Bibliography - List of journals: 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

Spiegel, Laurie (1998). Graphical GROOVE: Memorial for the VAMPIRE, a visual music system.
Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 187-191.
Rudi, Jøran (1998). Computer Music Animations.
Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 193-198.
Hunt, Andy, Kirk, Ross, Orton, Richard, Merrison, Benji (1998). A Generic Model for Compositional Approaches to Audiovisual Media.
Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 199-209.
Barrett, Natasha, Hammer, Oyvind (1998). Mimetic Dynamics.
Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 211-218.
Lokki, Tapio, Hiipakka, Jarmo, Hänninen, Rami, Ilmonen, Tommi, Savioja, Lauri, Takala, Tapio (1998). Realtime Audiovisual Rendering and Contemporary Audiovisual Art.
Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 219-233.
Miranda, Eduardo Reck (1998). The Role of Speech Synthesis in Requiem per un veu perdida.
Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 235-240.

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

Voorvelt, Martijn (2000). New Sound, Old Technology.
Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 67-73.
Smith, Sophy (2000). Compositional Strategies of the Hip-hop Turntablist.
Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 75-79.
Ferraz, Silvio, Aldrovandi, Leonardo (2000). Loop-interpolation-random & Gesture: Déjà vu in computer-aided composition.
Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 81-84.
Keller, Damián, Capasso, Ariadna (2000). Social and Perceptual Processes in the Installation The Trade.
Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 85-94.
Miranda, Eduardo Reck, Correa, James, Wright, Joe (2000). Categorising Complex Dynamic Sounds.
Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 95-102.

Vol. 5, No. 3. 2000

Truax, Barry (2000a). The Aesthetics of Computer Music: A questionable concept reconsidered.
Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 119-126.
Richard, Dominique (2000). Holzwege on Mount Fuji: A doctrine of no-aesthetics for computer and electroacoustic music.
Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 127-133.
Livingstone, Hugh (2000). Paradigms for the New String Instrument: Digital and materials technology.
Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 135-147.
Whalley, Ian (2000). Applications of System Dynamics Modelling to Computer Music.
Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 149-157.
Purwinds, Hendrik, Blankertz, Benjamin, Obermayer, Klaus (2000). Computing Auditory Perception.
Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 159-171.
Wright, Matthew, Beauchamp, James, Fitz, Kelly, Rodet, Xavier, Röbel, Axel, Serra, Xavier, Wakefield, Gregory (2000). Analysis/Synthesis Comparison.
Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 173-189.

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

Föllmer, Golo (2005b). Electronic, aesthetic and social factors in Net music.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 185-192.
Wright, Matthew (2005). Open Sound Control: an enabling technology for musical networking.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 193-200.
Helmuth, Mara (2005). Virtual musical performance and improvisation on Internet2.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 201-207.
Kapur, Ajay, Wang, Ge, Davidson, Philip, Cook, Perry R. (2005). Interactive Network Performance: a dream worth dreaming?.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 209-219.
Freeman, Jason, Varnik, Kristjan, Ramakrishnan, C., Neuhaus, Max, Burk, Phil, Birchfield, David (2005). Auracle: a voice-controlled, networked sound instrument.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 221-231.
Barbosa, Alvaro (2005). Public Sound Objects: a shared environment for networked music practice on the Web.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 233-242.
Weinberg, Gil (2005c). Local Performance Networks: musical interdependency through gestures and controllers.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 255-266.
Birchfield, David, Lorig, David, Phillips, Kelly (2005). Network Dynamics in Sustainable: a robotic sound installation.
Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 267-274.

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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