Desire and distance in Kaija Saariaho's Lonh
Organised Sound
Interactivity, where to from here?
Organised Sound
For a morphology of interaction
Organised Sound
Spatio-musical composition strategies
Organised Sound
Applications of system dynamics modelling to computer music
Organised Sound
Free music and the discipline of sound
Organised Sound
Gesture and musical interaction: interactive engagement through dynamic morphology
NIME '04 Proceedings of the 2004 conference on New interfaces for musical expression
Computer Music Video: A Composer's Perspective
Computer Music Journal
Sound Diffusion in Composition and Performance: An Interview with Denis Smalley
Computer Music Journal
Implicit relevance feedback in interactive music: issues, challenges, and case studies
IIiX Proceedings of the 1st international conference on Information interaction in context
Interpretation and musical signification in acousmatic listening
Organised Sound
Morphological notation for interactive electroacoustic music
Organised Sound
Organised Sound
Cognitive Implications of Musical Perception
Computer Music Modeling and Retrieval. Sense of Sounds
Field recording, sound art and objecthood
Organised Sound
Instrumental listening: Sonic gesture as design principle
Organised Sound
Sonic Gestures Applied to a Percussive Dialogue in TanGram Using Wii Remotes
ICEC '09 Proceedings of the 8th International Conference on Entertainment Computing
Relational motif discovery via graph spectral ranking
Proceedings of the Eighth Workshop on Mining and Learning with Graphs
Modeling and segmentation of audio descriptor profiles with segmental models
Pattern Recognition Letters
Sonic image and acousmatic listening*
Organised Sound
Re-texturing the sonic environment
Proceedings of the 5th Audio Mostly Conference: A Conference on Interaction with Sound
Organised Sound
Textons and the propagation of space in acousmatic music
Organised Sound
Organised Sound
Temporal associations, semantic content and source bonding
Organised Sound
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The art of music is no longer limited to the sounding models of instruments and voices. Electoacoustic music opens access to all sounds, a bewildering sonic array ranging from the real to the surreal and beyond. For listeners the traditional links with physical sound-making are frequently ruptured: electroacoustic sound-shapes and qualities frequently do not indicate known sources and causes. Gone are the familiar articulations of instruments and vocal utterance: gone is the stability of note and interval: gone too is the reference of beat and metre. Composers also have problems: how to cut an aesthetic path and discover a stability in a wide-open sound world, how to develop appropriate sound-making methods, how to select technologies and software.