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/hearing9
- sound26
- music composition9
- interconvictional dialogue2
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Sandeep Bhagwati
music making, research-creation, transdisciplinarity
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Ricardo Dal Farra
music composition, electroacoustic studies, research-creation
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Mark Corwin
electroacoustic studies, music composition, listening/hearing
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Kevin Austin
music composition, electroacoustic studies, aural acuity
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Kathy Kennedy
sound, voice, music making
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Joshua Rager
jazz, improvisation, piano
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Owen Chapman
sound, locative media, electroacoustic studies
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Rosemary Mountain
aesthetics, music composition, musical analysis
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Noah Drew
voice, acting, voice training
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Andra McCartney
sound art, listening/hearing, soundwalks
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Craig Morrison
ethnomusicology, popular culture, cultural history
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Luigi Allemano
animation, drawing, music making
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Louise Samson
music making, piano, performing arts
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Guylaine Vaillancourt
arts-based learning, music therapy, participatory action research
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Christine Beckett
music making, music education, neuroimaging
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Liselyn Adams
performing arts, music making, contemporary music
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Joonhee Lee
noise, sound, architectural acoustics
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Laurel Young
music therapy, gerontology, community arts
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Angélique Willkie
dance dramaturgy, contemporary circus, Josephine Baker
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Jared Wiercinski
digital libraries, open access, digital scholarship
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Luis C. Sotelo Castro
oral history performance, listening/hearing, experimental theatre