EMS14 - Electroacoustic Music Beyond Concert Performance - Berlin

Monty Adkins, Tom Adams
Digital Music, Digital Distribution

Miriam Akkermann
Computer Network Music Approximation to a far-scattered history

Panos Amelides
Universalising the acousmatics: storytelling and culture-specific works

James Andean
Towards a Narratology of Acousmatic Music

Simon Atkinson, Kerry Francksen
Ultra-sensing : moving beyond ‘work’ and ‘venue’ in intermedia art

Massimo Avantaggiato
Donatoni: a critical re-appraisal of Quartetto III

Nicola Baroni, Carlo Benzi
Sound Gesture and Rhetoric. Hyper-cello as an Algorithmic Composer

Alba Francesca Battista
New dimensions of musical enjoyment. The Analysis problem: Luc Ferrari through the Aesthesic-Cognitive Method

Hannah Bosma
Playing Loudspeakers, Unsettling Concerts. Gender and Performance in Interdisciplinary Electroacoustic Music

Tatjana Böhme-Mehner
Searching for Safety: The concert listener beyond the limits of the concert hall

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

Teresa Marie Connors
Bringing Forth a World: Sound and Audiovisual Installation as a Process of Cognition

Fabian Czolbe
Klangkunst goes mobile

John Dack
Pousseur’s Huit Etudes Paraboliques: Musical and Social Contexts

Jean-Louis Di Santo
Analysis of Incidences,résonances by Bernard Parmegiani with an acousmatic score (acousmoscribe)

Frédéric Dufeu, Alain Bonardi
Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt

Luc Döbereiner
How to Think Sound in Itself? Towards a Materialist Dialectic of Sound

Aaron Einbond
Composer as Curator: Uncreativity in recent electroacoustic music

Simon Emmerson
Listening in time and over time – the construction of the electroacoustic musical experience

Alexandre Sperandéo Fenerich, Giuliano Obici
Symphonie pour un Homme Seul – de-acousmatized (SPUHS-d)

Luca Forcucci
Touching the Audience

Heather Frasch
(Re-)Contextualizing Meaning with Physical and Sonic Objects in the Work of Hanna Hartman

Diego Garro
From ‘concert’ to ‘screening’: visual anecdotes in Electroacoustic Music presentations

Owen Green
Four Small LLEAPPs for Electroacoustic Music Studies: Notes on performance strategies from a series of participatory electronic music workshops

Kerry L. Hagan
How Live is Real-Time ?

Christopher Haworth
Ecosystem or Technical System? Technologically-Mediated Performance and the Music of The Hub

Terri Hron
Between the stage and the gallery: objects and spaces in three works by Canadian sound artists

Georgia Kalodiki
Interactive Performance Systems Conceptual interacting strategies in forming electroacoustic sound identities

Florence Lethurgez
Read music at the concert: program notes of electroacoustic music composers

Makoto Mikawa
Aesthetic Meaning of Mixed-Media and Intercultural Composition: Water Music (1960) by Tôru Takemitsu and Hisao Kanze

Mikako Mizuno
Sound Arts, Sound Performance and Sonic Arts – Alternative Presence of Japanese Electroacoustic Music

James Mooney
Hugh Davies’s Electronic Music Documentation 1961–8

Satoshi Morita
Sonic art for intersensory listening experience

Landon Morrison
Graphical Music Representations: A Comparative Study Based on the Aural Analysis of Philippe Leroux’s M.É.

Per Anders Nilsson
Control or Play?

Mikko Ojanen
Electroacoustic concert and happening performances of the ‘60s and early ‘70s in Finland

Miller Puckette
The Deadly Embrace Between Music Software and Its Users

Luisa Santacesaria
Switch by Benjamin Thigpen and Darren Copeland: a hybrid case of electro-acoustic live performance work

Simonetta Sargenti
Dramaturgy of sound, mobile sound and digital garden as grounding concepts of multimedia works

Cecilia Taher
The Unity of Opposites: Jonathan Harvey’s Advaya for cello and electronics

Anthony Tan
Timbre as Vertical Process: Attempting a Perceptually Informed Functionality of Timbre

Barry Truax
Electroacoustic Music of Extended Duration: A Question of Format

Viviane Waschbüsch
The stance of German “New Simplicity” composers on sound art

Bai Zhao
Heritage of Gérard Grisey in China