Roundtable Discussion: Electroacoustic Music: The Stockholm Scene
Mats Lindström, Elektronmusikstudion
Lise-Lotte Norelius, Fylkingen
Mattias Sköld, KMH and chair
Marcus Wrangö, Audiorama

Welcome: Bill Brunson

Keynote Address:
Lars-Gunnar Bodin
Meaning? - Some Observations by an EAM-practitioner

Composer's checklist: dynamics, articulation, tempo markings, meaning...

Directionality in Electroacoustic Music

Different Walks for Different Talks: Finding the Meaningful in Electroacoustic Music 

Audiomobiles, Sculptures and Conundrums

Adorno and Electroacoustic music

A material tape as a piece of art: case studies of an inconstant work-concept in Erkki Kurenniemi’s electroacoustic works

From composition to reception;
the identity of sense and meaning

Ethno-Electro – A Framework for Examining Cultural Influences In Electroacoustic Music

Referential sounds, semiotics and symbolism

The analysis of electroacoustic music, the differing needs of its genres and categories

EAnalysis: A new electroacoustic music analysis software

The Electro-Acoustic Music Mine (EAMM)

Locating the work and its meaning: searching for notation and common ground between instrumental performers and electroacoustic composers.

From imaginary to real: Listening to Ákos Rózmann’s Twelve Stations

Instrumental Sources in the Electroacoustic Music of Iannis Xenakis: From Polytope de Montréal to Kraanerg and Hibiki-Hana-Ma

Approaches to Electro acoustics and Morphology

A Study on Peking Opera Music Automated Composition Based on Rhythm Meaning Retrieval
(Part of EMSAN Track)

Spectral Spatiality in the Acousmatic Listening Experience: the birth of autonomous spectromorphological entities

Mixing the Immiscible: Improvisation within Fixed-Media Composition

Thermal Crises: Aesthetic Potentials of Texture in the Entropic Continuum

The Exosemiotics of Music-as-Heard

A semiotic model for music and sound-based art 

Of and on musical abstraction in the digital domain

The audible and the physical: a gestural typology for ‘mixed’ electronic music

Synthesis of Performer and Instrument: Analytical Issues in Interactive Multimedia and Christopher Burn’s “Sawtooth”

The Meaning of the Instrument

Toward a Listening Based Taxonomy for Live Sound Processing. Case study: Works produced at LIEM

Gesture and sound analysis: virtual instruments and interactive composition

Sound Material Correspondence and Temporal Relationships in Acousmatic Composition: Proposing a Taxonomy of Recurrent Phenomena

A Model of Mental Layers in the Process of Listening

The Question of Meaning in the Electroacoustic Music of Iannis Xenakis: An Example: the Case of La Légende d’Eer

A Narrative Stance: Making a Case for Narrativity in Electroacoustic Music

The pedagogical approach in electroacoustic composition at Université de Montréal : a model?

Meanings of the Meaningless in Luc Ferrari's Musique Anecdotique

Unlocking Dionysus to Awaken Apollo: Developing an Electroacoustic Improvisation Class

Field Recording and Performance on the Threshold

Sound-based music curriculum; finding the meaning and meaningfulness of sound

Sonic Identification and Listening Strategies: Towards a ‘Natural’ Narratology for Electroacoustic Musics

Exploring an Extended Sound Universe for Composing in 11-14 Music Curricula

Between Meaning and Meaningfulness – “Understanding“ Anecdotal Music

Meaning and Fullness of Meaning in Luc Ferrari’s Presque Rien no. 1

Mining into meanings: probing real-world data through sound

Intelligibility and Extended Voice: Meaning Deconstruction / Reconstruction 

Compositional Practice and Attributed Meaning

Mediated Mimesis

Theremin in the Press: Construing ‘Electrical Music’

Meaning of Creation of Tape Music: Listening to the Sound of Water
(Part of EMSAN Track)

Reception of Schaeffer in Japan—by composers, musicologists and theorists
(Part of EMSAN Track)

Mixed Music as Cross-cultural Dilemma: Between the Western Intellectual Approach and the Far Eastern Quest of Spiritual Harmony 
(Part of EMSAN Track)

Correlations between acoustic features, personality traits and perception of soundscapes

Active listening strategies in soundwalk interactions 

The Future of Electroacoustic Pedagogy

Shades of Synchresis: A Proposed Framework for the Classification of Audiovisual Relations in Sound-and-Light Media Installations

Reality and Unreality in the Interpretation of Electroacoustic Music

Searching the meaning, finding the meaningfulnes:  Electroacoustic music in our current times

Metacreation and Metaevaluation: Who Decides What is Good Music?

End of Conference Remarks