What they call their work
What they do
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Archival Digitization and Preservation 1 activity
- Archiving historical materials on electronic music and media artistsDevelops and maintains an archive of historical materials related to electronic music and electronic media artists, with a focus on the period from 1950 to 2000, including documentation of musical ideas and works involving tape recorders, analog synthesizers, and digital technology.
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Organizational Newsletter Production and Distribution 1 activity
- Maintaining a community calendar and newsletter for electronic music eventsOperates a community calendar listing national and international electronic music and related events, and produces a regular newsletter summarizing EMF Institute activities and upcoming events.
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Musicological Research and Scholarly Editions 1 activity
- Participating in international digital arts and music history initiativesEngaged in collaborative projects such as the UNESCO Digi-Arts Portal to document the history of electronic music and support access to musical creativity software.
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Live Music Performances & Concerts 1 activity
- Supporting and presenting public electronic music eventsOrganizes and presents electronic music concerts, performances, installations, and symposiums as public events to promote understanding of electronic music; includes plans to offer performance opportunities for young composers.
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Who runs it
- ANNIE YEN LING LIU — DIRECTOR
- ANTHONY DE RITIS — DIRECTOR
- CAROLINE MEYERS — DIRECTOR
- KATE GALLOWAY — DIRECTOR
- MARC BATTIER — DIRECTOR
- MARY SIMONI — DIRECTOR
- MIKAKO MIZUNO — DIRECTOR
- ROB HAMILTON — DIRECTOR
- SVJETLANA BUKVICH — DIRECTOR
Who they work with
- Daniel Langlois Foundation Funder — Provided support for EMF Institute as EMF’s historical, research, and education program in 2000.
- Joel Chadabe Partner — Founder of EMF Institute and visionary behind the Joel Chadabe New Music Fund.
- UNESCO Partner — Invited EMF Institute to participate in the Digi-Arts Portal to record the history of electronic music and support musical creativity software.
How they approach the work
Named approaches extracted from this org’s sources. Where others share an approach, follow it to see the full set of orgs running it.
- Historical Preservation as Creative Foundationmethodology: history-preservation-for-creativityBy preserving and documenting the history of electronic music from 1950 onward, the institute enables new artistic innovation, because access to foundational works and practices inspires and informs emerging creators.
- Open-Access Public Engagementmethodology: open-access knowledge disseminationBy disseminating knowledge and organizing public programming around electronic music, the institute broadens understanding and engagement, because open access to media, artists, and events lowers barriers to participation and learning.