This article introduces the Voice Leaf, an outsider among Baschet’s numerous sound sculptures because of the use of the performative voice. Conceived in 1965 by French pioneers Bernard and François Baschet, the sculpture for voice consists of a stainless steel sheet folded as a leaf using origami technique. This article explores how voice and sculpture interplay acoustically by evaluating the voice’s agency and the sculpture’s aural dynamic gain. In this mutualist relationship, multiple senses are mobilised: aural, visual and haptic. The voice harboured in the sculptural leaf gains materiality and a resonance altered by the sculpture’s intrinsic properties. The article draws from conversations at the Structures Sonores Baschet Association open day with chairperson Pierre Cuffini and former workshop and acoustics research director Frédéric Fradet, as well as an interview with multidisciplinary artist and long-term collaborator of Bernard Baschet, Sophie Chénet.

This article examines the creation of an Urban Archive as an English Garden, a work that uses GPU-accelerated low-resolution wavefield synthesis (WFS) to combine field recordings, live performance and generative audio in real time. Owing to computational overhead, WFS is often pre-rendered, leading to a less dynamic and more static scope for the embodied and intersubjective nature of human sensory understanding, a tendency that can also be found in traditional soundscape composition. We argue that engagement with real-time WFS offers a new approach to soundscape composition, wherein musical-system design may have multiple agencies, or that of virtual environment, co-creator, archive and hybrid instrument. Through a post-phenomenological lens, an analysis of the work’s creation through different domains reveals how these technologies afford novel practices to engage with our sonic environments. Additionally, the article unpacks how this same process, grounded in site-responsive design offers new approaches to composition, performance and artistic collaboration across these practices.

This article considers modular composition as an approach to engendering structural plasticity in musical works. Structural plasticity, in this case, is defined as the ability for the components of a musical work (e.g., events, ideas, sequences, textures, timbres) to vary in how and when they are presented. In this research, modular composition is the process for creating a collection of individual musical ideas (e.g., sequences, patterns, phrases) termed ‘modules’, and designing a dynamic system for their assembly into cohesive structures. This approach results in musical works that exist in a state of constant structural flux, allowing for real-time alteration while progressing beyond similar existing approaches observed in video game music and interactive music apps, from which this research takes inspiration. Approaches involving compositionally focused intelligent music systems are also observed, highlighting how modular composition bridges traditional compositional practices and the design of interactive music systems. Two of the authors’ own works are discussed with regard to how modular composition can be implemented in varying creative ways. The outcome of this work illuminates the creative possibilities of integrating traditional compositional practices with new digital approaches to arrive at a more structurally plastic and alterable form of music.

This paper examines how the design and realisation of a concert presentation entitled Drawing Sound in Space led to the concept of digital spatial notation. Seven Australian composers were commissioned to create digital scores for an electroacoustic chamber music ensemble, and scores were shared with the audience. The author argues that contemporary digital notation practices enhance live performances of new music by expanding concepts of the audiovisual to include alternative notational approaches engaging with space, creating a ‘spatial notation’. Further, Drawing Sound in Space aimed to transform musicianship and audience experience by offering a more immersive encounter with music notation as a multimodal, social practice where audience engagement and musical understanding are enhanced. A theoretical framework is provided to facilitate the analysis of each work, where semiotic expansion, temporal engagement, distributed agency and spatial reconfiguration are discussed. Through different approaches to presenting music notation in Drawing Sound in Space, the project sought to provide audiences with a novel concert experience whilst simultaneously challenging composers to design notation intended for audiences as well as performers.

This text explores how electronic musical instruments and electronic music ensembles can relate to composition and music notation by discussing the instruments in terms of existing practice in traditional instrumentation and in relation to symbolic electroacoustic music analysis. Starting from orchestration theory, the text considers how electronic musical instruments behave and are used, both with support from the author’s own practice and from a case study with students within the framework of a live-electronic ensemble course. The case study reflected the participants’ practice as creative composers/musicians, and how their exploratory and experimental approaches to their instruments proved important, creating challenges for notation. Traditionally, music notation relies on continuous changes of simple parameters, while performances with complex electronic instruments may have just as important information to document regarding their initial connectivity and parameter settings.

This article surveys spatial music and sonic art influenced by the traditional Japanese concept of ma – translated as space, interval, or pause – against the cultural backdrop of Shintoism and Zen Buddhism. Works by Jōji Yuasa, Midori Takada, Michael Fowler, Akiko Hatakeyama, Kaija Saariaho and Jim Franklin created in conscious engagement with ma are analysed with respect to diverse manifestations of ma in Japanese arts and social sciences, including theatre, poetry, painting, rock garden, shakuhachi and psychotherapy. Jean-Baptiste Barrière provided the Max patch for Saariaho’s Only the Sound Remains (2015) for this survey. I propose a framework of six interlinking dimensions of ma – temporal, physical, musical, semantic, therapeutic and spiritual – for discussing creative approaches to ma, alongside their resonance with Hisamatsu Shin’ichi’s seven interconnected characteristics of Zen art: Asymmetry, Simplicity, Austere Sublimity/Lofty Dryness, Naturalness, Subtle Profundity/Deep Reserve, Freedom from Attachment and Tranquility. The aim is first to examine how each composer uses different techniques, technologies and systems to engage with specific dimensions of ma. Second, to illuminate possible futures of exploring these dimensions in spatial music and sonic art through three methods: Inspiration, Transmediation and Expansion.

Auditory-based illusions and effects are fascinating fields for both psychoacoustic research and sound installations. While such illusions and effects are usually researched in isolated scientific studies, they can also be applied as compositional tools in sound installations. This article addresses the suspenseful connection between psychoacoustic research and sound installations. After defining terms relevant to auditory-based illusions and effects, various aspects of sound installations are described. In that light, auditory-based illusions and effects are described and categorised and examples are provided for their scientific investigation by means of references to key experiments. Further, examples of applications are included that showcase the use of auditory-based illusions and effects in compositions and sound installations. Finally, in order to foster future artistic applications, the connections between illusions and effects are visualised, and sound-installation aspects are provided in a table. Such a combined consideration of psychoacoustic fundamentals and sound-installation aspects aims not only at deepening the methodological knowledge of sound artists, but also inspiring innovative compositional perspectives.

While the relationship between space and openness has been explored in electroacoustic music since the 1960s, and contemporary composers have shown increasing interest in contingency, recent advancements in ambisonics, sound diffusion, and VR have granted composers greater control over the spatial image presented to the listener. This article revisits the discussion of space and openness through the lens of the author’s artistic practice and compositional experience, framed by new materialism, object-oriented philosophy and relational space theory. Through case studies from the author’s work, it examines spatialisation strategies that emphasise openness and the agency of sound materials. These strategies include sound source localisation, networks of family resemblances and parametric spatialisation, aiming to create an open sound experience that maintains identity while allowing agency for the sound material, the listener and the composer. In light of current global crises, partly driven by total control and exploitation, this article advocates for rethinking compositional practices to foster open sound experiences that reflect dynamic interactions between composer, material and listener.

Music notation has evolved to accommodate music and musical instruments as they have changed over time. However, the rapid advancement of musical technology has not been accompanied by a corresponding development and consensus in notation. This paper examines the challenges faced by notation in representing music written for augmented instruments. We contend that a novel understanding of musical works is necessary and propose a work-concept that recognises the significance of the technology – medium – that composers develop alongside their creations. We emphasise the role of the score within this work-concept model and present an instrumental augmentation system as a case study. Finally, we propose notation guidelines for augmented instruments and argue that standardising notation could facilitate the discovery of common ground that guides the development of augmented instruments and music written for them.

This article explores the intersection of electroacoustic music in multichannel immersive audio environments and trauma-informed therapy practices through gestural mediation in artistic works. Drawing on Jean-François Augoyard’s definition of anamnesis, the article examines how spatial audio can evoke memories and mirror the psychological landscapes associated with trauma. The research is centred around the composition Crumble, which uses spatial sound to articulate fragmented mental states of individuals processing traumatic experiences. Through an analysis of the spatial placement of sound, gestural technologies and embodied interaction, the article demonstrates how these elements converge to create immersive environments that facilitate an understanding of trauma and memory. The findings highlight the role of embodied cognition in music performance, showing how Crumble’s integration of body, space and sound fosters audience connection through immersive spatialisation and gestural mediation. By integrating these practices, this study offers new insights into the therapeutic potential of immersive electroacoustic music as a medium for expressing complex emotional states. Combining embodied sound, gestural control and spatial audio promotes the exploration of space and memory, encourages personal agency and supports reintegration of body and mind, aligning with trauma-informed practices. It suggests avenues for future exploration in the intersection of music, psychology and immersive technologies.

Étude n°1 is a solo for feedback and effects pedals by David Caulet. Originally designed to enrich the electric guitar’s timbre, effects pedals have been widely repurposed by experimental and improvising musicians. Although their use is now common, notation practices associated with these devices remain underdeveloped. This work explores the development of a graphic system dedicated to representing instrumental gestures and opens perspectives for a notation framework adapted to contemporary musical practices incorporating electronic technologies.

This article revisits the concept of the instrument’s inherent score, exploring how musical instruments can embody a form of notation that both shapes and inspires performance. Building on earlier research (Tomás 2016; Tomás and Kaltenbrunner 2014), the study examines the historical and theoretical foundations of this idea, tracing its roots to experimental music practices of the 1960s and 1970s, particularly within the Sonic Arts Union collective. Composers such as Alvin Lucier, Gordon Mumma and Nicolas Collins have described how electronic instruments embody compositional elements, effectively functioning as scores. The paper argues that the instrument’s score emerges from the material and symbolic affordances of the instrument, mediating the performer’s engagement with its sonic and physical properties. This concept has influenced contemporary digital instrument design, where the boundary between composition and instrument becomes blurred. The study also engages with theoretical frameworks from Vilém Flusser and Friedrich Kittler, situating the instrument’s score within broader discourses on technology and embodiment. Finally, the paper explores the challenges of notating such scores, drawing parallels with choreographic practices, and concludes by emphasising the body’s central role in interpreting and enacting these inscriptions during performance.

OTTOsonics is an open hardware platform developed by a team of engineers and composers, designed to prioritise affordability and flexibility, addressing the needs of a broader community interested in spatial audio. At its core, the platform features a custom-designed, high-quality 4-inch speaker with a 3D-printed cabinet, and an affordable multichannel power amplifier. It also offers a comprehensive set of mounting accessories and a knowledge base for producing and presenting spatial audio using open-source software. Over the past three years, OTTOsonics has been adopted by multiple cultural initiatives, universities, and audio enthusiasts, enabling the production of new spatial audio works across genres such as electroacoustic, experimental, and pop music. This article outlines the key decisions made throughout the project and presents the technical and artistic outcomes after three years of operation. We discuss the key features of an open platform for spatial audio and how our designs address these needs, as well as future directions for further projects and initiatives.

Notating electroacoustic music can be challenging due to the uniqueness of the instruments employed. Electronic instruments can include generative components that can manipulate sound at different time levels, in which parameter variations can correlate non-linearly to changes in the instrument’s timbre. The way compositions for electronic instruments are notated depends on their interfaces and the parameter controls available to performers, which determine the state of their sound-generating system. In this article, we propose a notation system for generative synthesis based on a projection from its parameter space to a timbre space, allowing to organise synthesiser states based on their timbral characteristics. To investigate this approach, we introduce the Meta-Benjolin, a state-based notation system for chaotic sound synthesis employing a three-dimensional, navigable timbre space and a composition timeline. The Meta-Benjolin was developed as a control structure for the Benjolin, a chaotic synthesiser. Framing chaotic synthesis as a specific instance of generative synthesis, we discuss the advantages and drawbacks of the state- and timbre-based representation we designed based on the thematic analysis of an interview study with 19 musicians, who composed a piece using the Meta-Benjolin notational interface.

The increasing number of applications for spatial audio technologies has led to a growing interest in the subject from academic institutions and a more capillary diffusion of techniques and practices to non-institutional contexts, especially independent sound artists. However, the lack of a methodology for learning these technologies motivated our team to develop the Open Ambisonics Toolkit (OAT). Our goal is to promote the diffusion of spatial audio technologies by combining three pedagogical components: a DIY approach to hardware, a selection of open-source software, and a step-by-step introduction to Ambisonics theory through practical applications. The present article focuses on the development of a flexible toolkit and is based in our own practical experience as sound artists and teachers. We describe the process of designing hardware and selecting software components, and report results from objective measurements and listening tests conducted to evaluate different loudspeakers and spatial configurations. To conclude, we discuss future perspectives on the development of tutorials for learning spatial audio with OAT, which we are continually testing in workshop settings with students and independent sound artists.

New musical instruments of the electronic and digital eras have explored spatialisation through multidimensional speaker arrays. Many facets of 2D and 3D sound localisation have been investigated, often in tandem with immersive fixed-media compositions: spatial trajectory and panning; physics-based effects such as artificial acoustics, reverberation and Doppler shifts; and spatially derived synthesis methods. Within the realm of augmented spatial string instruments, the EV distinguishes itself through a unique realisation of the possibilities afforded by these technologies. Initially conceived as a tool for convolving the timbres of synthesised and acoustic string signals, the EV’s exploration of spatial sound has led to new experiments with timbre. Over time, additional sound-generation modules have been integrated, resulting in an increasingly versatile palette for immersive composition. Looking forward, the EV presents compelling opportunities for sonic innovation.

This article proposes queernotation as a lens to understanding existing works and as a way forward for composers and musicians who find themselves limited by traditional forms of music notation. Applying queer ways of knowing and creating, I investigate the inherent boundaries in notation and how queer theory can guide us to break out of them. Queernotation connects score types to three key areas of queer theory: queer erotics, queer temporalities and queer futurity. Extending these theoretical approaches to their musical possibilities, I identify three modes of queering notation. These approaches are demonstrated in this article through existing historical and recent works and practically applied in a chamber opera that tests concepts of queernotation in directing improvisers to perform conceptual ideas on the stage. Notation for electronic instruments and with digital mediums demonstrates how technology facilitates new approaches that can queer music notation.

Generative soundscapes in exhibition spaces offer new possibilities for integrating artistic practice, technological innovation and perceptual experience. Contemporary tools – including stochastic algorithms, random oscillators and diverse methods of sound synthesis – enable the construction of environments that respond dynamically to external conditions. With the integration of artificial intelligence and machine learning, such systems acquire additional flexibility: they are able to register the presence and movement of visitors, evaluate changes in audience density and adjust to the acoustic properties of the space in real time. As a result, sound layers can emerge when a participant approaches, the balance of elements may shift with fluctuations in the crowd, and potential peaks in volume can be anticipated and mitigated. In this way, a fixed soundtrack is transformed into an adaptive system, where the exhibition environment functions as an active, responsive organism. Sound ceases to serve merely as a background and becomes a structural component that directly influences how the artistic work is perceived.