Add to ORKGWhen we talk about electroacoustic music we often find conversation moving to-wards: 1. how we manipulate sound (techniques) 2. how we describe sound based upon how we hear i
Background. Contemporary music, in particular electroacoustic music, is not very well known in today...
This is an editorial article introducting ideas around the relationship between practice and the eme...
The art of sound organization, also known as electroacoustic music, uses sounds not available to tra...
The topic of the last EMS Conference, if electroacoustic music is still today an experimental music,...
International audienceFrom the fifties, electroacoustic music works as contemporary music in general...
The short history of electroacoustic music is a history that, in many ways, shares in and benefits f...
What about the representation of communication and the resulting practices by composer of electroaco...
The field of electroacoustic presents a number of potential challenges to assumptions about what Wes...
'The Language of Electroacoustic Music' (Emmerson, 1986) has remained in print continuously since it...
Terms to identify tools, objects and structures are common to all human endeavour. They help us to c...
International audienceArt always does more than subsist upon technical progress; for centuries its p...
Music Acoustics. The study of music acoustics may be considered the quintessential interdisciplinary...
This chapter offers the view that the teaching of electroacoustic (or sound-based) music, which poss...
In this paper the author presents notions of artistic experiments, in relation to electroacoustic mu...
The Intention/Reception (I/R) project concerns an investigation of the relationship between composer...
Background. Contemporary music, in particular electroacoustic music, is not very well known in today...
This is an editorial article introducting ideas around the relationship between practice and the eme...
The art of sound organization, also known as electroacoustic music, uses sounds not available to tra...
The topic of the last EMS Conference, if electroacoustic music is still today an experimental music,...
International audienceFrom the fifties, electroacoustic music works as contemporary music in general...
The short history of electroacoustic music is a history that, in many ways, shares in and benefits f...
What about the representation of communication and the resulting practices by composer of electroaco...
The field of electroacoustic presents a number of potential challenges to assumptions about what Wes...
'The Language of Electroacoustic Music' (Emmerson, 1986) has remained in print continuously since it...
Terms to identify tools, objects and structures are common to all human endeavour. They help us to c...
International audienceArt always does more than subsist upon technical progress; for centuries its p...
Music Acoustics. The study of music acoustics may be considered the quintessential interdisciplinary...
This chapter offers the view that the teaching of electroacoustic (or sound-based) music, which poss...
In this paper the author presents notions of artistic experiments, in relation to electroacoustic mu...
The Intention/Reception (I/R) project concerns an investigation of the relationship between composer...
Background. Contemporary music, in particular electroacoustic music, is not very well known in today...
This is an editorial article introducting ideas around the relationship between practice and the eme...
The art of sound organization, also known as electroacoustic music, uses sounds not available to tra...