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

• Georgaki, Anastasia, Loufopoulos, Apostolos (2000). Spirituality in Electroacoustic Works Apokalypsis, Tetelestai and Kratima of Greek composer Michael Adamis.

  New Sound: No. 16. Belgrade: Union of Yugoslav Composer’ Organizations: 116-123.

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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