Book Chapters • Barrett, N. 2019. Spatial Music Composition. In. Paterson, J., Lee, H. eds. 3D Audio. Routledge. Chapter 9. (Item will ship after July 26, 2021) • 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. 2024. Living with urban noise: our outdoor environment and 3D sound. n Sounding Future (Online).https://www.soundingfuture.com/en/article/living-urban-noise-our-outdoor-environment-and-3d-sound • Barrett, N. 2020-2023. Reconfiguring the Landscape documentation.hhttps://www.researchcatalogue.net/view/1724428/1724429 • Barrett, N. 2021. New Directions in Soundscape-based Sound-Art: Hybridising Autoethnography with Computational Analysis. In n Proceedings of the Electroacoustic Music Studies Network Conference, Leicester, November 2021.https://doi.org/10.5281/zenodo.5774891 • Drack, V., Zotter, F. and Barrett, N., 2020. A personal, 3D printable compact spherical loudspeaker array. In Audio Engineering Society Convention 148. Audio Engineering Society. • Barrett, N. 2020. Deepening presence: probing the hidden artefacts of everyday soundscapes. In Proceedings of the 15th International Conference on Audio Mostly (pp. 77-84) • Barrett, N. 2019. Composing Images in Space: Schaeffer's Allure projected in Higher-Order Ambisonics. Proceedings to the ICMC 2019, New York. Published proceedings delayed. Download the paper here ICMC2019_Natasha_Barrett • Barrett, N. 2019. Sound objects in space - Schaeffer, 3D sound, 'allure' and tangibility. Peer reviewed presentation at BeastFeast 2019. Download the abstract and ppt here Beast2019_Natasha_Barrett • 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. 2022. The composition of acousmatic electroacoustic music in a Norwegian context. Part-I. • 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 2022 • ICMC (International Computer Music Conference), Limerick, Ireland. Concert presentation. • SC2022 | Sonic Cartography, Kent, UK. Paper and concert presentation. 2021 • Klingt Gut conference and festival,Hamburg, Germany. Invited keynote. 2020 • Audio Mostly Conference, Graz, Austria. Paper and concert presentation. 2019 • ICMC (International Computer Music Conference), New York, USA. Paper and concert presentation. 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.