Research Publications

Book Chapters

• Barrett, N. 2011. Experiential listening, paradox, representation and phenomenology. Soundscape in the Arts.Notam. pp.141-151.
• Barrett, N. Sevaldson, B., 2011. Sound and architectural immersive spatial installations Barely: part- 1 and part-2. Site of Sound 2 anthology. Berlin: Errant Bodies Press. pp. 223-242.
• Barrett, N. 2007 / 2017. Trends in electroacoustic composition. In: Collins, N. ed. The Cambridge Companion to Electronic Music. Cambridge University Press. pp. 232-255.
• Sevaldson, B., Barrett, N., Sotamaa, T., Hensel, M. 2003. Agora / Boundary Conditions. Developing Digital Architecture: 2002 FEIDAD Award. Prosper International Book. pp 35-37.

Peer-reviewed Papers

• Barrett, N. and Crispino, M., 2018. The Impact of 3-D Sound Spatialisation on Listeners’ Understanding of Human Agency in Acousmatic Music. Journal of New Music Research, pp.1-17.
• Crispino, M., Arjas, E., Vitelli, V., Barrett, N. and Frigessi, A., 2017. A Bayesian Mallows approach to non-transitive pair comparison data: how human are sounds?. arXiv preprint arXiv:1705.08805.
• Barrett, N., Jensenius, A R. 2016. The 'Virtualmonium': an instrument for classical sound diffusion over a virtual loudspeaker orchestra. Proceedings of the International Conference on New Interfaces for Musical Expression NIME'16. Brisbane, Australia.
• Barrett, N. 2016. A 3-D future loudspeaker orchestras emulated in higher-order Ambisonics. Proceeding of the International Computer Music Conference 2016. Utrecht, Netherlands.
• Barrett, N. 2016. A musical journey towards permanent high-density loudspeaker arrays. Computer Music Journal 40(3). In Press.
• Barrett, N., Mair, K. 2016. Listening to 3D topography data with interactive sonification. Proceedings of the 2nd Virtual Geoscience Conference, Bergen, Norway. 21-23 September 2016: 51-52
• Carpentier, T., Barrett, N., Gottfried, R., Noisternig; M. 2016. Holophonic sound in IRCAM's concert hall: technological and aesthetic practices. Computer Music Journal 40(3). In Press.
• Barrett, N. 2016. Interactive Spatial Sonification of Multidimensional Data for Composition and Auditory Display. Computer Music Journal 40(2):47-69
• Barrett, N. 2015. Investigations in coarticulated performance gestures using interactive parameter- mapping 3D. Proceedings, ICAD, Graz, Austria, 8th-10th July, 2015.
• Barrett, N. 2015. Creating tangible spatial-musical images from physical performance gestures. Proceedings, NIME'15, Louisiana State University, USA, May 31-June 3, 2015.
• Barrett, N., Karen, M. 2014. Aftershock: A science–art collaboration through sonification. Organised Sound, 19(1).
• Barrett, N. 2012. The perception, evaluation and creative application of high order ambisonics in contemporary music practice. IRCAM research text archive (invited paper).
• Barrett, N. Multi-channel Music Technology and the Aesthetics of Acoustic Space. Technology and Aesthetics. Notam 2011 (invited paper).
• Berge, S. Barrett, N. 2010. A new method for B-format to binaural transcoding. 40th International AES Conference: Spatial Audio: Sense the Sound of Space, Tokyo. AES-E-library.
20 • Berge, S. Barrett, N. 2010. High Angular Resolution Planewave Expansion. Proc. of the 2nd International Symposium on Ambisonics and Spherical Acoustics. IRCAM. Paris, France.
• Barrett, N. 2010. Kernel Expansion: a three-dimensional spatial composition combining different ambisonics spatialisation techniques. Proc. of the 2nd International Symposium on Ambisonics and Spherical Acoustics. IRCAM. Paris, France.
Barrett, N. 2010. Ambisonics spatialisation and spatial ontology in an acousmatic context. Proc. from the Electroacoustic Music Studios conference. Shanghai, China.
• Barrett, N. 2004. Composition, performance and spatial hearing. Proc. from the Symposium on Music and Music Science. Stockholm: KTH
• Barrett, N. and Sevaldson, B. 2003. 'Agora: en undersokelse i lyd og rom'. AHO Year Book 2003, Oslo, 236-247.
• Barrett, N. 2004. Adsonore. Organised Sound, 1(2), pp 111-119
• Barrett, N. 2002. Spatio-musical composition strategies. Organised Sound, 7(3). pp 313-323.
• Barrett, N. & Hammer, O., 2001. Techniques for studying the spatio-temporal distribution of animal vocalisations in tropical wet forests. Bioacoustics, 12. pp 21-35.
• Barrett, N. 2000. A compositional methodology based on data extracted from natural phenomena.
Proc. of the International Computer Music Conference. pp 20-23.
• Barrett, N. 2000. 'Little Animals' compositional structuring processes. Computer Music Journal.
23(2).
• Barrett, N. & Hammer, O., 1998. Mimetic Dynamics. Organised Sound 3(3), pp 211-18

Other research texts

Barrett, N., Karen, M (2014). Musikk oppklarer jordskjelvmysterier. IN forskning.no
Barrett, N., Karen, M (2014). The music of earthquakes. IN sciencenordic.com
• Karen, M., Barrett, N. (2014). Sonification for geoscience: Listening to faults from the inside. EGU General Assembly (Vienna).
• Barrett, N. 2012. The perception, evaluation and creative application of high order ambisonics in contemporary music practice
• Barrett, N. 2011. Composition and mimesis of geological patterns and processes
• Barrett, N. 2009. Live electronics and changing compositional aesthetics
• Barrett, N. 2009. The 'Barely' project and thresholds of auditory experience

Music conference presentations and invited music research panels

2016

• ICMC (International Computer Music Conference), Utrecht, The Netherlands. Paper and concert presentation for my Virtualmonium electroacoustic music performance instrument.
• NIME (Conference of New Interfaces for Musical Expression), Brisbane, Australia. Paper presentation for my Virtualmonium electroacoustic music performance instrument.
• 'Speculations in Sound 2', research group meeting collaboration between CeReNeM at the University of Huddersfield and SARC at Queen's University Belfast, invited guest participant.
• VGC (2nd Virtual Geoscience Conference), Bergen, Norway. Paper presentation and interactive demo on musical sonification applications in geoscience.

2015

• InSonic Symposium, ZKM, Karlsruhe. Invited Keynote lecture in 3-D sound-art and composition.
• ICAD Conference 2015 (International Conference on Auditory Display). Poster and concert about
sonification for musical application.
• NIME Conference 2015 (New Instruments for Musical Expression). Poster and concert about sonification for musical application.

2014

• 'Life in 3D' Symposium, Edinburgh, UK. Invited Keynote presentation on 3-D sound-art.
• EGU (European Geosciences Union General Assembly), Vienna, Austria. Peer reviewed poster
presentation on musical sonification applications in geoscience.

2013

• SMC / SMAC (Sound and Music Computing), Stockholm, Sweden. Peer reviewed paper and concert presentation on my higher-order ambisonics compositional work.

2011

• Technology and Aesthetics, (Notam / NMH) Oslo. Invited panel discussion and concert.

2010

• Soundscape in the Arts, (Notam) Oslo. Invited panel discussion and concert.
• DAFX 2010, Graz, Austria. Invited concert performance.
• EMS 2010 conference, Shanghai, China. Peer reviewed paper presentation about the 'Barely' project (see artistic output).
• Second International Symposium on Ambisonics and Spherical Acoustics, Paris. Peer reviewed paper presentation and concert.

2008

• EMS08 conference, Paris. Peer reviewed presentation on my compositions.
• Integra conference, Birmingham. Presentation on my Integra commission and concert.

2005

• ICMC (International Computer Music Conference), Barcelona. Peer reviewed concert.

2004

• International Symposium on Music and Music Science, Stockholm. Invited guest presentation. • ISEA (International Symposium for Electronic Art), Finland. Peer reviewed installation.

2003

• ICMC (International Computer Music Conference), Gothenburg, Sweden. Peer reviewed concert. 2000
• ICMC (International Computer Music Conference), Berlin, Germany. Peer reviewed paper and concert.

1998

• ICMC (International Computer Music Conference), Michigan, USA. Peer reviewed concert. • Centro Ricerche Musicali, Rome. Invited presentation and concert.

1997

> • ICMC (International Computer Music Conference), Greece. Peer reviewed concert.

1995

• ICMC (International Computer Music Conference), Canada. Peer reviewed concert.
• ISEA (International Symposium for Electronic Art), Montreal, Canada. Peer reviewed concert.