Central to the MTIRC’s electroacoustic music studies focus, EARS is supported by the AHRC’s resource enhancement scheme (ca. £170k) and Unesco (£3k). Beyond its initial goal to create the glossary (~500 entries) and related index (providing a coherent hyperlink structure for the bibliography – ~3000 entries) there are further methodological research imperatives – to offer a web-based resource that: a) Realises an accessible research resource (glossary, keyword index and bibliography) to complement existing available scientific and technical information in electroacoustic studies (which dominates the field) with musicological, music-theoretical and humanities approaches b) Develops a resource that might catalyse further such research c) Assists in further clarifying the scope and nature of the emerging field of Electroacoustic Music Studies d) Considers the wide range of related terminologies used in relation to electroacoustic music including translation issues (eg, EARS’ Thesaurus) Role: co-director compiling the glossary and editing definitions, bibliographical entries and keyword extraction. A key challenge of the glossary was the selection and definition (including alternative definitions) of items from a range of possibilities, often with much nuance in their usage and meaning. Empirical decisions were made on the basis of literature survey and study, developed in tandem with the keyword structure. The principle here was to focus on concepts and verbs. MEM (Musicology of Electroacoustic Music) forms the centrepiece of the site, contextualised though the five other sections. EARS was the centrepiece of an international conference, EMS03, 10/03, “Electroacoustic Musics: A century of innovation involving sound and technology”, organised and hosted by IRCAM, Paris. Two co-authored papers outline EARS aims and methodologies: - ‘The ElectroAcoustic Resource Site (EARS): philosophy, foundation and aspirations’. Organised Sound 9(1), 2004: 79-85. - ‘Introducing the ElectroAcoustic Resource Site (EARS)’. Proceedings of 2003 International Computer Music Conference - Singapore. San Francisco, CA: ICMA: 115-118