Contemporary Music Review (1984-)

Language(s): English

Vol. 1, No. 1. 1984
  • Jameux, Dominique (1984). Boulez and the “machine”. Some thoughts on the composer’s use of various electro-acoustic media.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 11-22.

  • Gerzso, Andrew (1984). Reflexions on Répons.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 23-34.

  • Haynes, Stanley (1984). Report on the realization of York Höller’s Arcus.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 41-66.

  • Griffiths, Paul (1984). Three works by Jonathan Harvey: the electronic mirror.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 87-109.

  • Harvey, Jonathan, Lorrain, Denis, Barrière Jean-Baptiste, Haynes, Stanley, (1984). Notes on the realization of Bhakti.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 111-129.

  • Manoury, Philippe (1984). The Arrow of Time.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 111-129.

  • Murail, Tristan (1984). Spectra and pixies.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 157-170.
    Also published in: Contemporary Music Review: Vol. 24, No. 2/3. London: Routledge: 137-147.

  • Koblyakov, Lev (1984). Jean-Claude Risset - Songes (1979) (9’).

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 171-173.

  • Stroppa, Marco (1984). The analysis of electronic music.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 175-180.

  • Barrière, Jean-Baptiste (1984). “Chréode”: the Pathway to New Music with the Computer.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 181-201.

  • Machover, Tod (1984). Computer Music with and without Instruments.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 203-230.

Vol. 1, No. 2. 1987
  • Yuasa, Joji (1987). The Shadow of Tape Music on Instrumental Music.

    Contemporary Music Review Vol. 1, No. 2. London: Harwood Academic Publishers: 203-230.

Vol. 3, No. 1. 1989
  • Alvarez, Javier (1989). Rhythm as Motion Discovered.

    Contemporary Music Review: Vol. 3, No. 1. Chur: Harwood: 203-231.

  • Bridger, Michael (1989). An Approach to the Analysis of Electroacoustic Music Derived from Empirical Investigation and Critical Methodologies of Other Disciplines.

    Contemporary Music Review: Vol 3, No. 1. Chur: Harwood: 145-160.

  • D’Escrivan, Julio (1989). Reflections on the Poetics of Time in Electoacoustic Music.

    Contemporary Music Review: Vol. 3, No, 1. Chur: Harwood: 197-201.

  • Emmerson, Simon (1989). Composing Strategies and Pedagogy.

    Contemporary Music Review: Vol. 3, No. 1. Chur: Harwood: 133-144.

Vol. 4. 1989
  • Bayle, François (1989a). Image-of-sound, or i-sound: Metaphor/metaphorm.

    Contemporary Music Review: Music and Cognitive Science, Vol. 4. London: Harwood Academic Publishers: 165-170.
    La musique et les sciences cognitives. Paris: Pierre Mardaga: 235-242.

  • Barrière, Jean-Baptiste (1989). Computer Music as Cognitive Approach: Simulation, Timbre and Formal Processes.

    Contemporary Music Review: Vol. 4. Chur: Harwood: 117-130.

Vol. 5, No. 1. 1989
  • Wishart, Trevor (1989). The Function of Text in the VOX cycle.

    Contemporary Music Review: Vol. 5, No, 1. Chur: Harwood: 189-197.

Vol. 6, No. 1. 1991
  • Schrader, Barry (1991). Live/Electro-acoustic Music - a Perspective from History and California.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 91-106.

  • Bevelander, Brian (1991). Observations on Live Electronics.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 151-157.

  • Burt, Warren (1991). Experimental Music in Australia Using Live Electronics.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 159-172.

  • Montague, Stephen (1991). The German Scene: Mesias Maiguashca Interviewed by Stephen Montague.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 197-203.

  • Austin, Larry (1991). Live-electronic Music on the Third Coast.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 107-129.

Vol. 7, No. 2. 1993
  • Vaggione, Horacio (1993). Determinism and the False Collective: About Models of Time in Early Computer-Aided Composition.

    Contemporary Music Review: Vol. 7, No, 2. Chur: Harwood: 91-104.

Vol. 10, No. 2. 1994
  • Landy, Leigh (1994b). ‘The Something to Hold on to Factor’ in Electroacoustic Timbral Composition.

    Contemporary Music Review. Vol 10 No. 2. Chur: Harwood Academic Publishers: 49-60.

  • Smalley, Denis (1994). Defining Timbre - Refining Timbre.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 35-48.

  • Windsor, W. Luke (1994). Using Auditory Information for Events in Electroacoustic Music.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 85-93.

  • Hoopen, Christiane ten (1994a). Issues in Timbre and Perception.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 61-71.

  • Norman, Katharine (1994). Telling Tales.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 103-109.

  • Waters, Simon (1994). Timbre Composition: Ideology, Metaphor and Social Process.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 129-134.

  • Lippe, Cort (1994). Real-time Granular Sampling Using the IRCAM Signal Processing Workstation.

    Contemporary Music Review: Vol. 10, No. 2. London: Routledge: 149-155.

  • Settel, Zack, Lippe, Cort (1994). Real-time Timbral Transformation: FFT-based Resynthesis.

    Contemporary Music Review: Vol. 10, No. 2. London: Routledge: 171-179.

  • Dack, John (1994). Pierre Schaeffer and the Significance of Radiophonic Art.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 3-11.

  • Decroupet, Pascal (1994). Timbre Diversification in Serial Tape Music and its Consequence on Form.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 13-23.

  • Ungeheuer, Elena (1994). From the Elements to the Continuum: Timbre Composition in Early Electronic Music.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 25-33.

  • Vaggione, Horacio (1994). Timbre as Syntax: A Spectral Modeling Approach.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 73-83.

  • Emmerson, Simon (1994b). ’Live’ versus ’Real-time’.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 95-101.

  • Vaughan, Mike (1994). The Human-Machine Interface in Electroacoustic Music Composition.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 111-127.

  • Di Scipio, Agostino (1994b). Micro-time Sonic Design and Timbre Formation.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 135-148.

  • Fischman, Rajmil (1994a). Sound Processing in Los Dados Eternos.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 181-189.

  • Miranda, Eduardo Reck (1994). From Symbols to Sound: AI-based Investigation of Sound Synthesis.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 211-232.

Vol. 13, No. 2. 1995
  • Subotnick, Mort, Machover, Tod (1995). Interview with Mort Subotnick.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 3-11.

  • Reich, Steve (1995). My Life with Technology.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 13-21.

  • Rothenberg, David (1995). Sudden Music: Improvising across the Electronic Abyss.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 23-46.

  • Rowe, Robert (1995). Incrementally Improving Interactive Music Systems.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 47-62.

  • Smalley, Denis (1995a). The Listening Imagination: Listening in the Electroacoustic Era.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 77-107.
    Also published in: In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 514-554.

  • Pope, Stephen Travis (1995). A Taxonomy of Computer Music.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 137-145.

  • Davis, Deta (1996). Aesthetics in Computer Music: A Bibliography.

    Contemporary Music Review: Vol. 13, No. 2. London: Harwood Academic Publishers: 147-157.

Vol. 15, No. 1-2. 1996
  • Norman, Katharine (1996). Real-World Music as Composed Listening.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2. London: Harwood Academic Publishers: 1-27.

  • Risset, Jean-Claude (1996b). Real-World Sounds and Simulacra in my Computer Music.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2. London: Harwood Academic Publishers: 29-47.

  • Truax, Barry (1996b). Soundscape, Acoustic Communication and Environmental Sound Composition.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2. London: Harwood Academic Publishers: 49-65.

  • Appleton, Jon (1996). Musical Storytelling.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2. London: Harwood Academic Publishers: 67-71.

  • Young, John (1996). Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2. London: Harwood Academic Publishers: 73-93.

  • Ferrari, Luc (1996). I Was Running in So Many Different Directions.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2 . London: Harwood Academic Publishers: 95-102.

  • Riddell, Alistair M. (1996). Music in the Chords of Eternity.

    Contemporary Music Review: Vol. 15, No. 1. London: Routledge: 151-171.

  • Watson, Ben (1996). Frank Zappa as Dadaist: Recording Technology and the Power to Repeat.

    Contemporary Music Review. Vol. 15, No. 1-2: London: Harwood: 109-137.

Vol. 15, No. 3-4. 1996
  • Landy, Leigh (1996). Quality and Quantity (if we’re lucky) or Marcuse’s problem ain’t been solved yet.

    Contemporary Music Review Vol. 15 No. 3-4. Chur: Harwood Academic Publishers: 63-70.

Vol. 18, No. 1. 1999
  • Rizzardi, Veniero (1999). Notation, Oral Tradition and Performance Practice in the Works with Tape and Live Electronics by Luigi Nono.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 1. London: Harwood Academic Publishers: 47-56.

Vol. 18, No. 3. 1999
  • Appleton, Jon (1999). Reflexions of a Former Performer of Electroacoustic Music.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 15-19.

  • Chadabe, Joel (1999a). The Performer is Us.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 25-30.

  • Risset, Jean-Claude (1999a). Composing in Real-time?.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 31-39.

  • Stroppa, Marco (1999). Live Electronics or... Live Music? Towards a Critique of Interaction.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 41-77.

  • Harvey, Jonathan (1999). The Metaphysics of Live Electronics.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 79-82.

  • Rowe, Robert (1999). The Aesthetic of Interactive Music Systems.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 83-87.

  • Subotnik, Morton (1999). The Use of Computer Technology in an Interactive or ‘Real Time’ Performance Environment.

    Contemporary Music Review. Vol. 18, No. 3: London: Harwood: 113-117.

  • Waisvisz, Michel (1999). Riding the Sphinx - Lines about ’Live’.

    Contemporary Music Review. Vol. 18, No. 3: London: Harwood: 119-126.

Vol. 19, No. 2. 2000
  • Fineberg, Joshua (2000). Spectral Music.

    Contemporary Music Review: Vol. 19, Issue 2. London: Routledge: 1-6.

  • Daubresse, Eric, Assayag, Gerard (2000). Technology and Creation - The Creative Evolution.

    Contemporary Music Review: Vol. 19, Issue 2. London: Routledge: 61-80.

  • Fineberg, Joshua (2000a). Guide to the Basic Concepts and Techniques of Spectral Music.

    Contemporary Music Review: Vol. 19, Issue 2. London: Routledge: 81-113.

Vol. 19, No. 4. 2000
  • Chapman, Jane (2000). Points of Departure: An Interview with Simon Emmerson.

    Contemporary Music Review: Vol. 19, Issue 4. London: Routledge: 39-47.

Vol. 20, No. 1. 2001
  • Emmerson, Simon (2001d). The Electroacoustic Harpsichord.

    Contemporary Music Review: Vol. 20, Issue 1. London: Routledge: 35-58.

Vol. 22, No. 3. 2003 Vol. 22, No. 4. 2003
  • Bach, Glenn (2003). The Extra-Digital Axis Mundi: Myth, Magic and Metaphor in Laptop Music.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 3-9.

  • Reddell, Trace (2003). Laptopia: The Spatial Poetics of Networked Laptop Performance.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 11-22.

  • Ashline, William H. (2003). The Pariahs of Sound: On the Post-Duchampian Aesthetics of Electro-acoustic Improv.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 23-33.

  • Monroe, Alexi (2003). Ice on the Circuits/Coldness as Crisis: The Re-subordination of Laptop Sound.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 35-43.

  • Vanhanen, Jane (2003). Virtual Sound: Examining Glitch and Production.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 45-52.

  • Jaeger, Timothy (2003). The (Anti-) Laptop Aesthetic.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 53-57.

  • Stuart, Caleb (2003). The Object of Performance: Aural Performativity in Contemporary Laptop Music.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 59-65.

  • Collins, Nick (2003a). Generative Music and Laptop Performance.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 67-79.

  • Turner, Tad (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musics.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 81-92.

  • Whitelaw, Mitchell (2003). Sound Particles and Microsonic Materialism.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 93-100.

  • Cascone, Kim (2003). Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 101-104.

Vol. 23, No. 2. 2004
  • Pape, Gerard (2004). Varèse the Visionary.

    Contemporary Music Review: Vol. 23, no. 2. London: Routledge: 19-25.

  • Risset, Jean-Claude (2004). The liberation of sound, art-science and the digital domain: contacts with Edgard Varèse.

    Contemporary Music Review: Vol. 23, no. 2. London: Routledge: 27-54.

Vol. 24, No. 2/3. 2005
  • Murail, Tristan (2005a). Spectra and Sprites.

    Contemporary Music Review: Vol. 24, No. 2/3. London: Routledge: 137-147.
    Also published in: Contemporary Music Review: Vol. 1, No. 1. London: Harwood Academic Publishers: 157-170.

  • Murail, Tristan (2005b). Target Practice.

    Contemporary Music Review: Vol. 24, No. 2/3. London: Routledge: 149-171.

Vol. 24, No. 4/5. 2005
  • Risset, Jean-Claude (2005b). Horacio Vaggione: Towards a Syntax of Sound.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 287-293.

  • Roads, Curtis (2005). The Art of Articulation: The Electroacoustic Music of Horacio Vaggione.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 295-309.

  • Solomos, Makis (2005). An Introduction to Horacio Vaggione’s Musical and Theoretical Thought.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 311-325.

  • Sedes, Anne (2005). Aspects of Time in the Music of Horacio Vaggione.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 327-334.

  • Soulez, Antonia, Vaggione, Horacio (2005). Composing, Listening.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 335-337.

  • Vaggione, Horacio (2005). Notes on Atem.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 339-349.

  • Laliberté, Martin (2005). An Analytic Approach to Horacio Vaggione’s Till.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 351-364.

  • Criton, Pascale (2005). Mutation and Processuality in the Musical Thought of Horacio Vaggione.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 371-381.

Vol. 24, No. 6. 2005
  • Hugill, Andrew (2005a). Internet Music: An Introduction.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 429-437.

  • Föllmer, Golo (2005a). Lines of Net Music.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 439-444.

  • Thorington, Helen (2005). Breaking Out: The Trip Back.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 445-458.

  • Traub, Peter (2005). Sounding the Net: Recent Sonic Works for the Internet and Computer Networks.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 459-481.

  • Packer, Randall (2005). Composing with Media: Zero in Time and Space.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 509-525.

  • Hugill, Andrew (2005b). From Online Symphonies to MusiMOO: Some Creative Uses of the Internet in Music and Education.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 527-540.

  • Tanzi, Dante (2005). Language, Music and Resonance in Cyberspace.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 541-549.

  • Mountain, Rosemary (2005). The Internet: The Untended Garden.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 541-549.

Vol. 25, No. 1-2. 2006
  • Dixon, Martin (2006). Echo’s body: Play and representation in interactive music software.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 17-25.

  • Brown, Nicholas (2006). The flux between sounding and sound: Towards a relational understanding of music as embodied action.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 37-46.

  • Wilson-Bokowiec, Julie, Bokowiec, Mark Alexander (2006). Kinaesonics: The intertwining relationship of body and sound.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 47-57.

  • Ouzounian, Gascia (2006). Embodied sound: Aural architectures and the body.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 69-79.

  • Young, Miriama (2006). Latent body-plastic, malleable, inscribed: The human voice, the body and the sound of its transformation through technology.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 81-92.

  • Iddon, Martin (2006). On the entropy circuit: Brian Ferneyhough’s Time and Motion Study II.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 93-105.

  • Favilla, Stuart, Cannon, Joanne (2006). Fetish: Bent Leather’s palpable, visceral instruments and Grainger.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 107-117.

  • Chagas, Paulo (2006). The blindness paradigm: The visibility and invisibility of the body.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 119-130.

  • Kim, Jin Hyun, Seifert, Uwe (2006). Embodiment: The body in algorithmic sound generation.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 139-149.

  • Harris, Yolande (2006). Inside-out instrument.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 151-162.

  • D’Escriván, Julio (2006). To sing the body electric: Instruments and effort in the performance of electronic music.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 183-191.

  • Thorington, Helen (2006). The networked_performance blog.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 193-197.

Vol. 25, No. 4. 2006
  • McCombe, Christine (2006). Videomusicvideo - Composing across Media.

    Contemporary Music Review: Vol. 25, Issue 4. London: Routledge: 299-310.

  • Dean, Roger T., Whitelaw, Mitchell, Smith, Hazel, Worrall, David (2006). The Mirage of Real-Time Algorithmic Synaesthesia: Some Compositional Mechanisms and Research Agendas in Computer Music and Sonification.

    Contemporary Music Review: Vol. 25, Issue 4. London: Routledge: 311-326.

  • Hannan, Michael (2006). Intermedia Collaboration for The Flood.

    Contemporary Music Review: Vol. 25, Issue 4. London: Routledge: 327-339.

  • Bandt, Ros (2006). Sound Installation: Blurring the Boundaries of the Eye, the Ear, Space and Time.

    Contemporary Music Review: Vol. 25, Issue 4. London: Routledge: 353-365.

Vol 25., No. 5-6. 2006
  • Barrett, Richard (2006). Improvisation Notes August 2005.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 403-404.

  • Ryan, Joel (2006). Improvising with Others.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 417-423.

  • Wessel, David (2006). David Wessel [on improvisation].

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 425-428.

  • Behrman, David (2006). David Behrman [on improvisation].

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 439-445.

  • Teitelbaum, Richard (2006). Improvisation, Computers and the Unconscious Mind.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 497-508.

  • Stout, David (2006). Improvisation with Laptops.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 513-514.

  • Sonami, Laetitia (2006). On My Work.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 613-614.

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