Rights have become a major issue today for composers and authors. In a technologically changing world, it is never easy to know what to do when it comes to publishing content on the Web. It is clear that there is no easy solution. However, methods for Web publishing exist; it is mainly a question of acquiring the necessary information and trying to sort out what is the best context for each country.

In 1991 I wrote a short article comparing three ‘live electronic’ ensembles based in the UK and active in the late 1960s and 1970s (one into the 1980s) (Emmerson 1991). It was only in the final stages of preparation of this paper for presentation at the EMS05 conference in Montreal that I realised that the death of Hugh Davies on 1 January 2005 meant that a key member of each of the three ensembles was no longer with us. This article is thus dedicated to Barry Anderson (1935–1987, founder and director of the West Square Electronic Music Ensemble), Tim Souster (1943–1994, co-founder of Intermodulation) and Hugh Davies (1943–2005, founder member of Gentle Fire). The fact that they can no longer describe, elucidate and explain the repertoire that they created is directly pertinent to this paper. While its practitioners must inevitably (though hopefully not so prematurely) move on, as we celebrate Mozart's 250th birthday with performances of the vast majority of his compositions, we must ask ‘in what form live electronic music can live on’

In this article we describe a new approach to performing musical works that use Yamaha DX7-based synthesis. We also present an implementation of this approach in a performance system for Madonna of Winter and Spring by Jonathan Harvey. The Integra Project, ‘A European Composition and Performance Environment for Sharing Live Music Technologies’ (a three year co-operation agreement part financed by the European Commission, ref. 2005-849), is introduced as framework for reducing the difficulties with modernising and preserving works that use live electronics.

While much work is proceeding with regard to the preservation and restoration of audio documents in general and compositions for tape in particular, relatively little research has been published with regard to the issues of preserving compositions for live electronics. Such works often involve a distinct performance element difficult to capture in a single recording, and it is typically only in performance that such works can be experienced as the composer intended. However, performances can become difficult or even impossible to present over time due to data and/or equipment issues. Sustainability here therefore refers to the effective recording of all the information necessary to set up the live electronics for a performance. Equally, it refers to the availability of appropriate devices, as rapid technological change soon makes systems obsolete and manufacturers discontinue production. The authors have had a range of experience re-working performances over a number of years, including compositions by Luigi Nono and Jonathan Harvey, amongst others. In this paper we look at the problem as a whole, focusing on Jonathan Harvey's works with electronic elements, which span some twenty-six years, as exemplars of the types of problems involved.

Arrangement has always played an essential part of transmitting, preserving and disseminating works in the musical practice of both ‘high art’ and popular music. However, at present it is rarely practised in electroacoustic music, which can partly be explained by the nature of electronic technology and current thinking about authenticity. Despite this context, there are benefits to performance opportunities through the diversity created by arrangement; therefore, the process of adapting the electroacoustics of Scelsi's Aitsi is explored. The work offers this opportunity, since it lacks precision in its musical documentation, has received a number of quite different renditions and shows ontological malleability as it exists in another form, Scelsi's Fifth String Quartet. The new electroacoustic adaptation exploits Max/MSP software to extend the electroacoustic treatment of the piano beyond previous interpretations, whilst attempting to remain consistent with the aesthetic of the work. The article aims to encourage the composition and adaptations of works that afford performers interpretative licence with the electroacoustics in order to promote the distinctive and evanescent nature of mixed acoustic-electroacoustic works in concert performance, and encourage its continuation through an evolving performing tradition.

There are many excellent works for piano and tape; however, there have been an insufficient number of pianists widely performing these works. The purpose of this article is to critically analyse the rhythmic relationships between piano and tape, serving a pedagogical function for both composers and pianists in technical and aesthetic terms. Hopefully these techniques will encourage pianists to include music for piano and tape as part of their repertoire.

This paper presents a three-stage model (analysis, reconstruction and performance) for the conservation of interactive electroacoustic works for which the original technology is now obsolete or otherwise unavailable. The first stage, analysis, is a detailed documentation of the electronic processes and effects required for each work in a format that is independent of any specific device or system. The analysis provides a blueprint for future realisations using available technology. The second stage, reconstruction, provides a working performance resource, as well as a test case for the validity of the analysis. Reconstructed systems are then tested and refined through the third stage, performance. With repeated performances, compositions gain wider exposure and may be evaluated by listeners on their musical merits. To date, the author has analysed, reconstructed and performed several works for clarinet and interactive electronics. Each performance has informed the continued development of the newly reconstructed system, and has in some cases led to corrections to the underlying analysis. As a classically trained clarinettist and computer musician, the author's approach to the conservation of electroacoustic repertoire comes from a desire to find performable works and to keep them viable and accessible for as long as possible. Four works for clarinet and interactive electronics (by Musgrave, Pennycook, Kramer, and Lippe) are presented as test cases for this model.

In this paper, we propose a theoretical framework for the design of tangible interfaces for musical expression. The main insight for the proposed approach is the importance and utility of familiar sensorimotor experiences for the creation of engaging and playable new musical instruments. In particular, we suggest exploiting the commonalities between different natural interactions by varying the auditory response or tactile details of the instrument within certain limits. Using this principle, devices for classes of sounds such as coarse grain collision interactions or friction interactions can be designed. The designs we propose retain the familiar tactile aspect of the interaction so that the performer can take advantage of tacit knowledge gained through experiences with such phenomena in the real world.

The significant role of visual communication in modern computer applications is indisputable. In the case of music, various attempts have been made from time to time to translate non-visual ideas into visual codes (see Walters 1997 for a collection of graphic scores from the late computer music pioneer Iannis Xenakis, John Cage, Karlheinz Stockhausen, and others). In computer music research, most current sound design tools allow the direct manipulation of visual representations of sound such as time-domain and frequency-domain representations, with the most notable examples being the UPIC system (Xenakis 1992), Phonogramme (Lesbros 1996), Lemur (Fitz and Haken 1997), and MetaSynth (Wenger 1998), among others. Associations between auditory and visual dimensions have also been extensively studied in other scientific domains such as visual perception and cognitive psychology, as well as inspired new forms of artistic expression (see, for example, Wells 1980; Goldberg and Schrack 1986; Whitney 1991).