SCHEDULE decorative dots

June 12 | June 13 | June 14 | June 15

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
18.1520.00 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

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