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
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