How can the qualities of non‑real‑time musical composition be brought into the domain of live electroacoustics?
Eldad Tsabary
- Associate Professor
- Department of Music
- ear training5
- electroacoustic studies8
- laptop orchestra
- music education10
- aural perception3
- sound painting
- "comprovisation"2
- music making22
- performing arts23
- participatory action research24
- digital sound technology6
- telematic performance
- visual music3
- teaching as research
- auditory scene analysis
- listening/hearing8
- sound25
- music composition9
- interconvictional dialogue2
-
Sandeep Bhagwati
music making, research-creation, transdisciplinarity
-
Ricardo Dal Farra
music composition, electroacoustic studies, research-creation
-
Mark Corwin
electroacoustic studies, music composition, listening/hearing
-
Kevin Austin
music composition, electroacoustic studies, aural acuity
-
Joshua Rager
jazz, improvisation, piano
-
Kathy Kennedy
sound, voice, music making
-
Rosemary Mountain
aesthetics, music composition, musical analysis
-
Andra McCartney
sound art, listening/hearing, soundwalks
-
Noah Drew
voice, acting, voice training
-
Owen Chapman
sound, locative media, electroacoustic studies
-
Luigi Allemano
animation, drawing, music making
-
Craig Morrison
ethnomusicology, popular culture, cultural history
-
Liselyn Adams
performing arts, music making, contemporary music
-
Louise Samson
music making, piano, performing arts
-
Guylaine Vaillancourt
arts-based learning, music therapy, participatory action research
-
Christine Beckett
music making, music education, neuroimaging
-
Joonhee Lee
noise, sound, architectural acoustics
-
Luis C. Sotelo Castro
oral history performance, listening/hearing, experimental theatre
-
Laurel Young
music therapy, gerontology, community arts
-
Angélique Willkie
dance dramaturgy, contemporary circus, Josephine Baker