| Day 0 Tuesday 12 June |
| 09.30-10.00 |
Registration for EMS07 for those attending the ICT Network Workshop
Location: Clephan 3.01/3.03 foyer |
| 10.00-18.00 |
ICT Network Workshop
Location: Clephan 3.03 |
| 18.00-18.30 |
Registration for EMS07 (for those not attending the ICT workshop)
Location: Clephan 3.01/3.03 foyer |
| 18.30-19.30 |
Opening, Welcome and Keynote address
Denis Smalley Space ... the final frontier?
Location: Clephan 3.03 |
| 19.30-20.30 |
Welcome reception (hosted and sponsored by Cambridge University Press, publishers of Organised Sound)
Location: Clephan 3.06 (Graduate Centre) |
| Day 1 Wednesday 13th June |
09.00-11.00 Session 1:
Location: Clephan 3.03
Chair: Marc Battier |
| François Bayle |
Image/diagramme/figure |
| Rosemary Mountain |
If a Picture is Worth 1000 Words, and Music is a Language, How Many Notes is a Picture Worth? |
| Rolf Inge Godøy |
Chunking Sound in Listening and Analysis |
| Robert Normandeau |
La spatialisation timbrale ou le medium, c’est l’espace |
| 11.00-11.15 |
Coffee break |
11.15-13.15 Session 2:
Location: Clephan 3.03
Chair: Simon Emmerson |
| Hannah Bosma |
Drive’ and ‘Native Tongue’: Intersections of electroacoustic documentation and gender issues |
| Elizabeth Hinkle-Turner |
Hear Me Now” The implication and significance of the female composer’s voice as sound source in her electroacoustic music |
| Laura Zattra |
L’oeuvre de Teresa Rampazzi: Entre etude de genre et analyse des sources |
| Elizabeth Anderson |
Materials, Meaning and Metaphor: Unveiling Spatio-temporal Pertinences in Acousmatic Music |
| 13.15-14.30 |
Lunch break |
14.30-16.30 Session 3A:
Location: Clephan 3.01
Chair: Rolf-Inge Godøy |
14.30-16.30 Session 3B:
Location: Clephan 3.03
Chair: Gary Kendall |
| Rob Weale |
Evaluating Analysis through the Mapping of Perceptual Possibilities |
Carlos Agon, Jean Bresson, Jean-Marc Chouvel |
L’analyse musical différentielle: principes, représentation et application à la structuralisation des entités musicales pour la musique électroacoustique |
| Ambrose Seddon |
Recurrence in Acousmatic Music: Creative and analytical possibilities |
Martin Supper |
Perception of the Perception |
| Leah Barclay |
Introducing the Acousmatic Score: A model for the perception and valuation of Acousmatic music |
Lonce Wyse |
Sound Models in the Construction and Analysis of All-sound Music |
| Nicola Giosmin, Adriana Anastasia |
Reconstructing ‘Incontri di fasce sonore’ by Franco Evangelisti |
Kevin Dahan |
Methods for the Analysis of Granular and Microsound Based Composition |
| 16.30-16.45 |
Tea break |
16.45-18.15 Session 4A:
Location: Clephan 3.01
Chair: Laura Zattra |
16.45-18.15 Session 4B:
Location: Clephan 3.03
Chair: Rosemary Mountain |
| Jo Thomas |
The Technological Artifact Working Definitions for a Contemporary Sound Ecology |
David Berezan |
Live-acousmatic Composition and Performance |
| John Richards |
I Took Away Their Guitars, but They Still Found a Use for Their Effects Pedals! |
Gary Kendall |
Considering the Terms of Our Language in Electroacoustic Spatialization |
| Mathew Adkins |
Schaeffer est mort! Long live Schaeffer! |
Guillaume Loizillon |
Synthèse sonore et musiques électroacoustiques: une phenomenologie du sonore |
| 18.15–18.30 |
Break |
| 18.30-19.15 |
Keynote address
Katharine Norman Where are we Listening? and What are We Listening To?
Location: Clephan 3.03 |
| 19.15-20.15 |
Reception
Location: Clephan 3.06 (Graduate Centre) |
| 20.30 |
Keynote Concert
Location: Centre for Excellence in Performance Arts |
| (The Reception and Keynote Concert are hosted and sponsored by the Events Office of De Montfort University) |
| Day 2 Thursday 14th June |
09.00-11.00 Session 5:
Location: Clephan 3.03
Chair: Daniel Teruggi |
| Bruno Bossis |
Comment analyser un opéra avec dispositif électronique temps réel? |
| Pierre Couprie |
Dessin en 3D et système immersif pour la représentation de la musique électroacoustique |
| Tatjana Böhme-Mehner |
Language as Material – Language as Communication: ‘Words’ and ‘texts’ in electroacoustic music |
| Leigh Landy |
A Future for EARS: Going global and providing didactic opportunities |
| 11.00-11.15 |
Coffee break |
11.15-13.15 Session 6:
Location: Clephan 3.03
Chair: Barry Truax |
| Simon Emmerson |
Where Next? New music, new musicology |
| Rajmil Fischman |
‘Mimetic Space’: A conceptual framework for the discussion analysis and creation of mimetic discourse and structure |
| Dugal McKinnon |
The Acousmatic and the Language of the Technological Sublime |
| Nye Parry |
Syntax and Discourse: A re-evaluation of Simon Emmerson’s ‘The Relation of Language to Materials’ |
| 13.15-14.30 |
Lunch break |
14.30-16.30 Session 7A:
Location: Clephan 3.01
Chair: John Young |
14.30-16.30 Session 7B:
Location: Clephan 3.03
Chair: Robert Normandeau |
| Peter Batchelor |
Fabricating Aural Landscapes: The referential and trompe l’oreille in multi-channel installation contexts |
Anna Rubin |
Witness and Sonic Metaphor in the Music of Francis Dhomont |
| Hiromi Ishii |
Finding Rules in Shakuhachi Timbre and Applying Them to Structure Music: Composition for shakuhachi and live electronics ‘Kaze no Michi’ (Wind Way) |
Juan Chattah |
‘Klang, Kar, und Melodie’: A crash course on musical narrative |
| Michael Young |
‘Aur(or)a’: Exploring Attributes of a Live Algorithm |
Francesca Guerrasio |
L’approche de l’écologie sonore par Salvatore Sciarrino dans ‘Lohengrin II, dessin pour un jardin sonore’ |
| Hasnizam Abdul Wahid |
Recent Experiment and Emerging Works in Malaysia – The integration and an experiment of a traditional ‘Wayang Kulit’ performances and electroacoustic music |
Gaël Tissot |
Analyse de la densité événementielle: une approche de la perception temporelle dans ‘Kontakte’ de K. Stockhausen |
| 16.30-16.45 |
Tea break |
16.45-18.15 Session 8A:
Location: Clephan 3.01
Chair: Kenneth Fields |
16.45-18.15 Session 8B:
Location: Clephan 3.03
Chair: Martin Supper |
| Simon Waters |
Performance Ecosystems: Ecological approaches to musical interaction |
Annette Vande Gorne |
The Documentation Center of Musique et Recherches: ‘Electrodoc’ Database |
| Brian Belet |
Where’s the Composition? Strategies for understanding and analyzing interactive real-time computer music |
Mungo Zhangruibo, Ken Fields |
CHEARS: China Electracoustic Resource Survey |
| Arne Eigenfeldt |
Real-time Composition or Computer Improvisation? A composer’s search for intelligent tools in interactive computer music |
Ricardo Dal Farra |
“¡¿Qué dijo?!” – Spanish electroacoustic-music terminology |
| 18.15–20.00 |
Break |
| 20.00 |
Concert 2
Location: Centre for Excellence in Performance Arts |
| Day 3 Friday 15th June |
09.00-11.00 Session 9A:
Location: Clephan 3.01
Chair: Hannah Bosma |
09.00-11.00 Session 9B:
Location: Clephan 3.03
Chair: Vande Gorne |
| John Coulter |
The Language of Electroacoustic Music with Moving Images |
Philippe Lalitte |
La spatialisation en musique électroacoustique: un nouvel art de mémoire? |
| Ariane Couture |
L’hybride est-il un parametre musical? Une analyse de la vidéomusique ‘Spin’ (1999-2002) de Jean Piché |
Felipe Otondo |
Recent Spatialisation Trends in Electroacoustic Music |
| Paul Rudy, |
Lies and Audiotape: The language of electroacoustic sound in music and image |
Robert Sazdov |
Perceptual Investigation into Envelopment, Spatial Clarity, and Engulfment in Reproduced Multi-channel Audio: Compositional approaches in 3D music |
| Julio d’Escriván |
Imaginary Listening |
Andrea Valle |
A Typological Space for Representing Collections of Sound Objects |
| 11.00-11.15 |
Coffee break |
11.15-13.15 Session 10A:
Location: Clephan 3.01
Chair: Elizabeth Hinkle-Turner |
11.15-13.15 Session 10B:
Location: Clephan 3.03
Chair: Paul Rudy |
| John Dack |
Acoulogie: An answer to Lévi-Strauss? |
Margaret Schedel |
Sustainability of Art with Technology |
| Nicolas Viel |
Pierre Barbaud and the Birth of Computer-Music in France: From cybernetics to algorithmics |
Peter V. Swendsen |
I Have No Memory of This Place: The changing nature of soundscape composition |
| Robert J. Gluck |
Educating International Composers: The Columbia-Princeton Electronic Music Center |
Peter Cusack |
The Favourite Sounds Project: London & Beijing |
| Elisa Teglia |
Les langages de la production électroacoustique du Studio di fonologia musicale de Milan |
Blas Payri |
Auditory Scene Analysis and Sound Source Coherence as a Frame for the Perceptual Study of Electroacoustic Music Language |
| 13.15-14.30 |
Lunch break |
14.30-16.30 Session 11:
Location: Clephan 3.03
Chair: Leigh Landy |
| Dante Tanzi |
The Role of Behaviour in the Analysis of Electroacoustic Music |
| John Young |
Issues of Form in Electroacoustic Music |
| Nick Collins |
Analysis of Generative Music |
| Barry Truax |
The Analysis of Electroacoustic Music as Soundscape |
| 16.30-17.30 |
Coffee/tea with conference closing meeting and discussion
Location: Clephan 3.03 |
