Communication between singers and composers: Theory, reality and hope for the future by Miika Hyytiäinen

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Breaking Free To Improvise by Laura Balboa

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Live Coding: A New Approach to Musical Composition by Alexandra Cardenas

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Reflections on feminist collaborative initiatives in music in Brazil and their implications to the policies of resistance and creativity by Tânia Mello Neiva, Isabel Porto Nogueira, Camila Durães Zerbinatti

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The Warsaw Autumn International Music Festival — Overcoming the Boundaries between East and West by Nikolskaya Irina I.

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Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza by Maurizio Farina

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Musik Eksperimental: Angkep Wilang by I Gde Made Indra Sadguna, Kadek Dimas Mahardika, I Nyoman Sudiana

“…The difference is that experimental music puts forward an 'unusual' auditive experience. …”
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Karang Boma: Musical Composition Based on History, Painting and Kawi Dalang Art Creativity Theory by Ni Made Ayu Dwara Putri

“…The emergence of experimental music is marked by the presence of the figure of John Cage in the 19th century which in music history is often referred to as the period of Modern Music. …”
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Vanishing Points by Meireles, M

“…A digital album released by the experimental music label Crónica in August 2023. The album documents urban flows of various cities using field recordings.…”

Reflections about the social determinants of art and design: noise music in Latin America and Asia by Dimitri della Faille

“… The paper is based on the author’s experience performing noise or experimental music in Latin America, East and South East Asia. …”
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Fluidify by Tan, Aileen Yan Ching

“…Fluidity is an experimental music video that explores the behaviour of water motion. …”
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Idiosyncratic Audio Feedback Networks for Music Creation by Adriano Claro Monteiro

“…The article begins with a general conceptualization of feedback systems as well as a brief historical review of its use in experimental music. Later, a more specific contextualization of its application in recent computer music research and artwork is made, and two contributions are presented: the first is a network of cross-modulated sinusoidal oscillators (by frequency modulation), and the second is a network of algorithms for playing and transforming pre-recorded sound samples. …”
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The uncertainty of experience: On George Brecht’s Event scores by Ouzounian, G

“…George Brecht, an artist best known for his associations with Fluxus, is considered to have made significant contributions to emerging traditions of conceptual art and experimental music in the early 1960s. His Event scores, brief verbal scores that comprised lists of terms or open-ended instructions, provided a signature model for indeterminate composition and were ‘used extensively by virtually every Fluxus artist’. …”

Towards a more sonically inclusive museum practice: a new definition of the ‘sound object’ by John Kannenberg

“…A problematic term within sound studies, this article proposes a revised definition of ‘sound object’, shifting it from experimental music into the realm of the author’s own experimental curatorial practice of establishing The Museum of Portable Sound, an institution dedicated to the collection and display of sounds as cultural objects. …”
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The Problematic of Embodiment in Online Specta(c)torship by Mihai Băcăran

“…Starting from the online documentations of Guy Ben-Ary’s bio-artwork cellF (2015), Alvin Lucier’s seminal experimental music piece Music for Solo Performer (1965), and Stelarc’s performance RE-WIRED / RE-MIXED (2015) the present article participates in this debate by asking: what type of embodied identity is contoured in online specta(c)torship? …”
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Sample-level sound synthesis with recurrent neural networks and conceptors by Chris Kiefer

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Music.ALS: clinical perspectives on a home-based music therapy treatment to improve breathing, speech, swallowing and cough of persons with ALS (MND) by Apreleva Kolomeytseva, AT, Fachner, JC, Street, AJ

“…<br> Suggested individual adaptations of the experimental music therapy protocol included modifications of sitting posture, breathing technique, consonant changes in singing exercises, additional pauses and stretching, and changes to preferred song therapeutic performance. …”