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  • Brattico, Elvira, Sassanelli, Fiorella (2000). Perception and Musical Preferences in Wishart’s Work.

    Journal of New Music Research Vol. 29, No. 2. Lisse: Swets and Zeitlinger: 107-119.

  • Bregman, Albert S. (1990). Auditory Scene Analysis: The Perceptual Organization of Sound.

    Cambridge, MA: MIT Press.

  • Bregman, Albert S. (1993). Auditory Scene Analysis: Hearing in Complex Environments.

    In McAdams, S. & Bigand, E. (eds.) Thinking in Sound: The Cognitive Psychology of Human Audition: Oxford, Oxford University Press: 10-36.

  • Breinbjerg, Morten, Caprani, Ole, Lunding, Rasmus, Kramhøft, Line (2006). An Acousmatic Composition Environment.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 334-337.

  • Breitsameter, Sabine (2003). Acoustic Ecology and the New Electroacoustic Space of Digital Networks.

    Soundscape: The Journal of Acoustic Ecology: Vol. 4, No. 2. Burbury, B. C.: Simon Fraser University: 24-30.

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

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

  • Bridger, Michael (2002). Narrativisation in Electroacoustic and Computer Music - Reflections on Empirical Research into Listeners’ Response.

    Online article.

  • Brookes, Tim, Tyrell, Andy, Howard, David (1996). Musical Analysis Using a Real-Time Model of Peripheral Hearing.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 79-82.

  • Brophy, Philip (1990). The Architecsonic Object: Stereo Sound, Cinema & Colors.

    In Hayward, P. (Ed.) Culture, Technology & Creativity in the Late Twentieth Century. London: John Libbey & Co.: 90-110.

  • Brown, Andrew (2003). Electroacoustic music in Asia and the Pacific.

    UNESCO DigiArts: Music using technology - online resource

  • Brown, Andrew R. (2002). Opportunities for Evolutionary Music Composition.

    Online Article
    Also published in Doornbusch, P. (Ed.) Proceedings of the Australasian Computer Music Conference.

  • Brown, Chris, Bischoff, John, Perkins, Tim (1996). Bringing Digital Music to Life.

    Computer Music Journal: Vol. 20, No. 2. Cambridge, MA: MIT Press: 28-32.

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

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

  • Bryan-Kinns, N., Healey, P. G. T. (2006). Decay in Collaborative Music Making.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 114-117.

  • Brün, Herbert (1989). Composer’s Input Outputs Music.

    In Heifetz, R. J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 133-147.

  • Brün, Herbert, Hamlin, Peter, Roads Curtis, (1995). Interview with Herbert Brün.

    Composers and the Computer. Los Altos: William Kaufmann: 1-15.

  • Budon, Osvaldo (2000). Composing with Objects, Networks, and Time Scales: An Interview with Horacio Vaggione.

    Computer Music Journal: Vol. 24, no.3. Cambridge, MA: MIT Press: 9-22.

  • 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.

  • 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.

  • Burns, Christopher (2001). Realizing Lucier and Stockhausen: Case Studies in Electroacoustic Performance Practice.

    In Proceedings of the 2001 International Computer Music Conference - Havana. San Francisco, CA: ICMA: 40-43.

  • Burns, Christopher (2002a). Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music.

    Journal of New Music Research: Vol. 31, No. 1. Lisse: Swets & Zeitlinger: 59-68.

  • Burns, Christopher (2002b). Tracing Compositional Process: Software Synthesis Code as Documentary Evidence.

    In Proceedings of the 2002 International Computer Music Conference - Gotëborg: San Francisco, CA: ICMA: 568-571.

  • Burns, Christopher (2005). Compositional Strategies for Point-Source Spatialization.

    eContact!, Vol. 8, No. 3. Montréal: CEC.

  • Burns, K. H. (2004). Algorithmic Composition.

    Online Article

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

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

  • Burraston, D. (2006). Generative Music and Cellular Automata.

    PhD Thesis. University of Technology, Sydney, Australia.

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

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

  • Burt, Warren (1995). Listening to the Ten Tape Pieces by Kenneth Gaburo.

    Perspectives of New Music, Vol. 33, No 1-2. Princeton: Princeton University Press: 148-161.

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

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

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

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

  • 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.

  • Burtner, Matthew (2005). Ecoacoustic and Shamanic Technologies for Multimedia Composition and Performance.

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

  • Burton, Anthony R., Vladimirova, Tanya (1999). Generation of Musical Sequences with Genetic Techniques.

    Computer Music Journal: Vol. 23, no.4. Cambridge, MA: MIT Press: 59-73.

  • Buxton, William (1977a). Computer Music 1976/77: a Directory to Current Work.

    Toronto: William Buxton/Canadian Commission for UNESCO.

  • Buxton, William (1978). Computers and the Composer: an Introductory Survey.

    Faire: No. 4-5. Bourges: GMEB: 16-21.

  • Buxton, William A. S. (1977b). A Composer’s Introduction to Computer Music.

    Interface - Journal of New Music Research Vol. 16, No. 2. Lisse: Swets and Zeitlinger: 57-72.

  • 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.

  • Byrne, Madelyn (1999). Speech-Based Computer Music: Selected Works by Charles Dodge and Paul Lansky.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 561-564.

  • Böhme, Gernot (2000). Acoustic Atmospheres: A Contribution to the Study of Ecological Aesthetics.

    Soundscape: The Journal of Acoustic Ecology: Vol. 1 No. 1. Burbury, B. C.: Simon Fraser University: 14-18.

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