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  • Baalman, Marije A. J. (2003). The STRIMIDILATOR: a String Controlled MIDI-Instrument.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 19-23.

  • Babbitt, Milton (1964). An Introduction to the R.C.A Synthesizer.

    Journal of Music Theory: Vol. 8, No. 2. New Haven, Connecticut: Yale University: 251-265.

  • Baboni Schilingi, Jacopo (2001). French Electro-acoustic Music: Musicians and Researchers.

    Avidi Lumi, No. 12. Palermo: Teatro Massimo: 147-148.

  • Bach, Glenn (2003). The Extra-Digital Axis Mundi: Myth, Magic and Metaphor in Laptop Music.

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

  • Bahn, Curtis, Hahn, Tomie, Trueman, Dan (2001). Physicality and Feedback: A Focus on the Body in the Performance of Electronic Music.

    In Proceedings of the 2001 International Computer Music Conference – Havana, Cuba. San Francisco: ICMA: 44-51.

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

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

  • Bailey, Nick, Cooper, David (2000). Perceptually Smooth Timbral Guides by State-Space Analysis of Phase-Vocoder Parameters.

    Computer Music Journal: Vol. 24, no.1. Cambridge, MA: MIT Press: 32-42.

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

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

  • Baird, Bridget, Blevins, Donald, Zahler, Noel (1993). Artificial Intelligence and Music: Implementing an Interactive Computer Performer.

    Computer Music Journal: Vol. 17, No. 2. Cambridge, MA: MIT Press: 73-79.

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

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

  • Bandt, Ros (2004). The Listening Place: Alma Park’s Cross Cultural Voices.

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 2. Burbury, B. C.: Simon Fraser University: 39-41.

  • 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.

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

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

  • Banks, Joe (2002). The Sea Mists of Winter: A Report on the Role of Acoustic Factors in Human Spatial Perception.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 20-27.

  • 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.

  • 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.

  • Barlow, Clarence (1995). On the Aesthetic of all Historical Development of Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon Mnemosyne: 11-13.

  • Barlow, Clarence (1996). On the Spectral Analysis of Speech for Subsequent Resynthesis by Acoustic Instruments.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 276-283.

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

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

  • Barret, Natasha (1999). Little Animals: Compositional Structuring Processes.

    Computer Music Journal: Vol. 23, no.2. Cambridge, MA: MIT Press: 11-18.

  • Barrett, Natasha (2000a). Musical Structure, Shifting Perspectives and Composition.

    eContact!, vol. 3, no. 3. Montréal: CEC.

  • Barrett, Natasha (2000b). A Compositional Methodology Based on Data Extracted from Natural Phenomena.

    In Proceedings of the 2000 International Computer Music Conference - Berlin. San Francisco: ICMA: 20-23.

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

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

  • Barrett, Natasha (2005). Adsonore.

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

  • Barrett, Natasha, Hammer, Oyvind (1998). Mimetic Dynamics.

    Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 211-218.

  • Barrett, Richard (2006). Improvisation Notes August 2005.

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

  • Barrière, Françoise (1995). Reflexions on the State of Electroacoustic Music Today : AEsthetic Evolution and Relation with the Public.

    Bourges Academy:Bourges Academy Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 14-19.

  • Barrière, Françoise (1996). Thoughts on Analysis in Electroacoustic Music.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 215-208.

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

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

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

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

  • Bateman, Wayne (1980). Introduction to Computer Music.

    New York: John Wiley & Sons.

  • Bateman, Wayne A. (1980). An Introduction to Computer Music.

    NY: John Wiley.

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

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

  • Battier, Marc (2000). Electronic Music and Gesture.

    CD-Rom. Trends in Gestural Control of Music. Paris: IRCAM/Centre Pompidou.

  • 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.

  • Battier, Marc (2003e). Digital Creation with Sounds and Music - an online introduction.

    UNESCO DigiArts: Training - online tutorial

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

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

  • 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.

  • 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.

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

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

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

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

  • 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.

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

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

  • Becker, Barbara, Eckel, Gerhard (1996). On the Use of Computer Systems in Contemporary Composition.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 118-120.

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

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

  • 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.

  • Bekhtin, Yuri (1997). Musical Informatics: Curriculum or a New Area of Musicology.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 442-445.

  • Bel, Bernard (1999). Portrait of an Extraterrestrian.

    In Tabor, J. (Ed.) Otto Laske: Navigating New Musical Horizons. London: Greenwood: 81-91.

  • 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.

  • Belkin, Alan (1988). Orchestration, Perception, and Musical Time: A Composer’s View.

    Computer Music Journal: Vol. 12, No. 2. Cambridge, MA: MIT Press: 47-53.

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