New Sound

Language(s): English ,  French

No. 6. 1995
  • Eric, Zoran (1995). Signs, by Srdjan Hofman, a Directory for the Use of Live Electronics in the Process of Creating Real Musical Time.

    New Sound: No. 6. Belgrade: Union of Yugoslav Composer’ Organizations: 101-105.

No. 8. 1996
  • Mikic, Vesna (1996). The Duel as the Answer.

    New Sound: No. 8. Belgrade: Union of Yugoslav Composer’ Organizations: 43-46.

No. 16. 2000 No. 17. 2001
  • Miranda, Eduardo Reck (2001). Composers and Computer Music Technology in Brazil.

    New Sound: No. 17. Belgrade: Union of Yugoslav Composer’ Organizations: 13-26.

  • Cvejic, Bojana (2001). Near and Far. A Nocturne of Belgrade Spring 1999 for Chamber Ensemble, Live Electronics and Audio Tape, by Srdjan Hofman.

    New Sound: No. 17. Belgrade: Union of Yugoslav Composer’ Organizations: 57-63.

No. 19. 2002
  • Mikic, Vesna (2002). Vris.Krik.exe: A Techno - Music Metaphor of Subject/Body.

    New Sound: No. 19. Belgrade: Union of Yugoslav Composer’ Organizations: 71-74.

No. 21. 2003
  • Roche, Colin (2003). Du sens politique dans l’utilisation des sons électroniques: Machinations de Georges Aperghis, Tombeaux de Pierre-Albert Castanet et Le Grand Jeu de Bruno Mantovani.

    New Sound: No. 21. Belgrade: Union of Yugoslav Composer’ Organizations: 35-44.

  • Joly, Brice (2003). L’UPIC de Xenakis.

    New Sound: No. 21. Belgrade: Union of Yugoslav Composer’ Organizations: 57-65.

  • Meston, Olivier (2003). Jean-Claude Risset et les nouvelles technologies musicales: l’ordinateur, maître-mot.

    New Sound: No. 21. Belgrade: Union of Yugoslav Composer’ Organizations: 87-94.

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