Research – ORCID ref.
Selected Research Papers
  • Coovi-Sirois, par S., Boutard, G., & Bernier, N. (2023). La réutilisation de données dans les pratiques artistiques de sonification. EContact!, 21(2). [Published version]
  • Bernier, N., Boutard, G., Traube, C., Schorpp, E., Bellemare, L., & Drouin-Trempe, V. (2023). Sine Wave in Music and Sound Art: A Typology of Artistic Approaches. Organised Sound. [Postprint (UdeM Repository)] [Published version]
  • Boutard, G., Guastavino, C., Bernier, N., Gauthier, P.-A., Fraisse, V., Giannini, N., & Champagne, J. (2022). Review of contemporary sound installation practices in Québec. Resonance, 3(2), 177-193. [Postprint (UdeM Repository)] [Published version]
  • Fraisse, V., Giannini, N., Guastavino, C., & Boutard, G. (2022). Experiencing sound installations: a conceptual framework. Organised Sound. [Published version]
  • Boutard, G., Féron, F.-X. (2021). Documenting acousmatic music interpretation: A developmental framework based on cross self-confrontations. International Journal of Performance Arts and Digital Media, 17(3), 336-355. [Postprint (UdeM Repository)] [Published version]
  • Boutard, G. (2020). Preservation strategies for mixed music: the long tail and the short tail. Array, 19(1), 23. [Open access] [UdeM Repository]
  • Boutard, G. (2020). Alter-Value in Data Reuse : Non-Designated Communities and Creative Processes. Data Science Journal, 19(1), 23. [Open access] [UdeM Repository]
  • Boutard, G., Féron, F.-X. (2018). Documenting acousmatic music interpretation: profiles of discourse across multiple dimensions. Journal of Documentation, 77(1), 99-119. [Postprint (UdeM Repository)] [Published version]
  • Boutard, G. (2016). Solo works of mixed music with live electronics: A qualitative enquiry in timbre and gesture from the performer’s perspective. Musicae Scientiae, 20(3), 361–391. [Postprint] [Published version]
  • Boutard, G. (2016). Co-construction of meaning, creative processes and digital curation: the transmission of music with live electronics. Journal of Documentation, 77(4), 755–780. [Postprint] [Published version]
  • Boutard, G. (2015). Towards Mixed Methods Digital Curation: Facing specific adaptation in the artistic domain. Archival Science, 15(2), 169–189. [Postprint] [Published version]
  • Boutard, G., Guastavino, C., & Turner, J. (2013). A digital archives framework for the preservation of cultural artifacts with technological components. International Journal of Digital Curation, 8(1), 42-65. [Published version]
  • Boutard, G., & Guastavino, C. (2012). Following gesture following: grounding the documentation of a multi-agent creation process. Computer Music Journal, 36(4), 59-80.
  • Boutard, G., & Guastavino, C. (2012). Archiving electroacoustic and mixed music: significant knowledge involved in the creative process of works with spatialisation. Journal of Documentation, 68(6), 749-771.
Selected Book, Chapters, etc.
  • Boutard, G., & Bernier, N. (2023). Five Perspectives on Sine Wave in Music and Sound Art. In N. Bernier (Ed.), Sinusoidal Perspectives (pp. 115–133). Librairie formes • ondes. [Published version]
  • Bernier, N., Boutard, G., & Traube, C. (2021). Sine waves Interpretations—Notes on an Adaptation and Transcription Process of Electroacoustic Works. LINE. [Recording][Version éditée (UdeM Repository)]
  • Boutard, G., Guastavino, Catherine (2018). Cultural Heritage, Information Science, and the Creative Process. In N. Donin (Ed.), The Oxford Handbook of the Creative Process in Music. Oxford: Oxford University Press. [Postprint] [Published version]
  • Boutard, G. (2018). Conservation participative et distribuée des outils numériques dans les arts de la performance. In A. Klein & M. Cardin (Eds.), Archives : de la gestion documentaire à la médiation. Québec: Presses de l’Université Laval. [Postprint]
  • Féron, F. X., & Boutard, G. (2018). Instrumentalists and solo works with real-time electronics: a contemporary form of chamber music? In F. Sallis, I. Burleigh, & L. Zattra (Eds.), Live-electronic Music: Composition, Performance, Study. Routledge.
  • Boutard, G., & Féron, F.-X. (2017). La pratique interprétative des musiques mixtes avec électronique temps réel : positionnement et méthodologie pour étudier le travail des instrumentistes. In Analyser la musique mixte (pp. 39–60). Sampzon, France: Delatour.
Selected Peer-Reviewed Conference Papers
  • Boutard, G. (2020). Prospecting for Digital Preservation of Electroacoustic and Mixed Music. Proceedings of AREM 2020. Dresden.
  • Boutard, G. (2019). Data reuse and creative processes. Proceedings of Tracking the Creative Process in Music. Lisbon.
  • Boutard, G. (2019). Is there a digital archivist in the room? The preservation of musique mixte. Proceedings of ICMC 2019. New York, NY: ICMA. [Postprint (UdeM Repository)]
  • Féron, F. X., & Boutard, G. (2017). Crossed perspectives on automated re-enactments: studying the creative process of acousmatic performances. In Proceedings of Tracking the Creative Process in Music. Huddersfield.
  • Boutard, G. (2015). Participatory digital repositories for the curation of performing arts with digital technology. In proceedings of iPRES conference 2015. Chapel Hill, NC.
  • Boutard, G., & Marandola, F. (2014). Mixed music creative process documentation methodology: outcomes of the DiP–CoRE project. In proceedings of the 9th Conference on Interdisciplinary Musicology. Berlin.
  • Boutard, G., Guastavino, C., & Turner, J. M. (2012). Digital sound processing preservation: impact on digital archives. In Proceedings of the 2012 iConference (pp. 177-182). Toronto.
Selected Presentations
  • Boutard, G. (2022, September). Trajectory of the work, Trajectory of the sensory experience [Workshop]. Music beyond fixity and fluidity; preservation and performance as instauration, Lorentz Center: Leiden.
  • Boutard, G. (2021, October). The landscape of data curation for current music research [Workshop]. New Methods and New Challenges in Empirical Musicology, IRCAM.
  • Boutard, G., & Guastavino, C. (2020). Exploring 6DoF audio capture for sound art documentation. Documenting the Interactive Documentary, The Netherlands Institute for Sound and Vision.
  • Boutard, G. (2016, January). Tzadik, Arcana, and The Stone: John Zorn and the building of a community. presented at John Zorn: At the Crossroads of Musical Genres, Montreal, QC. Retrieved from
  • Boutard, G. (2014, May). Préservation des musiques mixtes : la place méthodologique du document sonore et des traces de l’activité. Invited talk presented at the Colloquium le document sonore, Bibliothèque Nationale de France. Retrieved from