Ângela da Ponte and Dimitris Andrikopoulos
Looking Back – Stepping Forward, Creation through the Spectrum of Tradition
Azadeh Nilchiani
The practice of listening to the city in Max Neuhaus’s approach
Carlos Villar-Taboada
Rodolfo Halffter’s Capricho, op. 40 (1978), for solo violin: topics and twelve-tone technique
Caroline Wilkins
A Surge of (Un)-Intentional Sound: On Eavesdroppng
Cláudio Pina
The acousmatic gesture in contemporary organ music
David Friedrich
Beyond Acoustics: The Impact of Cochlear Implants on Sound Perception
Gonçalo Gato
Composition: let’s talk about listening, again
Gustavo Penha
Solfege, becoming-voice and ear-voice machine in the analytic listening
Henrique Portovedo
SCAMP Singularity 3A: Algorithmic Computer-Assisted Music as means of Multidimensional Performance and Creation
João Coimbra, Henrique Portovedo and Sara Carvalho
A Gestural Interface for Real-Time Composition: concepts and implementation.
João Ricardo
Music composition and data sonification practices in the creation of synthetic soundscapes
Joevan de Mattos Caitano
International Summer Courses for New Music in Darmstadt from the perspective of Brazilian composers, instrumentalists, musicologists, and conductors in the 21st century.
Jorge Sousa and Henrique Portovedo
‘Post-digital- in contemporary music for saxophone, electronics and video
Julian Johnson
Musique, que me veux-tu? The challenge of music listening
Kenrick Ho
Flou: A Co-compositional Attempt at Algorithmic Embodiment
Leon Steidle
The modulation of perceptual states in Helmut Lachenmann’s music
Louisa Martin-Chevalier
The Various forms of Politization of Contemporary Ukrainian Musical Creation
Luís Neto da Costa and Henrique Portovedo
Oigias do Agora’s multiphonics: meaning and notation
Makis Solomos (round table)
Exploring the ecologies of music and sound. (Re)politising musical listening_Proposal for a round table discussion
Maria Inês Pires
The concerts of Drumming Grupo de Percussão: musical repertoire and venues
Marin Escande
Exploring the Japanese music scene of the 1960s from the perspective of kankyō geijutsu (environment art)
Mélissa Mathieu
When museums increase listening: sound creation in the service of transmission
Monika Karwaszewska and Beata Oryl
The Metaphorical Sense of Artistic Discourse and its Inphrastic Narrative
Nariá Ribeiro
Non beat-based rhythms in Xenakis’ string quartet Tetras
Nicola Bizzo
The music of Queen: dynamic soundtracks and a new audiovisual relationship
Niki Zohdi
Collisions & Proximities: Discovering a Middle Ground Between Two Extremes in Composition
Paal Fagerheim
Listening to the Beat in Silence: Investigations Into Silent Disco and Individual Listening In Collective Events
Paula Gomes Ribeiro and André Malhado
(Un)listening to music: rethinking musical values in the age of the algorithms
Philippe Trovão and Henrique Portovedo
Recovery of analogue devices for live electronics: Case studies in recasting Korg SE500
Piotr Kędziora
Why do we need, if we need it at all, the concept of ambient listening?
Renata Kambarova
Approaching Nola, Shashmaqom, and Western contemporary art music through intercultural exchange and artistic research
Ricardo Thomasi and Silvio Ferraz
Inhabiting traces: creative insights from experiments with artificial ecosystems
Rita Santos
The collective consciousness, sound art, and festivals- an avant-garde insight
Roberto Oliveira-Ogando
Enrique X. Macías Collection: processes and results of the digitization of magnetic tapes
Sara Pinheiro
Foley Gesture
Silvio Ferraz
Some remarks on musical energy: analytical approach from Iannis Xenakis’ST/4-1, 02061962
Stefano Catena
A functional approach to spatial musical analysis
Teresinha Prada and Danilo Rossetti
Intertextuality Networks for a New Composition: Articulations, Interrelationships, and Emergences through Listening