Miriam Akkermann
Beyond practice? Tracing cultural preferences in mixed music performances
Andrew Blackburn
The representation of the electronics in a musique-mixte environment: analysing some ontological and semiotic solutions for performance
Manuella Blackburn
Other people’s sounds: examples and implications of borrowed audio
Jeremy Corral
On the difficulty to consider as a continuity the production of the NHK electronic music studio
Jean-Louis Di Santo
Six Japanese gardens by K. Saariaho: eastern and western temporalities
Marin Escande
The tape music of Jikken Kôbô 実験工房 (Experimental Workshop): Characteristics and specificities in the 1950s
Katt Hernandez
Psychogeography and Psycho-sonic Cartography: The creation of Ephemeral Place through Electroacoustic Music
Martin Link
Thema Omaggio a Joyce – Expression as a meaning
Chenhan Liu
Overview of Types and Researches of Data Controllers in Interactive Electronic Music
Nicolas Marty
Conceptual Intentions as a Basis for Listening to Acousmatic Music
Mengjie Qi
Network Music Performance over IPv6: Two Years CERNET2 Project to Create a Large Scale Piece
Judith Romero Porras
Murmullos del Páramo: rethinking Julio Estrada’s opera through Zeami’s theater Nô aesthetics
Simonetta Sargenti
Analysis of electroacoustic and interactive music works: Solo by Karlheinz Stockhausen, an example of performance analysis
Aya Shimano-Bardai
Terminological discourses in the field of sound art
Noora Tienaho
Adorno and Electronic Music
Germán Toro Pérez, Lucas Bennett
Spatial concepts and performance practice. On the impact of evolving sound diffusion standards on electroacoustic music
Wanjun Yang, Xiyue Zhang
The culture characteristics under oriental context of chinese electronic music composition – take two pieces by Lu Minjie as examples
Reiko Yoshida
Musique concrčte and dance: Pierre Henry’s collaboration with Maurice Béjart
Ivan Zavada, Dale Keaveny
The Xenophone, an electroacoustic representation of intercultural communication trends on social media