Contents

• 23.06.2015
  • Robert Bentall
    • Genre Hybridisation in Acousmatic Composition
    • Robert Bentall
  • John Dack
    • Issues of Performance and Analysis in `mixed' electronic music - the case of `Mantra' by Karlheinz Stockhausen
    • John Dack
  • Simonetta Sargenti
    • An example of evolution in electroacoustic music performance: Stockhausen's Solo and the creation of a soundscape
    • Simonetta Sargenti
  • Per Anders Nilsson
    • Live Listening
    • Per Anders Nilsson
  • Laurie Radford
    • Implements and Artisans: the craft of electroacoustic composition
    • Laurie Radford
  
  
• 24.06.2015
  • Michael Clarke, Frédéric Dufeu, Peter Manning
    • Francis Dhomont's Phonurgie: A New Case Study from the TaCEM Project
    • Michael Clarke
    • Dr Frédéric Dufeu
    • Peter Manning
  • Martin Ritter
    • Analyzing Music that Escapes Conventional Notation: Towards Automated Spectrogram Segmentation and Annotation
    • Martin Ritter
  • Oliver Carman
    • Musical quotation and a recurrent sonic theme in Francis Dhomont's Cycle du Son.
    • Oliver Carman
  • Florence Lethurgez
    • Word on word : Interviews with electroacoustic music composers on the written presentation of their Works
    • Florence Lethurgez
  • Christopher Haworth
    • Genres as Controversies: Analysing Art Music using Digital Methods
    • Christopher Haworth
  • Elif Balkir
    • A Comparative Study of the Research Proceedings of Knut Wiggen and Pierre Schaeffer during the Foundation of EMS
    • Elif Balkir
  • EMSAN paper session: Mikako MIZUNO
    • Language for Japanese Timbre as Pitch Distance by Minao SHIBATA
    • Mikako MIZUNO
  • EMSAN paper session: Qian Zhou, Ye Shen
    • Composition Thoughts under 3D Sound Spatialization
    • Qian Zhou
    • Ye Shen
  • EMSAN paper session: Liao Lin-Ni
    • An Example of Musical Analysis: Double-Notation
    • LIAO Lin-Ni
  • EMSAN paper session: Ruibo Zhang
    • Electroacoustic Terminology Research Focusing on English to Chinese Translation within Original Contexts
    • ZHANG Ruibo
  
  
• 25.06.2015
  • Viviane Waschbüsch
    • The influence of Tibetan Buddhism in the work of Eliane Radigue
    • Viviane Waschbüsch
  • James Mooney
    • Materiality, Economy, Community: Hugh Davies's Electronic Musical Instruments and their Relation to Present-Day Live Coding Practice
    • James Mooney
  • Robert Dow
    • Risk and Electroacoustic Music
    • Robert Dow
  • Riccardo Wanke
    • A cross-genre analysis of the (ec)static music
    • Riccardo D. Wanke
  • Olaf Hochherz
    • What do we use when we use electronic instruments?
    • Olaf Hochherz
  • Alejandro Albornoz
    • Computer Music in Chile: The Beginning and some paths to the future: An historical review
    • Alejandro Albornoz
  • James Andean
    • Rhythm in Acousmatic Music
    • James Andean
  • Simon Emmerson
    • How we describe what we experience in electroacoustic music
    • Simon Emmerson
  • Andrea Szigetvári
    • SLApps Sonic Learning Applications: systematic exercises for developing listening skills in electroacoustic music
    • Andrea Szigetvári
  • Eldad Tsabary
    • Aural atoms and structures in electroacoustics : From ear training to analysis and back again
    • Eldad Tsabary
  • Brian Bridges¹, Ricky Graham²
    • Electroacoustic Music as Embodied Cognitive Praxis: Denis Smalley's theory of spectromorphology as an implicit theory of embodied cognition
    • Brian Bridges
    • Richard Graham
  • Yiorgis Sakellariou
    • What's really going on here?
    • Yiorgis Sakellariou
  
  
• 26.06.2015
  • Alyssa Aska
    • The Displacement of Agency and Sound Source in Electroacoustic Music as Compositional Approach in Works Including Live Performers
    • Alyssa Aska
  • Louise Rossiter
    • Silence and Expectation in Acousmatic Music: Perspectives from a Comparative Analysis
    • Louise Rossiter
  • Tullis Rennie
    • Recording, Representation and Responsibility: questions of authorship and agency when field recording for electroacoustic composition
    • Tullis Rennie
  • Brian Garbet
    • Abstracted Aural Documentaries: Featuring Socio-political Content in Electroacoustic Works
    • Brian Garbet
  • Nicolas Marty
    • Deleuze, cinema and electroacoustic music
    • Nicolas Marty
  • Mitchell Herrmann
    • Unsound Phenomenologies: Harrison, Schaeffer, and the Sound Object
    • Mitchell Herrmann