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  • Bello, Angelo (2001). Notes on Composing with the UPIC System: The Equipment of Iannis Xenakis.

    Presences of Iannis Xenakis. Paris: CDMC: 93-97.

  • Bennett, Gerald (1995). Thoughts on the Oral Culture of Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 20-25.

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

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

  • Berenguer, Jose Manuel (1995). On the Necessity of Defining Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 26-30.

  • Berenguer, José Manuel (1997). Analytical Reveries I.

    Académie Bourges II: Analysis in Electroacoustic Music: Paris: Mnemosyne: 216-221.

  • Berg, Paul (1996). Abstracting the Future: The Search for Musical Constructs.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 24-27.

  • Berk, Mike (2000). Analog Fetishists and Digital Futures.

    In Shapiro, P. (Ed.) Modulations: A History of Electronic Music. NY: Caipirinha: 190-201.

  • Bernardini, Nicola (1985). Semiotics and Computer Music Composition.

    In Proceedings of the 1985 International Computer Music Conference - Burnaby, BC. San Francisco, CA : ICMA: 169-184.

  • Bernardini, Nicola (1991). Should Musical Instruments be Dreams?.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 78-81.

  • Bernardini, Nicola, Rudi, Jøran (2002). Compositional Use of Digital Audio Effects.

    Journal of New Music Research: Vol. 31, No. 2. Lisse: Swets & Zeitlinger: 87-91.

  • Bernardini, Nicola, Vidolin, Alvise (2005). Sustainable Live Electroacoustic Music.

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

  • Berry, Rodney (1999). Feeping Creatures.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 94-96.

  • Berry, Rodney, Dahlstedt, Palle (2003). Artificial Life: Why Should Musicians Bother?.

    Contemporary Music Review: Vol. 22, Issue 3. London: Routledge: 57-67.

  • Bevelander, Brian (1991). Observations on Live Electronics.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 151-157.

  • Beyls, Peter (1978). History and development of IPEM Studio.

    Faire: No. 4-5. Bourges: GMEB: 1-4.

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

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

  • 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.

  • Birchfield, David, Phillips, Kelly, Kidané, Assegid, Lorig, David (2006). Interactive Public Sound Art: A Case Study.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 43-48.

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

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

  • Bischoff, John, Gold, Rich, Horton, Jim (1978). Music for an Interactive Network of Microcomputers.

    Computer Music Journal: Vol. 2, No. 3. CA: People’s Computer Company: 24-29.

  • Blackwell, Tim, Young, Michael (2004). Self-organised Music.

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

  • Blaine , Tina (2005). The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment .

    In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada: 27-33.

  • Blaine, Tina, Fels, Sidney (2003a). Collaborative Musical Experiences for Novices.

    Journal of New Music Research: Vol. 32, No. 4. Lisse: Swets & Zeitlinger: 411-428.

  • Blaine, Tina, Fels, Sidney (2003b). Contexts of Collaborative Musical Experiences.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 129-134.

  • Blaukopf, Kurt (1971). Space in Electronic Music.

    La Revue Musicale, Nos 268-269. Paris: Richard-Masse: 157-171.
    French: L’espace en musique électronique. La Revue Musicale, Nos 268-269. Paris: Richard-Masse: 157-172.

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

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

  • Bodin, Lars Gunnar (1996). Aesthetic Profil Mapping - An Outline of a Practical Aesthetic Analysis.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 226-222.

  • Boehm, Carola (2002). Between Technology and Creativity, Challenges and Opportunities for Music Technology in Higher Education.

    In Proceedings of the 2002 International Computer Music Conference - Gotëborg: San Francisco, CA: ICMA: 236-243.

  • Boehmer, Konrad (2002). Koenig - Sound Composition - Essay.

    In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 59-71.

  • Boesch, Rainer (1996). Analysis in Electroacoustic Music (Music is not invented, it is composed).

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 230-227.

  • Boeswillwald, Pierre (1996). Analysis in the Electroacoustic World.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 235-231.

  • Bonin, Vincent, Heimbecker, Steve (2006). Interview with Steve Heimbecker.

    eContact!, Vol. 9, No. 2. Montréal: CEC.

  • Borin, Gianpaolo, Poli, Giovanni De, Sarti, Augusto (1997). Musical Signal Synthesis.

    In Roads, Curtis, et al. (eds.) Musical Signal Processing. Lisse: Swets & Zeitlinger: 5-30.

  • Borio, Gianmario (1993). New Technology, New Techniques: The Aesthetics of Electronic Music in the 1950’s.

    Journal of New Music Research Vol. 22, No. 1. Lisse: Swets and Zeitlinger: 77-87.

  • Born, Georgina (1995). Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde.

    Los Angeles, CA: University of California Press.

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

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

  • Bosma, Hannah (1996). Authorship and Female Voices in Electrovocal Music.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 409-412.

  • Bosma, Hannah (1998a). Gender and Electroacoustics.

    eContact!, vol. 1, no. 1. Montréal: CEC.

  • Bosma, Hannah (1998b). The Death of the Singer Authorship and Female Voice in Electroacoustic Music.

    eContact!, vol. 1, no. 3. Montréal: CEC.

  • 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.

  • Bossis, Bruno (2003). Practical seminar : Creating a simple electroacoustic piece in easy stages.

    UNESCO DigiArts: Training - online tutorial

  • 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.

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

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

  • Bossis, Bruno, Couprie, Pierre (2003). Tutorials : sound and music applications.

    UNESCO DigiArts: Training - online tutorial

  • Boulanger, Richard (1984). Interview with Roger Reynolds, Joji Yuasa and Charles Wuorinen.

    Computer Music Journal: Vol. 8, No. 4. Cambridge, MA: MIT Press: 45-54.

  • Boulanger, Richard (1990). Conducting the MIDI Orchestra, Part 1: Interviews with Max Matthews, Barry Vercoe, and Roger Dannenberg.

    Computer Music Journal: Vol. 14, No. 2. Cambridge, MA: MIT Press: 34-46.

  • Boulez, Pierre (1986). Technology and the Composer.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 5-14.

  • Bowers, John (2003). Improvising Machines: Ethnographically Informed Design for Improvised Electro-acoustic Music.

    ARiADAtexts (Advanced Research in Aesthetics in the Digital Arts): No. 4. University of East Anglia, Norwich.

  • Bowers, John, Archer, Phil (2005). Not Hyper, Not Meta, Not Cyber but Infra-Instruments.

    In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada: 5-10.

  • Brandorff, Steffen, Cour, Jørgen la (1975). Aspects of the Serial Procedures in Karlheinz Stockhausen’s Kontakte.

    Electronic Music & Musical Acoustics, No 1. Denmark: Aarhus: 75-107.

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