EMS11 - Sforzando! - New York

Manuella Blackburn
Importing the Sonic Souvenir: issues of cross-cultural composition

Per Bloland
The Electromagnetically-Prepared Piano and its Compositional Implications

Bruno Bossis
Electroacoustic music: from sounds of the world to a poetics of unity

Michael T. Bullock
The Material of Time: Understanding Electroacoustic Improvised Music

Tatjana Böhme-Mehner
The Sound of Silence Paradox: How to deal with the Non-Sounding in the Study of Electroacoustic Music

Jean-Louis Di Santo
Harmonic profile: typology and notation

Frédéric Dufeu
Electroacoustic Music and Popular Culture Interacting: Aesthetic and musicological implications of GRM Experience by Christian Fennesz, Mika Vainio and Christian Zanési

Lee Fraser
Associative and Investigative Processing: Listening Behaviours in the Acousmatic Arena

Elizabeth Hoffman
Contemporary Electroacoustic Music’s Discourse: Considering chosen aesthetic languages as socio-cultural interventions

Gary Kendall
Bridging a Shamanic Worldview and Electroacoustic Art

Marinos Koutsomichalis
Site Specific Live Electronic Music: A Sound-Artist’s Perspective

Leigh Landy
Art for Goodness(’) Sake: It’s your tea party and you can cry if you want to - Keynote Address

Hugh Lynch, Robert Sazdov
An Investigation Into Compositional Techniques Utilized For The Three-Dimensional Spatialization Of Electroacoustic Music

Mikako Mizuno
Alternative Perspective towards Japanese History of Electronic Music Live Electronics in Early vs Latest Days

Jøran Rudi, Jamie Bullock
The Integra Project