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  • Cadoz, Claude (1988). Instrumental Gesture and Musical Composition.

    In Proceedings of the 1988 International Computer Music Conference - Kologne. San Francisco, CA: ICMA: 1-12.

  • Caesar, Rodolfo (1992). The Composition of Electroacoustic Music.

    PhD dissertation - University of East Anglia.

  • 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.

  • Camilleri, Lelio, Smalley, Denis (1998). The Analysis of Electroacoustic Music: Introduction.

    Journal of New Music Research Vol. 27, No. 1-2. Lisse: Swets and Zeitlinger.

  • Camurri, Antonio, Leman, Marc (1997). AI-based Music Signal Applications - A Hybrid Approach.

    In Roads, Curtis, et al. (eds.) Musical Signal Processing. Lisse: Swets & Zeitlinger: 349-381.

  • Camurri, Antonio, Trocca, Riccardo (2000). Movement and Gesture in Intelligent Interactive Music Systems.

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

  • Canazza, S., Vidolin, A. (2001). Introduction: Preserving Electroacoustic Music.

    Interface-Journal of New Music Research: Vol. 30, No. 4. Lisse: Swets & Zeitlinger: 289-293.

  • Cann, Richard (1979). An Analysis/Synthesis Tutorial.

    Computer Music Journal: Vol. 3, No. 3. CA: People’s Computer Company: 6-11.

  • Cannon, Cormac, Hughes, Stephen, Ó Modhráin, Síle (2003). EpipE: Exploration of the Uilleann Pipes as a Potential Controller for Computer-based Music.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 3-8.

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

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

  • Carter, Paul (2003). Auditing Acoustic Ecology.

    Soundscape: The Journal of Acoustic Ecology: Vol. 4, No. 2. Burbury, B. C.: Simon Fraser University: 12-13.

  • Cascone, Kim (2000). The Aesthetics of Failure: “Post-Digital Tendencies in Contemporary Computer Music.

    Computer Music Journal: Vol. 24, No. 4. Cambridge, MA: MIT Press: 12-18.

  • Cascone, Kim (2001). The Microsound Scene: An Interview with Kim Cascone.

    ctheory.net - online magazine

  • Cascone, Kim (2003). Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 101-104.

  • Casey, Michael (2001). General Sound Classification and Similarity in MPEG-7.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 153-164.

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

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

  • 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.

  • Chabot, Xavier (1993). To Listen and To See: Making and Using Electronic Instruments.

    Leonardo Music Journal: Vol.3. Cambridge, MA: MIT Press: 11-16.

  • Chadabe, Joel (1975). The Voltage-Controlled Synthesizer.

    In Appleton, Jon H., Perera, Ronald C. (eds.) The Development and Practice of Electronic Music: New Jersey: Prentice-Hall: 138-188.

  • Chadabe, Joel (1981). Paths to a Point in a Musical Landscape.

    In Proceedings of the 1981 International Computer Music Conference - Texas. San Francisco, CA: ICMA: 19-28.

  • Chadabe, Joel (1983). Interactive Composing: An Overview.

    In Proceedings of the 1983 International Computer Music Conference - New York. San Francisco, CA: ICMA: 298-306.
    Also published in: Computer Music Journal: Vol. 8, No. 1. CA: People’s Computer Company: 22-27.

  • Chadabe, Joel (1984). Interactive Composing: An Overview.

    Computer Music Journal: Vol. 8, No. 1. CA: People’s Computer Company: 22-27.
    Also published in: Proceedings of the 1983 International Computer Music Conference - Rochester. San Francisco, CA: ICMA: 298-306.

  • 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.

  • Chadabe, Joel (1997a). The Electronic Music Foundation.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 25-27.

  • Chadabe, Joel (1997b). Electric Sound: The Past and Promise of Electronic Music.

    New Jersey: Prentice-Hall.

  • Chadabe, Joel (1999a). The Performer is Us.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 25-30.

  • Chadabe, Joel (1999b). A Brief Overview of Otto Laske’s Work.

    In Tabor, J. (Ed.) Otto Laske: Navigating New Musical Horizons. London: Greenwood: 73-79.

  • Chadabe, Joel (2000a). Devices I have Known and Loved.

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

  • Chadabe, Joel (2000b). Remarks on Computer Music Culture.

    Computer Music Journal: Vol. 24, No. 4. Cambridge, MA: MIT Press: 9-11.

  • Chadabe, Joel (2001). Preserving Performances of Electronic Music.

    Interface-Journal of New Music Research: Vol. 30, No. 4. Lisse: Swets & Zeitlinger: 303-305.

  • Chadabe, Joel (2002). The Limitations of Mapping as a Structural Descriptive in Electronic Instruments.

    In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.

  • Chadabe, Joel (2003). Where We’re Going.

    Musicworks: No. 85. Toronto: Musicworks Society of Ontario: 8-9.

  • Chadabe, Joel (2004a). Electronic Music and Life.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 3-6.

  • Chadabe, Joel (2004b). Look Around and Get Engaged.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 315-316.

  • Chagas, Paulo (2006). The blindness paradigm: The visibility and invisibility of the body.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 119-130.

  • Chambers, Evan K. (1994). The Computer Music World View: Sketch of an Ethnomusicological and Aesthetic Approach.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 19-22.

  • Chang, Jae Ho (1999). Composing Noise.

    Online Article

  • Chapman, Jane (2000). Points of Departure: An Interview with Simon Emmerson.

    Contemporary Music Review: Vol. 19, Issue 4. London: Routledge: 39-47.

  • Charbonneau, Gérard R. (1981). Timbre and the Perceptual Effects of Three Types of Data Reduction.

    Computer Music Journal: Vol. 5, No. 2. CA: People’s Computer Company: 10-19.

  • 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.

  • Chen, Tsai-Wei (2006). Sonic Constellations: Taiwanese sojourners’ listening experiences in London.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 37-44.

  • Cheng, Corey I. (2001). Moving Sound Source Synthesis for Binaural Electroacoustic Music Using Interpolated Head-Related Transfer Functions (HRTFs).

    Computer Music Journal: Vol. 25, no. 4. Cambridge, MA: MIT Press: 57-80.

  • Chion, Michel (1993a). The State of Musique Concrète.

    Contemporary Music Review: Music Society and Imagination in Contemporary France, edited by F.-B. Mâche. Chur: Harwood Academic Publishers.

  • Chowning, John M. (1993). Computer Music: A Grand Adventure and Some Thoughts About Loudness.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo. San Francisco, CA: ICMA: 2-8.

  • Chowning, John, Roads, Curtis (1985). John Chowning on composition.

    Composers and the Computer. Los Altos: William Kaufmann: 16-25.

  • Ciamaga, Gustav (1975). The Tape Studio.

    The Development and Practice of Electronic Music. London: Prentice-Hall: 68-137.

  • 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.

  • Cipriani, Alessandro, Giri, Maurizio (2010). ELECTRONIC MUSIC AND SOUND DESIGN: Theory and Practice with MaxMSP.

    Rome, ConTempoNet

  • CLARK Jr., Melville (1959). Ein neues Musikinstrument (A new musical instrument).

    Gravesaner Blätter. No. 14: Mainz: Ars Viva Verlag: 92-109/110-124

  • Clark, Thomas (1989). Coasts: On the Creative Edge with Composer Larry Austin.

    Computer Music Journal: Vol. 13, No. 1. Cambridge, MA: MIT Press: 21-35.

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