 2013-14, CCA).

Teaching and learning: The Department conferred 42 undergraduate and 40 graduate degrees. Richard King received the Schulich School of Music Teaching Award in the full-time category, Brett Leonard the Outstanding Teaching Assistant / Graduate Instructor Award.

Involvement in the community: Department staff organized five conferences and workshops of high visibility in Montreal, the “Workshop on searching symbolic musical data for repeated patterns: The ELVIS project,” which took place May 10-11 at McGill’s Centre for Interdisciplinary Research in Music Media and Technology (organized by Julie Cumming), the joint conference of the International Congress on Acoustics and the Acoustical Society of America (June 2-7, Gary Scavone, member of local organizing committee), the Fourth International Conference on Mathematics and Computation in Music (June 12-15, Jonathan Wild, chair of the organizing committee), the “ELVIS: Electronic Locator of Vertical Interval Successions” Digging into Data Challenge 2013 Conference (October 12, organized by Julie Cumming), and the international conference “Lutoslawski – Music and Legacy,” co-organized by the Polish Academy of Arts and Sciences (Krakow) and the Polish Institute of Arts and Sciences in Canada in cooperation with the Schulich School of Music (October 26, Stanislaw Latek and Christoph Neidhöfer, co-organizers). In addition, faculty served on 16 program committees for international and national conferences, including those of the Audio Engineering Society, the Society for Music Perception and Cognition, and the Society for Music Theory. 2

3 staff members served as editors for top journals in the field: Steven Huebner as co-editor of the Cambridge Opera Journal, Christoph Neidhöfer as reviews editor of Music Theory Spectrum, and Jonathan Wild as reviews editor of the Journal of Mathematics and Music. In addition, faculty served on editorial boards of 22 professional journals and book series, most of them international, and on 8 boards and over 20 committees of professional societies. Faculty peer- reviewed 30 article manuscripts for journals that include the flagship journals of the respective professional societies, including Music Analysis, Music Theory Spectrum, Popular Music Journal, Journal of the Acoustical Society of America, and Music Perception. Staff also served as external peer-reviewers of book manuscripts for academic presses such as Oxford and Routledge. Colleagues reviewed promotion and tenure dossiers for institutions such as Université Paris VI and Stanford University, served as evaluators for granting agencies like NSERC, SSHRC, Agence Nationale pour la Recherche (France), and the Austrian Science Fund, and served on over 13 competition juries nationally and internationally. Research and teaching partners included several new music ensembles, Carleton University, Columbia University, Concordia University, Domaine Forget, Haute École de Musique de Genève, Ircam-Centre Pompidou, National Youth Orchestra of Canada, Memorial University, Oxford University, Rensselaer Polytechnic Institute, Société Québécoise de Recherche en Musique, UBC, Université de Montréal, University of California Riverside and Santa Barbara, University of Guelph, University of Kansas, University of Regina, CAMMAC (Canadian Amateur Musicians Musiciens Amateurs Canadiens), as well as, within McGill, colleagues in Art History and Communication Studies, IPLAI, Management, Medicine, and Philosophy.

Milestones: Georgina Born, Professor of Music and Anthropology at Oxford University and Professorial Fellow of Mansfield College, began her three-year term as Schulich Distinguished Visiting Chair in Music in the Fall.

Honours, awards, and prizes: Richard King won 3 Grammy Awards, in the categories “Best Engineered Non-Classical Album,” “Best Folk Album,” and “Best Musical Theatre Album.” Two colleagues received a Prix Opus from the Conseil Québécois de la Musique, John Rea in the category “Disque de l’année – Musiques Moderne, Contemporaine” and Peter Schubert in the category “Création de l’année.” John Rea and Eleanor Stubley each received the Queen Elizabeth II Diamond Jubilee Medal from the Governor-General of Canada. Wieslaw Woszczyk was awarded the Theodore von Kármán Fellowship by Aachen University. PhD student Hossein Mansour (Music Technology) received a Vanier Scholarship, David Sears (PhD, Music Theory) a PBEEE Scholarship, and Connor Kemp (PhD, Music Technology) a Richard H. Tomlinson Doctoral Fellowship. Aside from other continuing external graduate scholarship awards, 2 students were awarded new SSHRC doctoral scholarships, 2 students new FQRSC doctoral fellowships, and 3 students received new SSHRC master’s awards. Composition students were awarded 18 Canadian and international composition awards, including those of the SOCAN, Royaumont, and Gaudeamus Foundations. In Sound Recording 3 graduate students won scholarships and awards from the Audio Engineering Society, 2 students received the John Bradley Award for Excellence in Music Recording, and one student received a Grammy Nomination. 2 students in Music Technology received best student paper awards from the Acoustical Society of America and IEEE, and 2 students in Music Education won graduate essay prizes from the Canadian Music Educators’ Association and the Canadian Federation of Music Teachers’ Association.

Publications 2013 Barg, Lisa • “Queer Encounters in the Music of Billy Strayhorn.” Journal of the American Musicological Society 66/3 (2013), 771-824. • Barg, Lisa, and Walter van de Leur, “‘Your Music Has Flung the Story of “Hot Harlem” to the Four Corners of the Earth!’: Race and Narrative in Duke Ellington’s Black, Brown and Beige.” Musical Quarterly 96/3-4 (2013), 1-33. • Barg, Lisa, and David Brackett, “Histories.” In The Grove Dictionary of American Music. Ed. Charles Hiroshi Garrett. 2nd edition. New York: Oxford University Press. Beghin, Tom • “‘Voelen is even belangrijk als horen’: Tom Beghin over Beethovens Broadwood” (“‘Feeling is as important as hearing’: Tom Beghin on Beethoven’s Broadwood”). Featured interview, by Véronique Rubens. Staalkaart 21 (Aug. – Oct. 2013), 10-13. Biamonte, Nicole • “Variations on a Scheme: Bach’s ‘Crucifixus’ and Chopin’s and Scriabin’s E-Minor Preludes.” Intégral 26 (2012), 1-43. • Review-essay on Pentatonicism from the Eighteenth Century to Debussy by Jeremy Day-O’Connell. Theory and Practice 37-38 (2013): 225-35. Bouliane, Denys World premiere: • Er is nicht tod, weil er gestorben ist... for violin, cello, and bass clarinet. Ensemble Meitar, Tel Aviv. Theaterhaus, Stuttgart, September 18, 2013. Brackett, David • “Peter Guralnick,” “Histories” (with Lisa Barg), “James Brown,” “Michael Jackson,” “Neil Young,” “Stevie Wonder,” “Al Green.” In New Amerigrove. 2nd edition (2013). Caplin, William • Analyzing Classical Form: An Approach for the Classroom. New York: Oxford University Press (2013), 768 pp. • Companion website to Analyzing Classical Form (www.music.mcgill.ca/acf). • “Formal Function versus Thematic Content: Mozart’s Rondo in D, K. 485.” In Histories and Narratives of Music Analysis. Ed. Milos Zatkalick, Denis Collins, and Milena Medic. Cambridge: Cambridge Scholars Publishing (2013), 26 pp. • “Teaching Classical Form: Strict Categories versus Flexible Analyses.” Tijdschrift voor Muziektheorie 18/3 (2013), 119–35. Cossette, Isabelle • Nassrallah, F., Comeau, G., Russell, D., and I. Cossette, “Coordination between breathing and different movement markers during pianists’ performance tasks.” Perceptual Motor Skills: Learning and Memory 116/1 (2013), 1-20.

Cumming, Julie • “From Two-Part Framework to Movable Module.” In Medieval Music in Practice: Studies in Honor of Richard Crocker. Ed. Judith Peraino. Münster, Germany: American Institute of Musicology (2013), 175-214. • “Renaissance Improvisation and Musicology.” Music Theory Online 19/2 (2013). http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.cumming.php de Francisco, Martha • Lembke, Levine, de Francisco, and McAdams, “Measuring the interaction between bassoon and horn players in achieving timbre blend.” In Proceedings of the SMCS Stockholm Music Acoustics Conference/SMC Sound & Computing Conference (2013), 13-18. Recordings (as producer): • Chopin, Etudes Opus 10 and Opus 25. Jan Lisiecki, piano. Deutsche Grammophon / Universal Music, B00BCCE3VM. • Dimitri Bortnianski, I Cried out to the Lord – Hyms and Choral Concertos. Ensemble Cherubim, Marika Kuzma, choral director. Naxos, B00CJD2VZI. • Mahler, Symphony No. 9; James O’Callaghan, Isomorphia.* National Youth Orchestra of Canada, Alain Trudel, cond. Double CD, 2013, NYOC CD (* Juno nomination 2014 for Isomorphia). Depalle, Philippe • Siedenburg, K., and Ph. Depalle, “Modulation Filtering for Structured Time-Frequency Estimation of Audio Signals.” IEEE Workshop on Applied Signal Processing to Audio and Acoustics (WASPAA, 2013). New Paltz, NY, 4 pp. • Kereliuk, C., and Ph. Depalle, “Analysis/Synthesis Using Time-Varying Windows and Chirped Atoms.” In Proceedings of the Workshop on Digital Audio Effects (DAFX’12). Maynooth, Ireland (2013), 8 pp. • Kereliuk, C., Depalle, Ph., and P. Pasquier, “Audio Interpolation and Morphing via Structured-Sparse Linear Regression.” In Proceedings of the Sound and Music Computing Conference. Stockholm, Sweden (2013), 546-52. • Lee, J. S., Thibault, F., Depalle, Ph., and G. Scavone, “Granular Analysis/Synthesis for Simple and Robust Transformations of Complex Sounds.” AES 49th International Conference on Audio for Games. London, UK (2013), 10 pp. Ferguson, Sean • Schumacher, Marlon, Giordano, Marcello, Wanderley, Marcelo M., and Sean Ferguson, “Vibrotactile Notifications for Live Electronics Performance: A Prototype System.” In Proceedings of the 10th International Symposium of Computer Music Multidisciplinary Research (CMMR2013). Fujinaga, Ichiro • Weiss, S. F., and I. Fujinaga, “New evidence for the origin of kettledrums in Western Europe.” Journal of the American Music Instrument Society 37 (2011), 5– 18. • Burlet, G., and I. Fujinaga, “Robotaba guitar tablature transcription framework.” In Proceedings of the International Society for Music Information Retrieval Conference. Curitiba, Brazil (2013), 517–22. • Vigliensoni, G., Burlet, G., and I. Fujinaga, “Optical measure recognition in common music notation.” In Proceedings of the International Society for Music Information Retrieval Conference. Curitiba, Brazil (2013), 125–30. • Vigliensoni, G., Burgoyne, J. A., and I. Fujinaga, “MusicBrainz for the world: the Chilean experience.” In Proceedings of the International Society for Music Information Retrieval Conference. Curitiba, Brazil (2013), 131–6. • Devaney, J., Hockman, J., Wild, J., Schubert, P., and I. Fujinaga, “Diatonic semitone tuning in two-part singing.” In Conference Program of the Society of Music Perception and Cognition Conference. Toronto (2013), 43. • Fujinaga, I., and A. Hankinson, “SIMSSA: Towards full-music search over a large collection of musical scores.” In Conference Abstracts of Digital Humanities. Lincoln, NE (2013), 187–9. • Burgoyne, J. A., Wild, J., and I. Fujinaga, “Compositional data analysis of harmonic structures in popular music.” In Proceedings of the International Conference on Mathematics and Computation in Music (Lecture Notes in Artificial Intelligence 7937). Montreal (2013), 52–63. • Cohen, A. J., Fujinaga, I., Lefford, N., Leonard, T., Tzanetakis, G., and C. Vincent, “A digital library to Advance Interdisciplinary Research in Singing.” In Proceedings of the International Congresses on Acoustics. The Journal of the Acoustical Society of America 133/5 (2013), 3591. DOI:10.1121/1.48066292013. Harman, Christopher World premieres: • After Schumann II. MeiYi Foo, piano. Redpath Hall, McGill University, January 30, 2013. • La selva de los relojes. Queen of Puddings Music Theatre; Kirsztina Szabo, mezzo-soprano; Dairine ni Mheadra, cond. Richard Bradshaw Amphitheatre, Toronto, April 30, 2013. Hasegawa, Robert • “Just intonation: An aesthetic and theoretical renewal” (“L’intonation juste, un renouveau esthétique et théorique,” transl. Gilles Rico). In Théorie et composition musicales au vingtième siècle. Ed. Nicolas Donin and Laurent Feneyrou. Lyon: Symétrie (2013), 1499–1531. • Review of György Ligeti: Of foreign lands and strange sounds (ed. Louise Duchesneau and Wolfgang Marx; Boydell Press, 2011). Circuit: Musiques Contemporaines 23/2 (2013), 79–83. • “New Approaches to Tonal Theory.” Review-article on Steven Rings, Tonality and Transformation (Oxford University Press, 2011) and Dmitri Tymoczko, A Geometry of Music (Oxford University Press, 2011). Music & Letters 93/4 (2013), 574–93. Huebner, Steven • “Baudelaire à la fin de siècle: Un cycle méconnu de Charpentier.” In Gustave Charpentier et son temps. Ed. J-C Branger and M. Niccolai. Publications de l’Université de Saint-Étienne (2013), 193-224. • “Wagner, Dujardin and the Origins of Stream of Consciousness Writing.” 19th-Century Music 37 (2013), 56-89. • Editorial: “2012: Anniversaries of Claude Debussy and Jules Massenet.” Ad Parnassum 10 (2012), v-vii. • Translator, Michela Niccolai, Giacomo Puccini et Albert Carré: “Madame Butterfly” à Paris. Brepols (2012). King, Richard • King (PI), Leonard, and Sikora, “The Effects of Monitoring Systems on Balance Preference: A comparative study of mixing on headphones versus loudspeakers.” In Proceedings of Meetings on Acoustics (POMA) 19 (2013), 035035. • Leonard, King, and Sikora, “Interaction between critical environment acoustics and listener reverberation preference.” In Proceedings of Meetings on Acoustics (POMA) 19 (2013), 015037. • King (PI), Leonard, and Sikora, “The Practical Effects of Lateral Energy in Critical Listening Environments.” Journal of the Audio Engineering Society 60/12 (2012), 997-1003. • King, Leonard, and Sikora, “Balance Preference Testing Utilizing a System of Variable Acoustic Condition.” In Proceedings of the 134th Convention of the Audio Engineering Society. Rome (2013). • Leonard, King, and Sikora. “The Effect of Playback System on Reverberation Level Preference.” In Proceedings of the 134th Convention of the Audio Engineering Society. Rome (2013). • Ryan, King, Braasch, and Martens, “The Effectiveness of Speech Transmission Index (STI) in Accounting for the Effects of Multiple Arrivals.” In Proceedings of the 134th Convention of the Audio Engineering Society. Rome (2013). • Ryan, King, Braasch, and Martens, “The Effects of Temporal Alignment of Loudspeaker Array Elements on Speech Intelligibility.” In Proceedings of the 134th Convention of the Audio Engineering Society. Rome (2013). • Levine, Leonard, King, “Binaural Room Simulation for Acoustic Testing.” In Proceedings of the 134th Convention of the Audio Engineering Society. Rome (2013). Recordings (as recording engineer): • Bach, Sonatas and Partitas. Chris Thile, mandolin. Nonesuch 535360-2. • Culture (John Vanore and Abstract Truth). Acoustical Concepts Inc. AC-47. • Musical Gifts. Joshua Bell, violin. Sony Masterworks 88883 74318 2. • Classical Barbra. Barbra Streisand, soprano. Re-mastered edition. Sony Masterworks 88691 922552. • Luna Pearl Wolff, Angel Heart. Matt Haimovitz, cello, etc. Oxingale Records OX2023. • Verdi, Otello. Chicago Symphony Orchestra etc., Ricardo Muti, cond. CSO Resound Hybrid SACD 9011303.

Leroux, Philippe Published scores: • Total SOLo for 28 instruments. Paris: Ed. Gérard Billaudot (2013). • AIRS for saxophone and percussion. Paris: Ed. Gérard Billaudot (2013). World premiere: • De l’itération pour 6 percussionistes. Ensemble Sixtrum. Salle Bourgie, Montréal, January 31, 2013. Recordings: • Le cri de la pierre for solo bagpipe. Erwan Keravec, bagpipe. Buda Musique 860235. • Un lieu verdoyant (female voice version) for voice and saxophone. Amanda DeBoer Bartlett, soprano, James Fusik, saxophone. “I Vapor Breath” C2013Amanda DeBoer Bartlett-CHICAGO. • Continuo(ns) for flute, clarinet, violin, cello, and piano. Ensemble Transmission, ENTR001. Lorenzino, Lisa • Crandell, E., and L. Lorenzino, “Nurturing a joyful noise: Examining Su Ra’s philosophies as a model for music education.” Canadian Music Educator 54/3 (2013), 25-29. • “Esteban Salas and his legacy of music education in Cuba.” Journal of Historical Research in Music Education 34/2 (2013), 101-9. • Creech, A., Gonzalez-Moreno, P., Lorenzino, L., and G. Waitman, “El Sistema and Sistema-inspired programmes: A literature review of research, evaluation and critical debates.” Commissioned by Sistema Global. http://sistemaglobal.org/litreview/. McAdams, Stephen • Egermann, H., Pearce, M., Wiggins, G., and S. McAdams, “Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music.” Cognitive, Affective and Behavioral Neuroscience 13 (2013), 533-53. DOI: 10.3758/s13415-013-0161-y. • Egermann, H., and S. McAdams, “Empathy and emotional contagion as a link between recognized and felt emotions in music listening.” Music Perception 31 (2013), 139-56. DOI: 10.1525/MP.2013.31.2.139. • Gingras, B., Asselin, P.-Y., and S. McAdams, “Individuality in harpsichord performance: Disentangling performer- and piece-specific influences on interpretive choices.” Frontiers in Psychology 4 (2013), article 895. DOI: 10.3389/fpsyg.2013.00895. • McAdams, S., “Musical timbre perception.” In The Psychology of Music. Ed. D. Deutsch. 3rd edition. San Diego, CA: Academic Press (2013), 35-67. • Chon, S. H., and S. McAdams, “Timbre saliency vs. timbre dissimilarity – what is the relationship?” In Proceedings of the 21st International Congress of Acoustics. Montreal, 19, 035054 (2013). [CD-ROM] • Lembke, S.-A., Narmour, E., and S. McAdams, “Predicting blend between orchestral timbres using generalized spectral-envelope descriptions.” In Proceedings of the 21st International Congress of Acoustics. Montreal, 19, 035053 (2013). [CDROM] • McAdams, S., “Timbre as a structuring force in music.” In Proceedings of the 21st International Congress of Acoustics. Montreal, 19, 035050 (2013). [CD- ROM] • Petiot, J.-F., Kersaudy, P., Scavone, G., McAdams, S., and B. Gazengel, “Modeling of the subjective quality of saxophone reeds.” In Proceedings of the 21st International Congress of Acoustics. Montreal, 19, 035028 (2013). [CD-ROM] • Chon, S.H., Schwartzbach, K., Smith, B. K., and S. McAdams, “Effect of timbre on melody recognition in three voice counterpoint music.” In Proceedings of the Stockholm Music Acoustics Conference 2013 and the Sound and Music Computing Conference 2013. Stockholm. • Lembke, S.-A., and S. McAdams, “Measuring the interaction between bassoon and horn players in achieving timbre blend.” In Proceedings of the Stockholm Music Acoustics Conference 2013 and the Sound and Music Computing Conference 2013. Stockholm. • Petiot, J.-F., Kersaudy, P., Scavone, G., and S. McAdams, “Study of the perceived quality of saxophone reeds by a panel of musicians.” In Proceedings of the Stockholm Music Acoustics Conference 2013 and the Sound and Music Computing Conference 2013. Stockholm. • Wollman, I., Fritz, C., Poitevineau, J., and S. McAdams, “Violin quality evaluation. Examining the role of auditory and vibrotactile feedbacks.” In Proceedings of the Stockholm Music Acoustics Conference 2013 and the Sound and Music Computing Conference 2013. Stockholm. Neidhöfer, Christoph • “Messiaen’s Counterpoint.” In Messiaen Perspectives 2: Techniques, Influence and Reception. Ed. Christopher Dingle and Robert Fallon. Farnham: Ashgate (2013), 77-110. Rea, John • “Machina ex musico: le compositeur, le concerto, sa forme et son amas de sons.” Circuit 23/3 (2013), 9-27. Rusch, René • “Crossing Over with Brad Mehldau's Cover of Radiohead’s ‘Paranoid Android’: The Role of Improvisation in the Creation of an Intertext.” Music Theory Online 19/4 (2013). • “Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80.” Music Theory Online 19/1 (2013). • “Schenkerian Analysis, Neo-Riemannian Theory, and Late Schubert: A Lesson from Tovey.” Journal of the Society for Musicology in Ireland 8 (2012–13). Scavone, Gary • Lefebvre, A., Scavone, G., and J. Kergomard, “External tonehole interactions in woodwind instruments.” Acta Acustica united with Acustica 99/6 (2013), 975– 85. • Fréour, V., and Scavone, G., “Acoustical interaction between vibrating lips, downstream air column, and upstream airways in trombone performance.” Journal of the Acoustical Society of America 134/5 (2013), 3887–98. • Shi, Y., da Silva, A., and G. Scavone, “Lattice Boltzmann simulations of sound directivity of a cylindrical pipe with mean flow.” Journal of Physics A: Mathematical and Theoretical, 46 (2013), ISBN: 1751-8113, 315501, 13pp. • Fréour, V., and G. Scavone, “Trombone sound simulation under varying upstream coupling conditions.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm (2013), 502–8. • Mansour, H., Woodhouse, J., and G. Scavone, “Enhanced simulation of the bowed cello string.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm (2013), 94–100. • Saitis, H., Scavone, G., Fritz, C., and B. Giordano, “Evaluating violin quality: A comparison of player reliability in constrained vs. unconstrained tasks.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm, 109–14. • Saitis, H., Fritz, C., Guastavino, C., and G. Scavone, “Conceptualization of violin quality by expe- rienced performers.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm, 123–28. • Petiot, J-F., Kersaudy, P., Scavone, G., and S. McAdams, “Study of the perceived quality of saxophone reeds by a panel of musicians.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm, 451–57. • Shi, Y., da Silva, A. R., and G. Scavone, “Numerical analysis of the mean flow effect on the sound directivity pattern of cylindrical ducts.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm, 458–64. • Maestre, E., Scavone, G., and J. O. Smith, “Digital modeling of the bridge driving-point ad- mittances from measurements on violin-family instruments.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm, 101–8. • Scavone, G., and J. McBride, “The Musical Acoustics Research Library (MARL): Fully digital and online.” In Proceedings of the 2013 Stockholm Music Acoustics Conference. Stockholm, 661–62. • Damodaran, A., Mansour, H., Lessard, L., Scavone, G., and A. Suresh Babu, “Design, manu- facturing and testing of a cylindrical drum-shell using a sandwich structure.” In Proceedings of the 19th International Conference on Composite Materials. Montreal (2013), 1153–58. • Fréour, V., Lopes, N., Hélie, T., Caussé, R., and G. Scavone, “Simulating different upstream coupling conditions on an artificial trombone player system using an active sound control approach.” In Proceedings of the 2013 International Congress on Acoustics. Montreal. • Hézard, T., Froéur, V., Caussé, R., Hélie, T., and G. Scavone, “Synchronous visualization of multimodal measurements on lips and glottis: Comparison between brass instruments and the human voice production system.” In Proceedings of the 2013 International Congress on Acoustics. Montreal. • Mansour, H., Woodhouse, J., and G. Scavone, “Time-domain simulation of the bowed cello string: Dual-polarization effect.” In Proceedings of the 2013 International Congress on Acoustics. Montreal. • Saitis, H., Scavone, G., Fritz, C., and B. Giordano, “Perceptual evaluation of violins: A comparison of intra-individual agreement in playing vs. listening tasks for the case of richness.” In Proceedings of the 2013 International Congress on Acoustics. Montreal. 5

• Petiot, J-F., Kersaudy, P., Scavone, G., McAdams, S. and B. Gazengel, “Modeling of the subjective quality of saxophone reeds.” In Proceedings of the 2013 International Congress on Acoustics. Montreal. • da Silva, A.R., Shi, Y., and G. Scavone, “Computational analysis of the dynamic flow in single-reed woodwind instruments.” In Proceedings of the 2013 International Congress on Acoustics. Montreal. • Lee, J., Thibault, F., Depalle, P., and G. Scavone, “Granular Analysis / Synthesis for Simple and Robust Transformations of Complex Sounds.” In Proceedings of the AES 49th International Conference: Audio for Games. London, UK, 10 pp. Schubert, Peter • “My Undergraduate Skills-Intensive Counterpoint Learning Environment (MUSICLE).” In Engaging Students: Essays in Music Pedagogy. http://www.flipcamp.org/engagingstudents/schubert.html (2013). • Schubert, Peter, and Marcelle Lessoil-Daelman, “What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance.” Music Theory Online 19/1 (2013). Recordings (as performer): • Tim Brady, Atacama: Symphonie #3. Bradyworks/VivaVoce. ATMA Classique ACD2 2676. Stubley, Eleanor • “Sylvia Safdie’s Bodies: Portrait of a Hand at Work.” In The Video Art of Sylvia Safdie. Ed. Eric Lewis. Montreal: McGill-Queen’s University Press (2013), 11– 33. Wanderley, Marcelo • Thibodeau, Joseph, and Marcelo M. Wanderley, “Trumpet Augmentation and Technological Symbiosis.” Computer Music Journal 37/3 (2013), 12-25. • B. Medeiros, Carolina, and Marcelo M. Wanderley, “Multiple-model Linear Kalman Filter Framework for Unpredictable Signals.” IEEE Sensors Journal (2013), DOI 10.1109/JSEN.2013.2291683, November 20, 2013. http://ieeexplore.ieee.org/xpl/articleDetails.jsp?reload=true&arnumber=6670703&sortType%3Dasc_p_Sequence%26filter%3DAND%28p_IS_Number%3A442 7201%29 • Wanderley, Marcelo M., “Mapping Strategies in Digital Musical Instruments: Concepts and tools.” In Créativité Instrumentale, Créativité Ambiente: Colloque Art-Science Technologie 2011. Ed. Annie Luciani, Olivier Tache, and Nicholas Castagné. Enactive System Books (2013), 183-90. • Tache, Olivier, Sinclair, Steve, Florens, Jean-Loup, and Marcelo M. Wanderley, “Qualités Tactiles et Sonores dans le Jeu Instrumental de Cordes Frottées: Exploration par la simulation.” In Créativité Instrumentale, Créativité Ambiente: Colloque Art-Science Technologie 2011. Ed. Annie Luciani, Olivier Tache, and Nicholas Castagné. 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