Soundscape Composition – Strategies For the Development of New Forms of Sonic Performance

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

The ritual of the electroacoustic concert

“Klangkunst“ goes mobile

Evaluating Acousmatic Compositional Strategies within Public Sound Art

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

Louis and Bebe Barron's "Electronic Sound Images" for the Science-Fiction Movie "Forbidden Planet" (1955/56)

Searching for Safety: The concert listener beyond the limits of the concert hall

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

Reasons for the Occurrences of Synthesized Referential “Real-World” Sounds “Outside” of Electroacoustic Music Concert Hall

The Shock of Risk

Notating the Sonic Environment

Digital Music, Digital Distribution

Composer as curator: uncreativity in recent electroacoustic music

The electroacoustic performance/installation and its audience

Hugh Davies’s Electronic Music Documentation 1961–8

Bringing Forth a World Sound Installation as a Process of Cognition

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

Into-Place-Sound: Sound Installation Art

“Atomic“ Music: Navigating Experimental Electronica and Sount Art through Microsound

Gesture analysis and rhetoric. Hyper-cello as an algorithmic composer.

Universalizing the acousmatics: storytelling and culture-specific works

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

Towards a Narratology of Acousmatic Music

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

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

How Live is Real-Time?

An Action-Oriented Sonic Experience: Taking multimodal and interactive electroacoustic music and sound art into account

Site and Time Specificity in the Performance of Live Electronics.

Control or Play?

Access Beyond The Concert Performance: Practical Consequences To On-Demand Online Electroacoustic Music Streaming

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

How and why do we preserve electroacoustic music

Listening behaviors and formal representation of an extract of acousmatic music in non-expert listeners

Switch by Benjamin Thigpen and Darren Copeland: a hybrid case of electroacoustic live performance work

Toward Sound Installation, Spatial metaphors in the musical avant-garde of the mid 20th Century

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

Taking Time and Taking Place: Deconstructing the Studio aesthetics

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

Touching the Audience

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

Conceptual strategies in forming electroacoustic sound identities

Listening Analysis of Takemitsu’s “Water Music”

Sonic art for intersensory listening experience

Sound Arts, Sound Performances and Sonic Arts ---alternative presence of Japanese electroacoustic music

The Feeling Blend: An Extension of Blend Theory For Feeling and Emotion in Electroacoustic Music

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

Hearing Space

The origins of sound installation: case study Turin

Donatoni: a critical re-appraisal of Quartetto III

Analysing the Creative Process through a Modelling of Tools and Methods for Composition in Hans Tutschku’s Entwurzelt

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

Representation: From Acoustics to Musical Analysis

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

A Method For the Analysis of the Relation Between Symbolic Notation and Electroacoustic Textures In Hans Tutschku’s Entwurzelt

Analysis of Incidences/résonances by B. Parmegiani with an acousmatic score

TRANSCULTURATION: Western Intellectual Organization and Far Eastern Spiritual Listening 

Symphonie pour un Homme Seul - de-acousmatized (SPHUS-d)

CHEARS ver.2.0 – Combination and Integration of EARS2

The unity of opposites: Jonathan Harvey’s Advaya for cello and electronics

Heritage of Gérard Grisey in China

Pousseur’s ‘Huit Etudes Paraboliques’: Musical and Social Contexts

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

Electroacoustic Music of Extended Duration: A Question of Format

Computer Network Music. Approximation to a far-scattered history

Disposable Music

Approaches to Distributed Agency and Shared Musical Meaning in Electroacoustic Improvisation

A Comparative Study of Graphic Representation Tools Based on an Aural Analysis of Philippe Leroux’s M.É.

Comparing comprehensibility of analytical representations of electroacoustic music: pictographic versus symbolic

The Electronic Manifesto: Scores for Tape and Synthesized Music in John Cage’s Notations

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

The Sampler. An historical, musicological and phenomenological study

Ultra-sensing: moving beyond ‘work’ and ‘venue’ in intermedia art