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| Tuesday 10 June |
09:00 |
Registration is open |
10:00 |
Welcome and Opening |
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Session 1 – chair: Leigh Landy |
10:30 |
Andrea Szigetvári |
Soundscape Composition – Strategies For the Development of New Forms of Sonic Performance |
11:00 |
Simon Emmerson |
Listening in time and over time – the construction of the electroacoustic musical experience |
11:30 |
Break |
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Session 2 – chair: Volker Straebel |
12:00 |
Robert Normandeau |
The ritual of the electroacoustic concert |
12:30 |
Fabian Czolbe |
“Klangkunst“ goes mobile |
13:00 |
Peter Batchelor |
Evaluating Acousmatic Compositional Strategies within Public Sound Art |
13:30 |
Lunch |
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Session 3 – chair: Sabine Sanio |
14:30 |
Hannah Bosma |
Playing Loudspeakers, Unsettling Concerts. Gender and Performance in Interdisciplinary Electroacoustic Music |
15:00 |
Volker Straebel |
Louis and Bebe Barron's "Electronic Sound Images" for the Science-Fiction Movie "Forbidden Planet" (1955/56) |
15:30 |
Tatjana Böhme-Mehner |
Searching for Safety: The concert listener beyond the limits of the concert hall |
16:00 |
Break |
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Session 4 – chair: Martha Brech |
16:30 |
Luc Döbereiner |
How to Think Sound in Itself? Towards a Materialist Dialectic of Sound |
17:00 |
Olaf Hochherz |
Reasons for the Occurrences of Synthesized Referential “Real-World” Sounds “Outside” of Electroacoustic Music Concert Hall |
17:30 |
John Y oung |
The Shock of Risk |
18:00 |
End of sessions |
20:30 |
keynote lecture by Helga de la Motte-Haber |
|
| Wednesday 11 June |
| |
Session 5 – chair: Frédéric Döhl |
9:00 |
Lindsay Vickery |
Notating the Sonic Environment |
9:30 |
Tom Adams
Monty Adkins |
Digital Music, Digital Distribution |
10:00 |
Aaron Einbond |
Composer as curator: uncreativity in recent electroacoustic music |
10:30 |
Break |
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Session 6 – chair: John Young |
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Session 7 – chair: Gregor Herzfeld |
11:00 |
Michael T. Bullock |
The electroacoustic performance/installation and its audience |
11:00 |
James Mooney |
Hugh Davies’s Electronic Music Documentation 1961–8 |
11:30 |
Teresa M. Connors |
Bringing Forth a World Sound Installation as a Process of Cognition |
11:30 |
Viviane Waschbüsch |
The stance of German “New Simplicity” composers on sound art |
12:00 |
Ian Stevenson |
Into-Place-Sound: Sound Installation Art |
12:00 |
Sonya Hofer |
“Atomic“ Music: Navigating Experimental Electronica and Sount Art through Microsound |
12:30 |
Lunch |
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Session 8 – chair: Wolfgang Heiniger |
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Session 9 – chair: Hannah Bosma |
14:00
|
Nicola Baroni
Carlo Benzi |
Gesture analysis and rhetoric. Hyper-cello as an algorithmic composer. |
14:00
|
Panos Amelides
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Universalizing the acousmatics: storytelling and culture-specific works |
14:30 |
Heather Frasch |
(Re-)Contextualizing Meaning with Physical and Sonic Objects in the work of Hanna Hartman |
14:30 |
James Andean |
Towards a Narratology of Acousmatic Music |
15:00 |
Owen Green |
Four Small LLEAPPs for Electroacoustic Music Studies: Notes on performance strategies from a series of participatory electronic music workshops |
15:00 |
Diego Garro |
From ‘concert’ to ‘screening’: visual anecdotes in Electroacoustic Music presentations |
15:30 |
Break |
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Session 10 – chair: Miller Puckette |
16:00 |
Jack Nagle
Kerry Hagen |
How Live is Real-Time? |
16:30 |
Jin Hyun Kim |
An Action-Oriented Sonic Experience: Taking multimodal and interactive electroacoustic music and sound art into account |
17:00 |
Theodoros Lotis |
Site and Time Specificity in the Performance of Live Electronics. |
17:30 |
Per Anders Nilsson |
Control or Play? |
18:00 |
End of Day |
|
| Thursday 12 June |
|
Session 11 – chair: John Dack |
9:00 |
Jean-François Denis |
Access Beyond The Concert Performance: Practical Consequences To On-Demand Online Electroacoustic Music Streaming |
9:30 |
Christopher Haworth |
Ecosystem or Technical System? Technologically-Mediated Performance and the Music of The Hub |
10:00 |
Daniel Teruggi |
How and why do we preserve electroacoustic music |
10:30 |
Break |
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Session12 – chair: Morag J. Grant |
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Session 13 – chair: Dörte Schmidt |
11:00 |
Pascal Terrien Nicolas Marty |
Listening behaviors and formal representation of an extract of acousmatic music in non-expert listeners |
11:00 |
Luisa Santacesaria |
Switch by Benjamin Thigpen and Darren Copeland: a hybrid case of electroacoustic live performance work |
11:30 |
Nye Parry |
Toward Sound Installation, Spatial metaphors in the musical avant-garde of the mid 20th Century |
11:30 |
Simonetta Sargenti |
Dramaturgy of sound, mobile sound and digital garden as grounding concepts of multimedia |
12:00 |
Suk-Jun Kim |
Taking Time and Taking Place: Deconstructing the Studio aesthetics |
12:00 |
Anthony Tan |
Timbre as Vertical Process: Attempting a Perceptually Informed Functionality of Timbre |
12:30 |
Lunch |
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Session 14 – chair: Stefan Weinzierl |
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Session 15 – chair: Marc Battier |
14:00
|
Luca Forcucci |
Touching the Audience |
14:00
|
Makato Mikawa |
Aesthetic Meaning of Mixed-Media and Intercultural Composition: Water Music (1960) by Tôru Takemitsu and Hisao Kanze |
14:30 |
Georgia Kalodiki |
Conceptual strategies in forming electroacoustic sound identities |
14:30 |
Yuriko Hase Kojima |
Listening Analysis of Takemitsu’s “Water Music” |
15:00 |
Satoshi Morita |
Sonic art for intersensory listening experience |
15:00 |
Mikako Mizuno |
Sound Arts, Sound Performances and Sonic Arts ---alternative presence of Japanese electroacoustic music |
15:30 |
Break |
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Session 16 – chair: Barry Truax |
16:00 |
Gary Kendall |
The Feeling Blend: An Extension of Blend Theory For Feeling and Emotion in Electroacoustic Music |
16:30 |
Terri Hron |
Between the stage and the gallery: objects and spaces in three works by Canadian sound artists |
17:00 |
Ellen Flügge |
Hearing Space |
17:30 |
Giacomo Albert |
The origins of sound installation: case study Turin |
| Friday 13 June |
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Session 17 – chair: Simon Emmerson |
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Session 18 – chair: Simon Atkinson |
9:00 |
Massimo Avantaggiato |
Donatoni: a critical re-appraisal of Quartetto III |
9:00 |
Frédéric Dufeu / Alain Bonardi
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Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt |
9:30 |
Alba F. Battista |
New dimensions of musical enjoyment. The Analysis problem: Luc Ferrari through the Aesthesic-Cognitive Method |
9:30 |
Pierre Couprie / Mikhail Malt |
Representation: From Acoustics to Musical Analysis |
10:00 |
Michael Clarke Frédéric Dufeu Peter Manning |
Barry Truax Riverrun (1986/2004), a case study from the TaCEM project, exploring new approaches to techniques of analysis and re-synthesis in the study of concert electroacoustic works |
10:00 |
Bruno Bossis / Laurent Pottier |
A Method For the Analysis of the Relation Between Symbolic Notation and Electroacoustic Textures In Hans Tutschku’s Entwurzelt |
10:30 |
Break |
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Session 19 – chair: Mikhail Malt |
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Session 20 – chair: Marc Battier |
11:00 |
Jean-Louis Di Santo |
Analysis of Incidences/résonances by B. Parmegiani with an acousmatic score |
11:00 |
Lin-Ni Liao
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TRANSCULTURATION: Western Intellectual Organization and Far Eastern Spiritual Listening |
11:30 |
Giuliano Obici / Alexandre Fenerich |
Symphonie pour un Homme Seul - de-acousmatized (SPHUS-d) |
11:30 |
Ruibo Zhang |
CHEARS ver.2.0 – Combination and Integration of EARS2 |
12:00 |
Cecilia Taher |
The unity of opposites: Jonathan Harvey’s Advaya for cello and electronics |
12:00 |
Bai Zhao |
Heritage of Gérard Grisey in China |
12:30 |
Lunch |
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Session 21 – chair: Pierre Alexandre Tremblay |
14:00
|
John Dack |
Pousseur’s ‘Huit Etudes Paraboliques’: Musical and Social Contexts |
14:30 |
Mikko Ojanen |
Electroacoustic concert and happening performances of the ‘60s and early ‘70s in Finland |
15:00 |
Barry Truax |
Electroacoustic Music of Extended Duration: A Question of Format |
15:30 |
Break |
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Session 22 – chair: Julia H. Schröder |
16:00 |
Miriam Akkermann |
Computer Network Music. Approximation to a far-scattered history |
16:30 |
Georg Hajdu |
Disposable Music |
17:00 |
Doug Van Nort |
Approaches to Distributed Agency and Shared Musical Meaning in Electroacoustic Improvisation |
17:30 |
|
20:30
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keynote lecture by Miller Puckette
|
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| Saturday 14 June |
| |
Session 23 – chair: Pierre Couprie |
9:00 |
Landon Morrison |
A Comparative Study of Graphic Representation Tools Based on an Aural Analysis of Philippe Leroux’s M.É. |
9:30 |
René Mogensen |
Comparing comprehensibility of analytical representations of electroacoustic music: pictographic versus symbolic |
10:00 |
Emily Richmond Pollock |
The Electronic Manifesto: Scores for Tape and Synthesized Music in John Cage’s Notations |
10:30 |
Break |
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Session 24 – chair: Martin Supper |
11:00 |
Florence Lethurgez |
Read music at the concert: program notes of electroacoustic music composers |
11:30 |
Bertrand Merlier |
The Sampler. An historical, musicological and phenomenological study |
12:00 |
Simon Atkinson
Kerry Francksen |
Ultra-sensing: moving beyond ‘work’ and ‘venue’ in intermedia art |
12.30 |
End of Conference |
