Books:
Sound Art and Music; Philosophy, Composition, Performance (co-edited volume, eds. John Dack, Tansy Spinks, Adam Stanovic). Cambridge Scholars Publishing: Cambridge. 2020.
Book Chapters:
Trust in Early Recordings: documents, performances and works. In, Moreda Rodriguez and Stanovic, eds. Early Sound recordings: research and practice. Routledge: Abingdon-on-Thames. 2022
The Methodology Mythology: reconsidering compositional practice in acousmatic music – Music and Sound Art: Composition, Performance, Philosophy. Cambridge Scholars Publishing: Cambridge. 2020.
Beyond the Fixity Fallacy: rethinking the work-concept in an age of electronic music – Music and Sonic Art: Practices and Theories. Cambridge Scholars Publishing. 2017
Between Plasticity and Performance: an Introduction to Acousmatic Art – Digital Art Critcism, Taiwan. Dec 2012
Journal Papers:
A Chip off the Old Block: introducing the practice of historically-informed recording. In, Seismograph: Sounds of Science, Fokus, Denmark. 2021.
Composing the North: sound art as a method for moulding the plastic city. In, Nordlit special issue ‘Conceptualising the North, UiT, Norway. 2020.
Composing the Plastic City: a reflection of methods, motivations and meanings – In, Sonic Ideas/Ideas Sonicas, CMMAS, Mexico, 2019.
Musical Works, Recordings and their Digitisations: new philosophical types – Svensk tidskrift for musikforskning: Swedish Journal of Music research. 2018.
Degrees of Determinacy: classifying acousmatic works in an age of sound diffusion – Musimédiane Vol 9. Paris. Forthcoming.
The Acousmatic Sound Sculpture: an ontological account of works, performances and the centrality of space – Sound Spaces and Audiovisual Spaces: CreaAtion, Representation and Design. Universidad Autónoma de Madrid. 2014
Between Plasticity and Performance: an ontological account of electroacoustic music – the Journal of the Korean Electro-Acoustic Music Society KEAMS, Seoul. 2013
Tracking Production Strategies: identifying compositional methods in electroacoustic music – the Journal of Music, Technology and Education, 2013
Materialising Time and Space in Acousmatic Music – L’Espace du Son III, 2011 Sounds, Agents, Works and Listeners: a Model of Computer Music Performance – Journal of Music, Technology and Education, 2011
Through Thick and Thin: the Ontology of Tape Music – Journal of Music and Meaning, 2010
Information Computer Technology (ICT) for Music Composition and Seamless Performance Interfaces – Rvista Electronica de Musicological, 2009
PhD Thesis:
The Acousmatic Musical Performance: an ontological investigation. Available to download HERE
Edited Journals:
Special Edition of the Journal for Music, Technology and Education, guest edited by Adam Stansbie and Adrian Moore. Dec 2013
Book Reviews:
Review of “Sonic Art: An Introduction to Electroacoustic Music Composition” by Adrian Moore, In, International Review of the Aesthetics and Sociology of Music, Published 2018
Review of “Soundweaving: Writings on Improvisation” by Franziska Schroeder, Mícheál Ó hAodha, In, the Journal of Music, Technology and Education, Published 2015
Review of “NO PICNIC: explorations in art and research: ed Cheeseman, M”. In No Picnic, published 2014
Review of “Musical Creativities in Practice” by Pamela Burnard”. In, the Journal of Music, Technology and Education, Published 2013
Talks:
Invited Talk: Trust in Early Recordings: documents, performances, works. Vocal Recordings and New Beginnings. 20th Jan 2022
Invited Talk: To US.S..S…: methods for referential electronic music, Computer Space international competition, Digital Music Section, Sophia, Bulgaria, 27th Oct 2022
Invited Talk: Spaces, Places, and the Democratic Right to Sculpt: reflections on three recent acousmatic compositions,ICEM/CIME festival 2022, Krakow, Poland, 14th Oct 2022
Invited Talk, Technologies for Music and Sound, Visoka škola za informacijske tehnologije, Zagreb, 21st July 2020
Baltazar’s Adventure through Kelham Island, Post-traumatic Landscapes Conference, Sheffield, 14th July 2020
The Acousmatic Musical Performance: a compositional ‘telos’, Acousmonium Festival, Krakow, 13th Oct 2019
Invited Round-table discussion as part of KONTAKTE festival (supported by DEGEM), Akademie der Künste, Berlin, 28th Sept 2019
The Work of Music – and the problem of its identity crisis, RMA Music and Philosophy Study Group, 11th-12th July 2019
Invited Talk, Composing with Ten Billion sounds, University of Derby, 26th June 2019
Invited Talk, University of Corfu, 8th May 2019 Invited Talk, The Sonic Lab, Linz, 18th March 2019
Invited Talk, De Montfort University, 6th March 2019
The Disappearing Work, conference paper at the Nova Contemporary Music Meeting, 21 – 23 Nov 2018
Composing with Ten Billion Sounds, invited pre-concert talk at The Acousmatic Project, Fourier Festival, 7th Oct 2018
Up, Down, Stretch and Reverse: composing with instrumental sounds invited lecture at the Technical University Sydney, 8th August 2018
Never Trust a Composer, invited lecture at the Sydney Conservatorium of Music, 1st August 2018
The Electronic Performer, Conference paper at The 1st International Conference on Artistic Research in Performance, 30 June 2018
Composing Ten Billion, invited lecture at the New England Conservatory, 11th April 2018
Composition and Technology Lectures, invited lectures at Harvard University, USA, 9th and 10th April 2018
KEAR Lecture: the Ten Billion Project, Bowling Green State University, USA, 3rd April 2018
Various lectures on composition and technology, Bowling Green State University, USA, March-April 2018
Invited Speaker at Aesthetics of Computer Music: changes in the nature and reception of music, The University of Leeds, 7th Nov 2017
Composing the Plastic City: a reflection on methods, motivations and meanings, Sound + Environment 2017, University of Hull, 29th June – 4th July 2017
Composing Acousmatic Music, CMMAS, Morelia, Mexico, Tuesday 21st July 2016
Performing Music, Performing Culture: bridging the cleavage between forms of practice (Adam Stanovic and Inja Stanovic), MUSICULT, Istanbul, Turkey, 18th May 2016
Round Table: Instrumental vs. Electroacoustic: Remixing Contemporary Classical Music, Institute of Musical Research Event, The University of Sheffield, 7th April 2016
Round Table: Acousmatic Music in the UK, Musique et Recherches, Belgium 24th February 2016
The Imaginary Museum of Electroacoustic Works, International Confederation for Electroacoustic Music CIME/ICEM, Lisbon, Portugal, 2 – 4 Oct 2015
The Mythological Method: reconsidering compositional practice in acousmatic music, Sixth International Symposium on Music/Sonic Art: Practices and Theories, Karlsruhe, Germany, 23 – 25 June 2015
Corrective and Expressive Diffusion: interpreting acousmatic works in performance, International Festival for Innovations in Music Production and Composition (iFIMPaC), Leeds College of Music, 13th March 2015
Upholding Authorship: rethinking the work-concept in light of contemporary compositional practice, RMA Study day: Authorship, The University of Oxford, 7th March 2015
Keynote Speaker at Terra Incognita: exploring practice-as-research, The University of Sheffield, 12th June 2014
The Sonic Art Type: A Conception of Works, Performances and Interpretations, International Symposium on Music/Sonic Art: Practices and Theories, Karlsruhe, Germany, 26-29 June, 2014
Plasticity and Performance, plastiCities Symposium as part of the ‘in the city’ festival, Sheffield, 3rd June 2014
Between Plasticity and Performance: an ontological account of electroacoustic music, Korean ElectroAcoustic Music Society, KEAMS 2013, Seoul, Korea
What is the ‘Work’?: an ontological account of acousmatic works and performances, EMS 2013, Lisbon, Portugal
Concrete or Concrète?: an ontological account of acousmatic music, MuSA2013, Karlsruhe, Germany
Beyond Plasticity and Performance: space-time relations in electroacoustic music, Espacios Sonoros 2013, Madrid, Spain
Abstract and Abstracted, Concrete and Concrete: the ontology of musique concrete and the future of the acousmatique – Philosophy Department, University of Leeds 2012
Composing Escapade: Materials and Methods, Tools and Techniques – Department of Music, University of Leeds 2012
Composing Escapade: Materials and Methods, Tools and Techniques – Conservatorium van Amsterdam 2011
Diffusion Terms and Techniques – Guest Lecture/Workshop – Edge Hill University 2010
Performance Escapade; a Case-study on Acousmatic Musical Performance, SoundingOut5, Bournemouth University, Bournemouth, UK, 2010
Sounds, Works, Agents and Listeners; A Model of Acousmatic Musical Performance, FIMPaC, Leeds College of Music, Leeds, UK, 2010
Space-time Relations in Acousmatic Music, Sonic Artist in Wales Conference, Royal Welsh College of Music and Drama, Wales, UK, 2010
Structures of Consciousness: The Phenomenology of Space in Acousmatic Music, L’Espace du Son, Musique et Recherché, Belgium, 2010
Through Thick and Thin: The Ontology of Tape Music, Scarborough Sonic Arts Research Conference, Scarborough University, UK, 2009
Adam Stanović 