Journal of Electroacoustic Music (formerly EMAS) (1984 - 2003)

Language(s):

Vol. 1, No. 1. 1984
  • Wishart, Trevor (1984). Soundscape Design in the Jorvik Viking Centre Museum.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 1, No. 1. London: EAM: 6-9.

  • Jones, David Evan (1984). Composer’s View - David Evan Jones.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 1, No. 1. London: EAM: 11-13.

Vol. 1, No. 2. 1984
  • Pennycook, Bruce (1984). Electro-Acoustic Music in the University: A New Paradox.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 1, No. 2. London: EAM: 18-22.

Vol. 2, No. 1-2. 1986
  • Wishart, Trevor (1986b). The Environment for Computer Music Composition.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 2, No. 1-2. London: EAM: 34-37.

Vol. 2, No. 3-4. 1986.
  • Mead, Philip (1986). The Problems of Tape Presentation.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 2, No. 3-4. London: EAM: 24-25.

Vol. 3, No. 3. 1987.
  • Lewis, Andrew (1987). Motion and the Analysis of Electro-Acoustic Music: Denis Smalley’s Vortex.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 3, No. 3. London: EAM: 16-22.

Vol. 4, No. 1-2. 1989.
  • Worby, Robert (1989). Music Technology in Education.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 10-14.

  • Smalley, Denis (1989). Pentes: A Conversation with Denis Smalley.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 15-25.

  • Lewis, Andrew (1989). Amplitude and Frequency Slope Profiles in Denis Smalley’s Pentes.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 26-32.

  • Viñao, Alejandro (1989). An Old Tradition We Have Just Invented.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 33-43.

Vol. 5. 1991
  • Wishart, Trevor (1991). Computer Music and Post-Modernism.

    Journal of Electroacoustic Music. Vol. 5. London: Sonic Arts Network: 2-6.

  • Emmerson, Simon (1991). Interview with Jonathan Harvey.

    Journal of Electroacoustic Music. Vol. 5. London: Sonic Arts Network: 6-9.

Vol. 6. 1992
  • Lewis, Andrew (1992). The Undiscovery of Electroacoustic Music.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 4-7.

  • Tagney, Philip (1992). An Interview with Alejandro Viñao.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 7-8.

  • Ascott, Roy (1992). The Connectivist Paradigm: Art in Electronic Space and Molecular Time.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 9-11.

  • Ellis, Phil (1992). Design with Sound: Control of MIDI Information Through Gesture.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 12-14.

  • Wright, Paul (1992). New Technology in the Classroom.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 14-16.

Vol. 7. 1993
  • Dack, John (1993). A la Recherche de l’Instrument Perdu.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 7. London: Sonic Arts Network.

  • Williams, Tom (1993). Vox V by Trevor Wishart: The Analysis of an Electroacoustic Tape Piece.

    Journal of Electroacoustic Music. Vol. 7. London: Sonic Arts Network: 6-13.

  • Teruggi, Daniel (1993). What About Acousmatics?.

    Journal of Electroacoustic Music. Vol. 7. London: Sonic Arts Network: 17-20.

  • Alvarez, Javier (1993). Compositional Strategies and Contexts.

    Journal of Electroacoustic Music. Vol. 7. London: Sonic Arts Network: 20-25.

Vol. 8. 1994 Vol. 9. 1996
  • Mittendorf, Hans (1996). Music Topology.

    Journal of Electroacoustic Music: Vol. 9. London: Sonic Arts Network: 21-22.

  • Wishart, Trevor (1996b). The Situation of the Sonic Arts Today.

    Journal of Electroacoustic Music: Vol. 9. London: Sonic Arts Network: 22-25.

Vol. 10. 1997
  • Dack, John (1997). Pedagogy and the Studio.

    Journal of Electroacoustic Music: Vol. 10. London: Sonic Arts Network: 10-11.

  • Ellis, Phil (1997). Creativity in Music Education - the Role of New Technology.

    Journal of Electroacoustic Music: Vol. 10. London: Sonic Arts Network: 12-18.

  • Reimers, Lennart (1997). A Sound Education.

    Journal of Electroacoustic Music: Vol. 10. London: Sonic Arts Network: 20-22.

  • Wright, Paul (1997). Seven Year Issues.

    Journal of Electroacoustic Music: Vol. 10. London: Sonic Arts Network: 27-29.

Vol. 11. 1998
  • Doherty, Douglas, Berry, Ron (1998). Sound Diffusion of Stereo Music over a Multi Loudspeaker Sound System: From First Principles Onwards to a Successful Experiment.

    Journal of Electroacoustic Music: Vol. 11. London: Sonic Arts Network: 9-11.

  • Wilding, Richard (1998). Listening Spaces/Performance Spaces: The Performance of electroacoustic Music as Cultural Practice.

    Journal of Electroacoustic Music: Vol. 11. London: Sonic Arts Network: 32-33.

Vol. 12. 1999
  • Dack, John (1999b). The Creative Power of the Machine.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 12. London: Sonic Arts Network.

  • Copeland, Darren (1999). Is it Indifference or Ambiguity?.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 6-8.

  • Wagstaff, Gregg (1999). What is Acoustic Ecology’s ’Ecology’?.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 16-19.

  • Paine, Garth (1999). Immersive Virtual Environments: A Social Perspective.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 24-26.

  • Miranda, Eduardo Reck (1999c). Music, Machines, Intelligence and the Brain.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 32-33.

  • Milicevic, Mladen (1999b). How Objective is Music?.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 34-38.

  • Voegelin, Salomé (1999). Audio Sensitisation and Participation in the Soundscape.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 39-43.

  • Palmer, John (1999). Daniel Teruggi - in Conversation with John Palmer.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 44-50.

Vol. 13. 2000
  • Young, John (2000). Letting the Ordinary Shine Through: British Acousmatic Music.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 2-6.

  • Gillham, Owen (2000). The Crossover of Electroacoustic and Popular Music Culture.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 7-10.

  • Harvey, Lawrence (2000). The Occupation of Space; Sound Sites.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 11-16.

  • Dack, John (2000). Ludwig Van Henry - An Interview with Pierre Henry.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 27-30.

  • Martin, Jean (2000). An Interview with Trevor Wishart.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 31-35.

  • Palmer, John (2000). Luc Ferrari - In Conversation with.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 36-44.

Vol. 14. 2002
  • Dack, John (2002b). Abstract and Concrete.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 2-7.

  • Savage, Jonathan, Challis, Mike (2002b). Electroacoustic Composition: Practical Models of Composition with New Technologies.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 8-13.

  • Tutschku, Hans (2002). On the Interpretation of Multi-Channel Electroacoustic Works on Loudspeaker-Orchestras: Some thought on the GRM-Acousmonium and BEAST.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 14-16.

  • Stefani, Ewan (2002). Commodity Music.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 17-19.

  • Banks, Joe (2002). The Sea Mists of Winter: A Report on the Role of Acoustic Factors in Human Spatial Perception.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 20-27.

  • Vishnick, Martin (2002). Electronic and Electroacoustic Music Composition in Contemporary Education.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 28-35.

  • Young, John (2002b). Sju ... Who?.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 36-42.

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