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	Electroacoustic music
		Electroacoustics uses sound sources as diverse as natural sounds (which can be picked up by microphone), analog electronics (produced by equipment such as synthesizers) and digital (generated or processed by digital means).
		These sources may subsequently be processed and organized by electroacoustic techniques or by digital means before, in many cases, being stored on or presented by an electromagnetic medium.
		Moreover, it is essential to lay stress on technological evolution and its impact on the general flowering of electroacoustics, especially from the early 1970s on.
	www.thecanadianencyclopedia.com /index.cfm?PgNm=TCE&Params=U1ARTU0001112 (149 words)

	Electroacoustic music - Wikipedia, the free encyclopedia
		While all electroacoustic music is made with electronic technology, the most successful works in the field are usually concerned with those aspects of sonic design which remain inaccessible to traditional musical instruments played live.
		Electroacoustic music is typically less preoccupied with the 'traditional' concerns of score-based music- rhythm and melody- and more concerned with the interplay of gesture and texture, and what Denis Smalley has termed 'spectromorphology'- the sculpting of the sound spectrum in time.
		Electroacoustic music is closely related to Electronica by technique; recently many popular electronica artists have been influenced by electroacoustic composers, for instance Amon Tobin, Autechre, Aphex Twin, Gescom, and Squarepusher.
	en.wikipedia.org /wiki/Electroacoustic (935 words)

	Electroacoustic Music in Canada: 1950-1984
		Electroacoustic music, in its broadest sense, is any kind of music that might come out of a speaker.
		Canada's electroacoustic music composers - in particular, Buxton, Keane, Truax, and more recently Jean Piché - are well represented in broadcasts and concert series around the world and they figure prominently in such important international festivals as those in Bourges, Brussels, Tokyo, Paris, and the Warsaw Autumn and Gaudeamus Festivals.
		There are some areas, such as elec�troacoustic music, which have emerged in the world during the maturity of Canada and it is in such areas that Canada has made some of its most notable contributions.
	cec.concordia.ca /econtact/Histories/EaMusicCanada.htm (8626 words)

	Issues in New Electroacoustic Music
		Taking these issues into account does not necessarily mean that I feel that all young leaders in their field should be writing music that is about or inspired by contemporary dance genres, for example (although this has been an interesting source of inspiration for many electroacoustic composers in recent years).
		Yet the ingredients of de Boer's music show more originality of thought than those sitting on the board of the Fonds, who seem to be imitating their academic leaders of fifty or more years ago.
		My adherence to postmodernism leads me to believe that any type of music is now valid, it is the composer's own statement of feelings, and that as I am not that composer, I do not have the right to condemn their unique statement.
	mstation.org /issues.php (2408 words)

	Darren Copeland \| Essays \| Survival Strategies for Electroacoustic Music
		The environment of government sponsorship for artistic experimentation in which electroacoustic music was born has either disintegrated altogether or is eroding significantly from the kind of support granted in years past.
		I strongly believe that in order to secure a healthy future for electroacoustic music, efforts need to be made by event producers to attract more of a general audience to their activities rather than accepting audiences made up of mainly family, friends and professional associates.
		In order for electroacoustic music to stay alive, a transition is necessary for the government-run institutions and smaller organizations supporting electroacoustic music to replace losses in government funding with earned income through concert box office admissions, CD sales, private donations and most importantly corporate sponsorships.
	www.darrencopeland.net /survival.html (2818 words)

	Splendid E-zine: Departments: Avant What?
		Of all demanding music (you remember, that's the topic of this monthly column?), electroacoustic music is often considered to be the most difficult type, and also the most misunderstood.
		In French, "electroacoustics" supercedes them both as the generic name of a musical genre where a composer works with sound treated in the studio and fixed on tape.
		Electroacoustic music is not music in the traditional sense and it never was intended to be.
	www.splendidezine.com /departments/avantwhat (940 words)

	Reinstating Interpretation: The status of analysis in an electroacoustic context (Site not responding. Last check: 2007-09-16)
		Electroacoustic music disrupts the requirements of staff notation, which “…demands a finite set of pitch-levels which can permute and combine” [2].
		Musical reductionism presupposes that the ‘note’ is the smallest pertinent unit, and therefore posits a priori the existence of a quantifiable pitch-duration framework.
		As electroacoustic music causes listeners to have highly personal, individual responses to the continuum, it is the prerogative of the analyst to recognise this effect, and demonstrate something of the nature of the ephemerality and subjectivity of an electroacoustic listening experience.
	www.mikropol.net /volume5/norris_m/norris_m.html (2252 words)

	Experimental Music Studios
		Electroacoustic music activities at the School of Music have earned the University of Illinois an international reputation as a leader in the field of contemporary art music.
		Known for significant creative and technical developments in electronic and computer music composition, the University of Illinois Experimental Music Studios were founded in 1958 by Lejaren Hiller and were the first of their kind in the western hemisphere.
		Scott Wyatt, composer and Professor of composition and theory, is the director of the Experimental Music Studios.
	ems.music.uiuc.edu (334 words)

	Department of Music
		The Department of Music is one of the largest in an older University, with a history stretching back to 1905 when Edward Elgar was appointed the University's first Professor of Music.
		Music's teaching was rated Excellent and its research awarded Grade 5* in the latest RAE.
		The Birmingham Contemporary Music Group is the Department's 'Ensemble in Association', allowing undergraduate and postgraduate composers opportunities to hear their works performed by top-class professionals.
	www.music.bham.ac.uk (289 words)

	The American Music Center (Site not responding. Last check: 2007-09-16)
		The Siday Music On Hold Program seeks to honor the legacy of Eric Siday, a pioneering electroacoustic composer and educator who is also known as the inventor of “identitones,” the musical logos used for commercial entities like Maxwell House coffee, ABC-TV, and Westinghouse.
		Also a pioneer in the field of electronic music, El-Dabh began working with the manipulation of recorded sound (using wire recorders) in Cairo in 1944, and in 1959 was invited by Otto Luening and Vladimir Ussachevsky to join the first group of composers at the newly created Columbia-Princeton Electronic Music Center.
		He is the co-founder and co-director of Frog Peak Music (A Composers’ Collective), the founding guest editor of the Leonardo Music Journal, and on the board of directors of Perspectives of New Music and several other journals and institutions.
	www.amc.net /grants/Siday (2926 words)

	Electroacoustic Music (Site not responding. Last check: 2007-09-16)
		The first year of the degree is built around the history of electroacoustic music and training in the basics of studio work.
		Music audiences are also indebted to Anhalt for the first electroacoustic music concert in Canada, which took place at McGill, where he presented his own compositions as well as those of LeCaine and Karlheinz Stockhausen.
		Electroacoustic music was therefore integrated early on into the composition program, but since 1990, under the leadership of composer Bruce Pennycook, the university has developed a very specific program called Music Technology, which is associated with the faculty's Theory Department.
	www.scena.org /lsm/sm9-2/Musique-electroacoustique-en.htm (981 words)

	Electroacoustic Music Studios - Queen's School of Music
		The Queen's Electroacoustic Music Studios were founded in 1970 by David Keane, who remained Director of the EMS until 1997.
		Composers from Queen's Electroacoustic Music Studios have a significant role in developing electroacoustic music in Canada and in establishing Canada's considerable international profile in the field.
		Thus, the Queen's Electroacoustic Music Studios continue to have a high profile both nationally and internationally as well as providing a valuable service to the School of Music and to the Queen's University community.
	www.queensu.ca /music/resources/ems (309 words)

	Electroacoustic Music (Site not responding. Last check: 2007-09-16)
		Music is often thought of as one of two subcategories of a larger phenomena called sound.
		With the advent of electroacoustic instruments with their many modalities for expression, contemporary electroacoustic music is also an extension of the even older tradition of "composer-performer" of Chopin, Beethoven, Bach, etc.
		Finally it shares with acoustic music a curiosity and fascination with music from other cultures, a tendency to "borrow" from popular music forms such as jazz or folk music and world music and like so-called "Classical" music, electroacoustic music eventually ends up in a television ad or a pop song.
	www.sfu.ca /sca/Manuals/147/MGSite_00-1/l1_147_00.html (1389 words)

	Electroacoustic Recording Studios, School of Music, University of Wales, Bangor
		Electroacoustic music is a particular specialism at Bangor, and since opening in 1994 our Electroacoustic Music Studios have established an international reputation for composition, producing a number of award-winning works.
		Our work focuses especially on acousmatic music (music intended for performance on multiple loudspeakers), though music involving various combinations of live instruments, fixed electroacoustic sounds and live processing is also represented.
		Electroacoustic Wales is our performance and dissemination arm, organising concerts, public demonstrations and workshops, and promoting the music composed in the Studios.
	www.bangor.ac.uk /music/Studio.html (162 words)

	Electronic Music Midwest (Site not responding. Last check: 2007-09-16)
		From 1995-2001 he was the composition technologist at the Aspen Music Festival and School where he directed the Amplified Music Performance Series (AMPS) and created "The Virtual Concert Hall" a radio program of electroacoustic music for public radio currently broadcasting on Resonance FM (104.4) in London, England.
		He is the 2002 winner of the EMS Electroacoustic Music Prize (Stockholm, Sweden) along with other awards and honors from the Bourges Electroacoustic Music Competition, the Fulbright Foundation, Meet the Composer, The American Composer's Orchestra, the National Music Teachers Association, and the Missouri Music Teachers Association.
		She received a Bachelor of Music degree in piano performance from Southwest Baptist University, a Master of Music degree in piano performance from the University of Missouri-Kansas City Conservatory of Music, and a Ph.D. degree in Music Theory from the University of Kansas.
	www.electronicmusicmidwest.org /pastfestivals/fall2003/emmdata/staff.html (1064 words)

	Enculturation: Ian Whalley
		Popular music styles based on the new technology, such as the editing techniques used in 'world music', are now finding their way into a wide range of other idioms such as advertising music.
		Through not having to make a living off the music one produces, because the position rather than the product is funded, the university based electroacoustic music composer is now in a unique position between theory and praxis, expressive experimentation and pragmatism, the need to survive in a commercial market and academic isolation.
		Traditionally, electroacoustic music has been distributed through concert music settings or CD, reinforcing the art music [33] proposition that music is something set apart that needs to be sat and listened to independent of other events.
	enculturation.gmu.edu /2_2/whalley.html (4701 words)

	Electroacoustic Music for the Flute: chapter 1
		The expansion of the music written for the flute has natural limitations, and it is this that helps electroacoustic music to be an approachable extension of flute repertoire.
		Electroacoustics is a field of study dealing with the transformation of energy between electrical forms and acoustical forms.
		The sounds that are being made are music, of course, and are the expressions of the composers will, personality, and emotions — the art of the composing is as human as that of composers of the past, and of painters, writers, or poets.
	www.subliminal.org /flute/dissertation/ch01.html (3628 words)

	What is ElectroAcoustic music
		Electroacoustic Music is that which uses technology as a tool and gives the composer access to virtually any sound.
		Electroacoustic is an amalgam between Electricity and Acoustic - how sound (pressure variations in the air) gets converted to electricity by microphones, gets recorded and treated, and is finally converted from electricity to pressure vibrations in the air by loudspeakers.
		Electroacoustic music does not have to rewrite its own language for each piece and should not be dismissed for baring resemblance to anything.
	music.concordia.ca /Programs/Electroacoustics/EaMusic.html (1486 words)

	Florida Electroacoustic Music Studio
		The primary focus of the facility is in the furtherance of contemporary art music.
		Each semester the students and faculty of electroacoustic music host concerts of current music in the genre.
		Annually the School of Music, College of Fine Arts, the Center for the Performing Arts, and the FEMS presents the internationally renowned Florida Electroacoustic Music Festival.
	emu.music.ufl.edu (361 words)

	Composition and Performance of Electroacoustic Music - City University London (Site not responding. Last check: 2007-09-16)
		This programme is intended for composers who also perform electroacoustic music, whether their own works or those of other composers.
		The course is particularly suitable for active performer-composers for whom composition and performance are integrated activities, as is often the case with the various types of live electronic music.
		The course content and assessment are the same as for Electroacoustic Composition, except that the performance of an electroacoustic work replaces one of the portfolio elements.
	www.city.ac.uk /music/courses/ma_comp_perf_ea.html (155 words)

	DAC Crowell: ambient/electroacoustic New Music.
		Music that's a snapshot of sorts of places, feelings, sensations, states of mind, and the like.
		All of these were, I think, important musical influences because they were not so much music that I only listened to, but music that made me want to try and do what I was hearing in it.
		To me, the important criteria of 'ambient music' is that it evoke a particular ambiance of some sort or that it can become a component in an ambiance.
	magnatune.com /artists/dac_crowell (4302 words)

	Latin American Electroacoustic Music Collection : Introduction
		The development of electroacoustic music seems to be associated with a few countries where the pioneering activities started.
		But the creation of music using electroacoustic technologies in a contemporary manner (in spite of some differences I will refer to the term "electroacoustic music" in this document) has also been of great interest to composers living in Latin American countries since before the 1950s.
		Having started to work in the electroacoustic music field during the mid '70s in my native country of Argentina, I found it very difficult to obtain information on related activities in surrounding countries and even in my own city.
	www.fondation-langlois.org /html/e/page.php?NumPage=544 (531 words)

	Rudolf Ruzicka's Home Page
		The creative impact of his teachers, T.Schaefer and M.Istvan (1962-67), and that of M.Kabelac (1967-69) -- a composer specializing among other subjects in electroacoustic music education -- appears to have been of significant importance in shaping the aesthetic, rational ideas and thoughts of this future composer, music pedagogue, theorist, and musicologist.
		For distinguished activities in music composition he was decorated with an honorary diploma from the Masaryk Academy of Art in Prague, and with the honorary membership of the Confederation of Chivalry in Sydney.
		Ruzicka is now making use of his extensive musical knowledge and rich experience in producing his own radio programs, giving specialized lectures, writing scholarly papers and in popularizing the sphere of electroacoustic and computer music.
	www.musica.cz /ruzicka/index.html (1214 words)

	Douglas Geers, composer
		Currently Assistant Professor of Music Composition and Director of the STRUM Electronic Music Studios at the School of Music of the University of Minnesota (Twin Cities), he remains active on the New York music scene, specializing in multimedia musical works, including various combinations of live musicians, actors, video, dancers, and computer-generated sounds.
		February, 2006: Geers' Enkidu for violin and live electroacoustic music was performed by violinist Maja Cerar and Douglas Geers (computer) on February 25 as part of the Spark Festival of Electronic Music and Art, Ultan Recital Hall, University of Minnesota School of Music.
		Geers' electroacoustic improv group Sonreel performed at the NWEAMO electronic music festival in Portland and San Diego the weekends on October 1 and October 8, respectively.
	music.columbia.edu /~geersde (745 words)

	3p[re]06 (Site not responding. Last check: 2007-09-16)
		Third Practice is an annual festival of new electroacoustic music and mixed media presented by the Department of Music and the Modlin Center for the Arts at the University of Richmond.
		The development of electro-acoustic music in the latter half of the 20th century might be understood as a change comparable in many ways to that of the early 17th century.
		The Third Practice Festival of Electro-Acoustic Music explores both the variety of the emerging electro-acoustic tradition and its relationship to past musical practices, and is committed to presenting new work through commissions and premieres.
	www.music.richmond.edu /3p (433 words)

	Thirteenth Annual Florida Electroacoustic Music Festival
		Most electroacoustic works involved prerecorded sounds, but the term "tape music" should certainly be dropped, because almost none of the music has ever been put on tape but rather on digital media such as CD's and DVD's.
		Sometimes the music could be heard as a commentary on the words, and sometimes it was just a contrast or had no relationship.
		Although the contrast between the modernistic musical techniques and the primitive film methods was apparent, it reminded me that the film's techniques were also very cutting-edge and modernistic when it was created.
	qcpages.qc.cuny.edu /~howe/reviews/FEMF-13.html (5112 words)

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