Lodge, M. (2017). Stream for string quartet. Stream; I. Run, Stream; II. Hold, Stream; III. Drive [for string quartet - violins, viola, violoncello (16 mins)]. recorded in Shanghai: Atoll Records.
Lodge, M. (2017). ‘Feadóg mhór in oίche spèirghelai’ for bass flute and recorded sounds - Okta Concert: When flutes had words - Premiere (Revised) [for bass flute and sounds]. Gallagher Academy of Performing Arts, University of Waikato, Hamilton, New Zealand.
Lodge, M. (2017). The art of confluence: drawing together the streams of Western and Māori music in New Zealand Aotearoa. In 23rd Annual Conference of the New Zealand Studies Association: Contested Territories in the Pacific. Conference held at Strasbourg, France.
Lodge, M., Tuaupiki, J., Brinckman, T., Horomona, H., & Austin, K. (2017). Manu kaewa (Wildbirds): Premiere (Gallagher Academy of Performing Arts) [collaborative multimedia creative work: Martin Lodge (concept, macrostructure, notated music 'Water’ for alto flute and piano, electronic sounds); Tessa Brinkman (concept, flutes, narration), Katherine Austin (piano, narration), Horomona Horo (taonga puoro), Jackie Tuaupiki (newly commissioned poems in te reo Maori)]. Gallagher Academy of Performing Arts, University of Waikato, Hamilton, New Zealand.
Lodge, M. (2017). Illuminations: a proposed taxonomy for death-inspired works in Western art music. TEXT: Journal of Writing and Writing Courses: Special Issue: Writing Death and Dying, (45), 1-12. Open Access version: https://hdl.handle.net/10289/11501
Lodge, M. (2016). Composing the end: musical approaches to death. In 2nd Australasian Death Studies Network Conference: Death, Dying and the Undead: Contemporary Approaches and Practice. Conference held at Noosa, Queensland, Australia.
Lodge, M. (2016). Omanu [for solo cello (7mins)]. Waikato International Cello Festival, Gallagher Academy of Performing Arts, University of Waikato, Hamilton, New Zealand.
Lodge, M., & Horo, H. (2016). Momotuhi mō mea tuku iho Māori, he tauira kaiao Music notation for traditional Maori instruments, an ecological paradigm. In Annual Meeting of the New Zealand Musicological Society: Contemporary and Future Paths in Music Performance, Composition and Analysis. Conference held at the University of Waikato, Hamilton, New Zealand.
Lodge, M. (2016). Ahunga [for taonga puroro, piano, violin and cello (7min30)]. Te Whare Tapere Iti, Gallagher Academy of Performing Arts, University of Waikato, Hamilton, New Zealand.
Lodge, M. (2016). [Review of A search for tradition & a search for a language by Douglas Lilburn]. Journal of Pacific and New Zealand Studies, 4(1), 103-105. doi:10.1386/nzps.4.1.71_5 Open Access version: https://hdl.handle.net/10289/10556
Whalley, I. H. (2017). Integrating interdisciplinary work in contemporary non-linear real-time digital arts practice: Communication, sequence, frameworks, and logistics. In Electroacoustic Music Studies Network (EMS) 2017: Communication in/through Electroacoustic Music. Conference held at Nagoya, Japan.
Whalley, I. (2016). [Keynote] Broadening telematic electroacoustic music. In Australasian Computer Music Association (ACMC 2016): Sonic Environments. Conference held at Griffith University, Brisbane, Australia.
Whalley, I. (2016). Exploring internet environments in sound arts. In Proceedings of the Annual Conference of the Australasian Computer Music Association: Sonic Environments ACMC 2016 (pp. 106). Conference held at Griffith University, Brisbane, Australia: The Australasian Computer Music Association.
Whalley, I. (2016). New Zealand electroacoustic music: Ruptures and digital networks. In New Zealand Musicological Society Annual Conference: Contemporary and Future Paths in Music Performance, Composition and Analysis. Conference held at University of Waikato, Hamilton, New Zealand.
Whalley, I. (2015). Developing telematic electroacoustic music: Complex networks, machine intelligence and affective data stream sonification. Organised Sound (Special Issue 01: Organised Sound Celebrates 20 Years), 20(01), 90-98. doi:10.1017/S1355771814000478
Whalley, I. H. (2014). Broadening telematic electroacoustic music by affective rendering and embodied real-time data sonification. In A. Georgaki, & G. Kouroupetroglou (Eds.), Proceedings of the 40th International Computer Music Conference and 11th Sound and Music Computing Conference Vol. 1 (pp. 301-307). Conference held at Athens, Greece: National and Kapodistrian University of Athens.
Whalley, I. H. (2014). DVD: SymbolAct (2012) – 10′08″. Organised Sound 19/3: Sound and movie examples [Telematic electroacoustic music]. 121212 6th Annual UpStage Festival of Cyberperformance. Christchurch, New Zealand; Wellington, New Zealand; Buenos Aires, Argentina; Oslo, Norway; Munich, Germany; Pancevo, Serbia;Montpellier, France; Eindhoven, Netherlands; Nantes, France; Holstebro, Denmark; Linz, Austria; Exeter, UK – recorded live 5–12 December 2012. Performers: Ian Whalley – wind synthesizer, iPads, foot controllers, synthesizer programming (Hamilton, New Zealand); Ivan Zavada – violin (Sydney, Australia): Cambridge University Press.
Wyse, L., & Whalley, I. (2014). Editorial. Organised Sound, 19(03), 213-214. doi:10.1017/S1355771814000193
Whalley, I. (2014). Recent telematic electroacoustic music: integrating external data streams. In eResearch NZ 2014. Conference held at University of Waikato, Hamilton, New Zealand.
Whalley, I. (2014). [Review of The Oxford Handbook of Computer Music by D. Roger (ed)]. Organised Sound: An International Journal of Music and Technology, 19(2), 203-207. doi:10.1017/S1355771814000144
Williams, M. F. (2017). CD: Symphony No.1: Letters from the Front [Recording]. Auckland: Atoll. Retrieved from https://atoll.co.nz/album/letters/
Williams, M. F. (2017). CD: Pulse [Composition for electric violin and string quartet (9.00)]. Auckland New Zealand: Atoll Records. Retrieved from https://atoll.co.nz/album/pulse/
Williams, M. F. (2017). The Void Between Heartbeats [Chamber Music Composition (10:38)]. Auckland New Zealand: Atoll Records.
Williams, M. F., Chiappinelli, M., & Orlandi, B. (2015). Matéria [piece for piano and soprano saxophone]. Open Access version: https://hdl.handle.net/10289/9880
Williams, M. F. (2015). Symphony no. 1: Letters from the front [Symphony for orchestra, soprano solo and narrator (35')]. Performed by New Zealand Symphony Orchestra, Michael Fowler Centre and Auckland Town Hall, New Zealand and performed by the Sydney Symphony Orchestra, Sydney Opera House, Australia: Australasian Performing Rights Association (APRA).
Williams, M. F. (2015). Cohesion and Eclecticism Composition Portfolio: Volume1: The Juniper Passion: Volume 2: Triple Concerto: Volume 3: Achieving cohesion and concinnity within an eclectic/polystylistic framework. (PhD Thesis, Melbourne Conservatorium of Music, University of Melbourne, Australia).
Williams, M. F., Bae, J., De Santis, L., & Minci, A. (2014). The future is not war (L'avvenire non è la guerra) [piece for soprano, violins, guitar and violoncello]. Cassino, Italy.
Williams, M. F., & Davies, J. G. (2013). The Juniper Passion [Performance]. Cassino, Italy.
Williams, M. F. (2011). Dances Mercurial [String Quartet]. WEL Energy Trust Academy of Performing Arts, University of Waikato, Hamilton, New Zealand.
Williams, M. F., & Davies, J. G. (2011). CD - The Juniper Passion [WWII Opera]. Auckland, New Zealand. Retrieved from http://www.michaelfwilliams.co.nz/file/MP3/The-Juniper-Passion-Prelude.mp3