Organised Sound (1996-)

Language(s): English

Vol. 1, No. 1. 1996
  • Davies, Hugh (1996a). A History of Sampling.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 3-11.

  • Truax, Barry (1996c). Sounds and Sources in Powers of Two: Towards a contemporary myth.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 13-21.

  • Dhomont, Francis (1996). Is There a Québec Sound?.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 23-28.
    French and English: 2003. eContact!, vol. 6, no. 2. Montréal: CEC.

  • Roy, Stéphane (1996). Form and Referential Citation in a Work by Francis Dhomont.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 29-41.

  • Pearson, Mark (1996). TAO: A physical modelling system and related issues.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 43-50.

  • Cole, Bruce (1996). MIDI and Communality.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 51-54.

  • Pope, Stephen Travis (1996). Object-oriented Music Representation.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 55-68.

Vol. 1, No. 2. 1996
  • Välimäki, Vesa, Takala, Tapio (1996). Virtual Music Instruments - Natural sound using physical models.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 75-86.

  • Kankaanpää, Vesa (1996). Displaced Time: Transcontextual references to time in Kaija Saariaho’s Stilleben.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 87-92.

  • Povall, Richard (1996). Adding Video into the (Real)time Domain.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 93-106.

  • Clarke, Michael (1996). Composing at the Intersection of Time and Frequency.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 107-117.

  • Field, Ambrose (1996). An Introduction to Discovery Strategy.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 119-123.

Vol. 1, No. 3. 1996
  • Xenakis, Iannis (1996). Determinacy and Indeterminacy.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 143-155.

  • Jacob, Bruce L. (1996). Algorithmic Composition as a Model of Creativity.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 157-165.

  • Burt, Warren (1996). Some Parentheses around Algorithmic Composition.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 167-172.

  • Richard, Dominique (1996). Code - notes - music: An epistemological investigation of algorithmic music.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 173-177.

  • Giomi, Francesco (1996). An Early Case of Algorithmic Composition in Italy.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 179-182.

  • Worrall, David (1996). Studies in Metamusical Methods for Sound and Image Composition.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 183-194.

  • Impett, Jonathan (1996). Projection and Interactivity of Musical Structures in Mirror-Rite.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 203-211.

Vol. 2, No. 1. 1997
  • Richard, Dominique (1997b). Voices in the Desert: An ontology of the electroacoustic community.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 5-11.

  • Burns, Kristine H. (1997). An Emerging Digital Community: The CD-ROM artists.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 13-18.

  • Coenen, Alcedo (1997). NEAR - The Netherlands Electro-Acoustic Repertoire Centre.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 19-21.

  • Kuljuntausta, Petri (1997). ‘Charm of Sound’: Something new in the Finnish contemporary music scene?.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 23-24.

  • Chadabe, Joel (1997a). The Electronic Music Foundation.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 25-27.

  • Endrich, Archer (1997). Composers’ Desktop Project: A musical imperative.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 29-33.

  • Nelson, Peter (1997). The UPIC System as an Instrument of Learning.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 35-42.

  • Marcenaro, Odilon (1997). Max and Tabula Vigilans: Two programs for algorithmic and rule-based composition.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 43-56.

Vol. 2, No. 2. 1997
  • Howard, David M., Tyrrell, Andy M. (1997). Psychoacoustically Informed Spectography and Timbre.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 65-76.

  • Windsor, W. Luke (1997). Frequency Structure in Electroacoustic Music: Ideology, function and perception.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 77-82.

  • Grabócz, Marta (1997). Survival or Renewal? Structural imagination in recent electroacoustic and computer music.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 83-95.

  • Ferreira, Giselle Martins dos Santos (1997). A Perceptual Approach to the Analysis of J. C. Risset’s Sud: Sound, structure and symbol.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 97-106.

  • Smalley, Denis (1997). Spectromorphology: Explaining sound-shapes.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 107-126.

  • Fischman, Rajmil (1997a). Phase Vocoder: Theory and Practice.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 127-145.

Vol. 2, No. 3. 1997
  • Senn, Dan (1997). Pendulum-based Instruments, Percussive Video, Sound Art, and the Permanence of Ephemeral Public Art.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 151-163.

  • Di Scipio, Agostino (1997). The Problem of 2nd-order Sonorities in Xenakis’ Electroacoustic Music.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 165-178.

  • Kronland-Martinet, R., Guillemain, Ph., Ystad, S. (1997). Modelling of Natural Sounds by Time-frequency and Wavelet Representations.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 179-191.

  • Masri, Paul, Bateman, Andrew, Canagarajah, Nishan (1997a). A Review of Time-frequency Representations, with Application to Sound/Music .

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 193-205.

  • Masri, Paul, Bateman, Andrew, Canagarajah, Nishan (1997b). The Importance of Time-frequency Representations, with Application to Sound/Music Analysis-Resynthesis.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 207-214.

  • Fischman, Rajmil (1997b). Analysis of Crosstalk: A work by Michael Vaughan.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 225-251.

  • Beauchamp, James, Horner, Andrew (1997). Spectral Modelling and Timbre Hybridisation Programs for Computer Music.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 253-258.

Vol. 3, No. 1. 1998
  • Newcomb, Robert Spalding (1998). Music in the Air: A theoretical model and software system for music analysis and composition.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 3-16.

  • Hatzis, Christos (1998). The Law of One: Recursive structures in composition.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 17-25.

  • Milicevic, Mladen (1998). Deconstructing Musical Structure.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 27-34.

  • Palombini, Carlos (1998). Technology and Pierre Schaeffer: Pierre Schaeffer’s Arts-Relais, Walter Benjamin’s technische Reproduzierbarkeit and Martin Heidergger’s Ge-stell.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 35-43.

  • Giomi, Francesco, Ligabue, Marco (1998a). Understanding Electroacoustic Music: Analysis of narrative strategies in six early compositions.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 45-49.

  • Fleisher, Tsippi (1998). Structural Aspects of My Music as Illustrated in the Tape Work The Gown of Night and the Cantata Like Two Branches.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 51-59.

  • Pole, Giovanni de, Rocchesso, Davide (1998). Physically Based Sound Modelling.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 71-76.

  • Lazzarini, Victor E. P. (1998). A Proposed Design for an Audio Processing System.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 77-84.

Vol. 3, No. 2. 1998
  • Worrall, David (1998). Space in Sound: Sound of Space.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 93-99.

  • Ang, Minni, Othman, Abu Talib, Ramani, A. K., Siowck-Lee, Gan, Matusku, Patricia (1998). A Layered Architectural Model for Music: Malaysian music on the World Wide Web.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 101-115.

  • Harrison, Jonty (1998). Sound, Space, Sculpture: Some thoughts on the ‘what’, ‘how’ and ‘why’ of sound diffusion.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 117-127.
    Also published in: Journal of Electroacoustic Music. Vol. 11. London: Sonic Arts Network: 12-20.

  • Pulkki, Ville (1998). Creating Generic Soundscapes in Multichannel Loudspeaker Systems Using Vector Base Amplitude Panning in Csound Synthesis Software.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 129-134.

  • Emmerson, Simon (1998b). Aural Landscape: Musical Space.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 135-140.

  • Truax, Barry (1998a). Composition and Diffusion: Space in Sound in Space.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 141-146.
    Also published in: Journal of Electroacoustic Music. Vol. 11. London: Sonic Arts Network: 6-11.

  • Malham, D. G. (1998). Approaches to Spatialisation.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 167-177.

Vol. 3, No. 3. 1998 Vol. 4, No. 1. 1999
  • Couprie, Pierre (1999). Three Analysis Models for L’oiseau moqueur, one of the Trois rêves d’oiseau by François Bayle.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 3-14.
    French version: Trois modèle d’analyse de L’oiseau moqueur, un des Trois rêves d’oiseaux de François Bayle. 1998. Les Cahiers de l’OMF, no. 3. Paris: OMF: 50-70.

  • Graves, Alan, Hand, Chris, Hugill, Andrew (1999). MidiVisualiser: Interactive music visualisation using VRML.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 15-23.

  • Drever, John Levack (1999). The Exploitation of ‘Tangible Ghosts’: Conjectures on soundscape recording and its reappropriation in sound art.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 25-29.

  • Polfreman, Richard (1999). A Task Analysis of Music Composition and Its Application to the Development of Modalyser.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 31-43.

  • Manning, Peter D. (1999). The Evolution of Interactive Graphical Control Interfaces for Music Applications.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 45-59.

  • Landy, Leigh (1999a). Reviewing the Musicology of Electroacoustic Music: A plea for greater triangulation.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 61-70.

Vol. 4, No. 2. 1999
  • Pecquet, Frank (1999). From the Model to Its Algorithmic Application.

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 73-80.

  • Fells, Nick (1999). Kendhang, Or and Vug: Three works for performer and live computer system.

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 79-85.

  • Dubnov, Shlomo (1999). Stylistic Randomness: About Composing NTrope Suite.

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 87-92.

  • Manzolli, Jonatas, Moroni, Artemis, Zuben, Fernando von, Gudwin, Ricardo (1999). Palatal Sound: An Evolutionary Approach to Algorithmic Composition.

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 121-125.

  • Thywissen, Kurt (1999). GeNotator: An environment for exploring the application of evolutionary techniques .

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 127-133.

Vol. 4, No. 3. 1999
  • Truax, Barry (1999b). Letter to a Twenty-Five Year Old Electroacoustic Composer.

    Organised Sound: Vol. 4, no. 3. Cambridge: Cambridge University Press: 147-150.

  • Spiegel, Laurie (1999). Music as Mirror of Mind.

    Organised Sound: Vol. 4, no. 3. Cambridge: Cambridge University Press: 151-152.

Vol. 5, No. 1. 2000
  • Cerena, Carlos (2000). Gesture Control of Musical Processes: A MAX environment for Buchla’s ‘Lightning’.

    Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 3-7.

  • Wilson, Julie A., Bromwich, Mark A. (2000). Lifting Bodies: Interactive dance - finding new methodologies in the motifs prompted by new technology - a critique and progress report with particular reference to the Bodycoder System.

    Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 9-16.

  • Lanzalone, Silvia (2000). Hidden Grids: Paths of expressive gesture between instruments, music and dance.

    Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 17-26.

  • Impett, Jonathan (2000). Situating the Invention in Interactive Music.

    Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 27-34.

  • Lazzarini, Victor E. P. (2000). The SndObj Sound Object Library.

    Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 35-49.

Vol. 5, No. 2. 2000 Vol. 5, No. 3. 2000 Vol. 6, No. 1. 2001
  • Ang, Minni K. (2001). Recent and Emerging Work in Music Technology in Southeast Asia.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 3-9.

  • Dart, William, Elmsly, John, Whalley, Ian (2001). A View of Computer Music from New Zealand: Auckland, Waikato and the Asia/Pacific Connection.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 11-20.

  • Norris, Michael, Young, John (2001). Half-heard Sounds in the Summer Air: Electroacoustic Music in Wellington and the South Island of New Zealand.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 21-28.

  • Burt, Warren (2001). Expanding Contexts for Computer Music: One Composer’s Experience.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 29-37.

  • Hirst, David (2001). An Echo from Closed Doors.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 39-45.

  • Dorin, Alan (2001). Generative Processes in the Electronic Arts.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 47-53.

  • Monro, Gordon (2001). Computer Music in New South Wales.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 55-61.

  • Lyons, Andrew D. (2001). Ian Fredericks in Interview: Ideas of an Australian spatial synthesis and mixed media innovator.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 63-67.

  • Vickery, Lindsay (2001). The Western Edge: Some recent electronic music from Western Australia.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 69-74.

Vol. 6, No. 2. 2001
  • Landy, Leigh (2001a). From Algorithmic Jukeboxes to Zero-time Synthesis: A potential A-Z of music in tomorrow’s world (a conference provocation).

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 91-96.

  • Mountain, Rosemary (2001a). Caveats from a Dyed-in-the-wool Futurist.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 97-102.

  • Emmerson, Simon (2001a). New Spaces/New Places: a Sound House for the performance of electroacoustic music and sonic art.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 103-105.

  • Young, John P. (2001). Networked Music: Bridging real and virtual space.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 107-110.

  • Tanzi, Dante (2001). Music Negotiation: Routes in user-based description of music.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 111-115.

  • Milicevic, Mladen (2001). Cyberspace Memes.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 117-120.

  • Dahlstedt, Palle (2001). A MutaSynth in Parameter Space: Interactive composition through evolution.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 121-124.

  • Rudy, Paul (2001). Separation Anxiety: Metaphoric transmutations from a paradoxical biological instrument, or: What is a cactus doing in our concert hall?.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 125-130.

  • Sturm, Bob L. (2001). Composing for an Ensemble of Atoms: The metamorphosis of scientific experiment into music.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 131-145.

  • Spain, Martin, Polfreman, Richard (2001). Interpolator: A two-dimensional graphic interpolation system for the simultaneous control of digital signal processing parameters.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 147-151.

  • Casey, Michael (2001). General Sound Classification and Similarity in MPEG-7.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 153-164.

Vol. 6, No. 3. 2001
  • Sherburne, Philip (2001). 12k: Between two points.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 171-176.

  • Thaemlitz, Terre (2001). Operating in Musical Economies of Compromosie (or ... When do I get paid for writing this?).

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 177-184.

  • Shirt Trax, (2001). No More Mind Games.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 185-191.

  • Hegarty, Paul (2001). Noise Threshold: Merzbow and the end of natural sound.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 193-200.

  • Nicolai, Carsten (2001). Milch, 2000.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 201-213.

  • Trowell, Ian (2001). Auto-synthesis.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 215-223.

  • Szepanski, Achim (2001). A Mille Plateaux Manifesto.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 225-228.

Vol. 7, No. 1. 2002
  • Truax, Barry (2002b). Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 5-14.

  • Proy, Gabrielle (2002). Sound and Sign.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 15-19.

  • Drever, John Levack (2002). Soundscape Composition: The convergence of ethnography and acousmatic music.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 21-27.

  • Regelski, Thomas A. (2002). Sound Compositions for Expanding Musicianship Education.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 29-40.

  • Kolber, David (2002). Hildegard Westerkamp’s Kits Beach Soundwalk: Shifting Perspectives in real world music.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 41-43.

  • McCartney, Andra (2002a). Alien Intimacies: Hearing science fiction narratives in Hildegard Westerkamp’s Cricket Voice (or ‘I don’t like the country, the crickets make me nervous’).

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 45-49.

  • Westerkamp, Hildegard (2002). Linking Soundscape Composition and Acoustic Ecology.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 51-56.

  • Hahn, David (2002). Creating the Soundscape for Zagreb Everywhere.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 57-63.

  • Weidenaar, Reynold (2002). Composing with the Soundscape of Jones Street.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 65-72.

  • Werner, Hans U. (2002). MetaSon #5 Skruv Stockholm: Turning schizophonic sound into audiovirtual image.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 73-78.

Vol. 7, No. 2. 2002
  • Goudeseune, Camille (2002). Interpolated Mappings for Musical Instruments.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 85-96.

  • Hunt, Andy, Wanderley, Marcelo M. (2002). Mapping Performer Parameters to Synthesis Engines.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 97-108.

  • Fels, Sidney, Gadd, Ashley, Mulder, Axel (2002). Mapping Transparency through Metaphor: Towards more expressive musical instruments.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 109-126.

  • Arfib, D., Coutrurier, J. N., Kessous, L., Verfaille, V. (2002). Strategies of Mapping between Gesture Data and Synthesis Model Parameters Using Perceptual Spaces.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 127-144.

  • Doornbosch, Paul (2002a). Composers’ Views on Mapping in Algorithmic Composition.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 145-156.

  • Myatt, Tony (2002). Strategies for Interaction in Construction 3.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 157-169.

  • Levitin, Daniel J., McAdams, Stephen, Adams, Robert L. (2002). Control Parameters for Musical Instruments: A foundation for new mappings of gesture to sound.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 171-189.

  • Ng, Kia (2002). Sensing and Mapping for Interactive Performance.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 191-200.

  • Burtner, Matthew (2002). The Metasaxophone: Concept, implementation and mapping strategies for a new computer music instrument.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 201-213.

  • Nichols, Charles (2002). The vBow: A virtual violin bow controller for mapping gesture to synthesis with haptic feedback.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 215-220.

Vol. 7, No. 3. 2002
  • Hahn, Tomie, Bahn, Curtis (2002). Pikapika - The collaborative composition of an interactive sonic character.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 229-238.

  • Harris, Yolande, Bongers, Bert (2002). Approaches to Creating Interactivated Spaces, from Intimate to Inhabited Interfaces.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 239-246.

  • Schedel, Margaret (2002). Anticipating Interactivity: Henry Cowell and the Rhythmicon.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 247-154.

  • Menzies, Dylan (2002). Composing Instrument Control Dynamics.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 255-266.

  • Collins, Nick (2002a). Experiments with a New Customisable Interactive Evolution Framework.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 267-273.

  • Bukvic, Ivica Ico (2002). RTMix - Towards a standardised interactive electroacoustic art performance interface.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 275-286.

  • Fells, Nick (2002). On Space, Listening and Interaction: Words on the Streets are These and Still Life.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 287-294.

  • Paine, Garth (2002). Interactivity, Where to from here?.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 295-304.

  • Menezes, Flo (2002). For a Morphology of Interaction.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 305-311.

  • Barrett, Natasha (2002). Spatio-musical Composition Strategies.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 313-323.

  • Polfreman, Richard (2002). Modalys-ER for OpenMusic (MfOM): Virtual instruments and virtual musicians.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 325-338.

Vol. 8, No. 1. 2003
  • Bosma, Hannah (2003). Bodies of Evidence, Singing Cyborgs and Other Gender Issues in Electrovocal Music.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 5-17.

  • Essl, Georg (2003). On Gender in New Music Interface Technology.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 19-30.

  • Hinkle-Turner, Elizabeth (2003). Women and Music Technology: Pioneers, Precedents and Issues in the United States.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 31-47.

  • Hutton, Jo (2003). Daphne Oram; Innovator, Writer and Composer.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 49-56.

  • Simoni, Mary (2003). Project Lovelace: Unprecedented Opportunities for Music Education.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 57-60.

  • Weber-Lucks, Theda (2003). Electroacoustic Voices in Vocal Performance Art - A Gender Issue?.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 61-69.

  • Sivuoja-Gunaratnam, Anne (2003). Desire and Distance in Kaija Saariaho’s Lonh.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 71-84.

  • Cox, Cindy (2003). Wounds like Flowers Opening: a Discussion of Hysteria for Trombone and Four-Channel Tape.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 85-87.

  • McCartney, Andra (2003). In and Out of the Sound Studio.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 89-96.

  • Thaemlitz, Terre (2003). GLOBULE of NON-STANDARD: An attempted clarification of globular identity politics in Japanese electronic ‘sightseeing music’.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 97-107.

  • Riikonen, Taina (2003). Shaken or Stirred - Virtual reverberation spaces and transformation gender identities in Kaija Saariaho’s NoaNoa (1992) for flute and electronics.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 109-115.

  • Truax, Barry (2003). Homoeroticism and Electroacoustic Music: Absence and Personal Voice.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 117-124.

Vol. 8, No. 2. 2003
  • Wright, Mary, Cook, Perry (2003). Project Arbol: Deer-B-Gone: Journal of a guerrilla sound installation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 133-137.

  • Paine, Garth (2003). Reeds: A responsive environmental installation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 139-149.

  • Rudi, Jøran (2003). Norge - et Lydrike, Norway Remixed: A sound installation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 151-155.

  • Giomi, Francesco, Meacci, Damiani, Schwoon, Kilian (2003). Electroacoustic Music in a Multi-Perspective Architectural Context: A sound installation for Renzo Piano’s Auditorium of Rome.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 157-162.

  • Bain, Mark (2003). The Live Room: Transducing resonant architectures.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 163-170.

  • Schütze, Stephan (2003). The Creation of an Audio Environment as Part of a Computer Game World: The design for Jurassic Park - Operation Genesis on the XBOX™ as a broad concept for surround installation creation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 171-180.

  • Rebelo, Pablo (2003). Performing Space.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 181-186.

  • Klein, Georg (2003). From the Sound Installation to the Sound Situation: On my work transition - berlin - junction eine klangsituation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 187-193.

  • Bandt, Ros (2003). Taming the Wind: Aeolian sound practices in Australia.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 195-204.

  • Davis, Randal (2003). ‘... and what they do as they’re going ...’: Sounding space in the work of Alvin Lucier.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 205-212.

  • Schäfer, Sabine, Krebs, Joachim (2003). Sound - Time - Space - Movement: The space-soundInstallations of the artist-couple .

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 213-225.

Vol. 8, No. 3. 2003
  • Wyse, Lonce (2003). Free Music and the Discipline of Sound.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 237-247.

  • Battier, Marc (2003a). A Constructivist Approach to the Analysis of Electronic Music and Audio Art - Between Instruments and Faktura.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 249-255.

  • Lotis, Theodoros (2003). The Creation and Projection of Ambiophonic and Geometrical Sonic Spaces with Reference to Denis Smalley’s Base Metals.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 257-267.

  • Di Scipio, Agostino (2003). ‘Sound is the Interface’: From interactive to ecosystemic signal processing.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 269-277.

  • Kimura, Mari (2003). Creative Process and Performance Practice of Interactive Computer Music: A performer’s tale.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 289-296.

  • McNutt, Elizabeth (2003). Performing Electroacoustic Music: A wider view of interactivity.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 297-304.

  • Belet, Brian (2003). Live Performance Interaction for Humans and Machines in the Early Twenty-first Century: One composer’s aesthetics for composition and performance practice.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 305-312.

  • Rodgers, Tara (2003). On the Process and Aesthetics of Sampling in Electronic Music Production.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 313-320.

  • Collins, Nick, McLean, Alex, Rohrhuber, Julian, Ward, Adrian (2003c). Live Coding in Laptop Performance.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 321-330.

Vol. 9, No. 1. 2004
  • Battier, Marc, Landy, Leigh (2004). Electroacoustic Musics: A century of innovation involving sound and technology - resources, discourse, analytical tools.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 1-2.

  • Chadabe, Joel (2004a). Electronic Music and Life.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 3-6.

  • Young, John (2004). Sound Morphology and the Articulation of Structure in Electroacoustic Music.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 7-14.

  • Mountain, Rosemary (2004a). Theories Market: Open for Trading.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 15-26.

  • Tanzi, Dante (2004). Information Technology and Communication of Musical Experience: Categories, conflicts and intersections.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 27-34.

  • Zattra, Laura (2004). Searching for Lost Data: Outlines of aesthesic-poietic analysis.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 35-46.

  • Battier, Marc (2004). Electroacoustic Music Studies and the Danger of Loss.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 47-53.

  • Teruggi, Daniel (2004a). Electroacoustic Preservation Projects: How to move forward.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 55-62.

  • Fujii, Koichi (2004). Chronology of Early Electroacoustic Music in Japan: What types of source materials are available?.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 63-77.

  • Atkinson, Simon, Landy, Leigh (2004). The ElectroAcoustic Resource Site (EARS): Philosophy, foundation and aspirations.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 79-85.

  • Ramel, Sylvie (2004). Conservation and Restoration of Electroacoustic Musical Instruments at the Musée de la Musique, Paris.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 87-90.

  • Bossis, Bruno (2004). Reflections on the Analysis of Artificial Vocality: Representations, Tools and Prospective.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 91-98.

  • Donin, Nicolas (2004). Towards Organised Listening: Some aspects of the ‘Signed Listening’ project, Ircam.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 99-108.

  • Couprie, Pierre (2004b). Graphical Representation: An analytical publication tool for electroacoustic music.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 109-113.

Vol. 9, No. 2. 2004
  • Blackwell, Tim, Young, Michael (2004). Self-organised Music.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 137-150.

  • Visell, Yon (2004). Spontaneous Organisation, Pattern Models, and Music.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 151-165.

  • Battey, Bret (2004). Musical Pattern Generation with Variable-coupled Iterated Map Networks.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 137-150.

  • Whalley, Ian (2004). PIWeCS: Enhancing human/machine agency in an interactive composition system.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 167-174.

  • Polli, Andrea (2004). Modelling Storms in Sound: The Atmospherics/Weather Works Project.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 175-180.

  • Metzelaar, Helen (2004). Women and ‘Kraakgeluiden’: The participation of women improvisers in the Dutch electronic music scene.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 199-206.

  • Thomson, Phil (2004). Atoms and Errors: Towards a history and aesthetics of microsound.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 207-218.

Vol. 9, No. 3. 2004
  • Allen, J. Anthony (2004). Playing with Fire: An unexpected collaboration.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 229-232.

  • Riikonen, Taina (2004). Shared Sounds in Detached Movements: Flautist identities inside the ‘local-field’ spaces.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 233-242.

  • Bailey, Christopher (2004). An Interface for ‘Flat Music’.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 243-250.

  • Packer, Randall (2004). The Pavilion: Into the 21st Century: A space for reflection.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 251-259.

  • Cipriani, Alessandro, Ciardi, Fabio Cifariello, Ceccarelli, Luigi, Cardi, Mauro (2004). Collective Composition: The Case of Edison Studio.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 261-270.

  • Moorefield, Virgil, Weeter, Jeffrey (2004). The Lucid Dream Ensemble: A laboratory of discovery in the age of convergence.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 271-281.

  • Harris, Yolande (2004). The Meta-Orchestra: Research by practice in group multi-disciplinary electronic arts.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 283-294.

  • Watts, Christopher (2004). Mixing Things Up: Collaboration, converging disciplines, and the music curriculum.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 295-299.

  • Schedel, Margaret Anne (2004). Alternative Venues for Computer Music: SoundGallery_Living Room_ARTSHIP.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 301-303.

  • Mountain, Rosemary (2004b). Marketing Strategies for Electroacoustics and Computer Music.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 305-313.

  • Chadabe, Joel (2004b). Look Around and Get Engaged.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 315-316.

Vol. 10, No. 1. 2005
  • Burtner, Matthew (2005). Ecoacoustic and Shamanic Technologies for Multimedia Composition and Performance.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 3-19.

  • Gluck, Robert J. (2005a). eSaz: A non-Western instrument in the context of a live electronic performance system.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 21-29.

  • Coelho de Souza, Rodolfo (2005). The Use of Brazilian Folk Instrument Sounds in a Concerto for Computer and Orchestra.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 31-36.

  • Ayers, Lydia (2005). Synthesising Chinese Flutes Using Csound.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 37-49.

  • Keyes, Christopher J. (2005). Recent Technology and the Hybridisation of Western and Chinese Musics.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 51-56.

  • Whalley, Ian (2005). Traditional New Zealand Mäori Instruments, Composition and Digital Technology: Some recent collaborations and processes.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 57-65.

  • Serafin, Stefania, Kojs, Juraj (2005). Computer Models and Compositional Applications of Plastic Corrugated Tubes.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 67-73.

  • Jenson, Kristoffer (2005). Atomic Noise.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 75-81.

Vol. 10, No. 2. 2005
  • Heon, Laura (2005). In Your Ear: hearing art in the twenty-first century.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 91-96.

  • Rudi, Jøran (2005b). ‘From a musical point of view, the world is musical at any given moment’: an interview with Bill Fontana.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 97-102.

  • Bosch, Peter, Simons, Simone (2005). Our music machines.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 103-110.

  • Barrett, Natasha (2005). Adsonore.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 111-119.

  • Frisk, Henrik, Yoshida, Miya (2005). New Communications Technology in the Context of Interactive Sound Art: an empirical analysis.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 121-127.

  • Bandt, Ros (2005). Designing Sound in Public Space in Australia: a comparative study based on the Australian Sound Design Project’s online gallery and database.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 129-140.

  • Lane, Cathy, Parry, Nye (2005). The Memory Machine: sound and memory at the British Museum.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 141-148.

  • Paine, Garth (2005). Endangered Sounds: a sound project.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 149-162.

  • Gluck, Robert J. (2005c). Fifty years of electronic music in Israel.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 149-162.

Vol. 10, No. 3. 2005 Vol. 11, No. 1. 2006
  • Lane, Cathy (2006). Voices from the Past: compositional approaches to using recorded speech.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 3-11.

  • Voegelin, Salomé (2006). Sonic memory material as ‘pathetic trigger’.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 13-18.

  • Labelle, Brandon (2006). Phantom Music: radio, memory, and narratives from auditory life.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 19-25.

  • Corringham, Viv (2006). Urban Song Paths: place resounding.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 27-35.

  • Chen, Tsai-Wei (2006). Sonic Constellations: Taiwanese sojourners’ listening experiences in London.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 37-44.

  • Wynne, John (2006). Language ecology and photographic sound in the McWorld.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 45-54.

  • Keller, Damián, Capasso, Ariadna (2006). New concepts and techniques in eco-composition.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 55-62.

  • Chasalow, Eric (2006). Composing from Memory: the convergence of archive creation and electroacoustic composition.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 63-71.

  • Manning, Peter (2006). The significance of techné in understanding the art and practice of electroacoustic composition.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 81-90.

Vol. 11, No. 2. 2006
  • Weale, Rob (2006). Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception project.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 189-200.

  • Lalitte, Philippe (2006). Towards a semiotic model of mixed music analysis.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 93-100.

  • Bossis, Bruno (2006). The Analysis of Electroacoustic Music: from sources to invariants.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 101-112.

  • Zattra, Laura (2006a). The Identity of the Work: agents and processes of electroacoustic music.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 113-118.

  • Couprie, Pierre (2006). (Re) Presenting electroacoustic music.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 119-123.

  • Gayou, Évelyne (2006). Analysing and Transcribing Electroacoustic Music: the experience of the Portraits polychromes of GRM.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 125-129.

  • Dal Farra, Ricardo (2006b). Something Lost, Something Hidden, Something Found: electroacoustic music by Latin American composers.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 131-142.

  • Waters, Simon (2006). Making the Archive and Archiving the Making: insights and outcomes from a major research project.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 143-147.

  • Godøy, Rolf Inge (2006). Gestural-Sonorous Objects: embodied extensions of Schaeffer’s conceptual apparatus.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 149-157.

  • Kendall, Gary S. (2006). Juxtaposition and Non-motion: Varèse bridges early modernism to electroacoustic music.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 159-171.

  • Nort, Doug Van (2006). Noise/music and representation systems.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 173-178.

  • Higgins, Anna-Marie, Jennings, Kevin (2006). From Peering in the Window to Opening the Door: a constructivist approach to making electroacoustic music accessible to young listeners.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 179-187.

Vol. 11, No. 3. 2006
  • Emmerson, Simon (2006). In what form can ‘live electronic music’ live on?.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 209-219.

  • Bullock, Jamie, Coccioli, Lamberto (2006). Modernising musical works involving Yamaha DX-based synthesis: a case study.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 221-227.

  • Polfreman, Richard, Sheppard, David, Dearden, Ian (2006). Time to re-wire? Problems and strategies for the maintenance of live electronics.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 229-242.

  • Yong, Kerry (2006). Electroacoustic adaptation as a mode of survival: arranging Giacinto Scelsi’s Aitsi pour piano amplifée (1974) for piano and computer.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 243-254.

  • Ding, Shiau-Uen (2006). Developing a rhythmic performance practice in music for piano and tape.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 255-272.

  • Wetzel, David Brooke (2006). A model for the conservation of interactive electroacoustic repertoire: analysis, reconstruction, and performance in the face of technological obsolescence.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 273-284.

  • Essl, Georg, O’Modhrain, Sile (2006). An enactive approach to the design of new tangible musical instruments.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 285-296.

  • Giannakis, Kostas (2006). A comparative evaluation of auditory-visual mappings for sound visualisation.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 297-307.

Vol. 12, No. 1. 2007
  • Rudy, Paul (2007). Timbral praxis: when a tree falls in the forest is it music?.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 5-13.

  • KANE, Brian (2007). L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 15-24.

  • YOUNG, John (2007). Reflections on sound image design in electroacoustic music.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 25-33.

  • Smalley, Denis (2007). Space-form and the acousmatic image.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 35-58.

  • Croft, John (2007). Theses on liveness.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 59-66.

  • SCHACHTER, Daniel (2007). Towards new models for the construction of interactive electroacoustic music discourse.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 67-78.

  • SMITH, Sophy (2007). The process of ‘collective creation’ in the composition of UK hip-hop turntable team routines.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 79-87.

  • DEAN, Roger T., BAILES, Freya (2007). ‘Human understanding’ in imagining and organising sound: some implications of John Locke’s Essay for ecological, cognitive and embodied approaches to composition.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 89-95.

Vol. 12, No. 2. 2007
  • FIELDS, Kenneth (2007). Ontologies, categories, folksonomies: an organised language of sound.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 101-111.

  • Atkinson, Simon (2007). Interpretation and musical signification in acousmatic listening .

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 113-122.

  • PATTON, Kevin (2007). Morphological notation for interactive electroacoustic music.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 123-128.

  • Thoresen, Lasse, Hedman, Andreas (2007). Spectromorphological analysis of sound objects: an adaptation of Pierre Schaeffer’s typomorphology.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 129-141.

  • Beaudoin, Richard (2007). Counterpoint and quotation in Ussachevsky’s Wireless Fantasy.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 143-151.

  • Zagaykevych, Alla, Zavada, Ivan (2007). Development of electronic music in Ukraine: emergence of a research methodology.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 153-165.

  • Hasnizam, Abdul Wahid (2007). Electroacoustic music studies: some thoughts and possibilities.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 167-169.

  • Trueman, Dan (2007). Why a laptop orchestra?.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 171-179.

Vol. 12, No. 3. 2007
  • Battier, Marc (2007). What the GRM brought to music: from musique concrète to acousmatic music.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 189-202.

  • Gayou, Évelyne (2007). The GRM: landmarks on a historic route.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 203-211.

  • Teruggi, Daniel (2007). Technology and musique concrète: the technical developments of the Groupe de Recherches Musicales and their implication in musical composition.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 213-231.

  • Barrachina, Solang, Saint Martin, Dominique (2007). The GRM ‘beyond the walls’?.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 233-239.

  • Bayle, François (2007). Space, and more.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 241-249.

  • Delalande, François (2007). The technological era of ‘sound’: a challenge for musicology and a new range of social practices.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 251-258.

  • Thomas, Jean-Christophe (2007). Nature and the GRM.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 259-265.

  • Mion, Philippe (2007). Analytical commentaries of Les voix de Pierre Schaeffer by Christian Zanési.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 267-276.

  • Zanèsi, Christian, Gayou, Évelyne (2007). A house of composers.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 277-278.

Vol. 13, No. 1. 2008
  • Otondo, Felipe (2008). Contemporary trends in the use of space in electroacoustic music.

    Organised Sound: Vol. 13, No. 1. Cambridge: Cambridge University Press: 77-81.

  • Grossmann, Rolf (2008). The tip of the iceberg: laptop music and the information-technological transformation of music.

    Organised Sound: Vol. 13, No. 1. Cambridge: Cambridge University Press: 5-11.

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