Leonardo Music Journal (1991-)

Language(s): English

Vol. 1. 1991
  • Beyls, Peter (1991). Chaos and Creativity: The Dynamic Systems Approach to Musical Composition.

    Leonardo Music Journal: Vol. 1. Cambridge, MA: MIT Press: 31-36

  • Bischoff, John (1991). Software as Sculpture: Creating Music from the Ground Up.

    Leonardo Music Journal: Vol.1. Cambridge, MA: MIT Press: 37-40.

  • Collins, Nicolas (1991). Low Brass: The evolution of Trombone-Propelled Electronics.

    Leonardo Music Journal: Vol.1. Cambridge, MA: MIT Press: 41-44.

  • Austin, Larry, Boone, Charles, Serra, Xavier (1991). Transmission Two: The Great Excursion (TT:TGE) - The Aesthetic, Art and Science of a Composition for Radio.

    Leonardo Music Journal: Vol.1. Cambridge, MA: MIT Press: 81-88.

  • Osborn, Ed (1991). Local Conditions and Perceptual Concerns.

    Leonardo Music Journal: Vol.1. Cambridge, MA: MIT Press: 89-93.

Vol. 2. 1992
  • Truax, Barry (1992c). Composing with Time-Shifted Environmental Sound.

    Leonardo Music Journal: Vol. 2. Cambridge, MA: MIT Press: 37-40.

  • Raes, Godfried-Willem (1992). A Personal Story of Music and Technologies.

    Leonardo Music Journal: Vol.2. Cambridge, MA: MIT Press: 29-35.

  • Waschka II, Rodney (1992). Computer-Assisted Composition and Performance: The Creation of A Noite, Porém, Rangeu E Quebrou.

    Leonardo Music Journal: Vol.2. Cambridge, MA: MIT Press: 41-44.

  • Gerzso, Andrew (1992b). Paradigms and Computer Music.

    Leonardo Music Journal: Vol. 2. Cambridge, MA: MIT Press: 73-79.

Vol. 3. 1993 Vol. 4. 1994
  • Curran, Alvin (1994). Music from the Centre of the Earth: Three Large-Scale Sound Installations.

    Leonardo Music Journal: Vol. 4. Cambridge, MA: MIT Press: 1-8.

  • Dyson, Frances (1994). Radio Art in Waves.

    Leonardo Music Journal: Vol. 4. Cambridge, MA: MIT Press: 9-11.

  • Levinas, Michaël (1994). Transients of Attack and Hybrid Sounds: Toward a New Mixity.

    Leonardo Music Journal: Vol. 4. Cambridge, MA: MIT Press: 13-15.

  • Schiemer, Greg (1994). Interactive Radio.

    Leonardo Music Journal: Vol. 4. Cambridge, MA: MIT Press: 17-22.

  • Shimazu, Takehito (1994). The History of Electronic and Computer Music in Japan: Significant Composers and Their Works.

    Leonardo Music Journal: Vol. 4. Cambridge, MA: MIT Press: 102-106.

Vol. 5. 1995
  • McCartney, Andra (1995c). Inventing Images: Constructing and Contesting Gender in Thinking about Electroacoustic Music.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 57-66.

  • Jaffe, David A. (1995). Orchestrating the Chimera: Musical Hybrids, Technology and the Development of a “Maximalist” Musical Style.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 11-18.

  • Oliveros, Pauline (1994). Acoustic and Virtual Space as a Dynamic Element of Music.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 9-22.

  • Thome, Diane (1995). Reflections on Collaborative Process and Compositional Revolution.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 29-32.

  • Zajicek, Libor (1995). The History of Electroacoustic Music in the Czech and Slovak Republics.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 39-48.

Vol. 6. 1996
  • Chadabe, Joel (1996). The History of Electronic Music as a Reflection of Structural Paradigms.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 41-44.

  • Mulder, Axel (1996). Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 33-40.

  • Galeyev, Bulat M. (1996). Light and Shadows of a Great Life: In Commemoration of the One-Hundredth Anniversary of the Birth of Leon Theremin, Pioneer of Electronic Art.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 45-48.

  • Theremin, Leon S. (1996). The Design of a Musical Instrument Based on Cathode Relays.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 49-50.

  • Kavina, Lydia (1996). My Experience with the Theremin.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 51-55.

  • Nesturkh, Natalia (1996). The Theremin and Its Inventor in Twentieth-Century Russia.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 57-60.

  • Carter, Paul (1996). Speaking Pantomimes: Notes on The Calling to Come.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 95-98.

Vol. 7. 1997
  • Menezes, Flo (1997). To Be and Not To Be: Aspects of the Interaction Between Instrumental and Electronic Compositional Methods.

    Leonardo Music Journal: Vol. 7. Cambridge, MA: MIT Press: 3-10.

  • Holm-Hudson, Kevin (1997). Quotation and Context: Sampling and John Oswald’s Plunderphonics.

    Leonardo Music Journal: Vol. 7. Cambridge, MA: MIT Press: 17-25.

  • Monro, Gordon (1997). This is Art, Not Science.

    Leonardo Music Journal: Vol. 7. Cambridge, MA: MIT Press: 77-80.

  • Cubitt, Sean (1997). Online Sound and Virtual Architecture (Contribution to the Geography of Cultural Translation).

    Leonardo Music Journal: Vol. 7. Cambridge, MA: MIT Press: 43-49.

Vol. 8. 1998
  • Lucier, Alvin (1998). Origins of a Form: Acoustical Exploration, Science and Incessancy.

    Leonardo Music Journal: Vol. 8. Cambridge, MA: MIT Press: 5-11.

  • Behrman, David, Kuivila, Ron (1998). Composing with Shifting Sand: A Conversation between Ron Kuivila and David Behrman on Electronic Music and the Ephemerality of Technology.

    Leonardo Music Journal: Vol. 8. Cambridge, MA: MIT Press: 13-16.

  • Gresham-Lancaster, Scot (1998). The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music.

    Leonardo Music Journal: Vol. 8. Cambridge, MA: MIT Press: 39-44.

  • Arias, Ricardo (1998). From the Margins of the Periphery: Music and Technology at the Outskirts of the West - A Personal View.

    Leonardo Music Journal: Vol. 8. Cambridge, MA: MIT Press: 49-54.

Vol. 9. 1999
  • Jordŕ, Sergi (1999). Faust Music On Line: (FMOL) An Approach to Real-Time Collective Composition on the Internet.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 5-12.

  • Duckworth, William (1999). Making Music on the Web.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 13-17.

  • Trayle, Mark (1999). Free Enterprise: Virtual Capital and Counterfeit Music at the End of the Century.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 19-22.

  • Bennett, Justin (1999). BMB con.: Collaborative Experiences with Sound, Image and Space.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 29-34.

  • Cross, Lowell (1999). Reunion: John Cage, Marcel Duchamp, Electronic Music and Chess.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 35-42.

  • Dunn, David, Peer, René van (1999). Music, Language and Environment.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 63-67.

  • Cope, David (1999). Facing the Music: Perspectives on Machine-Composed Music.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 79-87.

  • Alsop, Roger (1999). Exploring the Self Through Algorithmic Composition.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 89-94.

  • Warde, Ann (1999). Change Over Time: Responsibility and Power in the Midst of Catastrophe.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 95-101.

  • Tanzi, Dante (1999). The Cultural Role and Communicative Properties of Scientifically Derived Compositional Theories.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 103-106.

Vol. 10. 2000
  • Camargo, Lucio Edilberto Cuellar (2000). The Development of Electroacoustic Music in Colombia, 1965-1999: An Introduction.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 7-12.

  • Palombini, Carlos (2000). The Brazilian Group for Computer Music Research: A Proto-History.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 13-20.

  • Velasco, Daniel (2000). Island Landscape: Following in Humboldt’s Footsteps through the Acoustic Spaces of the Tropics.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 21-24.

  • Lewis, George E. (2000). Too Many Notes: Computers, Complexity and Culture in Voyager.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 33-39.

  • Ligeti, Lukas (2000). Beta Foly: Experiments with Tradition and Technology in West Africa.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 41-47.

  • Keller, Damián (2000). Compositional Processes from an Ecological Perspective.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 55-60.

Vol. 11. 2001
  • Glanville, Ranulph (2001). Between Now and Then: The Auto-Interview of a Lapsed Musician.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 35-42.

  • Casserley, Lawrence (2001). Plus ça change: Journeys, Instruments and Networks, 1966-2000.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 43-49.

  • Davies, Hugh (2001a). Gentle Fire: An Early Approach to Live Electronic Music.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 53-60.

  • Jones, Stuart (2001). Making It Up as You Go Along.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 61-64.

  • Rimbaud, Robin (a.k.a. Scanner) (2001). Remembering How to Forget: An Artist’s Exploration of Sound.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 65-69.

  • Schaefer, Janek (2001). AudiOh!: Appropriation, Accident and Alteration.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 71-76.

Vol. 12. 2002
  • Neill, Ben (2002). Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music.

    Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 3-6.

  • Byrne, David (2002). Machines of Joy: I Have Seen the Future and It Is Squiggly.

    Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 7-10.

  • Ostertag, Bob (2002). Human Bodies, Computer Music.

    Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 11-14.

  • Friedl, Reinhold (2002). Some Sadomasochistic Aspects of Musical Pleasure.

    Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 29-30.

  • Weinberg, Gil (2002a). Playpens, Fireflies and Squeezables: New Musical Instruments for Bridging the Thoughtful and the Joyful.

    Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 43-51.

Vol. 13. 2003
  • Manning, Peter (2003). The Influence of Recording Technologies on the Early Development of Electoacoustic Music.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 5-10.

  • Kahn, Douglas (2003). Christian Marclay’s Early Years: An Interview.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 17-21.

  • Collins, Nick (2003b). Recursive Audio Cutting.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 23-29.

  • Burtner, Matthew (2003). Regenerative Feedback in the Medium of Radio: Study 1.0 (FM) for Radio Transceiver.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 39-42.

  • Stuart, Caleb (2003). Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 47-52.

  • Barbosa, Álvaro (2003). Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 47-52.

  • Freire, Sérgio (2003). Early Musical Impressions from Both Sides of the Loudspeaker.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 67-71.

  • Collins, Nicolas (2003d). Groove, Pit and Wave.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 37-40.

Vol. 14. 2004
  • Perloff, Nancy (2004). Hearing Spaces: David Tudor’s Collaboration on Sea Tails.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 31-39.

  • Pritchett, James (2004). David Tudor as Composer/Performer in Cage’s Variations II.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 11-16.

  • Kuivila, Ron (2004). Open Sources: Words, Circuits and the Notation-Realization Relation in the Music of David Tudor.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 17-23.

  • Driscoll, John, Rogalsky, Matt (2004). David Tudor’s Rainforest: An Evolving Exploration of Resonance.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 25-30.

  • Gray, D’ Arcy Philip (2004). David Tudor in the Late 1980s: Understanding a Secret Voice.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 41-47.

  • Viola, Bill (2004). David Tudor: The Delicate Art of Falling.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 49-56.

  • Jones, Stephen (2004). Philippa Cullen: Dancing the Music.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 64-73.

  • Kahn, Douglas (2004). A Musical Technography of John Bischoff.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 64-73.

  • Prins, Gert-Jan (2004). RISK: The Use of High-Frequency Radio Electronics for Audio Recreation.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 64-73.

  • Ghazala, Qubais Reed (2004). The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 96-104.

Vol. 15. 2005
  • Miranda, Eduardo Reck (2005). Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 8-16.

  • Weinberg, Gil (2005b). Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 23-26.

  • Toop, David (2005). Sound Body: The Ghost of a Program.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 28-35.

  • Gluck, Robert J. (2005b). Sounds of a Community: Cultural Identity and Interactive Art.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 37-43.

  • Zimmermann, Basile (2005). Technology Is Culture: Two Paradigms.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 53-57.

  • Blonk, Jaap, Peer, René van (2005). Sounding the Outer Limits.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 62-68.

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