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

• Moore, Adrian (1994). An Interview with Neil B. Rolnick.

  Journal of Electroacoustic Music. Vol. 8. London: Sonic Arts Network: 4-6.

• Miranda, Eduardo Reck (1994). The Role of Artificial Intelligence in Computer Aided Sound Composition.

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

• Helmuth, Mara, White, Frances, Norman, Katharine, Roberts, Mary, Seltzer, Linda, Kimura, Mari (1994). Gender & Computer Music.

  Journal of Electroacoustic Music. Vol. 8. London: Sonic Arts Network: 9-13.

• Montague, Stephen (1994). Rediscovering Leon Theremin.

  Journal of Electroacoustic Music: Vol. 8. London: Sonic Arts Network: 14-21.

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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