I. STUDIES
• Olivier Carpentier, Coupleux and Givelet: the quest for a recreation of instrumental timbres.
• Thierry Maniguet, The Sound Cross and Obouhow, pioneer of the electronic violin making.
• Christophe D'Alessandro, The Abbe Puget's Radio-Synthetic Organ (1934): a sound borrowed from both pipes and talking machines.
• Peter Asimov, An invention 'essentially French': seeing and hearing the Waves Martenot in 1937.
• Steve Waksman, Making the Electric Guitar: Early Electric Guitar History.
• Jean-Claude Battault, Constant Martin (1910-1995): French pioneer of the electronic instrument bill.
• Elena Ungeheuer and Oliver Wiener, Between Mass Media, Entertainment Electronics and Experimental Music: Harald Bode's Melochords in the Intersection of Many Interests.
• Tatjana Böhme-Mehner, Research as aesthetic compromise in East Germany: the Subharchord.
• Daniel Teruggi, Inventing sound, inventing music: from the furrow closed to GRM Tools.
• Pierre Couprie, The Meta-Instrument: genesis and evolution of a new instrument.
• Jean Bresson and Marco Stroppa, Digital Synthesis and Computer-Aided Composition: Sound Models and Virtual Voices in Re Orso.
II. COLLECTIONS
• Peter Donhauser, The collection of Electronic Musical Instruments at the Technisches Museum Wien. (Austria)
• Marc Battier, computer music enters the Museum of Music in Paris: acquisition policy between 1991 and 1996. (France)
• Philippe Bruguière and Thierry Maniguet, acquisitions of electronic and electrical instruments at the Museum of Music since its opening. (La France)
III. NOTES AND DOCUMENTS
• Tristan Labouret, The adoption of the normal tuning fork in France in the 1860s: instrumental formations under the test of standardization.
• Jean-Marc Baffert (1947-2017), J.-S. Bach in France before 1810.
IV. BIOGRAPHIES, ABSTRACTS, ABSTRACTS