by Scott Amort, Keith Hamel, Jesse Read, John B. Roederand David Litke, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Ardour and Ambisonics: A FLOSS approach to the next generation of sound spatialisation

by Jörn Nettingsmeier, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Ardour et al., or Free and Easy Laptop Pro Audio: An Essay Perspective from a desperate working mother composer

by Elizabeth Hinkle-Turner, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

As We May Network: Shifting sound and media art practices

by Helke Tapio Mäkelä, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Aspects of Sahnsi and Polos in Balinese Gamelan Instruments

by James C. Hearon and Akita Van Troyer, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Atau Tanaka [Gallery]

by Atau Tanaka, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Au delà du sexe et de la technologie : Les tendances du genre

by Claire Piché, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Audio Culture: Readings in Modern Music (Christoph Cox and Daniel Warner, Eds.) [Book]

by Christopher DeLaurenti, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Audio-Visceral Art: Sound waves and light waves in phase

by Mo H. Zareei and Jim Murphy, in 19.2 — Light+Sound (October 2017)

Audiovisual Art: Perspectives of an indivisible entity

by Claudia Robles-Angel, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Audiovisual Coherence and Physical Presence: I am there, therefore I am [?]

by Louise Harris, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Aural Training for Electroacoustics at Concordia University

by Eldad Tsabary, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

AV — Music and Video

by Michael Beil, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Awkward Ecologies: Sound-based music

by Dugal McKinnon, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Back to the Future: On misunderstanding modular synthesizers

by Richard Scott, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Balises perceptuelles

by R. Dominique Bassal, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Ballade Orale

by Kathy Kennedy, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Bar Atlantis

by Tom Wallace, in 2.2 — SAN: Sonic Arts Network (1999)

Basic Electricity: An appeal for a greater understanding of rudimentary modular functions

by Nawroz Abbany, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Bass Drum, Saxophone & Laptop: Real-time psychedelic performance software

by Jonathan Weinel, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Beating the Heavenly Drum: Easy Qigong for ear relief

by Antti Sakari Saario, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Bebe Barron (1925–2008) [In Memoriam]

by Barry Schrader, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Bebe Barron (1925–2008) [In Memoriam]

by VA, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Beckmesser revisited?

by Richard Dobson, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Between “Ludic Play” and “Performative Involvement”: Performance practice in gamified audiovisual multimedia artworks

by Barbara Lüneburg, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Between the Two: A Re-address of the listener in situated musical practice

by Sean Peuquet, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Billy Roisz [Gallery]

by Billy Roisz, in 14.3 — Turntablism (January 2013)

Bird, Monk, Train: Three approaches to a solar sounder workshop

by Peter Blasser, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Bode’s Melodium and Melochord

by Thomas L. Rhea, in 13.4 — Harald Bode (July 2011)

Bodily Listening

by Satoshi Morita, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Boîte noire (2015) [Gallery]

by Martin Messier, in 19.2 — Light+Sound (October 2017)

Born Under a Bad Star: An Analysis of abstract loop-based composition through Aaron Funk’s “Szerencsétlen”

by Eliott Britton, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Boundaries and Definitions: The SoundAsArt Conference in Aberdeen Scotland (24–26 November, 2006) [Review]

by Scott David Wilson, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Brain Control, EyeHarp and Instruments in the Phonos Series [Report]

by Rafael Ramírez and Andrés Lewin-Richter, in 14.3 — Turntablism (January 2013)

Brief Thoughts on using Live Electronics: The Inside-out Piano and touring

by Sarah Nicolls, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Bringing Composed Activism (Back) into the Soundscape

by Elsa M. Lankford, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Butterfly Installation Instrument

by Kevin Austin, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

Carte Blanche : Associations Libres — Gilles Gobeil and René Lussier [Report]

by Jonathan L. Shedletzky, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

CEC 25th Anniversary Tour: JTTP 2011 — Jeu de temps / Times Play

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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

by CEC, in 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 Follow-up Letter to the Contemporary Music Section

by Rosemary S. Mountain, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

CEC@25 Photo Album on the CEC’s Facebook Page

by CEC, in 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]

by CEC, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Center for Contemporary Music Archives: Mills College in Oakland, California

by Maggi Payne, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Centro Mexicano para la Música y Artes Sonoras (CMMAS): The dilemma of Continuance in Mexico (Morelia, Mexico) [Institutions]

by Rodrigo Sigal, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Christopher K. Koenigsberg — Brains (1994) [CD]

by Jean Routhier, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

Cinema, Gramophone, Radio: A quiet history

by Charles Stankievech, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Collection de musique électroacoustique latino-américaine : La Fondation Daniel Langlois pour l’art, la science et la technologie à Montréal

by Ricardo Dal Farra, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Columbia-Princeton Electronic Music Center 1961–1973 (1998) [CD]

by Warren Burt, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Combinatorics, Probabilities and Personal Big Data in the Sound Installation “P(N,R) = N!/(N-R)!”

by Philippe-Aubert Gauthier and Tanja St-Pierre, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Common Visionaries: Glenn Gould, Jean Le Moyne and Pierre Teilhard de Chardin

by Matthew McFarlane, in 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005)

Communication Studies at Concordia University

by VA, in 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03)

Composers Working in or from the Canadian Prairies Region [Sonus Gallery]

by David Ogborn, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Composing with Hugh Le Caine’s Fabulous Inventions in the University of Toronto’s Studio C, circa 1969

by Richard Henninger, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Composition as “Machine to Think With”: Aspects of narrative within electroacoustic music

by Stephen Kilpatrick, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Composition gestuelle

by Scott A. Wyatt, Trans. Yves Gigon, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

Composition Studies at Wilfrid Laurier University

by Richard C. Windeyer, in 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03)

Composition vs. Documentation

by Tae Hong Park, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Composition, Electro-Acoustic Research and Performance (CEARP) at the University of Western Ontario

by Jason Stanford, in 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03)

Compositional Applications for Binaural Beating in Timbre Modulation

by Brian Connolly, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Compositional Strategies for Point-Source Spatialization

by Christopher Burns, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Compositions by alcides lanza

by CEC, in 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005)

Compositions by Hugh Le Caine

by CEC, in 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005)

Con-ceptual

by Nick Collins, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

Concordia Archival Project

by jef chippewa and Yves Gigon, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Concordia Archival Project (CAP), eLearning: IntroductionModule 1: The Collection within Electroacoustic HistoryModule 2: Guided Listening Tour of the CollectionModule 3: The Archiving Process for the CollectionPedagogical Activities

by CEC, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Concordia Archival Project (CAP), eLearning: Module 1. The Collection within Electroacoustic History

by CEC, in 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

by CEC, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Concordia Archival Project (CAP), eLearning: Module 3. The Archiving Process for the Collection

by R. Dominique Bassal, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Concordia Archival Project (CAP), eLearning: Pedagogical Activities

by CEC, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Concordia University (Montréal) [Institutions]

by Kevin Austin, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

condemned_bulbes (2002), de Alexandre Burton, Jimmy Lakatos et Julien Roy [Galerie]

by Alexandre Burton, in 19.2 — Light+Sound (October 2017)

Conditioning Compositional Choice: Theoretical imperatives and a selection algorithm using converging value sets

by Sean Peuquet, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Conservatoire de musique de Montréal

by VA, in 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03)

Considerations on a Workshop on Modular Synthesis for Audio Arts

by Philippe-Aubert Gauthier and Stéphane Claude, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Considering Interaction in Live Coding through a Pragmatic Aesthetic Theory

by Renick Bell, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Contemporary Problems, Interventions and Results

by R. Dominique Bassal, Trans. jef chippewa, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Conversation with alcides lanza, Argentinian-Canadian Composer: Parallel developments at the Instituto Torcuato di Tella and the Columbia-Princeton Electronic Music Center

by Bob Gluck, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Conversation with Andrés Lewin-Richter, Spanish Composer: From “doing the dirty jobs” to electronic music composer

by Bob Gluck, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Conversation with Dajuin Yao, Chinese Composer: A multi-faceted, concrete art

by Bob Gluck, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Conversation with Dariush Dolat-Shahi: An eclectic Iranian-American composer and artist

by Bob Gluck, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Conversation with Edgar Valcárcel, Peruvian Composer: Touching sound, like a sculpture

by Bob Gluck, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Conversation with Eric Salzman, Music Theatre Composer and Producer: WBAI Free Music Store and dark, dark nights at the Electric Circus

by Bob Gluck, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Conversation with Folkmar Hein

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Conversation with Gheorghe Costinescu, Romanian-American Composer: Analogue synthesizers, phonetics and the human voice

by Bob Gluck, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Conversation with Jonty Harrison

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Conversation with Josef Tal, Israeli Composer: From “enfant terrible” to elder statesman

by Bob Gluck and Shlomo Dubnov, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Conversation with Lawrence Casserley

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Conversation with Luc Ferrari

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Conversation with Marco Donnarumma, Claudia Robles and Peter Kirn: Performing biological bodies at Body Controlled #4 “Bio Interfacing”

by Pedro Lopes and jef chippewa, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Conversation with Nuria Schoenberg Nono

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Conversation with Pete Kellock, Zul Mahmod and Mark Wong: Sound art in Singapore [Community Reports]

by PerMagnus Lindborg, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Conversation with Three Canadian Live Coders: Muck in and find your own way to be part of it

by Scott David Wilson, Norah Lorway and David Ogborn, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Conversation with Vinko Globokar

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Conversation with Xiaofu Zhang, Chinese Composer: The “Oriental element” in Chinese electroacoustic works

by Bob Gluck, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Conversations at the “Crack o’ Dawn”

by Barbara Golden, in 12.2 — Interviews 2 (April 2010)

Conversations with Alfredo Del Mónaco and Sergio Cervetti, Venezuelan and Uruguayan Composers: In the days before “plug and play”…

by Bob Gluck, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Conversations with Alireza Mashayekhi, Iranian Composer: A new east-west synthesis

by Bob Gluck, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Conversations with Post World War II Pioneers of Electronic Music (Norma Beecroft) [Book]

by James O’Callaghan, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

“Conversations” with Kevin

by Barry Schrader, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Copyright

by Dieter Kovačič, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

“Cor + Som”: Filling an Alentejo castle with colour and sound

by Scott Sherk, in 19.2 — Light+Sound (October 2017)

“Costumes for Cyborgs_sound”: New body experience in sound and movement

by Izzie Colpitts-Campbell, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Cream Test Centrifuge [Rapport]

by Charlaine Gratton, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

Creating “Orbit, a Scalable Laptop Composition”

by Ian Jarvis, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Creating an Autopoietic Improvisation Environment Using Modular Synthesis

by Robin Parmar, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Cross-Media Transcription as Composition

by James O’Callaghan, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

CrossTalk: A Reflection on the development of an interactive performance

by Michael Palumbo, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Darrin Verhagen — P3 (1998) [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

David Tolley — Passing Miniatures [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Dead Lion, or, The Musical Oscilloscope: A Diegetic approach to synthesis and feedback

by Daniel Fishkin, in 19.2 — Light+Sound (October 2017)

Deep Wireless 2002, A Celebration of Radio Art: Artist biographies

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Deep Wireless 2002, A Celebration of Radio Art: Program notes

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Deep Wireless 2002, A Celebration of Radio Art: Radio programs

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Defining the Dominance Axis of the 3D Emotional Model for Expressive Human Audio Emotion

by Simon Lui, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Design and Appropriation in Open Source Computer Musical Instruments: A Case study of the Silent Drum

by Jaime Oliver La Rosa, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Designing and Playing the Strophonion: Extending vocal art performance using a custom digital musical instrument

by Alex Nowitz, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Designing Instruments for Electronic Music

by Rob Hordijk, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Diegesis as a Semantic Paradigm for Electronic Music

by Anıl Çamcı, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Diffusion: Theories and practices, with particular reference to the BEAST system

by Jonty Harrison, in 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999)

Diffusion électroacoustique sur Systèmes « multi Haut-parleurs »

by Philippe-Aubert Gauthier, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

Digitized Direct Animation: Creating materials for electroacoustic visual music using 8 mm film

by Jonathan Weinel and Stuart Cunningham, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Directory of Canadian and International Laptop Ensembles and Orchestras Active 1995–2022

by Jamie Woollard and jef chippewa, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

DISContact! III: CD

by CEC, in 5.4 — Electro-Clips + DISContact! III (2002–03)

DISContact! III: Soumissions / Submissions

by Ian Chuprun, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Discussion with Douglas Henderson

by Frank Gertich, in 10.2 — Interviews 1 (August 2008)

DIY Instruments and White Label Releases

by Amit D. Patel, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Documentation and Publication of Electroacoustic Compositions at NEAR

by Hannah Bosma, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Documentation et publication de compositions électroacoustiques au NEAR

by Hannah Bosma, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Domestic Appliances Project #1

by Marinos Koutsomichalis, in 12.3 — Instrument—Interface (June 2010)

Don’t Destroy The Archives!

by Michael Gerzon, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Doodling in the Posthuman Corpus: Wherefore scoring in the minds of machines?

by Matthew Horrigan, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

Du poétique au poïétique

by Francis Dhomont, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

EA Voices I

by CEC, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Eating and Beating Eggs: Some thoughts on electroacoustic composition

by John Abram, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Edinburgh [Community Reports]

by Owen Green, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Editorial

by Kevin Austin, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Editorial

by Kevin Austin and jef chippewa, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Editorial

by Kevin Austin, in 2.3 — Radiophonique / Radiophonic (1999)

Editorial

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Editorial

by jef chippewa, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

Editorial

by jef chippewa, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Editorial

by jef chippewa, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Editorial

by jef chippewa, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Editorial

by jef chippewa, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Editorial

by jef chippewa, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Editorial

by jef chippewa, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Editorial

by jef chippewa, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Editorial

by jef chippewa, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Editorial

by jef chippewa, in 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

by jef chippewa, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Editorial

by jef chippewa, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Editorial

by jef chippewa, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Editorial

by jef chippewa, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Editorial

by jef chippewa, in 12.3 — Instrument—Interface (June 2010)

Editorial

by jef chippewa, in 12.2 — Interviews 2 (April 2010)

Editorial

by jef chippewa, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Editorial

by jef chippewa, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Editorial

by jef chippewa, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Editorial

by jef chippewa, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Editorial

by jef chippewa, in 10.2 — Interviews 1 (August 2008)

Editorial

by jef chippewa, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Editorial

by jef chippewa, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Editorial

by jef chippewa, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Editorial

by Ian Chuprun, in 4.4 — ÉuCuE: Électroacoustique université Concordia university Electroacoustics (2001)

Editorial

by Marco Donnarumma, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Editorial

by Elizabeth Hinkle-Turner, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Editorial

by Joseph Hyde, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Editorial

by Emilie Cecilia LeBel, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Editorial

by Elainie Lillios, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Editorial

by PerMagnus Lindborg, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Editorial

by David Ogborn, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Editorial

by Rebekkah Palov, in 13.4 — Harald Bode (July 2011)

Editorial

by Richard Scott, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Editorial

by Nadene Thériault-Copeland, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Editorial

by Karin Weissenbrunner, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Editorial

by Karin Weissenbrunner, in 14.3 — Turntablism (January 2013)

Éditorial

by R. Dominique Bassal, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Éditorial

by Nicolas Bernier, in 19.2 — Light+Sound (October 2017)

Éditorial

by jef chippewa, Trans. Yves Charuest, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Éditorial

by jef chippewa, Trans. Yves Charuest, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

Edward Kelly — Kkkomputor [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Ein Leben für den Klang [A Lifetime for Sound]: Eine Collage aus Originaldokumenten

by Caspar Abocab, in 13.4 — Harald Bode (July 2011)

Electroacoustic (and related) Email Lists

by CEC, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Electroacoustic Ageism

by Steven Naylor, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Electroacoustic and Computational Feedback Synthesis

by Campbell Foster, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Electroacoustic Bibliography

by CEC, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Electroacoustic Communities [wiki]: Events

by CEC, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Electroacoustic Communities [wiki]: Venues

by CEC, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Electroacoustic Communities: Events [wiki]

by CEC, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Electroacoustic Communities: Venues [wiki]

by CEC, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Electroacoustic Music at Simon Fraser University’s School for the Contemporary Arts

by Martin S. Gotfrit, in 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03)

Electroacoustic Music by Women Composers: Concert 1 programme notes [Annex]

by CEC, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Electroacoustic Music by Women Composers: Concert 2 programme notes [Annex]

by CEC, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Electroacoustic Music by Women Composers: Two concerts curated by Elainie Lillios in celebration of Women’s History Month, March 1999 [Report]

by Steven L. Makela, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Electroacoustic Music in Canada 1950–1984

by David R. Keane, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Electroacoustic Music in Melbourne [Community Reports]

by Ross Bencina and Tim Kreger, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Electroacoustic Music Incorporating Latin American Influences: A consideration of implications, reception and borrowing

by Manuella Blackburn, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Electroacoustic Music Studios at Queen’s School of Music

by Kristi Allik, in 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03)

Electroacoustic Sound and Audiovisual Structure in Film

by Martin Stig Andersen, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Electroacoustic Soundscape Composition

by Claude Schryer, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Electroacoustic Studies at Concordia University

by VA, in 5.2 — Studios électroacoustiques au Canada / Canadian Electroacoustic Studios (2002–03)

Electroacoustic Techniques and Processes

by CEC, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Electroacoustics in Nova Scotia 2008 [Community Reports]

by Steven Naylor, in 10.2 — Interviews 1 (August 2008)

Electronic Music in China [Community Reports]

by Bob Gluck, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Electronic Music in Indonesia [Community Reports]

by Bob Gluck, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Electronic Music in Iran [Community Reports]

by Arshia Cont and Bob Gluck, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Electronic Music in Israel [Community Reports]

by Bob Gluck, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Electronic Music in South Korea [Community Reports]

by Bob Gluck, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Electronic Music in Toronto and Canada in the Analogue Era

by Norma Beecroft, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Éléments pour une syntaxe

by Francis Dhomont, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Eliane Radigue — Trilogie de la mort (1998) [CD]

by Warren Burt, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Elitism for All: The normalisation of electroacoustic art [Keynote]

by Trevor Wishart, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Elwyn Dennis — Fundamentals [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

EMS Archival Project: McGill University, Schulich School of Music

by alcides lanza, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

En soutien au projet SONUS

by Al Mattes, Kevin Austin and Steven Naylor, Trans. Dominique Bassal, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Encounter with Daniel Teruggi and the GRM in Paris

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Encounters in the Republic of Heaven [Keynote]

by Trevor Wishart, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Endphase: Origin and analysis of an ongoing project

by Alberto Bernal and João Miguel Pais, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Engaging the Visual and Auditory Senses

by Bentley Jarvis, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Entre ici et là : Une création radiophonique en huit mouvements

by Claude Schryer, in 2.3 — Radiophonique / Radiophonic (1999)

Entretien avec Francis Dhomont

by Rui Eduardo Paes, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Entretien avec Stephanie Castonguay et Émilie Mouchous, artistes de l’audio : Déesses de l’électricité DIY

by Esther Bourdages, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Entrevue avec Alain Thibault

by Hélène Prévost, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Entrevue avec Amy McIntosh, artiste en nouveaux medias : Structure créatrice du Cybernetic Orchestra

by jef chippewa, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Benjamin Thigpen, compositeur : Performance avec ordinateur en direct et l’Audio Spotlight

by jef chippewa, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Charles de Mestral

by Mario Gauthier, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Entrevue avec Claude Schryer

by Hélène Prévost, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Entrevue avec Darren Copeland, artiste sonore : L’Audio Spotlight, un instrument de diffusion sonore tactile et portable

by jef chippewa, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Guillaume Barrette, Maxime Corbeil-Perron et Jullian Hoff : Performance d’œuvres électroacoustiques avec le système de diffusion de NAISA

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Guillaume Campion, compositeur : Programmation en direct et improvisation — un atout pour le compositeur électroacoustique

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Jean Piché

by Mario Gauthier, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Entrevue avec Jean-François Denis

by Hélène Prévost, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Entrevue avec Kearon Roy Taylor : Inclusivité et intégration dans le Cybernetic Orchestra

by jef chippewa, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Martin Tétreault : Finalement, je me suis fait avoir… / Clearly, I’ve been had…

by Sylvain Fortier, in 14.3 — Turntablism (January 2013)

Entrevue avec Maxime Corbeil-Perron et Guillaume Barrette : De Victoria à Vancouver pour les 25 ans de la CEC

by jef chippewa, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Robert Normandeau

by Hélène Prévost, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Entrevue avec Robert Normandeau : La composition multicanale comme extension de l’écriture musique concrète

by Ned Bouhalassa, in 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999)

Entrevue avec Shawn Pinchbeck, compositeur et artiste sonore : Développement d’une communauté artistique collaborative et expérimentale à Edmonton

by jef chippewa, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Entrevue avec Steve Heimbecker

by Vincent Bonin, Trans. Colette Tougas, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Entrevue avec Yves Daoust

by Hélène Prévost, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Épater la bourgeoisie… whatever. On the Obsolescence of Subversion

by jef chippewa, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Ernie Althoff — Heliosonics (1999) [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

ÉuCuE 20th Anniversary Series (2001–02)

by VA, in 4.4 — ÉuCuE: Électroacoustique université Concordia university Electroacoustics (2001)

EuCuE XXIV.13 [Report]

by Joel Corriveau, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Evan Parker Electro-Acoustic Ensemble — Drawn Inward (1999) [CD]

by Colby Leider, in 2.2 — SAN: Sonic Arts Network (1999)

Evelyn Ficarra — Frantic Mid-Atlantic (1999) [CD]

by Anna Rubin, in 2.2 — SAN: Sonic Arts Network (1999)

Évolution de la musique électroacoustique à Montréal

by Nicolas Basque, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Evolving Creative Approaches and New Media Installations

by Tania Etienne, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Exile as Noise — Noise as Exile

by Dror Feiler, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Experimental Turntablism: Historical overview of experiments with record players / records — or Scratches from Second-Hand Technology

by Karin Weissenbrunner, in 14.3 — Turntablism (January 2013)

Exploring Real, Virtual and Augmented Worlds Through “Putney”, an Extended Reality

by Ricardo Climent, Mark Pilkington and Alena Mesárošová, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Extending the Piano

by Ludger Brümmer, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Feminist Theory (and Electroacoustic Music): Some classic sources for beginning and advanced inquirers in the field

compiled bycompiled by Elizabeth Hinkle-Turner, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Festival Elektra : Soirée vidéo-musique « Discreet » [Rapport]

by Sophie Pillarella, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

Films with Significant Electroacoustic Content

by CEC, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

First Contact / Premier contact

by Shannon Peet, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

flap-o-phone Construction and Assembly Instructions

by Christopher DeLaurenti, in 14.3 — Turntablism (January 2013)

FLOSS+Art (Aymeric Mansoux and Marloes de Valk, Eds.) [Book]

by Jörn Nettingsmeier, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Folkwang University: Development of Electronic Music and the ICEM — Institut für Computermusik und Elektronische Medien (Essen, Germany) [Institutions]

by Thomas Neuhaus, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

For an Awareness of Associations

by Darren Copeland, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

For the Record. Thoughts on Medium Specificity in the Sonic Arts

by Jan Thoben, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Foreword

by Hannah Bosma, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

FRAMEWORK: Interpretation of graphic scores using a small modular system

by Mads Emil Nielsen, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Francis Dhomont in London: Electroacoustic music and history

by John Dack, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Francis Dhomont — Les dérives du signe (1996) [CD]

by Andie Sigler, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

Frank Morse Robb’s Wave Organ: The world’s first electronic organ

by Michael Murphy and Max Cotter, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Freedom Squared: Free Improvisation in the Free Software World

by Michal Seta, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

From Sound to Score and Back: Approaches to composing with spectral data

by David Litke, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

From UPIC to IanniX: Development of a three-dimensional graphic, open source environment for music, sound and beyond

by Julian Scordato, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

Fuck It, I’ll Do It Myself: Or, why on Earth would anyone start a sound art organization in Melbourne and call it JOLT?

by James Hullick, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Futura, festival international d’art acousmatique et des arts de support [Report]

by Guillaume Contré, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Future Traces: Current Trends in Electroacoustic Music

by Karen Patton, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Garth Paine — Escape Velocity (1999) [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Gary James Joynes — A Review of Visual Sound in Practice [Gallery]

by David Candler, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Gary Verkade — Winded (1999) [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Gatineau Soundwalk

by Doug Samuel, in 4.3 — Promenade sonore / Soundwalk (2001)

Gen Why Composition: Nothing to say and we are not saying it

by Jason Thomas, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Gender and Computer Music: Tracing Change

compiled bycompiled by Mara M. Helmuth and Elizabeth Hinkle-Turner, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Gender and Electroacoustics

by Hannah Bosma, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Generalizing Digital Waveguides for Composition

by Christopher Burns, Stefania Serafin and Matthew Burtner, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Genre et électroacoustique

by Hannah Bosma, Trans. Yves Charuest, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Gestural Composition

by Scott A. Wyatt, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

Getting WiGi with It. Performing and Programming with an Infrared Gestural Instrument: A Case Study

by Richard Scott, in 12.3 — Instrument—Interface (June 2010)

Gilles Gobeil — Dans le silence de la nuit (2001) [CD]

by Charlaine Gratton, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

“Gliding Slowly Back to the Body of Origin”: The interrelationship between body, voice, listening and the environment

by Wende Bartley, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Global Movement, Local Detail: The Music of Tim Hecker [Entrées]

by Brett Bergmann, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Gottfried Michael Koenig — Project 1, Version 3 (1967) [Rediscovered Treasures]

by Eldad Tsabary, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Graham Dunning [Gallery]

by Graham Dunning, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Granular Synthesis and Barry Truax’s “Riverrun” [Entrées]

by Albert J. Bouchard, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Gravikords and Pyrophones: The Reflexive Piano

by David Plans Casal, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Guide de production des Stems [pdf]

by R. Dominique Bassal, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Guide to Producing Stems [pdf]

by R. Dominique Bassal, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Hacking the CD Player

by Nicolas Collins, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Hadronized Spectra (The LHC Sonifications): Sonification of proton collisions

by Michael Rhoades, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Handheld Audio Art Devices

by Eric Leonardson, in 12.3 — Instrument—Interface (June 2010)

Haptic Field (2016–17) [Gallery]

by Christopher Salter, in 19.2 — Light+Sound (October 2017)

Harald Bode — A Short Biography

by Rebekkah Palov, in 13.4 — Harald Bode (July 2011)

Harald Bode’s Four-Voice Assignment Keyboard (1937)

by Thomas L. Rhea, in 13.4 — Harald Bode (July 2011)

Harald Bode’s Frequency Shifters and Vocoders

by Thomas L. Rhea, in 13.4 — Harald Bode (July 2011)

Harald Bode’s Notebooks

by Rebekkah Palov, in 13.4 — Harald Bode (July 2011)

Hear Me Now: The Implication and significance of the female composer’s voice as sound source in her electroacoustic music

by Elizabeth Hinkle-Turner, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Hear / See: A Slow conversation on sound and moving image

by Joseph Hyde and Jean Piché, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Hearing [wiki]: Earplugs

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing [wiki]: Glossary

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing [wiki]: Hearing Loss

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing [wiki]: Hearing Tests

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing [wiki]: Index

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing [wiki]: Resources

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing [wiki]: Testimonials

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing [wiki]: Tinnitus

by CEC, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Hearing Protection for the Critical Listener

by Elliott Berger, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Henri Chopin — Pêche de Nuit (1957) [Rediscovered Treasures]

by Eldad Tsabary, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Herbert Brun — Language, Message, Drummage (1998); Wayfaring Sounds (1998); Mutatis Mutandis (1998); Sawdust (1998) [CD]

by Warren Burt, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Hildegard Westerkamp — Transformations (1996) [CD]

by Andra McCartney, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Hildegard Westerkamp — Transformations (1996) [CD]

by Andra McCartney, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Histoire, technologies, performances : Une source de premier ordre pour la recherche sur l’électroacoustique au Canada

by Kevin Austin, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

History of Electronic Sound Modification

by Harald Bode, in 13.4 — Harald Bode (July 2011)

History, Technologies, Performances: A primary research source for electroacoustics in Canada

by Kevin Austin, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Hive: An audio programming language informed by the theory of cognitive dimensions

by Tanya Goncalves, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

How Something is Born, Lives and Dies: A composer’s approach for thematic evolution in electroacoustic music

by Orestis Karamanlis, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Hugh Le Caine: In Context, 2004

by Gayle Young, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Hugh Le Caine and the McGill EMS

by alcides lanza, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Hugh Le Caine Photo Album / Album photo de Hugh Le Caine [Photo Gallery]

by CEC, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Hugh Le Caine’s Polyphonic Synthesizer

by Paul R. Pedersen, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

“I am sitting on a fence”: Negotiating sound and image in audiovisual composition

by Laurie Radford, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

(I)MAGESOUND(S): Expanded audiovisual practice

by Andrew Hill and Jim Hobbs, in 19.2 — Light+Sound (October 2017)

Iannis Xenakis — Metastasis (1954) [Rediscovered Treasures]

by Eldad Tsabary, in 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]

by Eldad Tsabary, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

ICMC 2005, “Free Sound” [Report]

by Thomas Davis, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

ICMC 2008 [Report]

by Justin Yang, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

IEM — Institute of Electronic Music and Acoustics (Graz) [Institutions]

by Winfried Ritsch and IOhannes Zmölnig, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Imaginary Space / Spaces in the Imagination: Keynote Address at the 1999 Australasian Computer Music Conference

by Jonty Harrison, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Implications of Electroacoustic Composition in an Intercultural Context: Cultural identity and cultural meanings and uses of music timbre

by Jeff Roberts, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

“In Flight” and Audio Spray Gun: Generative composition of large sound-groups

by Richard Garrett, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

In Search of Tools for the Laptop Ensemble

by Arne Eigenfeldt, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

In Support of the SONUS Project

by Al Mattes, Kevin Austin and Steven Naylor, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

In Vitro Oink: A Composition for piano and wii-remote

by Christopher Jette, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Incidental Speakers

by Ted Apel, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

India Soundscape Project

by Will Plowman, in 4.3 — Promenade sonore / Soundwalk (2001)

Information Asphyxiation: Procrastination, distraction and the digital artist

by Steven Naylor, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

inside the eye of silence

by Vivienne Spiteri and Rob Godman, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Instant Cut

by Valeria Merlini, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Instituts de hautes études / Higher Education Institutes [Links]

by CEC, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Instrument Design Files for the Bode Klangumwandlers at the Columbia-Princeton Electronic Music Center

by Rebekkah Palov, in 13.4 — Harald Bode (July 2011)

Integrating Electroacoustic Techniques into Theatrical Performance

by Carey Dodge, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Intelligent Real-time Composition

by Arne Eigenfeldt, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Inter/National: Associations, institutions… [Links]

by CEC, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Interacting with a Corpus of Sounds

by Diemo Schwarz, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Interacting with Inner and Outer Sonic Complexity: From microsound to soundscape composition

by Barry D. Truax, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Interactive Composing with Autonomous Agents

by Michael Spicer, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Interactive Sound: Generative approaches from computation and cognition

by Roger T. Dean, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Interactive Sound Synthesis Mediated through Computer Networks

by Kameron Christopher, Jingyin He, Ajay Kapur and Dale A. Carnegie, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Interactivity

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

Intermedial Cognition: Towards a method for analyzing electroacoustic intermedia through an interpretation of the topoi in Jarosław Kapuściński’s “Oli’s Dream”

by Ryan Olivier, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

International Alliance for Women in Music Congress 2006, “Global Perspectives” [Report]

by Elizabeth Hinkle-Turner, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

International, 24/7 Electroacoustic Webradios

compiled bycompiled by jef chippewa, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Intersecting Planes: A Reminiscence of Vladimir Ussachevsky in the 1960s [pdf]

by Andrés Lewin-Richter and alcides lanza, in 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005)

Interview mit Joke Lanz, Turntablist: Eine Momentaufnahme meiner tiefsten Psyche

by Karin Weissenbrunner, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Interview with Adam Basanta, Canadian Visual and Sound Artist: Kinetic mixed-media installations and an (almost) autonomous AI art factory

by Michael Palumbo, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Interview with Al Mattes

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with alcides lanza

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with alcides lanza

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with alcides lanza

by Ian Chuprun, in 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005)

Interview with alcides lanza

by Mario Gauthier, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Interview with alcides lanza

by Mary I. Ingraham, in 10.2 — Interviews 1 (August 2008)

Interview with Alexander Schubert, German Composer: Strobes, mirrors, fog and site-specific experiences

by Nicolas Bernier, in 19.2 — Light+Sound (October 2017)

Interview with Alvin Lucier

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Amy McIntosh, New Media Artist: Creative structure in the Cybernetic Orchestra

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with Ann Southam: If only I could sing

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Anne La Berge: Three nice questions, for flute; Dada da Babylon

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Barry Schrader: Atlantis rising

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Barry Truax

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Ben Thigpen, Composer: Live laptop performance and the Audio Spotlight

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with Bentley Jarvis

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Bill Buxton, Canadian Composer and Researcher: Privileging the human aspect of electronic and computer music systems

by Norma Beecroft, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Interview with Bob Bovard

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Brad Garton

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Brenda Hutchinson: Tennessee Waltz; Eee-yi! Yi! Yi!

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Brian Fennelly, American Composer: A mess of equipment and NYU’s electronic music studio

by Bob Gluck, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

Interview with Bruno Degazio

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Carl Stone: The long jump

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Chantale Laplante

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Charlemagne Palestine, Composer and Visual Artist: Crazy things happened that I can’t imagine ever happening again

by Bob Gluck, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Interview with Charles Amirkhanian: Voice crystals; More talkin'

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Charles de Mestral

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Chris Brown: The electronic offense; Journals

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Chris Koenigsberg: Difficult listening; Ends in "Berg" for $200

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Christian Calon

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Christopher deLaurenti: Surviving seven years

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Clarence Barlow: Im Januar; Barlow and Bolero; Generating telephone complaints

by Dennis Báthory-Kitsz and David Gunn, in 12.2 — Interviews 2 (April 2010)

Interview with Claude Schryer

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Claudio Calmens: Never napping

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Cort Lippe

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Dame Evelyn Glennie

by Rick Nance, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Interview with Daniel Goode: Two musics going “bang”!

by Dennis Báthory-Kitsz and David Gunn, in 12.2 — Interviews 2 (April 2010)

Interview with Daniel Leduc

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Daniel Scheidt

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Darren Copeland, Sound Artist: The Audio Spotlight, a portable and tactile sound diffusion instrument

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with David Behrman: Kitchen sink electronics; No compromises

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with David Jaeger

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with David Keane

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with David Ogborn

by Mary I. Ingraham, in 10.2 — Interviews 1 (August 2008)

Interview with Ean White

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Eldad Tsabary

by Mary I. Ingraham, in 10.2 — Interviews 1 (August 2008)

Interview with Eliane Radigue: Bovine battle guide to stasis

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Eliot Handelman: Up the hill

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Elizabeth Anderson, Acousmatic Composer: Wilfulness vs. creative intuition

by Nicolas Marty, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Interview with Elma Miller: Estonia, Estonia!; Fürbletter and Mosconi: Ivory bumper stick pong

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Eric Lyon: Strap-on classical: The beat is back

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Francis Dhomont

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Franziska Baumann

by Julieanne Klein, in 12.2 — Interviews 2 (April 2010)

Interview with Fred Szymanski: The White Duke of Noise

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Frederic Rzewksi: The People United; Will Never Be Defeated

by Dennis Báthory-Kitsz and David Gunn, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Interview with Gayle Young

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Gayle Young, Le Caine Biographer: Seeing down to the fundamentals of sound with Hugh Le Caine

by Ryan Paul Gibson, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Interview with George Lewis: Exit Music I

by Dennis Báthory-Kitsz and David Gunn, in 12.2 — Interviews 2 (April 2010)

Interview with George Todd: Zappa, ducks and voices

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Gisèle Ricard

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Godfried-Willem Raes and Moniek Darge: Tetrahedronicalism; Logosian swirl

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Gordon Monahan, Canadian Composer and Sound Artist: Music from nowhere

by James O’Callaghan, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

Interview with Guillaume Barrette, Maxime Corbeil-Perron and Jullian Hoff: Performance of Electroacoustic Works using NAISA’s Diffusion System

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with Guillaume Campion, Composer: Live coding and improvisation — assets for the electroacoustic composer

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with Gustav Ciamaga

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Gustav Ciamaga, Canadian Composer: Hugh Le Caine’s visionary electronic music instrument designs

by Norma Beecroft, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Interview with Halim El Dabh, Egyptian Composer: “… like a sculptor, taking chunks of sound and chiselling them into something beautiful”

by Bob Gluck, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Interview with Hans Tutschku

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Harald Bode

by Jim Finch, in 13.4 — Harald Bode (July 2011)

Interview with Heidi Grundmann

by Sarah Peebles, in 12.2 — Interviews 2 (April 2010)

Interview with Hélène Prévost

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Henning Berg: Being interactive

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Hildegard Westerkamp

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Hildegard Westerkamp

by Mary I. Ingraham, in 10.2 — Interviews 1 (August 2008)

Interview with İlhan Mimaroğlu, Turkish Composer: Uptown and downtown, electronic music and “free jazz”, Ankara and New York

by Bob Gluck, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Interview with István Anhalt

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with István Anhalt, Hungarian-Canadian Composer: Being allowed to make “mistakes” while composing with Hugh Le Caine’s electronic music instruments

by James Montgomery and Gayle Young, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Interview with James Bohn: Whaddya want for free?

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with James Montgomery / Canadian Electronic Ensemble (CEE)

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with James Montgomery, Canadian Composer: Hugh Le Caine’s virtuosity in electronics

by Gayle Young, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Interview with James Tenney: Hermits of re-tuning

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Jean Piché

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Jean-François Denis

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Jean-François Denis

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with jef chippewa

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Jim Montgomery

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Joan La Barbara: Voice is the original instrument

by Dennis Báthory-Kitsz and David Gunn, in 12.2 — Interviews 2 (April 2010)

Interview with Joel Chadabe: Musical diseases

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with John Celona

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with John Chowning: “Turenas” and its innovations

by Bijan Zelli, in 12.2 — Interviews 2 (April 2010)

Interview with John Levin: Day of collisions

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with John McGuire: McGuire steps up to the platter; McGuire heads for home

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with John Oswald: Plundering the Warehouse of Threshold; The Plundering of the Tomb...

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Joke Lanz, Turntablist: A snapshot of my deepest psyche

by Karin Weissenbrunner, Trans. Karin Weissenbrunner, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Interview with Jon Appleton: Pie, song and doggerel

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Jonathan Harvey

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Interview with Jonathan Harvey

by John Palmer, in 2.2 — SAN: Sonic Arts Network (1999)

Interview with Josh Fineberg

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Joyce Beetuan Koh, Singaporean Composer: Letting time and sound pass

by Bani Haykal, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Interview with Kaija Saariaho: Finland and phone calls; Red shift through the Algonquin hole

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Karlheinz Essl

by Julieanne Klein, in 12.2 — Interviews 2 (April 2010)

Interview with Kearon Roy Taylor: Inclusivity and integration in the Cybernetic Orchestra

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with Keith Hamel

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Kevin Austin

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Kevin Austin

by Mario Gauthier, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Interview with Kevin Austin: The History of Concordia University’s Electroacoustic Programme and Concert Series

by Ian Chuprun, in 4.4 — ÉuCuE: Électroacoustique université Concordia university Electroacoustics (2001)

Interview with Kim Cascone

by Ben Nevile, in 10.2 — Interviews 1 (August 2008)

Interview with Klimchak, Atlanta-based Composer: Using everything and the kitchen sink

by Adam Scott Neal, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Interview with Kristi Allik

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Larry Lake

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Larry Polansky: Family Values Day

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Laurie Anderson: Happiness

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Laurie Spiegel: Regalia of rodents; Afflictions of ants; Deceptively simple, or simply deceptive?

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Louis Dufort

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Maggi Payne: Ozone poisoning

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Marc Battier: Cosmos acoustiques

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Marc Tremblay

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Marcelle Deschênes

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Margaret Lancaster

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Maria Chavez: Chance and turntablism(s), or, the turntable just happened to be there

by Daniel Neumann, in 14.3 — Turntablism (January 2013)

Interview with Mario Davidovsky, Argentine-American Composer: Generation One at the Columbia-Princeton Electronic Music Center

by Bob Gluck, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Interview with Marlos Nobre, Brazilian Composer: Acoustic composers also need to know about electronic music

Interview with Maryanne Amacher, American Composer and Sound Artist: A unique sensitivity to sound

by Bob Gluck, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Interview with Matt Borghi: Mootor City (being emergent III)

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Matt Rogalsky, Canadian Composer: Humanizing inhumane spaces

by Michael Palumbo, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Interview with Maxime Corbeil-Perron and Guillaume Barrette: Victoria to Vancouver on the CEC@25 tour

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with Michel Longtin

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Myke Roy

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Neil B. Rolnick: This changing thing is my instrument

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Nick Didkovsky: Bowel Town; The Love Bug

by Dennis Báthory-Kitsz and David Gunn, in 13.4 — Harald Bode (July 2011)

Interview with Nick Didkovsky: Pop Rox Pox, I; Pop Rox Pox, II

by Dennis Báthory-Kitsz and David Gunn, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Interview with Nicolas Collins: Czar Nicolas, the Tunguska Fireball; Œdipus nix

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Nicolas Collins, American Composer: Going back to the year zero

by Michael Palumbo, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Interview with Otto Joachim

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Pamela Z: Hello? Hello? Hello?

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Paul Dolden

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Paul Lansky: Room to move

by Jason Uechi, in 10.2 — Interviews 1 (August 2008)

Interview with Paul Steenhuisen

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Pauline Oliveros: Lawrence Welk used a little stick

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Peter Beyls: Who Beyls us out?

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Peter Bosch, Dutch Installation Artist: More instinct than science

by Michael Palumbo, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Interview with Phil Kline

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Phil Kline: The twelfth root of boom

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Philip Mead, British Pianist: Performing music for piano and electronics

by Xenia Pestova, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Interview with Philippe Ménard

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Pierre Alexandre Tremblay

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with R. Benjamin Knapp and Eric Lyon: The Biomuse Trio in conversation

by Gascia Ouzounian, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Interview with Randall Smith

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Rhys Chatham, American Composer: Monday nights at the Kitchen were dark. Until…

Interview with Richard McKenzie

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Richard Zvonar: Diablo talker

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Robert Duckworth: Broken Streams

by Dennis Báthory-Kitsz and David Gunn, in 13.4 — Harald Bode (July 2011)

Interview with Robert Normandeau

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Robert Normandeau

by David Ogborn, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Interview with Robert Normandeau

by Alexa Woloshyn, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Interview with Robert Normandeau: Multi-track composing as an extension of musique concrète writing

by Ned Bouhalassa, in 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999)

Interview with Sarah Peebles: Music unseen; Rhythm and blows

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Scott Johnson: Art music happens

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Sebastian Buczek: Plastik Fantastik

by Ignaz Schick, in 14.3 — Turntablism (January 2013)

Interview with Sergio Barroso

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Shahrokh Yadegari

by Bijan Zelli, in 12.2 — Interviews 2 (April 2010)

Interview with Shawn Pinchbeck, Composer / Sound Artist: Development of a collaborative and experimental artistic community in Edmonton

by jef chippewa, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Interview with Simon Emmerson

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Interview with Stelarc: “Fractal Flesh”, alternate anatomical architectures

by Marco Donnarumma, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Interview with Stéphane Roy

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Stephanie Moore, Canadian Composer: Nocturnal worlds

by Michael Palumbo, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Interview with Steve Heimbecker

by Vincent Bonin, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Interview with Susan Frykberg

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with sylvi macCormac: Yo! Able Dis!

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Tony Martin, Liquid Light Artist and Painter: A Visual language of enormous and tiny, brilliant and slimy, dark and fuzzy

by Bob Gluck, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Interview with Trudi Le Caine

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Tzvi Avni, Israeli Composer: Go find your own tricks!

by Bob Gluck, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Interview with Udo Kasemets: Time trip to Hale-Bopp... and back

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Vinyl Terror & Horror: Worst-case scenario

by Andreas Engström, in 14.3 — Turntablism (January 2013)

Interview with Warren Burt: The coming of spring; Heat wave

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Wendalyn Bartley, Canadian Composer: Remaining silent… listening

by Michael Palumbo, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Interview with Wende Bartley

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interview with Xenia Pestova

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interview with Yannis Kyriakides: The mysterious Yanni; Physicality

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interview with Yves Daoust

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interviews

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Interviews [wiki]: List of interviews with electroacoustic composers, performers, programmers and more

by CEC, in 12.2 — Interviews 2 (April 2010)

Interviews by John Palmer

by John Palmer, in 10.2 — Interviews 1 (August 2008)

Interviews by Kalvos and Damian

by Dennis Báthory-Kitsz and David Gunn, in 10.2 — Interviews 1 (August 2008)

Interviews by Ned Bouhalassa

by Ned Bouhalassa, in 10.2 — Interviews 1 (August 2008)

Interviews by The Canadian Music Centre: The “Influences of Many Musics” Project

by CMC, in 10.2 — Interviews 1 (August 2008)

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]

by Philippe-Aubert Gauthier, Alain Berry and Wieslaw Woszczyk, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

Inventionen / SMC08 (Berlin) [Photo Essay]

by jef chippewa, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Investigating Audience Reception of Electroacoustic Audio-visual Compositions: Developing an Effective Methodology

by Andrew Hill, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Investigative Studies on Sound Diffusion/Projection at the University of Illinois: A Report on an explorative collaboration

by Scott A. Wyatt, in 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999)

Is Ableton Open Source?

by Gerhard Behles, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Is there a Québec Sound? [pdf]

by Francis Dhomont, Trans. Ned Bouhalassa and Kevin Austin, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

It’s Not an Instrument, It’s an Ensemble: A Parallel approach to modular synthesizer design

by Joseph Hyde, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Je me souviens [Compte rendu]

by Timothy Sutton, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Je me souviens [Report]

by Timothy Sutton, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Journal de bord d’une expédition aux antipodes : La création de la bande sonore de « Pôles »

by Ginette Bertrand, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Journal de bord d’une expédition aux antipodes: The composition of “Pôles”

by Ginette Bertrand, Trans. Kevin Austin (English summary), in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Journées de la composition électroacoustique 2005 : Table ronde au CNSMD de Lyon le 11 octobre 2005

modéré parmodéré par Christian Eloy, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Just Outside our Hearing

by Joleen Loh, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Karlheinz Stockhausen’s “Kontakte” and Narrativity

by John Dack, in 2.2 — SAN: Sonic Arts Network (1999)

Katharine Norman — London (1996) [CD]

by Darren Copeland, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Katharine Norman — London (1996) [CD]

by Darren Copeland, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Kent Sparling — Route Canal Diary (1997) [CD]

by Jean Routhier, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

KERNEL : L’histoire d’un ensemble d’ordinateurs, projet de pensée électronique

by Kasper T. Toeplitz, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Keyboard + Live EA [wiki]

by CEC, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Keyboard + Live EA [wiki]: Bibliography

by CEC, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Keyboard + Live EA [wiki]: Toy Piano + EA Repertoire

by CEC, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Kontakte by Karlheinz Stockhausen in Four Channels

by Kevin Austin, in 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]

by Kevin Austin, in 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

by Kevin Austin, in 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]

by Kevin Austin, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Kwik Picks 04: Recent additions to Sonus.ca, the CEC’s online EA Jukebox [SONUS]

by Kevin Austin, in 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]

by Kevin Austin, in 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]

by Kevin Austin, in 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]

by Kevin Austin, in 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]

by Kevin Austin, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

L’écriture acousmatique : Rappels et questionnements

by Francis Dhomont, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

L’électroacoustique au Canada

by Jean-François Denis, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

La bibliothèque de bandes du studio UTEMS : University of Toronto, Electronic Music Studio

by Dennis Patrick, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

La mort de la chanteuse : Le statut d’auteur et les voix de femmes dans la musique électronique

by Hannah Bosma, Trans. Yves Charuest, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

La nature du son en perspective

by Claire Piché, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

La pratique du mastering en électroacoustique [pdf]

by R. Dominique Bassal, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

La réutilisation de données dans les pratiques artistiques de sonification

by Simon Coovi-Sirois, Guillaume Boutard and Nicolas Bernier, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

La synthèse musicale inspirée de la physique des instruments de musique : Considérations techniques et musicales

by Philippe-Aubert Gauthier, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

Lab Report: Die 50 Skulpturen des Institut für Feinmotorik

by Institut für Feinmotorik, in 14.3 — Turntablism (January 2013)

Lachine Canal: Journées Sonores

by Andra McCartney, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

LANdini: A Networking utility for wireless LAN-based laptop ensembles

by Jascha Narveson and Dan Trueman, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Latin American Electroacoustic Music Collection: The Daniel Langlois Foundation for Art, Science and Technology in Montréal

by Ricardo Dal Farra, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Launch Concert for the Concordia Archival Project (CAP) [Sonus Gallery]

by jef chippewa and Kevin Austin, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Le “documentaire acousmatique” et ses moyens de diffusion : Un regard sur le “Projet Archipel”

by Guillaume Campion and Guillaume Côté, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Le mastering d’« Epiphanie Sequence » : Quelques réflexions

by Joseph Anderson, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Le mastering en électroacoustique / Sound Mastering for Electroacoustics

by R. Dominique Bassal, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

Le mixtering : Modèle de travail pour une qualité sonore accrue en électroacoustique

by R. Dominique Bassal and Pierre Alexandre Tremblay, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Le Projet d’archivage Concordia (PAC) : Restauration, archivage, et présentation en ligne de l’histoire de la musique électroacoustique canadienne

by jef chippewa and Yves Gigon, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Le Projet d’archivage Concordia (PAC), eLearning : Activités d’apprentissage

by CEC, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Le Projet d’archivage Concordia (PAC), eLearning : Introduction

by CEC, in 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

by CEC, in 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

by CEC, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Le Projet d’archivage Concordia (PAC), eLearning : Module 3. Processus d’archivage de la collection

by R. Dominique Bassal, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Learning to Listen: Composing on Hugh Le Caine’s instruments in UTEMS ca. 1962

by Robert Aitken, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Le Caine, Mirrored Through Memory

by Kevin Austin, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Leo Kupper — Ways of the Voice (1999) [CD]

by Warren Burt, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Les archives du Center for Contemporary Music : Mills College à Oakland, Californie

by Maggi Payne, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Les Archives Michael Gerzon et le projet Archival Sound Recordings de la British Library

by Paul Wilson and Adam Tovell, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Les ondes cachées entre le son et la lumière : Détournements de cellules solaires dans « Scanner Me, Darkly »

by Stephanie Castonguay, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Les quatre niveaux de réception d’une œuvre électroacoustique

by Charles Edouard Platel, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Letter of Support

by Martín Alejandro Fumarola, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Letter of Support

by alcides lanza, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Letter of Support

by Barry D. Truax, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Letter of Support

by Scott A. Wyatt, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Letter of Support: President of the Society for Electro-Acoustic Music in the United States (SEAMUS)

by Jon Christopher Nelson, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

“LEXICON” — Behind the Curtain

by Andrew P. Lewis, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Liens Audio et technologie / Audio and Technology Links

by CEC, in 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999)

Linux Audio Conference (Berlin, 22–25 March 2007) [Report]

by Michael Iber, Trans. jef chippewa, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Linux Audio-Konferenz (Berlin, 22.–25. März 2007) [Report]

by Michael Iber, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Listening to Radio Plays: Fictional soundscapes

by Michael Gogins, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Live Ambisonic Beta: A design for quick and evocative live spatialization of multiple inputs

by Carey Dodge, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Live and Non-Realtime Source Separation Effects for Electroacoustic Music

by Nick Collins, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Live Coding Choreography with Terpsicode: Enabling agency for the human interpreter

by Kate Sicchio, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Live Sound Spatialization and On-Stage Feedback Control: Cues for the development of interaction between acoustic and electronic musicians

by Ana Dall’Ara-Majek and Ida Toninato, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Lo-Fi Adventures in Obsolete Media

by Risto Holopainen, in 12.3 — Instrument—Interface (June 2010)

Lo-Fi Cartridge Construction and Function of the Constraint

by Ian Andrews, in 14.3 — Turntablism (January 2013)

loadbang: Programming Electronic Music in Pure Data (Johannes Kreidler) [Book]

by IOhannes Zmölnig, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Looking Back, Looking Forward: Reflecting on the past for a notation of the future

by Alyssa Aska and Martin Ritter, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

Lost in Transformation: Composer as translator

by Benjamin O’Brien, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Low-Watt Radio and the Technological Mediation of the Voice: Or, Radio, voice and the sonic commons

by Kathy Kennedy, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Lumia and Visual Music: Using Thomas Wilfred’s Lumia factors to inform audiovisual composition

by Dave Payling, in 19.2 — Light+Sound (October 2017)

Lumière, matière, science, fiction : réflexions sur la relation son et lumière dans le cycle d’œuvres « frequencies »

by Nicolas Bernier, in 19.2 — Light+Sound (October 2017)

M2 Diffusion: The Live diffusion of sound in space

by Adrian J. Moore, Dave Moore and James Mooney, in 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005)

Making Contact

by David Eves, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Making the Makestra: Repurposed, bio-electronic and 3D-printed instruments

by Jean-Michel Maujean and Cissi Tsang, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Marcelle Deschênes: Marcelle the multifaceted

by Rosemary S. Mountain, in 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005)

Marcelle Deschênes — Indigo: Biography and Analysis [Entrées]

by Todd Griffiths, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Marco Donnarumma [Gallery]

by Marco Donnarumma, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Maria Chavez [Gallery]

by Maria Chavez, in 14.3 — Turntablism (January 2013)

Martin Howse [Gallery]

by Martin Howse, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Martin Tétreault’s Turntable Quartet in Akousma 9 [Report]

by Joseph Sannicandro, in 14.3 — Turntablism (January 2013)

Mary Lee Roberts — 6 Compositions (1997) [CD]

by Warren Burt, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Mastering

by R. Dominique Bassal, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Mastering

by R. Dominique Bassal, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Mastering the “Epiphanie Sequence”: A few words or so

by Joseph Anderson, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Mastering the Mutable: Music, technology and change

by Steven Naylor, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Masterpiecing Electroacoustic Music: Pedagogical reflections from a musicological perspective

by Cathy Cox, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Max/MSP vs. the iPhone: Two compositional approaches to the use of live electronics

by Hans Tutschku, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Maxine Banerji: The mutually beneficial practices of youth development and interactive music system development

by Ritwik Banerji, in 12.3 — Instrument—Interface (June 2010)

Metal Machine Music: The Phonograph’s Voice and the Transformation of Writing

by Michael Heumann, in 14.3 — Turntablism (January 2013)

Michel Waisvisz (1949–2008) [In Memoriam]

by VA, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Micheline Coulombe Saint-Marcoux et Marcelle Deschênes : Pionnières dans le sentier de la création électroacoustique

by Marie-Thérèse Lefebvre, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

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”

by jef chippewa, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

“Mirlitones”, a Fragile and Complex Sonorous System

by Peter Bosch and Simone Simons, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Mise à jour 2001

by Shannon Peet, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Mixtering: A working model for an enhanced sound quality in electroacoustics

by R. Dominique Bassal and Pierre Alexandre Tremblay, Trans. jef chippewa, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Mobile Gesture-Controlled Speech Synthesis for Performance

by Bob Pritchard and Sidney Fels, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

“Mockingbird”: Abstracted confessions through political music

by Brian Garbet, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

“MODULO”: A Musical Documentary and Tribute to Hugh Le Caine

by Travis Boisvenue and Ryan Paul Gibson, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Moving Beyond the Weird, Creepy and Indescribable: Pedagogical principles and practices for listening to electroacoustic music in the general education classroom

by Alexa Woloshyn, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Much Ado About Loudness

by Gavin Fernandes, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Multi-Agency and Real-Time Composition in “In Equilibrio”

by Arne Eigenfeldt, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Mundus Imaginalis: Artistic statement and artist biographies

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Musebots: Collaborative composition with creative systems

by Arne Eigenfeldt, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Music for Lamps (2012–16) [Gallery]

by Adam Basanta, Julian Stein and Maxwell Stein, in 19.2 — Light+Sound (October 2017)

music for voice [personal recollections]: Compositional Process using Text/Voice and Tape

by alcides lanza, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

Music in the Wilderness

by Carrie Faith Alain, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Musical Behaviours: Algorithmic composition via plug-ins

by Bruno Degazio, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Musical Structure, Shifting Perspectives and Composition

by Natasha L. Barrett, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Musicians at Play: Collaboration between performers and composers in the creation of mixed electroacoustic music

by Terri Hron, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Musicians Tackle Tinnitus

by Jennifer DuPriest, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Musique Acousmatique and Imaginary Spaces

by Bijan Zelli, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Musique acousmatique : continuité ou rupture? [Keynote]

by Annette Vande Gorne, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Musique électroacoustique en Argentine : Plaidoyer pour l’écoute de la musique de Carmelo Saitta

by Jorge Sad, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

musique pour voix [souvenirs personnels] : Processus de composition utilisant la voix/texte et bande

by alcides lanza, Trans. Yves Gigon, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

Musique visuelle : De la musique au-delà des frontières du son

by Patrick Saint-Denis, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Musiques du temps présent [Report]

by Vivianne Padiernos Asselin, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

Mutations (megamix): Exploring Notions of the “DJ set”, “Mashup” and “Remix” through Live Piano-based Performance

by Robert Ratcliffe, Jonathan Weinel and Zubin Kanga, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Mutek 2008 [Report]

by Greg J. Smith, in 10.2 — Interviews 1 (August 2008)

My Cyber Chamber Music Partner: A Project for piano, electronics and video

by Rei Nakamura, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

My Personal Long-Playing History of the LP

by John Oswald, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

MyPic: A Tool for computer-assisted algorithmic composition

by Daniel Swilley, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Mystery Tapes — My Desert Island Vinyl Collection [Commentary]

by John Oswald, in 14.3 — Turntablism (January 2013)

National Campus and Community Radio Association: NCRA stations and music director contacts

by CEC, in 2.3 — Radiophonique / Radiophonic (1999)

Ne détruisez pas les archives!

by Michael Gerzon, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Ne pas dépendre du futur, tant que nous n’y sommes pas

by Dennis Báthory-Kitsz, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Negative Money: Care Of Editions

by Gary Schultz, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Negotiating Shared Live Coding Practices in SuperContinent, an Online Laptop Ensemble

by Shelly Knotts, Celeste Betancur, Abhinay Khoparzi, Melanie Laubscher, Mynah Marie, David Ogborn, Chiho Oka and Eldad Tsabary, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

New Behaviours and Strategies for the Performance Practice of Real-Time Notation

by Seth Shafer, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

new eyes — for [single] player (2017) [Gallery]

by Remy Siu, in 19.2 — Light+Sound (October 2017)

NIME 2010 [Report]

by Bob Pritchard, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

“No Time for Silence”

by Victoria Fenner, in 4.3 — Promenade sonore / Soundwalk (2001)

Noise as Form

by Dror Feiler, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Noise can be Harmful to your Health

by David Shepherd, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Noise-Induced Hearing Loss

by John Wynne, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Noise, Nonsense, and the New Media Soundscape

by Salman Bakht, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Observation at the “Into the Soundscape III” Concert

by Will Gay Bottje, in 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04)

Observer le processus de constitution d’une notation musicale en direct

by Évelyne Gayou, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

Observing in Real Time the Making of a New System of Musical Notation

Ohr-Weide — Salix aurita: A Work for 150 floating loudspeakers by île flottante

by Lilian Beidler, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

On Light Music Before Cinema

by Patrick Saint-Denis, in 19.2 — Light+Sound (October 2017)

On Mentoring Composition Students

by Katharine Norman, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

On the Brink of (In)visibility: Granulation techniques in visual music

by Diego Garro, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

On the Webcasting of Harvest Moon 2005; Interview with Sound Engineer Mark Corwin

by Timothy Sutton, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

“One at a Time by Voice”: Performing with the voice-controlled interface for digital musical instruments

by Stefano Fasciani and Lonce LaMar Wyse, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Open Source Software and Electroacoustic Music Creation: An overview and personal practices

by Hector Centeno, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Open Source Travel Guide [wiki]: A Free Software Travel Guide

by Jörn Nettingsmeier, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Open Source Travel Guide [wiki]: Bibliography

by Jörn Nettingsmeier and jef chippewa, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Open Source Travel Guide [wiki]: Getting There

by Jörn Nettingsmeier and jef chippewa, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Open Source Travel Guide [wiki]: Index

by Jörn Nettingsmeier and jef chippewa, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Open Source Travel Guide [wiki]: Language

by Jörn Nettingsmeier and jef chippewa, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Open Source Travel Guide [wiki]: People and Community

by Jörn Nettingsmeier and jef chippewa, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Oral History Project: The Video Archive of the Electroacoustic Music

by Eric Chasalow and Barbara Cassidy, in 12.2 — Interviews 2 (April 2010)

Oral History Project: The Video Archive of the Electroacoustic Music

curated bycurated by Eric Chasalow and Barbara Cassidy, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Organizing for Emergence: Computer vision and data mining as co-creative devices

by Teresa Connors, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Oscillations 2005, Festival of Electroacoustic Music [Report]

by Steven Naylor, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Oscillations 2008 Festival [Report]

by Steven Naylor, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Other Voices, Other Bodies: Considerations for sound creation within the technology-enabled listening environment

by Erin Gee, in 12.3 — Instrument—Interface (June 2010)

Où l’eau rencontre…

by Andra McCartney, Trans. Yves Gigon, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Parallel Trajectories in Manfred Stahnke’s Internet Opera “Orpheus kristall”

by Navid Bargrizan, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Partch Harp: Description of two special tunings for the acoustic harp and Yamaha DX7-II FD Synthesizer

by Manfred Stahnke, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

“Participle Dangling, in Honour of Gertrude Stein”: Composing with Hugh Le Caine’s Special Purpose Tape Recorder at UTEMS in 1966

by Pauline Oliveros, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Paul Lansky — The Lesson (1989) [Rediscovered Treasures]

by Eldad Tsabary, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Pauline Oliveros — Alien Bog (1967) / Beautiful Soop (1966) [CD]

by Elizabeth Hinkle-Turner, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Pauline Oliveros — Alien Bog (1967) / Beautiful Soop (1966) [CD]

by Elizabeth Hinkle-Turner, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Perceived Control and Mimesis in Digital Musical Instrument Performance

by William Brent, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Perceptual Benchmarks

by R. Dominique Bassal, Trans. jef chippewa, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Performance of Bill Thompson’s dismantle for laptop (solo) [Photo Gallery]

by Bill Thompson, in 12.3 — Instrument—Interface (June 2010)

Performing the Listener: Utilizing auditory distortion products in the compositional process

by Brian Connolly, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Petit guide de la musique des ondes cérébrales : Quarante années de recherche et d’expérimentation

by Andrew Brouse, Trans. Andrew Brouse and Ève Renaud, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Philip Baer and the Sounds of Movement

by Jason Poon, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Photos from the 2009 Toronto Electroacoustic Symposium (TES) [Photo Essay]

by Kevin Austin, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Piano, Sensors + Live-Electronics: The Performer’s Perspective

by Joan Riera Robusté, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Plastic Music, Aural Models and Graphic Representation

by Rick Nance, in 12.3 — Instrument—Interface (June 2010)

Playing with the Voice and Blurring Boundaries in Hildegard Westerkamp’s “MotherVoiceTalk”

by Alexa Woloshyn, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Plays Well With Others: Regarding modular synthesizer in collaborative performance practice

by Ryan William Gaston, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

plectros III (1971–I), for piano and synthesized sounds

by alcides lanza, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

Plunderphonics, or Audio Piracy as a Compositional Prerogative

by John Oswald, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Pondering Value in the Performance Ecosystem

by Owen Green, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Préface

by Hannah Bosma, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Présentation des œuvres électroacoustiques sur des systèmes multi haut-parleurs: 5 Questions à Francis Dhomont

by Nicolas Basque and Andrew Watson, in 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005)

Présentation des œuvres électroacoustiques sur des systèmes multi haut-parleurs: 5 Questions à Robert Normandeau

by Nicolas Basque and Andrew Watson, in 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

by Nicolas Basque and Andrew Watson, in 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005)

Presentation of Electroacoustic Works on Multi-Speaker Systems: 5 Questions to Richard Zvonar

by Nicolas Basque and Andrew Watson, in 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005)

Prise de position

by Pete Stollery, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Problèmes courants, interventions et résultats

by R. Dominique Bassal, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

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

by Mark Applebaum, in 12.3 — Instrument—Interface (June 2010)

Projet d’archivage Concordia

by jef chippewa and Yves Gigon, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Projet d’archivage EMS : École de musique Schulich à l’Université McGill

by alcides lanza, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Proprioception, Effort and Strain in “Hypo Chrysos”: Action art for vexed body and the Xth Sense

by Marco Donnarumma, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Qu’est-ce que la collection d’enregistrements de Concordia (Concordia Tape Archive)?

by Kevin Austin, Trans. Yves Charuest, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Quasar au Festival Electrochocs [Rapport]

by Pierre-Olivier Dufresne, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

Quince: A Modular approach to music editing

by Maximilian Marcoll, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Quotes, Music Technology and Post-Modernity: Quantitative Studies into “Music Technology” degrees in Britain

by Carola Boehm, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Radio and Aural Destabilization #4a: Radio as secret pleasure ground

by Bart Plantenga, in 2.3 — Radiophonique / Radiophonic (1999)

Radio Art Companion to “Deep Wireless 2002”: CD liner notes

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Radio Art Companion to “Deep Wireless 2002”: Foreword

by Darren Copeland and Nadene Thériault-Copeland, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Radio Culture

by Jacki Apple, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Radio Links

by CEC, in 2.3 — Radiophonique / Radiophonic (1999)

Radiocasting: Musings on radio and art

by Dan Lander, in 2.3 — Radiophonique / Radiophonic (1999)

Radiophonic Arts and the Problem of the Stage

by Joseph Sannicandro, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Rainforest Soundwalks: Ambiences of Bosavi, Papua New Guinea” (Steven Feld) [CD]

by Carlos Palombini, in 4.3 — Promenade sonore / Soundwalk (2001)

Re-auralizing Nature: Musical practice as a means to a greater understanding of the natural world

by Paul Scriver, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Real-time Manipulation of Synthesis Parameters Using a Brainwave Interface and a Eurorack Modular Synthesizer

by Dave O Mahony, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Real-Time Spectral Analysis and Dispersion

by Martin Ritter, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Reciprocal Listening in Electroacoustic Sound Installation

by Micheline Roi, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Recreating the Real, Realizing the Imaginary: A Composer’s preoccupation with acoustic space [pdf]

by Rob Godman, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

Reflections on Aspects of Music Interactivity in Performance Situations

by PerMagnus Lindborg, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Reflections on Harald Bode

by Caspar Abocab, in 13.4 — Harald Bode (July 2011)

Remembering Hugh

by David Jaeger, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Remembering Hugh Le Caine

by Norma Beecroft, in 17.2 — The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music (January 2016)

Reply to Alexandre Burton’s Music/Audio/New Media Questionnaire

by Kevin Austin, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Reply to Robert Normandeau’s Question to International Members

by Jonty Harrison, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Reply to Robert Normandeau’s Questionnaire

by Kevin Austin, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Reply to Robert Normandeau’s Questionnaire

by jef chippewa, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Reply to Robert Normandeau’s Questionnaire

by Ian Chuprun, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Reply to the Contemporary Music Review

by Kevin Austin, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Réponse au questionnaire de Robert Normandeau

by Francis Dhomont, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Réponse au questionnaire de Robert Normandeau

by Alain Thibault, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Report on Visiones Sonoras [Review]

by Michael Matthews, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Repurposing the Compositional Experience: The Spring Guitar and a Kataba saw, a self-built “instrument as sound composition”

by Anatol Rivero Brito, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Requiem for Radio: Sound sculptures, shortwave simulcasts, performances and pirates

by Amanda Dawn Christie and Lukas Pearse, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Resounding but Not Sounding: Diffusing into interior spaces of instruments

by James O’Callaghan, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Reviving Parmegiani’s “Stries” (1980): Translation of historic analogue works into the digital domain

by Sebastian Berweck, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Richard Maxfield and Harold Budd — The Oak of the Golden Arms (1999) [CD]

by Warren Burt, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Riding the Dragon: Toward a pedagogy of free musical improvisation

by Gordon Fitzell, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

River Trent Soundwalk

by Dallas Simpson, in 4.3 — Promenade sonore / Soundwalk (2001)

Robert Paredes — Forgetting and Remembering (1999) [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Savoir d’où l’on vient pour savoir où l’on est

by Kevin Austin, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Scalable, Collective Traditions of Electronic Sound Performance: A Progress Report

by David Ogborn, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Scherzophobia: Toward a Postmusic

by Jon Panther, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Schizophonia vs. l’objet sonore: Soundscapes and artistic freedom

by Francisco López, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

« Schizophonia » vs. l’objet sonore : Le paysage sonore (soundscape) et la liberté artistique

by Francisco López, Trans. jef chippewa, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Score of Jean-François Denis’ “Point-virgule” (1990)

by Rajmil Fischman, in 2.2 — SAN: Sonic Arts Network (1999)

Scrapyard Aesthetics and the Swansong of the Inspiron

by Bill Thompson, in 12.3 — Instrument—Interface (June 2010)

Sculpting Sound: A History of the CEC

by Rosemary S. Mountain, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

SEAMUS à ÉuCuE XVI.07 [Rapport]

by Barry Schrader, Trans. David Lindsay, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

SEAMUS at ÉuCuE XVI.07 [Report]

by Barry Schrader, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

SEAMUS Overview

by Stephen David Beck, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

Searching for Critical Mass

by Ian Chuprun, in 2.2 — SAN: Sonic Arts Network (1999)

Seeing Sound Symposium 2013 [Report]

by Maura McDonnell, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Send + Receive: A Festival of Sound [version 8] [Review]

by Deanna Radford, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Send + Receive: A Festival of Sound v.9 [Preview]

by Sandee Moore, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Shades of Synchresis: A Proposed framework for the classification of audiovisual relations in sound-and-light media installations

by Adam Basanta, in 19.2 — Light+Sound (October 2017)

Shadow-walks: Toronto edition

by Viv Corringham, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Shape tool. Shaped by tool. Reshape tool?

by Tim Harcourt-Powell, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Sharing the Source: A very brief history of computing at CCRMA [Institutions]

by Fernando López-Lezcano, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Sharing the Studio to Create “Lepidoptera”: Collaboration and notation

by Terri Hron, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

Sign Waves: Artist biographies

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Sign Waves Companion: Foreword

by Nadene Thériault-Copeland, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Situation de l’électroacoustique au Canada

by Robert Normandeau, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

So… What is Electronica Anyway?

by Digs Dorfman, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

So What? I Don’t Hack!

by Jörn Nettingsmeier, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Soft Revolvers (2014) [Gallery]

by Myriam Bleau, in 19.2 — Light+Sound (October 2017)

Software Tools for Electronic Wind Instrument Performance

by Bruno Degazio, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Some Alternative Methods of Composition

by Frank Koustrup, in 12.3 — Instrument—Interface (June 2010)

Some Considerations for Spatial Design and Concert Projection with Surround 5.1

by Felipe Otondo, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Sommaire des rencontres avec les communautés de la musique nouvelle à Toronto, Montréal et Vancouver en décembre 2000

by Judy Harquail and Lendre Kearns, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Sonic Arts Network’s Reply to Robert Normandeau’s Questionnaire

by Pete Stollery, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Sonification as Semblance: A Phenomenological investigation into music composition

by Josh Horsley, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Sonik Spring

by Tomás Henriques, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Sound and Music Computing Conference 2008 [Report]

by Peter Castine, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Sound Installations: Altering the experience of space

by Darren Copeland, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Sound Never Ages: Archaeoacoustic memory

by Don Hill, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Sound Out: On the Prairies

by Deanna Radford, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Sound Reproduction Using Multi-Loudspeaker Systems

by Philippe-Aubert Gauthier, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

Sound Synthesizer Creates New Musical Effects

by Harald Bode, in 13.4 — Harald Bode (July 2011)

Sound Travels 2002: Artist biographies

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Sound Travels 2002: Concert program notes

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Sound Travels 2002: Schedule of events

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Sound-Initiated Drawing and Memory Impairment

by Brenda Hutchinson, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Sounding Art: Eight Literary Excursions through Electronic Music (Katharine Norman) [Book]

by David Prescott, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Sounding Canadian Communities: A Project proposal

by Ian Chuprun, in 4.3 — Promenade sonore / Soundwalk (2001)

SOUNDPlay 2002: Artist biographies

by NAISA, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Soundscape Composition and the Subversion of Electroacoustic Norms

by Andra McCartney, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Soundscape Composition and the Subversion of Electroacoustic Norms: [Abridged version 2002]

by Andra McCartney, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Soundscape Composition, Globality, and Implicated Critique

by Phil Thomson, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Soundscapes: An historical approach

by José Iges, in 3.4 — Histoires de l’électroacoustique / Histories of Electroacoustics (2000)

Soundscapes and Anachronisms in Music for Laptop Ensemble

by Michael Lukaszuk, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Soundscaping the Paramount: A Research Project at the Famous Players Paramount Movie Theatre in Montreal, Canada

by Lisa Gasior, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Soundwalking

by Hildegard Westerkamp, in 4.3 — Promenade sonore / Soundwalk (2001)

Soundwalking: Follow your ears

by Gregg Wagstaff, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Soundwalks

by Andra McCartney, in 4.3 — Promenade sonore / Soundwalk (2001)

Southern Soundscapes: Ecological sound art responses to two South Australian ecosystems

by Jesse Budel, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Space and Computer Music: A Survey of Methods, Systems and Musical Implications

by Bijan Zelli, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Spaces Speak, Are You Listening? Experiencing Aural Architecture (Barry Blesser and Linda-Ruth Salter) [Book]

by João Miguel Pais, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Spatialization Without Panning

by Benjamin Thigpen, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Spectral Delay as a Compositional Resource

by John Gibson, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

Spectralism and Microsound

by David Litke, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Spectro-Morphological Diatonicism: Unlocking style and tonality in the works of Denis Smalley through aural analysis

by Paul Rudy, in 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04)

Spectro-Morphology and Structure: An Analysis of Gilles Gobeil’s “Le vertige inconnu”

by Joseph Harchanko, in 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04)

Spectromorphology Hits Hollywood: Morphology, objectification and moral messages in the sound design of “Black Hawk Down”

by Philippa Gates and Paul Rudy, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Statement of Position

by Pete Stollery, in 9.3 — Mastering en électroacoustique : un état des lieux / Mastering in Electroacoustics: State of affairs (April 2007)

Stelarc [Gallery]

by Stelarc, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

Stelarc and Rainer Linz — Fractal Flesh (1999) [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Steven Feld on “Rainforest Soundwalks: Ambiences of Bosavi, Papua New Guinea” (2001)

by Carlos Palombini, in 4.3 — Promenade sonore / Soundwalk (2001)

Stop, Look and Listen

by Mary Simoni, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Stratégies d’écoute dans ma pratique d’art sonore [Keynote]

by Chantal Dumas, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

Structure Formation: An Analysis of electronic superimpositions in Stockhausen’s “Solo”

by Mark Nerenberg, in 16.3 — TES 2013: 7th Toronto Electroacoustic Symposium / 7e Symposium électroacoustique de Toronto (December 2014)

Studies in Sound and Vibration: VibraFusionLab, An innovative centre for arts-based vibratactile research and creative practice

by David Bobier, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Studio FLAT: A new studio for computer music at the University of Manitoba

by Örjan Sandred, in 9.2 — Régions canadiennes : Les prairies / Canadian Regions: The Prairies (March 2007)

Subversive Qualities in Experimental Practices

by Karin Weissenbrunner, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

Summary Report of Meetings with the New Music Communities in Toronto, Montreal and Vancouver in December 2000

by Judy Harquail and Lendre Kearns, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

Susan Frykberg — Astonishing Sense of Being Taken Over by Something Far Greater Than Me (1998) [CD]

by Warren Burt, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Suspended Imprints: An Exploration of space, sound and the inner monologue

by Samantha Horseman, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Sustainable Live Electroacoustic Music

by Nicola Bernardini and Alvise Vidolin, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Symbolic Representation of Chords for Rule-Based Evaluation of Tonal Progressions

by Eddy K.M. Chong and Qin Ding, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Sympathetic Vibration: Prolongation of sound by reflection

by Markus Jones, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Synths and Social Capital

by Andrew Duff, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Systèmes, écologie, son : Une cartographie conceptuelle

by Estelle Schorpp, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

Talismania (Fetishizing the Fetish)

by Mike Hansen, in 14.3 — Turntablism (January 2013)

Tape Nights in Sydney [Report]

by Gordon Monro, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Teaser: By Listening to the Sounds that Inhabit Our World, We Can Learn Much About the World We Inhabit…

by Victoria Fenner, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Technology-Based Sonic Arts in Norway [Community Reports]

by Jøran Rudi, in 12.2 — Interviews 2 (April 2010)

TES 2007 [Photo Gallery]

by David Ogborn, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

The “Beast” that is Live Spatialization

by Carey Dodge, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

The 2006 Sonorities Festival: An event of rather unusual combinations, line-ups and mixes of sonic samples [Report]

by CEC, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

The Archiving of “Obsessed Again…— by Keith Hamel: InterPARES 2, Case Study Report 13

by Scott Amort, Keith Hamel, Jesse Read, John B. RoederCP-6081, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

The Audio Spotlight in Electroacoustic Performance Spatialization

by Darren Copeland, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

The AudioVisual and the Question “Why?”

by Nicolas Wiese, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

The CCA Media Arts Section’s Electronic Dissemination Questionnaire

by Katarina Soukup, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

The CCA’s Contemporary Music Section Review of National Arts Service Organizations

by Tim Brady, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

The CCA’s New Music Infrastructure Questionnaire

by Richard Simas, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

The CEC’s Reply to Tim Brady’s National Arts Service Organizations Questionnaire

by Rosemary S. Mountain, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

The CEC’s YouTube Channel

by CEC, in 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 Choreography of Noise: Analysis of Henry Gwiazda’s “buzzingreynold’sdreamland”

by Bijan Zelli, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

The Compositions of Harald Bode

by Kevin Austin, in 13.4 — Harald Bode (July 2011)

The Concordia Archival Project (CAP): Recovery, Archiving and Online Presentation of Canadian Electroacoustic History

by jef chippewa and Yves Gigon, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

The Concordia Tape Archive / Collection: What it is, and what it isn’t

by Kevin Austin, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

The CyberWhistle and O-Bow: Minimalist controllers inspired by traditional instruments

by Dylan Menzies-Gow, in 12.3 — Instrument—Interface (June 2010)

The Death of the Singer: Authorship and female voices in electronic music

by Hannah Bosma, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

The Development of Acousmatics in Montréal

by Matthew McFarlane, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

The Digital Mind: Challenges and Possibilities of Digital Archives and the “mediaartbase.de” Project

by Julia Haecker, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

The Edge May Be the Middle: A View of electroacoustic music in the antipodes

by Ian Whalley, in 3.2 — ACMA: Australasian Computer Music Association (2000)

The Electroacoustic Situation in Canada

by Robert Normandeau, in 4.2 — Profil d’une communauté / Profile of a Community (2001)

The EMOSynth: An emotion-driven music generator

by Valery Vermeulen, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

The End of Digital Tourism: Aesthetics of globalization and live electro-instrumental performance

by Lawton Hall, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

The Enigma of Vitruvian Resonating Vases and the Relevance of the Concept for Today [pdf]

by Rob Godman, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

The Final Frontier?: Spatial strategies in acousmatic composition and performance [Keynote]

by Jonty Harrison, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

The First Retrospective of Mexican Electroacoustic Music [Community Reports]

by Manuel Rocha Iturbide, in 12.3 — Instrument—Interface (June 2010)

The flap-o-phone, a Site-Specific Turntable

by Christopher DeLaurenti, in 14.3 — Turntablism (January 2013)

The Game Changer: Playing with electronics as soloist

by Sebastian Berweck, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

The Heart Chamber Orchestra: An audio-visual real-time performance for chamber orchestra based on heartbeats

by Peter Votava and Erich Berger, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

The Hills Are Alive…: “Wild Fruits” creative soundscapes project

by James Harley, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

The I and the Ear: The Art of installations

by Nicholas Longstaff, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

The International Alliance for Women in Music Congress 2006 [Preview]

by Kristine H. Burns, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

The International Women’s Electroacoustic Listening Room (WEALR) Project: Voices on the Edge

by Pamela Madsen, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

The Le Caine Instruments: A Disappearing technology

by alcides lanza, in 7.3 — Grandes figures canadiennes 1 / Canadian Figures 1 (March 2005)

The Light Bulb in My Music

by Michael Vorfeld, in 19.2 — Light+Sound (October 2017)

The Michael Gerzon Archive and the British Library’s Archival Sound Recordings Project

by Paul Wilson and Adam Tovell, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

The Modular Synthesizer Divided: The keyboard and its discontents

by Mat Dalgleish, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

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”

by Joyce Beetuan Koh and Steve Dixon, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

The Musical Underground and the Popular and Classical Overground

by Stephen Graham, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

The Oval Synthesizer

by Peter Blasser, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

The Palpability of Sound: An Evening with Sound and Radio Artist Christian Calon [Report]

by Stephanie Loveless, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

The Phenomenology of Musical Instruments: A survey

by Thor Magnusson and Enrike Hurtado-Mendieta, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

The Piano and Live Electronics Repertoire List

by Xenia Pestova, in 13.2 — Keyboard + Live Electronics: The Performer’s Perspective / Claviers + « live electronics » : La perspective de l’interprète (April 2011)

The Piano as an Electroacoustic Instrument

by Paul Connolly, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

The Plasticity of Sound: A Swedish retrospective, presented by Åke Parmerud [Report]

by Stephanie Loveless, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

The Power of One: Performance modes on the T-Stick digital musical instrument

by D. Andrew Stewart, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

The Practice of Mastering in Electroacoustics [pdf]

by R. Dominique Bassal, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

The Red Planet [Historical]

by Dale Pelton, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

The Regina Electroacoustic Performance Orchestra: Heterogeneity and Participation

by David Ogborn, in 11.4 — TES 2009: 3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto (December 2009)

The Seductive (Yet Destructive) Appeal of Very Loud Music

by Barry Blesser, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

The Serge VCS: How it works

by Tim Stinchcombe, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

The Sounding Beauty of Ideas

by Alberto Bernal, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

The Soundson Programme

by Wiska Radkiewicz and Andrea Cohen, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

The Springboard: The joy of piezo disk pickups for amplified coil springs

by Eric Leonardson, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

The Static Organ: Biofeedback as new interactions for new action potentials

by Kiel Stuart Long, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

“The Thing About Listening is…”: Compositional approaches and inspiration using spoken word, field recordings and electroacoustic techniques

by Brona Martin, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

The Tu(r)ning of the (W)o(r)ld

by Wolfgang Fuchs, in 14.3 — Turntablism (January 2013)

The Turntable is Dead, Long Live the Record Player

by Mike Hansen, in 12.3 — Instrument—Interface (June 2010)

The Use of Electromyogram Signals (EMG) in Musical Performance: A Personal survey of two decades of practice

by Atau Tanaka, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

The Visualization and Representation of Electroacoustic Music

by David Gray, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

There is No Future Until We Get to It

by Dennis Báthory-Kitsz, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Three Electroacoustic Artworks Exposing Digital Networks

by Aaron Hutchinson, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

TIES 2015 Photo Album

by CEC, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

TIES 2016 Photo Album

by CEC, in 18.4 — TIES 2016: 10th Toronto International Electroacoustic Symposium / 10e Symposium électroacoustique international de Toronto (August 2017)

TIES 2017 Photo Album

by CEC, in 20.2 — TIES 2017: 11th Toronto International Electroacoustic Symposium / 11e Symposium électroacoustique international de Toronto (September 2018)

“Time is Everything / Time is Nothing”: Reflections on long-duration soundworks and radio

by Chris Meloche, in 2.3 — Radiophonique / Radiophonic (1999)

Time Modulation: Rhythm, relativity and voltage control

by Dave Ross, in 17.4 — Analogue and Modular Synthesis: Resurgence and evolution / Synthèse analogue et modulaire : Résurgence et évolution (February 2016)

Timeline and Diffusion Score of Christian Calon’s “Minuit” [pdf]

by Kevin Austin, in 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04)

Timeline and Diffusion Score of Francis Dhomont’s “Signé Dionysos” [pdf]

by Kevin Austin, in 6.4 — Analyse électroacoustique / Analyses of Electroacoustics (2003–04)

Timo Kahlen [Gallery]

by Timo Kahlen, in 16.4 — Experimental Practices and Subversion in Sound / Pratiques sonores expérimentales et subversives (March 2015)

To Be Free, One Must Play Against the Devices: A Philosophical analysis of Dick Raaymakers’ “Intona: Dodici manieri di far tacere un microfono”

by Raphaël Belfiore, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

To know where we are, it sometimes helps to know where we were before

by Kevin Austin, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Tom Fryer — The Path with the Heart (1998) [CD]

by Warren Burt, in 3.2 — ACMA: Australasian Computer Music Association (2000)

Tools, Techniques and Composition: Bridging Acousmatic and IDM

by Ben Ramsay, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Toronto Electroacoustic Symposium 2007 [Report]

by David Ogborn, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Toronto Electroacoustic Symposium 2008 [Photo Essay]

by CEC, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Toronto Electroacoustic Symposium 2008 [Preview]

by David Ogborn, in 10.2 — Interviews 1 (August 2008)

Toronto Electroacoustic Symposium 2011 [Preview]

by David Ogborn, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Tournée 25e anniversaire de la CEC : JTTP 2011 — Jeu de temps / Times Play

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 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

by CEC, Trans. Yves Charuest, in 15.3 — CEC@25: The CEC’s 25th Anniversary Tour / Les 25 ans de la CEC : Tournée 25e anniversaire de la CEC (March 2014)

Toward “Compositional Reflection”

by Matthew Peters Warne, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Towards a Generative Electronica: A Progress Report

by Arne Eigenfeldt, in 14.4 — TES 2011: 5th Toronto Electroacoustic Symposium / 5e Symposium électroacoustique de Toronto (March 2013)

Towards a Taxonomy of Latin American Electroacoustic and Computer Music

by Martín Alejandro Fumarola, in 2.1 — Amérique latine / Latin America (1999)

Towards an Unhearable Music: Conceptualism in the ookoi’s art

by Harold Schellinx, in 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices / Dématérialisation de l’objet sonore : Approches conceptuelles des pratiques artistiques centrées sur le son (July 2023)

Tracing Conceptual Structures in Listener Response Studies

by Adam Basanta, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Transcrire les musiques électroacoustiques

by Évelyne Gayou, in 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010)

Transductions: Transforming light into sound

by Charlotte Parallel, in 19.2 — Light+Sound (October 2017)

Tristram Cary (1925–2008) [In Memoriam]

by VA, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Try Looking Through Both Eyes at the Same Time

by Michael Gogins, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Turning the Tables: The audience, the engineer and the virtual string orchestra

by Chris Mercer and Rodolfo Vieira, in 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium / 9e Symposium électroacoustique international de Toronto (April 2016)

Turntable [wiki]: Bibliography

by CEC, in 14.3 — Turntablism (January 2013)

Turntable [wiki]: Index

by CEC, in 14.3 — Turntablism (January 2013)

Turntable [wiki]: Performance Techniques

by CEC, in 14.3 — Turntablism (January 2013)

Turntable [wiki]: Turntable in New Music

by CEC, in 14.3 — Turntablism (January 2013)

Twiddling and Twerking: Thoughts on electroacoustic music performance

by Steven Naylor, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Two Reflections on the Relation between Machines (Computers) and Composers

by Jean Piché, in 8.4 — Ressources éducatives / Educational Resources (September 2006)

Typology and Problematics of Fixed Notation for the Representation of Electroacoustic and Digital Media: Preamble; Part I. Waveform display notation

Un regard sur SEAMUS

by Stephen David Beck, Trans. Ned Bouhalassa, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

Un studio d’électroacoustique à soi

by Pascale Trudel, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Una Casa de Sonidos: Sonic storytelling with Central American refugee minors

by Blake McConnell, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Unconventional Inputs: New/old instruments, design, DIY and disability

by Mat Dalgleish, in 18.3 — Sonic DIY: Repurposing the Creative Self / DIY sonore : adaptation du sujet créateur (December 2016)

Under Living Skies: Aural character in creative practice

by Eric Powell, in 15.2 — TES 2012: 6th Toronto Electroacoustic Symposium / 6e Symposium électroacoustique de Toronto (May 2013)

Une soirée de voix sur bande (ÉuCuE XVI.11)

by Kevin Austin, Trans. Yves Gigon, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

by Stephan Moore and Scott Smallwood, in 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound / Musique pour support spécifique (January 2020)

Using High-Frequency Electroencephalogram in Visual and Auditory-Based Brain-Computer Interface Designs

by Cota Navin Gupta and Ramaswamy Palaniappan, in 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012)

UTEMS Tape Library: University of Toronto, Electronic Music Studio

by Dennis Patrick, in 10.x — Projet d’archivage Concordia / The Concordia Archival Project (March 2009)

Vancouver Adapted Music Society (VAMS) — Music studio for people with disabilities; Mini-Interview with sylvi macCormac

by CEC, in 11.2 — Figures canadiennes 2 + TES 2008 / Canadian Figures 2 + TES 2008 (July 2009)

Various Artists — … Stimmen… Klänge (1995) [CD]

by Jean Routhier, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

Various Artists — 2èmes rencontres internationales de jeunes compositeurs de musique acousmatique (1996) [CD]

by Howard Fredrics, in 2.2 — SAN: Sonic Arts Network (1999)

Various Artists — DISContact! II (1995) [Commentary]

by Vivianne Padiernos Asselin, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — DISContact! II (1995) [Commentary]

by Evie Farmer, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — DISContact! II (1995) [Commentary]

by Charlaine Gratton, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — DISContact! II (1995) [Commentary]

by Stephanie Loveless, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — DISContact! II (1995) [Commentary]

by Isabelle Marceau, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — DISContact! II (1995) [Commentary]

by Jason Smalridge, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — DISContact! II (1995) [Commentary]

by Shane Turner, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — Électro Clips (1996) [CD]

by Michael Vincent, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — Harangue 1 (1998) [CD]

by Mark A. Parlett, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Various Artists — new music from the americas, vol. 3. “Transmutations: Music for Voice, Piano & Electronics” (1996) [CD]

by Paul von Wichert, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

Various Artists — Sonic Postcards: 19 Real + Imaginary Journeys in Sound [CD]

by Michael Vincent, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — State of the Union 2.001 [CD]

by Digs Dorfman, in 5.4 — Electro-Clips + DISContact! III (2002–03)

Various Artists — Whose Forest? (1998) [CD]

by Jean-François Delannoy, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Various Artists — Whose Forest? (1998) [CD]

by Jean-François Delannoy, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Various — New Music for Electronic & Recorded Media: Women in Electronic Music 1977 (1977) [CD]

by Laurie Radford, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Various — New Music for Electronic & Recorded Media: Women in Electronic Music 1977 (1977) [CD]

by Laurie Radford, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Vector Synthesis: An investigation into sound-modulated light

by Derek Holzer, in 19.2 — Light+Sound (October 2017)

Vers une conscience d’associations

by Darren Copeland, Trans. Jean Piché, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Vertex (2013–15), a collaboration of Patrick Saint-Denis and Jean Piché [Gallery]

by Patrick Saint-Denis, in 19.2 — Light+Sound (October 2017)

Vertex (2013–15), une collaboration de Patrick Saint-Denis et Jean Piché [Galerie]

by Patrick Saint-Denis, in 19.2 — Light+Sound (October 2017)

Vertex, an Approach to Performance-Installation

by Andrew Watson and Nicolas Basque, in 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005)

Vertex, une approche à l’installation-performance

by Andrew Watson and Nicolas Basque, in 7.4 — Diffusion multi-canal 2 / Multi-Channel Diffusion 2 (May 2005)

Vidéomusique : Une image-son

by Inés Wickmann, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

VIE, An Automata Sequencer: Performance and composition through metaphorical representation of living organisms

by Jingyin He, Jordan Hochenbaum and Ajay Kapur, in 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour : SI13 et autres évènements (August 2014)

Vinyl Terror & Horror [Gallery]

by Vinyl Terror & Horror, in 14.3 — Turntablism (January 2013)

Virtual Agents in Live Coding: A Review of past, present and future directions

by Anna Xambó Sedó, in 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks / Hors du studio et sur la scène : live coding, ensemble d’ordinateur et LOrk (May 2022)

Visual Music

by Maura McDonnell, in 15.4 — Videomusic: Overview of an Emerging Art Form / Vidéomusique : Aperçu d’une pratique artistique émergente (April 2014)

Voice and Live Electronics: An historical perspective

by Julieanne Klein, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Voice and Live-Electronics using Remotes as Gestural Controllers

by Alex Nowitz, in 10.4 — Temps réel, improvisation et interactivité en électroacoustique / Live Electronics, Improvisation and Interactivity in Electroacoustics (October 2008)

Voice and Text Links

by CEC, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

VoiElectro I

by CEC, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

VoiElectro II / EA Voices II

by CEC, in 1.2 — SEAMUS: Society for Electro-Acoustic Music in the United States (1998)

VoiElectro III / EA Voices III

by CEC, in 1.3 — Voix et textes en électroacoustique / Voice and Text in Electroacoustics (1998)

VoiElectro IV / EA Voices IV

by CEC, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Volume : la dernière frontière ?

by Kasper T. Toeplitz, in 9.4 — Perte auditive et sujets connexes / Hearing (Loss) and Related Issues (June 2007)

Waiting for an Audience: On the Misuse of a Notion Associated with Listeners

by Steven Rice, in 10.3 — TES 2007: 1st Toronto Electroacoustic Symposium / 1er Symposium électroacoustique de Toronto (May 2008)

Walking Through Sound, Walking Through Silence

by Victoria Fenner, in 4.3 — Promenade sonore / Soundwalk (2001)

Wallace Berry’s Structural Processes and Electroacoustic Music: A Case study analysis of Robert Normandeau’s “Onomatopoeias” cycle

by Alexa Woloshyn, in 13.3 — TES 2010: 4th Toronto Electroacoustic Symposium / 4e Symposium électroacoustique de Toronto (June 2011)

Wende Bartley — Claire-Voie (1994) [CD]

by Andra McCartney, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Wende Bartley — Claire-Voie (1994) [CD]

by Andra McCartney, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

What Is Ambisonics and How Can I Get Some?

by Joseph Anderson, in 2.4 — Diffusion multicanal 1 / Multi-Channel Diffusion 1 (1999)

What Matters? Make the Music! [Keynote]

by Pauline Oliveros, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

What You See Is What You Hear: Using visual communication processes to categorize various manifestations of music notation

by Christian Fischer, in 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission / Notation pour l’électroacoustique et les médias numériques : représentation visuelle, communication et transmission (January 2018)

What’s Wanted Next?

by Eliot Handelman, in 6.3 — Questions en électroacoustique / Issues in Electroacoustics (2003–04)

Where Water Meets…

by Andra McCartney, in 1.1 — Femmes en électroacoustique 1 / Women in Electroacoustics 1 (March 1998)

Who Owns our Software?: A first-person case study

by Miller Puckette, in 11.3 — Logiciels audio « open source » / Open Source for Audio Application (September 2009)

Why do you want so many Loudspeakers?

by Kevin Austin, in 8.3 — Harvest Moon et autres festivals, conférences / Harvest Moon and Other Festivals, Conferences (June 2006)

Wie ist der Klang? [How is the sound?]: An Historical overview of Harald Bode’s instruments

by Caspar Abocab, in 13.4 — Harald Bode (July 2011)

Without Beginning, Middle or End: Transforming sounds in motion

by David Eagle, in 5.3 — NAISA: New Adventures in Sound Art (2002–03)

Women Composers and Music Technology in the United States: Crossing the Line (Elizabeth Hinkle-Turner) [Book]

by Elizabeth Hinkle-Turner, in 8.2 — Femmes en électroacoustique 3 / Women in Electroacoustics 3 (March 2006)

Women in Music Technology in Higher Education in the UK

by Lisa Whistlecroft, in 3.3 — Femmes en électroacoustique 2 / Women in Electroacoustics 2 (2000)

Workshops at Body Controlled #4 — Bio Interfacing [Report]

by Kristin Trethewey, in 14.3 — Turntablism (January 2013)

World Soundscape Project — L’environnement sonore de Vancouver (1997) [CD]

by Adrian J. Moore, Trans. Yves Gigon, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

World Soundscape Project — The Vancouver Soundscape (1997) [CD]

by Adrian J. Moore, in 1.4 — Écologie acoustique / Acoustic Ecology (1998)

Worlds Collide: Utilizing animated notation in live electronic music

by Christian Fischer, in 17.3 — TIES 2014: 8th Toronto International Electroacoustic Symposium / 8e Symposium électroacoustique international de Toronto (September 2015)

Y a-t-il un son québécois?

by Francis Dhomont, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

Yves Daoust — Musiques naïves (1998) [CD]

by Timothy Sutton, in 6.2 — Activités électroacoustiques au Québec / Electroacoustic Activities in Quebec (2003–04)

Zoetrope (1999)

by Joseph Hyde, in 2.2 — SAN: Sonic Arts Network (1999)

Есенска месецина [Esenscka Mesechina] (Autumn Moon)

by Robert Sazdov, in 7.2 — Harvest Moon Symposium 2004 (December 2004)

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