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Articles by Author / Articles par auteur

Abbany, Nawroz. “Basic Electricity: An appeal for a greater understanding of rudimentary modular functions.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Abocab, Caspar. “Ein Leben für den Klang [A Lifetime for Sound]: Eine Collage aus Originaldokumenten.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Reflections on Harald Bode.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Wie ist der Klang? [How is the sound?]: An Historical overview of Harald Bode’s instruments.” eContact! 13.4 — Harald Bode (July 2011).

Abram, John. “Eating and Beating Eggs: Some thoughts on electroacoustic composition.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Abtan, Freida. “A Phenomenological Time-Based Approach to Videomusic Composition.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “An Evening with Sound and Radio Artist Christian Calon.” [Report]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

Adkins, Mathew. “2nd Sonic Arts Network Conference.” [Report]. eContact! 2.2 — SAN: Sonic Arts Network (1999).

Aharonián, Coriún. “An Approach to Compositional Trends in Latin America.” eContact! 2.1 — Amérique latine / Latin America (1999).

Aitken, Robert. “Learning to Listen: Composing on Hugh Le Caine’s instruments in UTEMS ca. 1962.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Alain, Carrie Faith. “Music in the Wilderness.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Allik, Kristi. “Electroacoustic Music Studios at Queen’s School of Music.” eContact! 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03).

Amort, Scott, Keith Hamel, Jesse Read and John B. Roeder. “Archivage d’« Obsessed Again… » de Keith Hamel : InterPARES 2, Rapport d’étude de cas 13.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “The Archiving of ‘Obsessed Again…— by Keith Hamel: InterPARES 2, Case Study Report 13.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Andean, James. “A Canadian Electroacoustician in Finland.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Andersen, Martin Stig. “Electroacoustic Sound and Audiovisual Structure in Film.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Anderson, Joseph. “Le mastering d’« Epiphanie Sequence » : Quelques réflexions.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Mastering the ‘Epiphanie Sequence’: A few words or so.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “What Is Ambisonics and How Can I Get Some?.” eContact! 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999).

Andrews, Ian. “Lo-Fi Cartridge Construction and Function of the Constraint.” eContact! 14.3 — Turntablism (January 2013).

Apple, Jacki. “Radio Culture.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Applebaum, Mark. “Progress Report — The State of the Art after Sixteen Years of Designing and Playing Electroacoustic Sound-Sculptures: A detailed examination of original instruments and reflections on their cultural context.” eContact! 12.3 — Instrument—Interface (June 2010).

Asselin, Vivianne Padiernos. “Musiques du temps présent.” [Report]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “Various Artists — DISContact! II (1995).” [Commentary]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Austin, Kevin. “6 questions à Julien-Robert, compositeur.” [Talk]. eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “6 questions à Maxime Corbeil-Perron, compositeur.” [Talk]. eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “6 Questions au compositeur et vidéaste Pierre Paré-Blais.” [Talk]. eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “6 Questions to Composer / Media Artist Adam Basanta.” [Talk]. eContact! 14.3 — Turntablism (January 2013).

_____. “6 Questions to Composer / Sound Artist Susan Frykberg.” [Talk]. eContact! 14.3 — Turntablism (January 2013).

_____. “6 Questions to Composer and Media Artist Joseph Hyde.” [Talk]. eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “6 Questions to Composer and Video Artist Jean Piché.” [Talk]. eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “6 Questions to Composer Bruno Degazio.” [Talk]. eContact! 13.4 — Harald Bode (July 2011).

_____. “6 Questions to Composer Darren Copeland.” [Talk]. eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

_____. “6 Questions to Composer David Ogborn.” [Talk]. eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “6 Questions to Composer Emilie C. LeBel.” [Talk]. eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “6 Questions to Composer Freida Abtan.” [Talk]. eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “6 Questions to Composer John Kamevaar.” [Talk]. eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

_____. “6 Questions to Composer John Plant.” [Talk]. eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

_____. “6 Questions to Composer Steven Naylor.” [Talk]. eContact! 14.3 — Turntablism (January 2013).

_____. “6 Questions to Sound Artist Ian Jarvis.” [Talk]. eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “A General Introduction to JTTP and Some Personal Insights Into the Jury Process.” eContact! 18.1 — JTTP 2015: 16th Jeu de temps / Times Play (March 2016).

_____. “A Generalized Introduction to Modular Analogue Synthesis Concepts.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

_____. “An Evening of the Voice on Tape (ÉuCuE XVI.11).” eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

_____. “An Introduction to a Second Year Electroacoustic Studies Core Analysis Course.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Butterfly Installation Instrument.” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

_____. “Concordia University (Montréal).” [Institutions]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Editorial.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

_____. “Histoire, technologies, performances : Une source de premier ordre pour la recherche sur l’électroacoustique au Canada.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “History, Technologies, Performances: A primary research source for electroacoustics in Canada.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Kontakte by Karlheinz Stockhausen in Four Channels.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

_____. “Kwik Picks 01: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” [SONUS]. eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

_____. “Kwik Picks 02: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

_____. “Kwik Picks 03: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” [SONUS]. eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Kwik Picks 04: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” [SONUS]. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

_____. “Kwik Picks 05: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” [SONUS]. eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Kwik Picks 06: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” [SONUS]. eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

_____. “Kwik Picks 07: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” [SONUS]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Kwik Picks 08 — JTTP 2011: Recent additions to Sonus.ca, the CEC’s online EA Jukebox.” [SONUS]. eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

_____. “Le Caine, Mirrored Through Memory.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

_____. “Photos from the 2009 Toronto Electroacoustic Symposium (TES).” [Photo Essay]. eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “Qu’est-ce que la collection d’enregistrements de Concordia (Concordia Tape Archive)?.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Reply to Alexandre Burton’s Music/Audio/New Media Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Reply to Robert Normandeau’s Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Reply to the Contemporary Music Review.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Savoir d’où l’on vient pour savoir où l’on est.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “The Compositions of Harald Bode.” eContact! 13.4 — Harald Bode (July 2011).

_____. “The Concordia Tape Archive / Collection: What it is, and what it isn’t.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Timeline and Diffusion Score of Christian Calon’s ‘Minuit’ [pdf].” eContact! 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04).

_____. “Timeline and Diffusion Score of Francis Dhomont’s ‘Signé Dionysos’ [pdf].” eContact! 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04).

_____. “To know where we are, it sometimes helps to know where we were before.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Une soirée de voix sur bande (ÉuCuE XVI.11).” Trans. Yves Gigon. eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

_____. “Why do you want so many Loudspeakers?.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Austin, Kevin and jef chippewa. “Editorial.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

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Bakht, Salman. “Noise, Nonsense, and the New Media Soundscape.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Banerji, Ritwik. “Maxine Banerji: The mutually beneficial practices of youth development and interactive music system development.” eContact! 12.3 — Instrument—Interface (June 2010).

Bargrizan, Navid. “Parallel Trajectories in Manfred Stahnke’s Internet Opera ‘Orpheus kristall’.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Barrett, Natasha L.. “Musical Structure, Shifting Perspectives and Composition.” eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

Bartley, Wende. “‘Gliding Slowly Back to the Body of Origin’: The interrelationship between body, voice, listening and the environment.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Basanta, Adam. “Shades of Synchresis: A Proposed framework for the classification of audiovisual relations in sound-and-light media installations.” eContact! 19.2 — Light+Sound (October 2017).

_____. “Tracing Conceptual Structures in Listener Response Studies.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Basanta, Adam, Julian Stein and Maxwell Stein. “Music for Lamps (2012–16).” [Gallery]. eContact! 19.2 — Light+Sound (October 2017).

Basque, Nicolas. “Évolution de la musique électroacoustique à Montréal.” eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

Basque, Nicolas and Andrew Watson. “Présentation des œuvres électroacoustiques sur des systèmes multi haut-parleurs: 5 Questions à Francis Dhomont.” eContact! 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005).

_____. “Presentation of Electroacoustic Works on Multi-Speaker Systems: 5 Questions to Kevin Austin.” eContact! 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005).

Bassal, R. Dominique. “Balises perceptuelles.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Concordia Archival Project (CAP), eLearning Module 3: The Archiving Process for the Collection.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Contemporary Problems, Interventions and Results.” Trans. jef chippewa. eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Éditorial.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Guide de production des Stems [pdf].” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “Guide to Producing Stems [pdf].” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “La pratique du mastering en électroacoustique [pdf].” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “Le mastering en électroacoustique / Sound Mastering for Electroacoustics.” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

_____. “Le Projet d’archivage Concordia (PAC), eLearning Module 3 : Processus d’archivage de la collection.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Mastering.” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “Perceptual Benchmarks.” Trans. jef chippewa. eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Problèmes courants, interventions et résultats.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “The Practice of Mastering in Electroacoustics [pdf].” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

Bassal, R. Dominique and Pierre Alexandre Tremblay. “Le mixtering : Modèle de travail pour une qualité sonore accrue en électroacoustique.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Mixtering: A working model for an enhanced sound quality in electroacoustics.” Trans. jef chippewa. eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

Báthory-Kitsz, Dennis. “Ne pas dépendre du futur, tant que nous n’y sommes pas.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “There is No Future Until We Get to It.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Báthory-Kitsz, Dennis and David Gunn. “Ann Southam: If Only I Could Sing.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Anne La Berge: Three Nice Questions, for flute; Dada da Babylon.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Barry Schrader: Atlantis Rising.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Brenda Hutchinson: Tennessee Waltz; Eee-yi! Yi! Yi!.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Carl Stone: The Long Jump.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Charles Amirkhanian: Voice Crystals; More Talkin'.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Chris Brown: The Electronic Offense; Journals.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Chris Koenigsberg: Difficult Listening; Ends in "Berg" for $200.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Christopher deLaurenti: Surviving Seven Years.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Clarence Barlow: Im Januar; Barlow and Bolero; Generating Telephone Complaints.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “Claudio Calmens: Never Napping.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Daniel Goode: Two Musics Going ‘Bang’!.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “David Behrman: Kitchen Sink Electronics; No compromises.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Eliane Radigue: Bovine Battle Guide to Stasis.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Eliot Handelman: Up the Hill.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Elma Miller: Estonia, Estonia!; Fürbletter & Mosconi: Ivory Bumper Stick Pong.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Eric Lyon: Strap-On Classical: The Beat is Back.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Fred Szymanski: The White Duke of Noise.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “George Lewis: Exit Music I.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “George Todd: Zappa, Ducks & Voices.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Godfried-Willem Raes and Moniek Darge: Tetrahedronicalism; Logosian Swirl.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Henning Berg: Being Interactive.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Frederic Rzewksi: The People United; Will Never Be Defeated.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

_____. “Interview with Nick Didkovsky: Bowel Town; The Love Bug.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Interview with Robert Duckworth: Broken Streams.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Interviews by Kalvos and Damian.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “James Bohn: Whaddya Want for Free?.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “James Tenney: Hermits of Re-Tuning.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Joan La Barbara: Voice is the Original Instrument.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “Joel Chadabe: Musical Diseases.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “John Levin: Day of Collisions.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “John McGuire: McGuire Steps Up to the Platter; McGuire Heads for Home.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “John Oswald: Plundering the Warehouse of Threshold; The Plundering of the Tomb....” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Jon Appleton: Pie, Song, and Doggerel.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Kaija Saariaho: Finland & Phone Calls; Red Shift Through the Algonquin Hole.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Larry Polansky: Family Values Day.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Laurie Anderson: Happiness.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Laurie Spiegel: Regalia of Rodents; Afflictions of Ants; Deceptively Simple, or Simply Deceptive?.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Maggi Payne: Ozone Poisoning.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Marc Battier: Cosmos acoustiques.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Matt Borghi: Mootor City (Being Emergent III).” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Neil B. Rolnick: This Changing Thing is My Instrument.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Nicolas Collins: Czar Nicolas, the Tunguska Fireball; Œdipus Nix.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Pamela Z: Hello? Hello? Hello?.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Pauline Oliveros: Lawrence Welk Used a Little Stick.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Peter Beyls: Who Beyls Us Out?.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Phil Kline: The Twelfth Root of Boom.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Richard Zvonar: Diablo Talker.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Sarah Peebles: Music Unseen; Rhythm and Blows.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Scott Johnson: Art Music Happens.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “sylvi macCormac: Yo! Able Dis!.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Udo Kasemets: Time Trip to Hale-Bopp... and Back.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Warren Burt: The Coming of Spring; Heat Wave.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Yannis Kyriakides: The Mysterious Yanni; Physicality.” eContact! 10.2 — Interviews 1 (August 2008).

Beck, Stephen David. “SEAMUS Overview.” eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

_____. “Un regard sur SEAMUS.” Trans. Ned Bouhalassa. eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

Beecroft, Norma. “Electronic Music in Toronto and Canada in the Analogue Era.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Hugh Le Caine’s Visionary Electronic Music Instrument Designs: Interview with Canadian composer Gustav Ciamaga.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

_____. “Privileging the Human Aspect of Electronic and Computer Music Systems: Interview with Canadian composer and researcher Bill Buxton.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

_____. “Remembering Hugh Le Caine.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Behles, Gerhard. “Is Ableton Open Source?.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

Beil, Michael. “AV — Music and Video.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Bell, Renick. “Considering Interaction in Live Coding through a Pragmatic Aesthetic Theory.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Bellenger, Alexandre. “Alexandre Bellenger.” [Gallery]. eContact! 14.3 — Turntablism (January 2013).

Bencina, Ross and Tim Kreger. “Electroacoustic Music in Melbourne.” [Community Reports]. eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Berger, Elliott. “Hearing Protection for the Critical Listener.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Bergmann, Brett. “Global Movement, Local Detail: The Music of Tim Hecker.” [Entrées]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Bernal, Alberto and João Miguel Pais. “Endphase: Origin and analysis of an ongoing project.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Bernardini, Nicola and Alvise Vidolin. “Sustainable Live Electroacoustic Music.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Bernier, Nicolas. “Éditorial.” eContact! 19.2 — Light+Sound (October 2017).

_____. “Lumière, matière, science, fiction : réflexions sur la relation son et lumière dans le cycle d’œuvres « frequencies ».” eContact! 19.2 — Light+Sound (October 2017).

_____. “Strobes, Mirrors, Fog and Site-Specific Experiences: Interview with German composer Alexander Schubert.” eContact! 19.2 — Light+Sound (October 2017).

Bertrand, Ginette. “Journal de bord d’une expédition aux antipodes.” eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

Berweck, Sebastian. “Editorial.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with alcides lanza.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Alvin Lucier.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Bob Bovard.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Brad Garton.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Chantale Laplante.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Cort Lippe.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Ean White.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Hans Tutschku.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Jean-François Denis.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with jef chippewa.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Josh Fineberg.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Louis Dufort.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Margaret Lancaster.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Phil Kline.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Pierre Alexandre Tremblay.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Richard McKenzie.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interview with Xenia Pestova.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Interviews.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Reviving Parmegiani’s ‘Stries’ (1980): Translation of historic analogue works into the digital domain.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

_____. “The Game Changer: Playing with electronics as soloist.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Blackburn, Manuella. “Electroacoustic Music Incorporating Latin American Influences: A consideration of implications, reception and borrowing.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Blasser, Peter. “Bird, Monk, Train: Three approaches to a solar sounder workshop.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

_____. “The Oval Synthesizer.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Bleau, Myriam. “Soft Revolvers (2014).” [Gallery]. eContact! 19.2 — Light+Sound (October 2017).

Blesser, Barry. “The Seductive (Yet Destructive) Appeal of Very Loud Music.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Bobier, David. “Studies in Sound and Vibration: VibraFusionLab, An innovative centre for arts-based vibratactile research and creative practice.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Bode, Harald. “History of Electronic Sound Modification.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Sound Synthesizer Creates New Musical Effects.” eContact! 13.4 — Harald Bode (July 2011).

Boehm, Carola. “Quotes, Music Technology and Post-Modernity: Quantitative Studies into ‘Music Technology’ degrees in Britain.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

Boisvenue, Travis and Ryan Paul Gibson. “‘MODULO’: A Musical Documentary and Tribute to Hugh Le Caine.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Bonin, Vincent. “Entrevue avec Steve Heimbecker.” Trans. Colette Tougas. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

_____. “Interview with Steve Heimbecker.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Bosch, Peter and Simone Simons. “‘Mirlitones’, a Fragile and Complex Sonorous System.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Bosma, Hannah. “Documentation and Publication of Electroacoustic Compositions at NEAR.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Documentation et publication de compositions électroacoustiques au NEAR.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Gender and Electroacoustics.” eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “La mort de la chanteuse : Le statut d’auteur et les voix de femmes dans la musique électronique.” Trans. Yves Charuest. eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

_____. “The Death of the Singer: Authorship and female voices in electronic music.” eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

Bottje, Will Gay. “Observation at the ‘Into the Soundscape III’ Concert.” eContact! 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04).

Bouchard, Albert J.. “Granular Synthesis and Barry Truax’s ‘Riverrun’.” [Entrées]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Bouhalassa, Ned. “Interview with Al Mattes.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with alcides lanza.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Barry Truax.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Bentley Jarvis.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Bruno Degazio.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Charles de Mestral.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Christian Calon.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Claude Schryer.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Daniel Leduc.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Daniel Scheidt.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with David Jaeger.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with David Keane.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Francis Dhomont.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Gayle Young.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Gisèle Ricard.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Gustav Ciamaga.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Hélène Prévost.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Hildegard Westerkamp.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with István Anhalt.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with James Montgomery / Canadian Electronic Ensemble (CEE).” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Jean Piché.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Jean-François Denis.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Jim Montgomery.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with John Celona.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Keith Hamel.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Kevin Austin.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Kristi Allik.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Larry Lake.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Marc Tremblay.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Marcelle Deschênes.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Michel Longtin.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Myke Roy.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Otto Joachim.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Paul Dolden.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Paul Steenhuisen.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Philippe Ménard.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Randall Smith.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Robert Normandeau.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Sergio Barroso.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Stéphane Roy.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Susan Frykberg.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Trudi Le Caine.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Wende Bartley.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Yves Daoust.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interviews by Ned Bouhalassa.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “La composition multicanale comme extension de l’écriture musique concrète : Interview avec Robert Normandeau.” eContact! 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999).

_____. “Multi-track Composing as an Extension of Musique concrète writing: Interview with Robert Normandeau.” eContact! 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999).

Bourdages, Esther. “Déesses de l’électricité DIY : Entretien avec les artistes de l’audio Stephanie Castonguay et Émilie Mouchous.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Brady, Tim. “The CCA’s Contemporary Music Section Review of National Arts Service Organizations.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Brent, William. “Perceived Control and Mimesis in Digital Musical Instrument Performance.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Britton, Eliott. “Born Under a Bad Star: An Analysis of abstract loop-based composition through Aaron Funk’s ‘Szerencsétlen’.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Brouse, Andrew. “A Young Person’s Guide to Brainwave Music: Forty years of audio from the human EEG.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

_____. “Andrew Brouse.” [Gallery]. eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

_____. “Petit guide de la musique des ondes cérébrales : Quarante années de recherche et d’expérimentation.” Trans. Andrew Brouse and Ève Renaud. eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Brümmer, Ludger. “Extending the Piano.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Bruno, Chelsea. “An Artist’s Approach to the Modular Synthesizer in Experimental Electronic Music Composition and Performance.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Burns, Christopher. “Compositional Strategies for Point-Source Spatialization.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Burns, Christopher, Stefania Serafin and Matthew Burtner. “Generalizing Digital Waveguides for Composition.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Burns, Kristine H.. “The International Alliance for Women in Music Congress 2006 (Miami FL, 10–13 May 2006).” [Preview]. eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

Burt, Warren. “Amanda Stewart — I/T Selected Poems (1998).” [CD]. eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

_____. “Annea Lockwood — Breaking the Surface (1999).” [CD]. eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

_____. “Columbia-Princeton Electronic Music Center 1961–1973 (1998).” [CD]. eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

_____. “Darrin Verhagen — P3 (1998).” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “David Tolley — Passing Miniatures.” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Edward Kelly — Kkkomputor.” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Eliane Radigue — Trilogie de la mort (1998).” [CD]. eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

_____. “Elwyn Dennis — Fundamentals.” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Ernie Althoff — Heliosonics (1999).” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Garth Paine — Escape Velocity (1999).” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Gary Verkade — Winded (1999).” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Herbert Brun — Language, Message, Drummage (1998); Wayfaring Sounds (1998); Mutatis Mutandis (1998); Sawdust (1998).” [CD]. eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

_____. “Leo Kupper — Ways of the Voice (1999).” [CD]. eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

_____. “Mary Lee Roberts — 6 Compositions (1997).” [CD]. eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

_____. “Richard Maxfield and Harold Budd — The Oak of the Golden Arms (1999).” [CD]. eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

_____. “Robert Paredes — Forgetting and Remembering (1999).” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Stelarc and Rainer Linz — Fractal Flesh (1999).” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Susan Frykberg — Astonishing Sense of Being Taken Over by Something Far Greater Than Me (1998).” [CD]. eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

_____. “Tom Fryer — The Path with the Heart (1998).” [CD]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

Burton, Alexandre. “condemned_bulbes (2002), de Alexandre Burton, Jimmy Lakatos et Julien Roy.” [Galerie]. eContact! 19.2 — Light+Sound (October 2017).

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Çamcı, Anıl. “Diegesis as a Semantic Paradigm for Electronic Music.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Campion, Guillaume and Guillaume Côté. “Le ‘documentaire acousmatique’ et ses moyens de diffusion : Un regard sur le ‘Projet Archipel’.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Candler, David. “Gary James Joynes — A Review of Visual Sound in Practice.” [Gallery]. eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

Casal, David Plans. “Gravikords and Pyrophones: The Reflexive Piano.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Castine, Peter. “Sound and Music Computing Conference 2008.” [Report]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

CEC. “CEC 25th Anniversary Tour: JTTP 2011 — Jeu de temps / Times Play.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Calgary: University of Calgary Music Department.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Edmonton: Sea of Sound Festival 2011.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Hamilton: McMaster University Communications Studies and Multimedia Department.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Montréal: Conservatoire de musique de Montréal.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in St. John’s: Memorial University School of Music.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Toronto: 10th Annual SOUNDplay Festival (NAISA) + OCAD.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Vancouver: Simon Fraser University Department of Communications.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Victoria: University of Victoria Music Department.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour in Winnipeg: Desautels Faculty of Music (University of Manitoba) and Studio FLAT.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC 25th Anniversary Tour Project Launch in Montréal: Concordia University Music Department.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CEC@25 Photo Album on the CEC’s Facebook Page.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “CECG/GEC and ÉuCuE.” [Activities in Canada]. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Compositions by alcides lanza.” eContact! 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005).

_____. “Compositions by Hugh Le Caine.” eContact! 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005).

_____. “Concordia Archival Project (CAP), eLearning: Introduction Module 1: The Collection within Electroacoustic History Module 2: Guided Listening Tour of the Collection Module 3: The Archiving Process for the Collection Pedagogical Activities .” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Concordia Archival Project (CAP), eLearning Module 1: The Collection within Electroacoustic History.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Concordia Archival Project (CAP), eLearning Module 2: Guided Listening Tour of the Collection.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “DISContact! III: CD.” eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

_____. “Electroacoustic (and related) Email Lists.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Electroacoustic Bibliography.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Electroacoustic Communities [wiki]: Venues.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Electroacoustic Communities: Events [wiki].” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

_____. “Electroacoustic Communities: Venues [wiki].” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

_____. “Electroacoustic Music by Women Composers: Concert 1 programme notes.” [Annex]. eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

_____. “Electroacoustic Techniques and Processes.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Films with Significant Electroacoustic Content.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Hearing [wiki]: Index.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

_____. “Hugh Le Caine Photo Album / Album photo de Hugh Le Caine.” [Photo Gallery]. eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

_____. “Instituts de hautes études / Higher Education Institutes.” [Links]. eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Inter/National: Associations, institutions….” [Links]. eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Interviews [wiki]: List of Interviews with Electroacoustic Composers, Performers, Programmers and More.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “Keyboard + Live EA [wiki].” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Le Projet d’archivage Concordia (PAC), eLearning : Introduction Module 1: The Collection within Electroacoustic History Module 2: Guided Listening Tour of the Collection Module 3: The Archiving Process for the Collection Pedagogical Activities .” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Le Projet d’archivage Concordia (PAC), eLearning Module 1 : La collection dans l’histoire de l’électroacoustique.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Le Projet d’archivage Concordia (PAC), eLearning Module 2 : Écoute dirigée des pièces de la collection.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Liens Audio et technologie / Audio and Technology Links.” eContact! 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999).

_____. “National Campus and Community Radio Association: NCRA stations and music director contacts.” eContact! 2.3 — Radiophonique / Radiophonic (1999).

_____. “Radio Links.” eContact! 2.3 — Radiophonique / Radiophonic (1999).

_____. “The 2006 Sonorities Festival: An event of rather unusual combinations, line-ups and mixes of sonic samples.” [Report]. eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “The CEC’s YouTube Channel.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “TIES 2015 Photo Album.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “TIES 2016 Photo Album.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

_____. “Toronto Electroacoustic Symposium 2008.” [Photo Essay]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Tournée 25e anniversaire de la CEC : JTTP 2011 — Jeu de temps / Times Play.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — Calgary : Département de musique de l’Université de Calgary.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — Edmonton : Festival Sea of Sound 2011.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — Hamilton : Département communications et multimédia de l’Université McMaster.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — lancement du projet à Montréal : Département de musique de l’Université Concordia.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — St. John’s : École de musique de l’Université Memorial.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — Toronto : 10e Festival SOUNDplay (NAISA) + OCAD.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — Vancouver : Département de communications de l’Université Simon Fraser.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — Victoria : École de musique de l’Université de Victoria.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC — Winnipeg : Faculté de musique Desautels (Université du Manitoba) et Studio FLAT.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Tournée 25e anniversaire de la CEC à Montréal : Conservatoire de musique de Montréal.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Turntable [wiki]: Index.” eContact! 14.3 — Turntablism (January 2013).

_____. “Vancouver Adapted Music Society (VAMS) — Music studio for people with disabilities; Mini-Interview with sylvi macCormac.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Voice and Text Links.” eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

_____. “VoiElectro I / EA Voices I.” eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “VoiElectro II / EA Voices II.” eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

_____. “VoiElectro III / EA Voices III.” eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

_____. “VoiElectro IV / EA Voices IV.” eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

Centeno, Hector. “Open Source Software and Electroacoustic Music Creation: An overview and personal practices.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Cescon, Corrado. “AMUSE-ME: A Portable device to transform electromyographic signals into music.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Chasalow, Eric and Barbara Cassidy. “Oral History Project: The Video Archive of the Electroacoustic Music.” eContact! 12.2 — Interviews 2 (April 2010).

Chavez, Maria. “Maria Chavez.” [Gallery]. eContact! 14.3 — Turntablism (January 2013).

chippewa, jef. “An Artistic Genealogy of Hugh Le Caine 1939–1989.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

_____. “Creative Structure in the Cybernetic Orchestra: Interview with new media artist Amy McIntosh.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “De Victoria à Vancouver pour les 25 ans de la CEC : Entrevue avec Maxime Corbeil-Perron et Guillaume Barrette.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Development of a Collaborative and Experimental Artistic Community in Edmonton: Interview with composer / sound artist Shawn Pinchbeck.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Développement d’une communauté artistique collaborative et expérimentale à Edmonton : Entrevue avec le compositeur et artiste sonore Shawn Pinchbeck.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Editorial.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

_____. “Épater la bourgeoisie… whatever. On the Obsolescence of Subversion.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

_____. “Inclusivité et intégration dans le Cybernetic Orchestra : Entrevue avec Kearon Roy Taylor.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Inclusivity and Integration in the Cybernetic Orchestra: Interview with Kearon Roy Taylor.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “International, 24/7 Electroacoustic Webradios.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Inventionen / SMC08 (Berlin).” [Photo Essay]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

_____. “L’Audio Spotlight, un instrument de diffusion sonore tactile et portable : Entrevue avec l’artiste sonore Darren Copeland.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Live Coding and Improvisation — Assets for the Electroacoustic Composer: Interview with composer Guillaume Campion.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Live Laptop Performance and the Audio Spotlight: Interview with composer Ben Thigpen.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Miniature Form in Electroacoustic and (Instrumental) New Music: A Typology supported by an audio gallery in order to establish a conclusive definition of ‘miniature form’.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “Performance avec ordinateur en direct et l’Audio Spotlight : Entrevue avec le compositeur Benjamin Thigpen.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Performance d’œuvres électroacoustiques avec le système de diffusion de NAISA : Conversation avec Guillaume Barrette, Maxime Corbeil-Perron et Jullian Hoff.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Performance of Electroacoustic Works using NAISA’s Diffusion System: Discussion with Guillaume Barrette, Maxime Corbeil-Perron and Jullian Hoff.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Programmation en direct et improvisation — un atout pour le compositeur électroacoustique : Entrevue avec le compositeur Guillaume Campion.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Reply to Robert Normandeau’s Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Structure créatrice du Cybernetic Orchestra : Entrevue avec l’artiste en nouveaux médias Amy McIntosh.” Trans. Yves Charuest. eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “The Audio Spotlight, a Portable and Tactile Sound Diffusion Instrument: Interview with sound artist Darren Copeland.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

_____. “Victoria to Vancouver on the CEC@25 Tour: Interview with Maxime Corbeil-Perron and Guillaume Barrette.” eContact! 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014).

chippewa, jef and Yves Gigon. “Concordia Archival Project.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Le Projet d’archivage Concordia (PAC) : Restauration, archivage, et présentation en ligne de l’histoire de la musique électroacoustique canadienne.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Projet d’archivage Concordia.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “The Concordia Archival Project (CAP): Recovery, Archiving and Online Presentation of Canadian Electroacoustic History.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

chippewa, jef and Kevin Austin. “Launch Concert for the Concordia Archival Project (CAP).” [Sonus Gallery]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Chong, Eddy K.M. and Qin Ding. “Symbolic Representation of Chords for Rule-Based Evaluation of Tonal Progressions.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Christopher, Kameron, Jingyin He, Ajay Kapur and Dale A. Carnegie. “Interactive Sound Synthesis Mediated through Computer Networks.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Chuprun, Ian. “A Document for the Future.” eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

_____. “DISContact! III: Soumissions / Submissions.” eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

_____. “Editorial.” eContact! 4.4 — ÉuCuE: Électroacoustique université Concordia university Electroacoustics (2001).

_____. “Interview with alcides lanza.” eContact! 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005).

_____. “Reply to Robert Normandeau’s Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Searching for Critical Mass.” eContact! 2.2 — SAN: Sonic Arts Network (1999).

_____. “Sounding Canadian Communities: A Project proposal.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

_____. “The History of Concordia University’s Electroacoustic Program and Concert Series as told by Kevin Austin on the Evening of October 31, 2001.” eContact! 4.4 — ÉuCuE: Électroacoustique université Concordia university Electroacoustics (2001).

Climent, Ricardo, Mark Pilkington and Alena Mesárošová. “Exploring Real, Virtual and Augmented Worlds Through ‘Putney’, an Extended Reality.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

CMC. “Interviews by The Canadian Music Centre: The ‘Influences of Many Musics’ Project.” eContact! 10.2 — Interviews 1 (August 2008).

Collins, Nick. “Live and Non-Realtime Source Separation Effects for Electroacoustic Music.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

Colpitts-Campbell, Izzie. “‘Costumes for Cyborgs_sound’: New body experience in sound and movement.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Connolly, Brian. “Compositional Applications for Binaural Beating in Timbre Modulation.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Connolly, Paul. “The Piano as an Electroacoustic Instrument.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Cont, Arshia and Bob Gluck. “Electronic Music in Iran.” [Community Reports]. eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Contré, Guillaume. “Futura, festival international d’art acousmatique et des arts de support.” [Report]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Copeland, Darren. “For an Awareness of Associations.” eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

_____. “Katharine Norman — London (1996).” [CD]. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “Sound Installations: Altering the experience of space.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “The Audio Spotlight in Electroacoustic Performance Spatialization.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “Vers une conscience d’associations.” Trans. Jean Piché. eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

Copeland, Darren and Nadene Thériault-Copeland. “Radio Art Companion to ‘Deep Wireless 2002’: Foreword.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Corringham, Viv. “Shadow-walks: Toronto edition.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Corriveau, Joel. “EuCuE XXIV.13.” [Report]. eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Cox, Cathy. “Masterpiecing Electroacoustic Music: Pedagogical reflections from a musicological perspective.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

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Dack, John. “Francis Dhomont in London: Electroacoustic music and history.” eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

_____. “Karlheinz Stockhausen’s ‘Kontakte’ and Narrativity.” eContact! 2.2 — SAN: Sonic Arts Network (1999).

Dal Farra, Ricardo. “Collection de musique électroacoustique latino-américaine : La Fondation Daniel Langlois pour l’art, la science et la technologie à Montréal.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Latin American Electroacoustic Music Collection: The Daniel Langlois Foundation for Art, Science and Technology in Montréal.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Dalgleish, Mat. “The Modular Synthesizer Divided: The keyboard and its discontents.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

_____. “Unconventional Inputs: New/old instruments, design, DIY and disability.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Dall’Ara-Majek, Ana and Ida Toninato. “Live Sound Spatialization and On-Stage Feedback Control: Cues for the development of interaction between acoustic and electronic musicians.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Davis, Thomas. “ICMC 2005, ‘Free Sound’.” [Report]. eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Dean, Roger T.. “Interactive Sound: Generative approaches from computation and cognition.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Degazio, Bruno. “A Particle System for Musical Composition.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “Musical Behaviours: Algorithmic composition via plug-ins.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “Software Tools for Electronic Wind Instrument Performance.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Delannoy, Jean-François. “Various Artists — Whose Forest? (1998).” [CD]. eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

DeLaurenti, Christopher. “Audio Culture: Readings in Modern Music (Christoph Cox and Daniel Warner, Eds.).” [Book]. eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “flap-o-phone Construction and Assembly Instructions.” eContact! 14.3 — Turntablism (January 2013).

_____. “The flap-o-phone, a Site-Specific Turntable.” eContact! 14.3 — Turntablism (January 2013).

Denis, Jean-François. “L’électroacoustique au Canada.” eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

Dhomont, Francis. “Abstraction et figuration dans ma musique.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Abstraction et figuration dans ma musique… et autres considérations.” [Keynote]. eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “Du poétique au poïétique.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Éléments pour une syntaxe.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Is there a Québec Sound? [pdf].” Trans. Ned Bouhalassa and Kevin Austin. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “L’écriture acousmatique : Rappels et questionnements.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

_____. “Réponse au questionnaire de Robert Normandeau.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Y a-t-il un son québécois?.” eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

Dirks, Patricia Lynn. “An Analysis of Jonathan Harvey’s ‘Mortuos Plango, Vivos Voco’.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Dobson, Richard. “Beckmesser revisited?.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

Dodge, Carey. “Integrating Electroacoustic Techniques into Theatrical Performance.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

_____. “Live Ambisonic Beta: A design for quick and evocative live spatialization of multiple inputs.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “The ‘Beast’ that is Live Spatialization.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Donnarumma, Marco. “Editorial.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

_____. “Fractal Flesh — Alternate Anatomical Architectures: Interview with Stelarc.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

_____. “Marco Donnarumma.” [Gallery]. eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

_____. “Proprioception, Effort and Strain in ‘Hypo Chrysos’: Action art for vexed body and the Xth Sense.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Dorfman, Digs. “So… What is Electronica Anyway?.” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “Various Artists — State of the Union 2.001.” [CD]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Duff, Andrew. “Synths and Social Capital.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Dufresne, Pierre-Olivier. “Åke Parmerud à Rien à voir.” [Rapport]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “Quasar au Festival Electrochocs.” [Rapport]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

Dunning, Graham. “Graham Dunning.” [Gallery]. eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

DuPriest, Jennifer. “Musicians Tackle Tinnitus.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Dursley, Danny. “Interactivity.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

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Eagle, David. “Without Beginning, Middle or End: Transforming sounds in motion.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Eigenfeldt, Arne. “An Introduction To Electroacoustic Music Course, or ‘How to Compose Your First EA Work’.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “In Search of Tools for the Laptop Ensemble.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

_____. “Intelligent Real-time Composition.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

_____. “Multi-Agency and Real-Time Composition in ‘In Equilibrio’.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “Towards a Generative Electronica: A Progress Report.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

Eloy, Christian. “Journées de la composition électroacoustique 2005 : Table ronde au CNSMD de Lyon le 11 octobre 2005.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

Engström, Andreas. “Worst Case Scenario: Interview with Vinyl Terror & Horror.” eContact! 14.3 — Turntablism (January 2013).

Etienne, Tania. “Evolving Creative Approaches and New Media Installations.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Eves, David. “Making Contact.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

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Farmer, Evie. “Various Artists — DISContact! II (1995).” [Commentary]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Fasciani, Stefano and Lonce LaMar Wyse. “‘One at a Time by Voice’: Performing with the voice-controlled interface for digital musical instruments.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Feiler, Dror. “Exile as Noise — Noise as Exile.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

_____. “Noise as Form.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Fenner, Victoria. “‘No Time for Silence’.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

_____. “Teaser: By Listening to the Sounds that Inhabit Our World, We Can Learn Much About the World We Inhabit….” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “Walking Through Sound, Walking Through Silence.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

Fernandes, Gavin. “Much Ado About Loudness.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Finch, Jim. “Interview with Harald Bode.” eContact! 13.4 — Harald Bode (July 2011).

Fischer, Christian. “Worlds Collide: Utilizing animated notation in live electronic music.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Fischman, Rajmil. “Score of Jean-François Denis’ ‘Point-virgule’ (1990).” eContact! 2.2 — SAN: Sonic Arts Network (1999).

Fishkin, Daniel. “Dead Lion, or, The Musical Oscilloscope: A Diegetic approach to synthesis and feedback.” eContact! 19.2 — Light+Sound (October 2017).

Fitzell, Gordon. “Riding the Dragon: Toward a pedagogy of free musical improvisation.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Fortier, Sylvain. “Finalement, je me suis fait avoir… / Clearly, I’ve been had… : Entrevue avec Martin Tétreault.” eContact! 14.3 — Turntablism (January 2013).

Foster, Campbell. “Electroacoustic and Computational Feedback Synthesis.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

Fredrics, Howard. “Various Artists — 2èmes rencontres internationales de jeunes compositeurs de musique acousmatique (1996).” [CD]. eContact! 2.2 — SAN: Sonic Arts Network (1999).

Fuchs, Wolfgang. “The Tu(r)ning of the (W)o(r)ld.” eContact! 14.3 — Turntablism (January 2013).

Fumarola, Martín Alejandro. “Letter of Support.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Towards a Taxonomy of Latin American Electroacoustic and Computer Music.” eContact! 2.1 — Amérique latine / Latin America (1999).

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Garbet, Brian. “‘Mockingbird’: Abstracted confessions through political music.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Garrett, Richard. “‘In Flight’ and Audio Spray Gun: Generative composition of large sound-groups.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Garro, Diego. “On the Brink of (In)visibility: Granulation techniques in visual music.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

Gasior, Lisa. “Soundscaping the Paramount: A Research Project at the Famous Players Paramount Movie Theatre in Montreal, Canada.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Gaston, Ryan William. “Plays Well With Others: Regarding modular synthesizer in collaborative performance practice.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Gates, Philippa and Paul Rudy. “Spectromorphology Hits Hollywood: Morphology, objectification and moral messages in the sound design of ‘Black Hawk Down’.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Gauthier, Mario. “Entrevue avec Charles de Mestral.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Entrevue avec Jean Piché.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Interview with alcides lanza.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Interview with Kevin Austin.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Gauthier, Philippe-Aubert. “A Review and an Extension of Pseudo-Stereo for Multichannel Electroacoustic Compositions: Simple DIY ideas.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

_____. “Diffusion électroacoustique sur Systèmes « multi Haut-parleurs ».” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

_____. “La synthèse musicale inspirée de la physique des instruments de musique : Considérations techniques et musicales.” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

_____. “Sound Reproduction Using Multi-Loudspeaker Systems.” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

Gauthier, Philippe-Aubert and Stéphane Claude. “Considerations on a Workshop on Modular Synthesis for Audio Arts.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Gauthier, Philippe-Aubert, Alain Berry and Wieslaw Woszczyk. “An Introduction to the Foundations, the Technologies and the Potential Applications of the Acoustic Field Synthesis for Audio Spatialization on Loudspeaker Arrays [pdf].” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

_____. “Introduction aux fondements, aux technologies et aux applications potentielles de la synthèse de champs acoustiques pour la spatialisation audio sur réseaux de haut-parleurs [pdf].” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

Gayou, Évelyne. “Transcrire les musiques électroacoustiques.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Gee, Erin. “Other Voices, Other Bodies: Considerations for sound creation within the technology-enabled listening environment.” eContact! 12.3 — Instrument—Interface (June 2010).

Gertich, Frank. “Discussion with Douglas Henderson.” eContact! 10.2 — Interviews 1 (August 2008).

Gerzon, Michael. “Don’t Destroy The Archives!.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Ne détruisez pas les archives!.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Gibson, John. “Spectral Delay as a Compositional Resource.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Gibson, Ryan Paul. “Seeing Down to the Fundamentals of Sound With Hugh Le Caine: Interview with Le Caine biographer Gayle Young.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Gluck, Bob. “‘… like a sculptor, taking chunks of sound and chiselling them into something beautiful’: Interview with Egyptian composer Halim El Dabh.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “A Multi-Faceted, Concrete Art: Conversation with Chinese composer Dajuin Yao.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

_____. “A New East-West Synthesis: Conversations with Iranian composer Alireza Mashayekhi.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “A Unique Sensitivity to Sound: Interview with American composer and sound artist Maryanne Amacher.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

_____. “An Eclectic Iranian-American Composer and Artist: Conversation with Dariush Dolat-Shahi.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “Analogue Synthesizers, Phonetics and the Human Voice: Conversation with Romanian-American composer Gheorghe Costinescu.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

_____. “Electronic Music in China.” [Community Reports]. eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

_____. “Electronic Music in Indonesia.” [Community Reports]. eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

_____. “Electronic Music in Israel.” [Community Reports]. eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “Electronic Music in South Korea.” [Community Reports]. eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

_____. “From ‘Doing the Dirty Jobs’ to Electronic Music Composer: Conversation with Spanish composer Andrés Lewin-Richter.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

_____. “Generation One at the Columbia-Princeton Electronic Music Center: Interview with Argentine-American composer Mario Davidovsky.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “Go Find Your Own Tricks! Interview with Israeli composer Tzvi Avni.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “In the Days Before ‘Plug and Play’…: Conversations with Venezuelan composer Alfredo Del Mónaco and Uruguayan composer Sergio Cervetti.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “Parallel Developments at the Instituto Torcuato di Tella and the Columbia-Princeton Electronic Music Center: Conversation with Argentinian-Canadian composer alcides lanza.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “The ‘Oriental Element’ in Chinese Electroacoustic Works: Conversation with Chinese composer Xiaofu Zhang.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

_____. “Touching Sound, Like a Sculpture: Conversation with Peruvian composer Edgar Valcárcel.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “Uptown and Downtown, Electronic Music and ‘Free Jazz’, Ankara and New York: Interview with Turkish composer İlhan Mimaroğlu.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “WBAI Free Music Store and Dark, Dark Nights at the Electric Circus: Conversation with music theatre composer and producer Eric Salzman.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Gluck, Bob and Shlomo Dubnov. “From ‘Enfant Terrible’ to Elder Statesman: Conversation with Israeli composer Josef Tal.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Godman, Rob. “Ambient Sound and Resonating Spaces.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Recreating the Real, Realizing the Imaginary: A Composer’s preoccupation with acoustic space [pdf].” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

_____. “The Enigma of Vitruvian Resonating Vases and the Relevance of the Concept for Today [pdf].” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

Gogins, Michael. “Listening to Radio Plays: Fictional soundscapes.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Try Looking Through Both Eyes at the Same Time.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Golden, Barbara. “Conversations at the ‘Crack o’ Dawn’.” eContact! 12.2 — Interviews 2 (April 2010).

Goncalves, Tanya. “Hive: An audio programming language informed by the theory of cognitive dimensions.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Gotfrit, Martin S.. “Electroacoustic Music at Simon Fraser University’s School for the Contemporary Arts.” eContact! 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03).

Graham, Stephen. “The Musical Underground and the Popular and Classical Overground.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Gratton, Charlaine. “Cream Test Centrifuge.” [Rapport]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “Gilles Gobeil — Dans le silence de la nuit (2001).” [CD]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “Various Artists — DISContact! II (1995).” [Commentary]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Green, Owen. “Edinburgh.” [Community Reports]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Pondering Value in the Performance Ecosystem.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Griffiths, Todd. “Marcelle Deschênes — Indigo: Biography and Analysis.” [Entrées]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Guérin, François. “Aperçu du genre électroacoustique au Québec.” eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

Gupta, Cota Navin and Ramaswamy Palanappian. “Using High-Frequency Electroencephalogram in Visual and Auditory-Based Brain-Computer Interface Designs.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

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Haecker, Julia. “The Digital Mind: Challenges and Possibilities of Digital Archives and the ‘mediaartbase.de’ Project.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Hall, Lawton. “The End of Digital Tourism: Aesthetics of globalization and live electro-instrumental performance.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Handelman, Eliot. “What’s Wanted Next?.” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

Hansen, Mike. “Talismania (Fetishizing the Fetish).” eContact! 14.3 — Turntablism (January 2013).

_____. “The Turntable is Dead, Long Live the Record Player.” eContact! 12.3 — Instrument—Interface (June 2010).

Harchanko, Joseph. “Spectro-Morphology and Structure: An Analysis of Gilles Gobeil’s ‘Le vertige inconnu’.” eContact! 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04).

Harcourt-Powell, Tim. “Shape tool. Shaped by tool. Reshape tool?.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

Harley, James. “The Hills Are Alive…: ‘Wild Fruits’ creative soundscapes project.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Harquail, Judy and Lendre Kearns. “Sommaire des rencontres avec les communautés de la musique nouvelle à Toronto, Montréal et Vancouver en décembre 2000.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Summary Report of Meetings with the New Music Communities in Toronto, Montreal and Vancouver in December 2000.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Harris, Louise. “Audiovisual Coherence and Physical Presence: I am there, therefore I am [?].” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Harrison, Jonty. “Diffusion: Theories and practices, with particular reference to the BEAST system.” eContact! 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999).

_____. “Imaginary Space / Spaces in the Imagination: Keynote Address at the 1999 Australasian Computer Music Conference.” eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Reply to Robert Normandeau’s Question to International Members.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “The Final Frontier?: Spatial strategies in acousmatic composition and performance.” [Keynote]. eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

Haykal, Bani. “Letting Time and Sound Pass: Interview with Singaporean composer Joyce Beetuan Koh.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

He, Jingyin, Jordan Hochenbaum and Ajay Kapur. “VIE, An Automata Sequencer: Performance and composition through metaphorical representation of living organisms.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Hearon, James C. and Akita Van Troyer. “Aspects of Sahnsi and Polos in Balinese Gamelan Instruments.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Helmuth, Mara M. and Elizabeth Hinkle-Turner. “Gender and Computer Music: Tracing Change.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

Henninger, Richard. “Composing with Hugh Le Caine’s Fabulous Inventions in the University of Toronto’s Studio C, circa 1969.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Henriques, Tomás. “Sonik Spring.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

Heumann, Michael. “Metal Machine Music: The Phonograph’s Voice and the Transformation of Writing.” eContact! 14.3 — Turntablism (January 2013).

Hill, Andrew. “Investigating Audience Reception of Electroacoustic Audio-visual Compositions: Developing an Effective Methodology.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Hill, Andrew and Jim Hobbs. “(I)MAGESOUND(S): Expanded audiovisual practice.” eContact! 19.2 — Light+Sound (October 2017).

Hill, Don. “Sound Never Ages: Archaeoacoustic memory.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Hinkle-Turner, Elizabeth. “Ardour et al., or Free and Easy Laptop Pro Audio: An Essay Perspective from a desperate working mother composer.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

_____. “Editorial.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

_____. “Feminist Theory (and Electroacoustic Music): Some classic sources for beginning and advanced inquirers in the field.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

_____. “Hear Me Now: The Implication and significance of the female composer’s voice as sound source in her electroacoustic music.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

_____. “International Alliance for Women in Music Congress 2006, ‘Global Perspectives’.” [Report]. eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

_____. “Pauline Oliveros — Alien Bog / Beautiful Soop (1966–67).” [CD]. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “Women Composers and Music Technology in the United States: Crossing the Line (Elizabeth Hinkle-Turner).” [Book]. eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

Holopainen, Risto. “Lo-Fi Adventures in Obsolete Media.” eContact! 12.3 — Instrument—Interface (June 2010).

Holzer, Derek. “Vector Synthesis: An investigation into sound-modulated light.” eContact! 19.2 — Light+Sound (October 2017).

Hordijk, Rob. “Designing Instruments for Electronic Music.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Horseman, Samantha. “Suspended Imprints: An Exploration of space, sound and the inner monologue.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

Horsley, Josh. “Sonification as Semblance: A Phenomenological investigation into music composition.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Howse, Martin. “Martin Howse.” [Gallery]. eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Hron, Terri. “Musicians at Play: Collaboration between performers and composers in the creation of mixed electroacoustic music.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “Sharing the Studio to Create ‘Lepidoptera’: Collaboration and notation.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Hullick, James. “Fuck It, I’ll Do It Myself: Or, why on Earth would anyone start a sound art organization in Melbourne and call it JOLT?.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Hutchinson, Aaron. “Three Electroacoustic Artworks Exposing Digital Networks.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Hutchinson, Brenda. “Sound-Initiated Drawing and Memory Impairment.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Hyde, Joseph. “Editorial.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “It’s Not an Instrument, It’s an Ensemble: A Parallel approach to modular synthesizer design.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

_____. “Zoetrope (1999).” eContact! 2.2 — SAN: Sonic Arts Network (1999).

Hyde, Joseph and Jean Piché. “Hear / See: A Slow conversation on sound and moving image.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

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Iber, Michael. “Linux Audio Conference (Berlin, 22–25 March 2007).” [Report]. Trans. jef chippewa. eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

_____. “Linux Audio-Konferenz (Berlin, 22.–25. März 2007).” [Report]. eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Iges, José. “Soundscapes: An historical approach.” eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

Ingraham, Mary I.. “Interview with alcides lanza.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with David Ogborn.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Eldad Tsabary.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Hildegard Westerkamp.” eContact! 10.2 — Interviews 1 (August 2008).

Institut für Feinmotorik. “Lab Report: Die 50 Skulpturen des Institut für Feinmotorik.” eContact! 14.3 — Turntablism (January 2013).

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Jaeger, David. “Remembering Hugh.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Jarvis, Bentley. “Engaging the Visual and Auditory Senses.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Jarvis, Ian. “Creating ‘Orbit, a Scalable Laptop Composition’.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Jette, Christopher. “In Vitro Oink: A Composition for piano and wii-remote.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Jones, Markus. “Sympathetic Vibration: Prolongation of sound by reflection.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

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Kahlen, Timo. “Timo Kahlen.” [Gallery]. eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Karamanlis, Orestis. “How Something is Born, Lives and Dies: A composer’s approach for thematic evolution in electroacoustic music.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Keane, David R.. “Electroacoustic Music in Canada 1950–1984.” eContact! 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000).

Kennedy, Kathy. “Ballade Orale.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

Kilpatrick, Stephen. “Composition as ‘Machine to Think With’: Aspects of narrative within electroacoustic music.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Kinsella, Annette. “A Thing About Machines.” [Report]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Klein, Julieanne. “Interview with Franziska Baumann.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “Interview with Karlheinz Essl.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “Voice and Live Electronics: An historical perspective.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Koh, Joyce Beetuan and Steve Dixon. “The Music of T.S. Eliot’s Poetry: Integrating text, live performance, sound design and video in a multimedia theatre production of ‘The Waste Land’.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Koustrup, Frank. “Some Alternative Methods of Composition.” eContact! 12.3 — Instrument—Interface (June 2010).

Koutsomichalis, Marinos. “Domestic Appliances Project #1.” eContact! 12.3 — Instrument—Interface (June 2010).

Kovačič, Dieter. “Copyright.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

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Lander, Dan. “Radiocasting: Musings on radio and art.” eContact! 2.3 — Radiophonique / Radiophonic (1999).

Lankford, Elsa M.. “Bringing Composed Activism (Back) into the Soundscape.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

lanza, alcides. “EMS Archival Project: McGill University, Schulich School of Music.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Hugh Le Caine and the McGill EMS.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

_____. “Letter of Support.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “music for voice [personal recollections]: Compositional Process using Text/Voice and Tape.” eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

_____. “musique pour voix [souvenirs personnels] : Processus de composition utilisant la voix/texte et bande.” Trans. Yves Gigon. eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

_____. “plectros III (1971–I), for piano and synthesized sounds.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Projet d’archivage EMS : École de musique Schulich à l’Université McGill.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “The Le Caine Instruments: A Disappearing technology.” eContact! 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005).

LeBel, Emilie Cecilia. “Editorial.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

Lefebvre, Marie-Thérèse. “Micheline Coulombe Saint-Marcoux et Marcelle Deschênes : Pionnières dans le sentier de la création électroacoustique.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Leider, Colby. “Evan Parker Electro-Acoustic Ensemble — Drawn Inward (1999).” [CD]. eContact! 2.2 — SAN: Sonic Arts Network (1999).

Leonardson, Eric. “Handheld Audio Art Devices.” eContact! 12.3 — Instrument—Interface (June 2010).

_____. “The Springboard: The joy of piezo disk pickups for amplified coil springs.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Lewin-Richter, Andrés and alcides lanza. “Intersecting Planes: A Reminiscence of Vladimir Ussachevsky in the 1960s [pdf].” eContact! 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005).

Lewis, Andrew P.. “‘LEXICON’ — Behind the Curtain.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

Lillios, Elainie. “Editorial: Women in Electroacoustics.” eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

Lindborg, PerMagnus. “Editorial.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

_____. “Reflections on Aspects of Music Interactivity in Performance Situations.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

_____. “Sound Art Singapore: Conversation with Pete Kellock, Zul Mahmod and Mark Wong.” [Community Reports]. eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Litke, David. “From Sound to Score and Back: Approaches to composing with spectral data.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “Spectralism and Microsound.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Loh, Joleen. “Just Outside our Hearing.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Long, Kiel Stuart. “The Static Organ: Biofeedback as new interactions for new action potentials.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Longstaff, Nicholas. “The I and the Ear: The Art of installations.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Lopes, Pedro and jef chippewa. “Performing Biological Bodies: An open conversation with Marco Donnarumma, Claudia Robles and Peter Kirn at Body Controlled #4 — Bio Interfacing.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

López, Francisco. “« Schizophonia » vs. l’objet sonore : Le paysage sonore (soundscape) et la liberté artistique.” Trans. jef chippewa. eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

_____. “Schizophonia vs. l’objet sonore: Soundscapes and artistic freedom.” eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

López-Lezcano, Fernando. “A Very Fractal Cat: Of Cats, performers, composers and programmers.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

_____. “Sharing the Source: A very brief history of computing at CCRMA.” [Institutions]. eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

Loveless, Stephanie. “The Palpability of Sound: An Evening with Sound and Radio Artist Christian Calon.” [Report]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “The Plasticity of Sound: A Swedish retrospective, presented by Åke Parmerud.” [Report]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “Various Artists — DISContact! II (1995).” [Commentary]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Lui, Simon. “Defining the Dominance Axis of the 3D Emotional Model for Expressive Human Audio Emotion.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

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Madsen, Pamela. “The International Women’s Electroacoustic Listening Room (WEALR) Project: Voices on the Edge.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

Magnusson, Thor and Enrike Hurtado-Mendieta. “The Phenomenology of Musical Instruments: A survey.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Mahtani, Annie. “25 Years of BEAST.” [Report]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Makela, Steven L.. “Electroacoustic Music by Women Composers: Two concerts curated by Elainie Lillios in celebration of Women’s History Month, March 1999.” [Report]. eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

Mäkelä, Helke Tapio. “As We May Network: Shifting sound and media art practices.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Male, Sophia. “A Pedestrian’s Response to Corporate Abuse.” eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

Marceau, Isabelle. “Various Artists — DISContact! II (1995).” [Commentary]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Marcoll, Maximilian. “Quince: A Modular approach to music editing.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

Martin, Brona. “‘The Thing About Listening is…’: Compositional approaches and inspiration using spoken word, field recordings and electroacoustic techniques.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Martin, Jon. “Allusion and Timbre: A Theory of implicit reference, emotion and familiarity bias in contemporary music.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Marty, Nicolas. “Wilfulness vs. Creative Intuition: Interview with acousmatic composer Elizabeth Anderson.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Mattes, Al, Kevin Austin and Steven Naylor. “En soutien au projet SONUS.” Trans. Dominique Bassal. eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “In Support of the SONUS Project.” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

Matthews, Michael. “Report on Visiones Sonoras.” [Review]. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Maubert, Antony. “A Personal Approach to Subversion.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Maujean, Jean-Michel and Cissi Tsang. “Making the Makestra: Repurposed, bio-electronic and 3D-printed instruments.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

McCallum, Andrew and Adam O’Callaghan. “Analysis of Daniel Feist’s ‘Diptych: Auxferd Nightburr’d November 2 a.m.; Our Child’.” eContact! 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04).

McCartney, Andra. “Anne LeBaron — Salt and Honeybees (1995).” [CD]. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “Hildegard Westerkamp — Transformations (1996).” [CD]. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “Lachine Canal: Journées Sonores.” eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

_____. “Où l’eau rencontre.” Trans. Yves Gigon. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “Soundscape Composition and the Subversion of Electroacoustic Norms: [Abridged version 2002].” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Soundwalks.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

_____. “Wende Bartley — Claire-Voie (1994).” [CD]. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “Where Water Meets.” eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

McConnell, Blake. “Una Casa de Sonidos: Sonic storytelling with Central American refugee minors.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

McDonnell, Maura. “A Composition of the ‘Things Themselves’: Visual music in practice.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “Seeing Sound Symposium 2013.” [Report]. eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “Visual Music.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

McFarlane, Matthew. “Common Visionaries: Glenn Gould, Jean Le Moyne and Pierre Teilhard de Chardin.” eContact! 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005).

_____. “The Development of Acousmatics in Montréal.” eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

McKinnon, Dugal. “Awkward Ecologies: Sound-based music.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

Meloche, Chris. “‘Time is Everything / Time is Nothing’: Reflections on long-duration soundworks and radio.” eContact! 2.3 — Radiophonique / Radiophonic (1999).

Menzies-Gow, Dylan. “The CyberWhistle and O-Bow: Minimalist controllers inspired by traditional instruments.” eContact! 12.3 — Instrument—Interface (June 2010).

Mercer, Chris and Rodolfo Vieira. “Turning the Tables: The audience, the engineer and the virtual string orchestra.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Merlini, Valeria. “Instant Cut.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Messier, Martin. “Boîte noire (2015).” [Gallery]. eContact! 19.2 — Light+Sound (October 2017).

Monro, Gordon. “An Acousmatic Experience: Thoughts, reflections and comments on the 1999 Australasian Computer Music Association conference ‘Imaginary Space’.” eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

_____. “Tape Nights in Sydney.” [Report]. eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

Montgomery, James and Gayle Young. “Being Allowed to Make ‘Mistakes’ While Composing With Hugh Le Caine’s Electronic Music Instruments: Interview with Hungarian-Canadian composer István Anhalt.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Moore, Adrian J.. “World Soundscape Project — L’environnement sonore de Vancouver (1997).” [CD]. Trans. Yves Gigon. eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

_____. “World Soundscape Project — The Vancouver Soundscape (1997).” [CD]. eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

Moore, Adrian J., Dave Moore and James Mooney. “M2 Diffusion: The Live diffusion of sound in space.” eContact! 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005).

Moore, Sandee. “Send + Receive: A Festival of Sound v.9.” [Preview]. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Morita, Satoshi. “Bodily Listening.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

Mountain, Rosemary S.. “CEC Follow-up Letter to the Contemporary Music Section.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Marcelle Deschênes: Marcelle the multifaceted.” eContact! 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005).

_____. “Sculpting Sound: A History of the CEC.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “The CEC’s Reply to Tim Brady’s National Arts Service Organizations Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Murphy, Michael and Max Cotter. “Frank Morse Robb’s Wave Organ: The world’s first electronic organ.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

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NAISA. “Deep Wireless 2002, A Celebration of Radio Art: Radio programs.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Mundus Imaginalis: Artistic statement and artist biographies.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Radio Art Companion to ‘Deep Wireless 2002’: CD liner notes.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Sign Waves: Artist biographies.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Sound Travels 2002: Schedule of events.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “SOUNDPlay 2002: Artist biographies.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Nakamura, Rei. “My Cyber Chamber Music Partner: A Project for piano, electronics and video.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Nance, Richard (Rick). “Interview with Dame Evelyn Glennie.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

_____. “Plastic Music, Aural Models and Graphic Representation.” eContact! 12.3 — Instrument—Interface (June 2010).

Narveson, Jascha and Dan Trueman. “LANdini: A Networking utility for wireless LAN-based laptop ensembles.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

Naylor, Steven. “Electroacoustic Ageism.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “Electroacoustics in Nova Scotia 2008.” [Community Reports]. eContact! 10.2 — Interviews 1 (August 2008).

_____. “Information Asphyxiation: Procrastination, distraction and the digital artist.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “Mastering the Mutable: Music, technology and change.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “Oscillations 2005, Festival of Electroacoustic Music.” [Report]. eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

_____. “Oscillations 2008 Festival.” [Report]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Twiddling and Twerking: Thoughts on electroacoustic music performance.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Neal, Adam Scott. “A Continuum of Indeterminacy in Laptop Music.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “Using Everything and the Kitchen Sink: Interview with Atlanta-based composer Klimchak.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Nelson, Jon Christopher. “Letter of Support: President of the Society for Electro-Acoustic Music in the United States (SEAMUS).” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Nerenberg, Mark. “Structure Formation: An Analysis of electronic superimpositions in Stockhausen’s ‘Solo’.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

Nettingsmeier, Jörn. “Ardour and Ambisonics: A FLOSS approach to the next generation of sound spatialisation.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

_____. “FLOSS+Art (Aymeric Mansoux and Marloes de Valk, Eds.).” [Book]. eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

_____. “Open Source Travel Guide [wiki]: A Free Software Travel Guide.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

_____. “So What? I Don’t Hack!.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

Nettingsmeier, Jörn and jef chippewa. “Open Source Travel Guide [wiki]: Index.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

Neuhaus, Thomas. “Folkwang University: Development of Electronic Music and the ICEM — Institut für Computermusik und Elektronische Medien (Essen, Germany).” [Institutions]. eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Neumann, Daniel. “The Turntable Just Happened to be There — Chance and Turntablism(s): Interview with Maria Chavez.” eContact! 14.3 — Turntablism (January 2013).

Nevile, Ben. “An Interview with Kim Cascone.” eContact! 10.2 — Interviews 1 (August 2008).

Nicolls, Sarah. “Brief Thoughts on using Live Electronics: The Inside-out Piano and touring.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Nielsen, Mads Emil. “FRAMEWORK: Interpretation of graphic scores using a small modular system.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Norman, Katharine. “On Mentoring Composition Students.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

Normandeau, Robert. “Situation de l’électroacoustique au Canada.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “The Electroacoustic Situation in Canada.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Nowitz, Alex. “Designing and Playing the Strophonion: Extending vocal art performance using a custom digital musical instrument.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

_____. “Voice and Live-Electronics using Remotes as Gestural Controllers.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

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O Mahony, Dave. “Real-time Manipulation of Synthesis Parameters Using a Brainwave Interface and a Eurorack Modular Synthesizer.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

O’Brien, Benjamin. “Lost in Transformation: Composer as translator.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

O’Callaghan, James. “Conversations With Post World War II Pioneers of Electronic Music (Norma Beecroft).” [Book]. eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “Cross-Media Transcription as Composition.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “Resounding but Not Sounding: Diffusing into interior spaces of instruments.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Ogborn, David. “Composers Working in or from the Canadian Prairies Region.” [Sonus Gallery]. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

_____. “Editorial.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “Interview with Robert Normandeau.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Scalable, Collective Traditions of Electronic Sound Performance: A Progress Report.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “TES 2007.” [Photo Gallery]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “The Regina Electroacoustic Performance Orchestra: Heterogeneity and Participation.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “Toronto Electroacoustic Symposium 2007.” [Report]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Toronto Electroacoustic Symposium 2008.” [Preview]. eContact! 10.2 — Interviews 1 (August 2008).

_____. “Toronto Electroacoustic Symposium 2011.” [Preview]. eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

Oliver La Rosa, Jaime. “Design and Appropriation in Open Source Computer Musical Instruments: A Case study of the Silent Drum.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Oliveros, Pauline. “‘Participle Dangling, in Honour of Gertrude Stein’: Composing with Hugh Le Caine’s Special Purpose Tape Recorder at UTEMS in 1966.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

_____. “What Matters? Make the Music!.” [Keynote]. eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Olivier, Ryan. “Intermedial Cognition: Towards a method for analyzing electroacoustic intermedia through an interpretation of the topoi in Jarosław Kapuściński’s ‘Oli’s Dream’.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Ortiz, Miguel. “A Brief History of Biosignal-Driven Art: From biofeedback to biophysical performance.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Oswald, John. “My Personal Long-Playing History of the LP.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

_____. “Mystery Tapes — My Desert Island Vinyl Collection.” [Commentary]. eContact! 14.3 — Turntablism (January 2013).

_____. “Plunderphonics, or Audio Piracy as a Compositional Prerogative.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Otondo, Felipe. “Some Considerations for Spatial Design and Concert Projection with Surround 5.1.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Ouzounian, Gascia. “The Biomuse Trio in Conversation: An Interview with R. Benjamin Knapp and Eric Lyon.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

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Paes, Rui Eduardo. “Entretien avec Francis Dhomont.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Paine, Garth. “An Australian Electroacoustic Music Concert in Montreal: EuCuE Series XVIII.” eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

Pais, João Miguel. “Spaces Speak, Are You Listening? Experiencing Aural Architecture (Barry Blesser and Linda-Ruth Salter).” [Book]. eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Palmer, John. “Encounter with Daniel Teruggi and the GRM in Paris.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “In Conversation with Folkmar Hein.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “In Conversation with Jonty Harrison.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “In Conversation with Lawrence Casserley.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “In Conversation with Luc Ferrari.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “In Conversation with Vinko Globokar.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Jonathan Harvey.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interview with Simon Emmerson.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “Interviews by John Palmer.” eContact! 10.2 — Interviews 1 (August 2008).

_____. “John Palmer in Conversation with Nuria Schoenberg Nono.” eContact! 10.2 — Interviews 1 (August 2008).

Palombini, Carlos. “Rainforest Soundwalks: Ambiences of Bosavi, Papua New Guinea’ (Steven Feld).” [CD]. eContact! 4.3 — Promenade sonore / Soundwalk (2001).

_____. “Steven Feld on ‘Rainforest Soundwalks: Ambiences of Bosavi, Papua New Guinea’ (2001).” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

Palov, Rebekkah. “Editorial.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Harald Bode — A Short Biography.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Harald Bode’s Notebooks.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Instrument Design Files for the Bode Klangumwandlers at the Columbia-Princeton Electronic Music Center.” eContact! 13.4 — Harald Bode (July 2011).

Palov, Rebekkah and Ralf Bode. “A Harald Bode Video Documentary (1972).” eContact! 13.4 — Harald Bode (July 2011).

Palumbo, Michael. “CrossTalk: A Reflection on the development of an interactive performance.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “Going Back to the Year Zero: Interview with American composer Nicolas Collins.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “Humanizing Inhumane Spaces: Interview with Canadian composer Matt Rogalsky.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “More Instinct Than Science: Interview with Dutch installation artist Peter Bosch.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “Nocturnal Worlds: Interview with Canadian composer Stephanie Moore.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “Remaining Silent… Listening.: Interview with Canadian composer Wendalyn Bartley.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Panther, Jon. “Scherzophobia: Toward a Postmusic.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Parallel, Charlotte. “Transductions: Transforming light into sound.” eContact! 19.2 — Light+Sound (October 2017).

Park, Tae Hong. “Composition vs. Documentation.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Parlett, Mark A.. “Various Artists — Harangue 1 (1998).” [CD]. eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

Parmar, Robin. “Creating an Autopoietic Improvisation Environment Using Modular Synthesis.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Pasoulas, Aki. “An Overview of Score and Performance in Electroacoustic Music.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Patel, Amit D.. “DIY Instruments and White Label Releases.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Patrick, Dennis. “La bibliothèque de bandes du studio UTEMS : University of Toronto, Electronic Music Studio.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “UTEMS Tape Library: University of Toronto, Electronic Music Studio.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Patton, Karen. “Future Traces: Current Trends in Electroacoustic Music.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Payling, Dave. “Lumia and Visual Music: Using Thomas Wilfred’s Lumia factors to inform audiovisual composition.” eContact! 19.2 — Light+Sound (October 2017).

Payne, Maggi. “Center for Contemporary Music Archives: Mills College in Oakland, California.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Les archives du Center for Contemporary Music : Mills College à Oakland, Californie.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Pedersen, Paul R.. “Hugh Le Caine’s Polyphonic Synthesizer.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

Peebles, Sarah. “‘108 — Walking Through Tokyo at the Turn of the Century’.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

_____. “Interview with Heidi Grundmann.” eContact! 12.2 — Interviews 2 (April 2010).

Peet, Shannon. “2001 Update.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “First Contact / Premier contact.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Mise à jour 2001.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Pelton, Dale. “The Red Planet.” [Historical]. eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Pestova, Xenia. “Performing Music for Piano and Electronics: Interview with British pianist Philip Mead.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “The Piano and Live Electronics Repertoire List.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Peuquet, Sean. “Between the Two: A Re-address of the listener in situated musical practice.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

_____. “Conditioning Compositional Choice: Theoretical imperatives and a selection algorithm using converging value sets.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Piché, Claire. “Au delà du sexe et de la technologie : Les tendances du genre.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

_____. “La nature du son en perspective.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Piché, Jean. “Two Reflections on the Relation between Machines (Computers) and Composers.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006).

Pillarella, Sophie. “Festival Elektra : Soirée vidéo-musique « Discreet ».” [Rapport]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

Plantenga, Bart. “Radio and Aural Destabilization #4a: Radio as secret pleasure ground.” eContact! 2.3 — Radiophonique / Radiophonic (1999).

Platel, Charles Edouard. “Les quatre niveaux de réception d’une œuvre électroacoustique.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Plowman, Will. “India Soundscape Project.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

Poon, Jason. “Philip Baer and the Sounds of Movement.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Potts, Ben Nigel. “A Dialogue Between the Seen and the Heard: The use of sound as a sculptural material and sculpture as a sound instrument in ‘Cuboid’.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

Powell, Eric. “Under Living Skies: Aural character in creative practice.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Prescott, David. “Sounding Art: Eight Literary Excursions through Electronic Music (Katharine Norman).” [Book]. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Prévost, Hélène. “Entrevue avec Alain Thibault.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Entrevue avec Claude Schryer.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Entrevue avec Jean-François Denis.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Entrevue avec Robert Normandeau.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “Entrevue avec Yves Daoust.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Pritchard, Bob. “NIME 2010.” [Report]. eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Pritchard, Bob and Sidney Fels. “Mobile Gesture-Controlled Speech Synthesis for Performance.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Puckette, Miller. “Who Owns our Software?: A first-person case study.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

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Radford, Deanna. “Send + Receive: A Festival of Sound [version 8].” [Review]. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

_____. “Sound Out: On the Prairies.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Radford, Laurie. “‘I am sitting on a fence’: Negotiating sound and image in audiovisual composition.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “Various Artists — New Music for Electronic & Recorded Media [Women in Electronic Music — 1977] (1977, 1997).” [CD]. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

Radkiewicz, Wiska and Andrea Cohen. “The Soundson Programme.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

Ramírez, Rafael and Andrés Lewin-Richter. “Brain Control, EyeHarp and Instruments in the Phonos Series.” [Report]. eContact! 14.3 — Turntablism (January 2013).

Ramsay, Ben. “Tools, Techniques and Composition: Bridging Acousmatic and IDM.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

Ratcliffe, Robert, Jonathan Weinel and Zubin Kanga. “Mutations (megamix): Exploring Notions of the ‘DJ set’, ‘Mashup’ and ‘Remix’ through Live Piano-based Performance.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Rhea, Thomas L.. “Bode’s Melodium and Melochord.” eContact! 13.4 — Harald Bode (July 2011).

_____. “Harald Bode’s Four-Voice Assignment Keyboard (1937).” eContact! 13.4 — Harald Bode (July 2011).

_____. “Harald Bode’s Frequency Shifters and Vocoders.” eContact! 13.4 — Harald Bode (July 2011).

Rhoades, Michael. “Hadronized Spectra (The LHC Sonifications): Sonification of proton collisions.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

Rice, Steven. “Waiting for an Audience: On the Misuse of a Notion Associated with Listeners.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Ritsch, Winfried and IOhannes Zmölnig. “IEM — Institute of Electronic Music and Acoustics (Graz).” [Institutions]. eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

Ritter, Martin. “Real-Time Spectral Analysis and Dispersion.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Rivero Brito, Anatol. “Repurposing the Compositional Experience: The Spring Guitar and a Kataba saw, a self-built ‘instrument as sound composition’.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

Roberts, Jeff. “Implications of Electroacoustic Composition in an Intercultural Context: Cultural identity and cultural meanings and uses of music timbre.” eContact! 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015).

Robles-Angel, Claudia. “Audiovisual Art: Perspectives of an indivisible entity.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

Robusté, Joan Riera. “Piano, Sensors + Live-Electronics: The Performer’s Perspective.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Rocha Iturbide, Manuel. “The First Retrospective of Mexican Electroacoustic Music.” [Community Reports]. eContact! 12.3 — Instrument—Interface (June 2010).

Roi, Micheline. “Reciprocal Listening in Electroacoustic Sound Installation.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Roisz, Billy. “Billy Roisz.” [Gallery]. eContact! 14.3 — Turntablism (January 2013).

Rolfe, Chris. “A Practical Guide to Diffusion.” eContact! 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999).

Ross, Dave. “A Voyage Around My Boilophone: A personal approach to playing and recording with a unique DIY electronic instrument.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016).

_____. “Time Modulation: Rhythm, relativity and voltage control.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Routhier, Jean. “Christopher K. Koenigsberg — Brains (1994).” [CD]. eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

_____. “Kent Sparling — Route Canal Diary (1997).” [CD]. eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

_____. “Various Artists — … Stimmen… Klänge (1995).” [CD]. eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

Rubin, Anna. “Evelyn Ficarra — Frantic Mid-Atlantic (1999).” [CD]. eContact! 2.2 — SAN: Sonic Arts Network (1999).

Rudi, Jøran. “Technology-Based Sonic Arts in Norway.” [Community Reports]. eContact! 12.2 — Interviews 2 (April 2010).

Rudy, Paul. “Spectro-Morphological Diatonicism: Unlocking style and tonality in the works of Denis Smalley through aural analysis.” eContact! 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04).

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Saario, Antti Sakari. “Beating the Heavenly Drum: Easy Qigong for ear relief.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Sad, Jorge. “Musique électroacoustique en Argentine : Plaidoyer pour l’écoute de la musique de Carmelo Saitta.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Saint-Denis, Patrick. “Musique visuelle : De la musique au-delà des frontières du son.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

_____. “On Light Music Before Cinema.” eContact! 19.2 — Light+Sound (October 2017).

_____. “Vertex (2013–15), a collaboration of Patrick Saint-Denis and Jean Piché.” [Gallery]. eContact! 19.2 — Light+Sound (October 2017).

_____. “Vertex (2013–15), une collaboration de Patrick Saint-Denis et Jean Piché.” [Galerie]. eContact! 19.2 — Light+Sound (October 2017).

Salter, Christopher. “Haptic Field (2016–17).” [Gallery]. eContact! 19.2 — Light+Sound (October 2017).

Samuel, Doug. “Gatineau Soundwalk.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

Sandred, Örjan. “Studio FLAT: A new studio for computer music at the University of Manitoba.” eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Sannicandro, Joseph. “Martin Tétreault’s Turntable Quartet in Akousma 9.” [Report]. eContact! 14.3 — Turntablism (January 2013).

_____. “Radiophonic Arts and the Problem of the Stage.” eContact! 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017).

Sazdov, Robert. “Есенска месецина [Esenscka Mesechina] (Autumn Moon).” eContact! 7.2 — Harvest Moon Symposium 2004 (December 2004).

Schick, Ignaz. “6 Questions to Turntablist Maria Chavez.” [Talk]. eContact! 14.3 — Turntablism (January 2013).

_____. “Plastik Fantastik: Interview with Sebastian Buczek.” eContact! 14.3 — Turntablism (January 2013).

Schrader, Barry. “Bebe Barron (1925–2008).” [In Memoriam]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “‘Conversations’ with Kevin.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “SEAMUS à ÉuCuE XVI.07.” [Rapport]. Trans. David Lindsay. eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

_____. “SEAMUS at ÉuCuE XVI.07.” [Report]. eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

Schroeder, Franziska and VA. “Addressing the Network: Performative strategies for playing ‘Apart’.” eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Schryer, Claude. “À la recherche de l’effet Sharawadji.” eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

_____. “Electroacoustic Soundscape Composition.” eContact! 1.4 — Écologie acoustique / Acoustic Ecology (1998).

_____. “Entre ici et là : Une création radiophonique en huit mouvements.” eContact! 2.3 — Radiophonique / Radiophonic (1999).

Schultz, Gary. “Negative Money: Care Of Editions.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Schwarz, Diemo. “Interacting with a Corpus of Sounds.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Scott, Richard. “Back to the Future: On misunderstanding modular synthesizers.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

_____. “Editorial.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

_____. “Getting WiGi with It. Performing and Programming with an Infrared Gestural Instrument: A Case Study.” eContact! 12.3 — Instrument—Interface (June 2010).

Scriver, Paul. “Re-auralizing Nature: Musical practice as a means to a greater understanding of the natural world.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Seta, Michal. “Freedom Squared: Free Improvisation in the Free Software World.” eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

Shedletzky, Jonathan L.. “Carte Blanche : Associations Libres — Gilles Gobeil and René Lussier.” [Report]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

Shepherd, David. “Noise can be Harmful to your Health.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Sherk, Scott. “‘Cor + Som’: Filling an Alentejo castle with colour and sound.” eContact! 19.2 — Light+Sound (October 2017).

Sigal, Rodrigo. “Centro Mexicano para la Música y Artes Sonoras (CMMAS): The dilemma of Continuance in Mexico (Morelia, Mexico).” [Institutions]. eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Sigler, Andie. “Francis Dhomont — Les dérives du signe (1996).” [CD]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

Simas, Richard. “The CCA’s New Music Infrastructure Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Simoni, Mary. “Analytical Methods of Electroacoustic Music (Mary Simoni).” [Book]. eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

_____. “Stop, Look and Listen.” eContact! 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006).

Simpson, Dallas. “River Trent Soundwalk.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

Siu, Remy. “new eyes — for [single] player (2017).” [Gallery]. eContact! 19.2 — Light+Sound (October 2017).

Smalridge, Jason. “Various Artists — DISContact! II (1995).” [Commentary]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Smith, Greg J.. “Mutek 2008.” [Report]. eContact! 10.2 — Interviews 1 (August 2008).

Soukup, Katarina. “The CCA Media Arts Section’s Electronic Dissemination Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Spicer, Michael. “An Agent Approach to Working With Modular Synths.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

_____. “Interactive Composing with Autonomous Agents.” eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014).

Spiteri, Vivienne and Rob Godman. “inside the eye of silence.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Stahnke, Manfred. “Partch Harp: Description of two special tunings for the acoustic harp and Yamaha DX7-II FD Synthesizer.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Stanford, Jason. “Composition, Electro-Acoustic Research and Performance (CEARP) at the University of Western Ontario.” eContact! 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03).

Stankievech, Charles. “Cinema, Gramophone, Radio: A quiet history.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

Stelarc. “Stelarc.” [Gallery]. eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Stevens, Joe. “A Very Fine Needle.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Stewart, D. Andrew. “The Power of One: Performance modes on the T-Stick digital musical instrument.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

Stinchcombe, Tim. “The Serge VCS: How it works.” eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and evolution (February 2016).

Stollery, Pete. “Prise de position.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

_____. “Sonic Arts Network’s Reply to Robert Normandeau’s Questionnaire.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

_____. “Statement of Position.” eContact! 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007).

Sutton, Timothy. “Je me souviens.” [Compte rendu]. Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “On the Webcasting of Harvest Moon 2005; Interview with Sound Engineer Mark Corwin.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

_____. “Yves Daoust — Musiques naïves (1998).” [CD]. eContact! 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04).

Swilley, Daniel. “MyPic: A Tool for computer-assisted algorithmic composition.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

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Tanaka, Atau. “Atau Tanaka.” [Gallery]. eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

_____. “The Use of Electromyogram Signals (EMG) in Musical Performance: A Personal survey of two decades of practice.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Thacker, Eugene. “Appropriate Technology: Artificial products, mediation and streaming media.” eContact! 2.3 — Radiophonique / Radiophonic (1999).

Thériault-Copeland, Nadene. “Editorial.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

_____. “Sign Waves Companion: Foreword.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Thibault, Alain. “Réponse au questionnaire de Robert Normandeau.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Thigpen, Benjamin. “Spatialization Without Panning.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Thomas, Jason. “Gen Why Composition: Nothing to say and we are not saying it.” eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Thompson, Bill. “Aberdeen and Northeastern Scotland.” [Community Reports]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Performance of Bill Thompson’s dismantle for laptop (solo).” [Photo Gallery]. eContact! 12.3 — Instrument—Interface (June 2010).

_____. “Scrapyard Aesthetics and the Swansong of the Inspiron.” eContact! 12.3 — Instrument—Interface (June 2010).

Thomson, Phil. “Soundscape Composition, Globality, and Implicated Critique.” eContact! 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006).

Toeplitz, Kasper T.. “Volume : la dernière frontière ?.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

Trethewey, Kristin. “Workshops at Body Controlled #4 — Bio Interfacing.” [Report]. eContact! 14.3 — Turntablism (January 2013).

Truax, Barry D.. “Interacting with Inner and Outer Sonic Complexity: From microsound to soundscape composition.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “Letter of Support.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Trudel, Pascale. “An Electroacoustic Studio of One’s Own.” Trans. jef chippewa. eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

_____. “Un studio d’électroacoustique à soi.” eContact! 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (1998).

Tsabary, Eldad. “60x60 Canada 2008–09.” [Sonus Gallery]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “A Survey of Audio Coders for Electronic-Art Music.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

_____. “Aural Training for Electroacoustics at Concordia University.” eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Gottfried Michael Koenig — Project 1, Version 3 (1967).” [Rediscovered Treasures]. eContact! 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009).

_____. “Henri Chopin — Pêche de Nuit (1957).” [Rediscovered Treasures]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

_____. “Iannis Xenakis — Metastasis (1954).” [Rediscovered Treasures]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

_____. “Iannis Xenakis — ST/10 (1962).” [Rediscovered Treasures]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

_____. “Paul Lansky — The Lesson (1989).” [Rediscovered Treasures]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Turner, Shane. “Various Artists — DISContact! II (1995).” [Commentary]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Tutschku, Hans. “Max/MSP vs. the iPhone: Two compositional approaches to the use of live electronics.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

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Uechi, Jason. “Paul Lansky: Room to Move.” eContact! 10.2 — Interviews 1 (August 2008).

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VA. “Bebe Barron (1925–2008).” [In Memoriam]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Communication Studies at Concordia University.” eContact! 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03).

_____. “Conservatoire de musique de Montréal.” eContact! 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03).

_____. “Electroacoustic Studies at Concordia University.” eContact! 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03).

_____. “ÉuCuE 20th Anniversary Series (2001–02).” eContact! 4.4 — ÉuCuE: Électroacoustique université Concordia university Electroacoustics (2001).

_____. “Michel Waisvisz (1949–2008).” [In Memoriam]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

_____. “Tristram Cary (1925–2008).” [In Memoriam]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

Vande Gorne, Annette. “Acousmatic Music: Continuity or Rupture?.” [Keynote]. Trans. David Ogborn. eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “Musique acousmatique : continuité ou rupture?.” [Keynote]. eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

Vermeulen, Valery. “Affective Computing, Biofeedback and Psychophysiology as New Ways for Interactive Music Composition and Performance.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “The EMOSynth: An emotion-driven music generator.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

Vickers, Catherine. “An Innovative Opportunity.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Vincent, Michael. “Various Artists — Électro Clips (1996).” [CD]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

_____. “Various Artists — Sonic Postcards: 19 Real + Imaginary Journeys in Sound.” [CD]. eContact! 5.4 — Electro-Clips + DISContact! III (2002–03).

Vinyl Terror & Horror. “Vinyl Terror & Horror.” [Gallery]. eContact! 14.3 — Turntablism (January 2013).

von Wichert, Paul. “Various Artists — new music from the americas, vol. 3. ‘Transmutations: Music for Voice, Piano & Electronics’ (1996).” [CD]. eContact! 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998).

Vorfeld, Michael. “The Light Bulb in My Music.” eContact! 19.2 — Light+Sound (October 2017).

Votava, Peter and Erich Berger. “The Heart Chamber Orchestra: An audio-visual real-time performance for chamber orchestra based on heartbeats.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012).

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Wagstaff, Gregg. “Soundwalking: Follow your ears.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Wallace, Tom. “Bar Atlantis.” eContact! 2.2 — SAN: Sonic Arts Network (1999).

Warne, Matthew Peters. “Toward ‘Compositional Reflection’.” eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Watson, Andrew and Nicolas Basque. “Vertex, an Approach to Performance-Installation.” eContact! 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005).

_____. “Vertex, une approche à l’installation-performance.” eContact! 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005).

Weinel, Jonathan. “Bass Drum, Saxophone & Laptop: Real-time psychedelic performance software.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010).

Weinel, Jonathan and Stuart Cunningham. “Digitized Direct Animation: Creating materials for electroacoustic visual music using 8 mm film.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

Weissenbrunner, Karin. “A Snapshot of My Deepest Psyche: Interview with turntablist Joke Lanz.” Trans. Karin Weissenbrunner. eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

_____. “Editorial.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

_____. “Eine Momentaufnahme meiner tiefsten Psyche: Interview mit turntablist Joke Lanz.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

_____. “Experimental Turntablism: Historical overview of experiments with record players / records — or Scratches from Second-Hand Technology.” eContact! 14.3 — Turntablism (January 2013).

_____. “Subversive Qualities in Experimental Practices.” eContact! 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015).

Wenk, Thomas. “Analog Zombies or Retro Nostalgia?: The Second Life of cassette recorders as musical instruments.” eContact! 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011).

Westerkamp, Hildegard. “Soundwalking.” eContact! 4.3 — Promenade sonore / Soundwalk (2001).

Whalley, Ian. “The Edge May Be the Middle: A View of electroacoustic music in the antipodes.” eContact! 3.2 — ACMA: Australasian Computer Music Association (2000).

Whistlecroft, Lisa. “Women in Music Technology in Higher Education in the UK.” eContact! 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000).

Wickmann, Inés. “Vidéomusique : Une image-son.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

Wiese, Nicolas. “The AudioVisual and the Question ‘Why?’.” eContact! 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014).

Wilson, Paul and Adam Tovell. “Les Archives Michael Gerzon et le projet Archival Sound Recordings de la British Library.” Trans. Yves Charuest. eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

_____. “The Michael Gerzon Archive and the British Library’s Archival Sound Recordings Project.” eContact! 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009).

Wilson, Scott David. “Boundaries and Definitions: The SoundAsArt Conference in Aberdeen Scotland (24–26 November, 2006).” [Review]. eContact! 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007).

Windeyer, Richard C.. “Composition Studies at Wilfrid Laurier University.” eContact! 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03).

Wishart, Trevor. “Elitism for All: The normalisation of electroacoustic art.” [Keynote]. eContact! 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008).

_____. “Encounters in the Republic of Heaven.” [Keynote]. eContact! 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013).

Woloshyn, Alexa. “Interview with Robert Normandeau.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

_____. “Moving Beyond the Weird, Creepy and Indescribable: Pedagogical principles and practices for listening to electroacoustic music in the general education classroom.” eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016).

_____. “Playing with the Voice and Blurring Boundaries in Hildegard Westerkamp’s ‘MotherVoiceTalk’.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

_____. “Wallace Berry’s Structural Processes and Electroacoustic Music: A Case study analysis of Robert Normandeau’s ‘Onomatopoeias’ cycle.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

Wrightson, Kendall. “An Introduction to Acoustic Ecology.” eContact! 5.3 — NAISA: New Adventures in Sound Art (2002–03).

Wyatt, Scott A.. “Composition gestuelle.” Trans. Yves Gigon. eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

_____. “Gestural Composition.” eContact! 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998).

_____. “Investigative Studies on Sound Diffusion/Projection at the University of Illinois: A Report on an explorative collaboration.” eContact! 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999).

_____. “Letter of Support.” eContact! 4.2 — Profil d’une communauté / Profile of a Community (2001).

Wynne, John. “Noise-Induced Hearing Loss.” eContact! 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007).

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Yang, Justin. “ICMC 2008.” [Report]. eContact! 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008).

Young, Gayle. “Hugh Le Caine: In Context, 2004.” eContact! 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04).

_____. “Hugh Le Caine’s Virtuosity in Electronics: Interview with Canadian composer James Montgomery.” eContact! 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016).

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Zareei, Mo H. and Jim Murphy. “Audio-Visceral Art: Sound waves and light waves in phase.” eContact! 19.2 — Light+Sound (October 2017).

Zelli, Bijan. “Analysis of Christian Calon’s ‘The Standing Man’.” eContact! 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014).

_____. “Interview with John Chowning: ‘Turenas’ and its Innovations.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “Interview with Shahrokh Yadegari.” eContact! 12.2 — Interviews 2 (April 2010).

_____. “Musique Acousmatique and Imaginary Spaces.” eContact! 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011).

_____. “Space and Computer Music: A Survey of Methods, Systems and Musical Implications.” eContact! 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009).

_____. “The Choreography of Noise: Analysis of Henry Gwiazda’s ‘buzzingreynold’sdreamland’.” eContact! 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013).

Zmölnig, IOhannes. “loadbang: Programming Electronic Music in Pure Data (Johannes Kreidler).” [Book]. eContact! 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009).

Zvonar, Richard. “A History of Spatial Music: Historical antecedents from Renaissance antiphony to strings in the wings.” eContact! 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005).

_____. “An Extremely Brief History of Spatial Music in the 20th Century.” eContact! 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005).

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