The author describes structural elements for and the conditions and contexts within which he creates his work. The recurring use of fractals and resonance is integral to the construction of sound objects.

The author, a percussionist, finds timbral interest in the failure to consistently execute a common technique.

The Theoretically Audible, but Practically Inaudible Range (TAPIR) is sound in the highest bandwidth of human hearing; it is barely perceptible by most people but can be transmitted and received by stereotypical transducers. The authors suggest the potential of TAPIR sound as a new medium for music, sonic arts and mobile media.

Musical robotics is a rapidly growing field, with dozens of new works appearing in the past half decade. This paper explores the foundations of the discipline and how, due to the ability of musical robots to serve as uniquely spatialized musical agents, it experienced a rebirth even in the face of loudspeaker technology's dominance. The growth of musical robotics is traced from its pre-computer roots through its 1970s renaissance and to contemporary installation-oriented sculptures and performance-oriented works.

“Miraculous agitation” denotes an acoustic marvel: a striking sound emerging from vibrating physical systems. A somewhat subjective phenomenon, acoustic marvels are typified by expressive or harmonic richness, and their production is reliant on delicate interrelationships between objects under vibration, often involving chaotic or nonlinear behavior. In some cases it is even possible to observe emergent behavior. Significantly, acoustic marvels may commonly strike the auditor as seeming to be “of electronic origin,” thus pointing toward postelectronic electroacoustic techniques.

The author's work has focused on the use of acoustical phenomena, as opposed to electronic and computer-based sound synthesis, for sound generation. His approach to sound generation and processing utilizes a number of self-built instruments, including resonant sculptural objects, ultrasonic instruments and robotic rotating loudspeakers. The author illustrates the development and implementation of these instruments for the creation of a sonic architecture.

The authors explore perceived sound properties of acoustic guitars built with foamed polycarbonate soundboards rather than spruce or cedar. The research seeks to establish the extent to which polymer acoustic guitars are an acoustically credible alternative to wood instruments. Data are generated through participation by members of the public (n = 320) in blind listening tests. Remarkably, participants are found unable to distinguish much beyond a 50% success rate whether sound originates from wood or polymer acoustic guitars.

The author describes a long-term process in which a growing awareness of acoustics led to a profound evolution of his conception of the flute. In turn, this reconception led to an evolution in the flute's design and ideas for further development of the instrument and its music.

The author discusses her experiences in conceiving, designing and working with the Long String Instrument, an ongoing hybrid of installation and instrument integrating acoustics, engineering and composition.