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  • Cox, Cindy (2003). Wounds like Flowers Opening: a Discussion of Hysteria for Trombone and Four-Channel Tape.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 85-87.

  • Cremaschi, Andrea, Giomi, Francesco (2004). Parrole: Berio’s Words on Music Technology.

    Computer Music Journal: Vol. 28, no. 1. Cambridge, MA: MIT Press: 26-36.

  • Criton, Pascale (2005). Mutation and Processuality in the Musical Thought of Horacio Vaggione.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 371-381.

  • Croft, John (2007). Theses on liveness.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 59-66.

  • Cronkite, David (2000). Mediating Gesture: An Interactive Approach to Computer-Assisted Music.

    Musicworks: No. 78. Toronto: Musicworks Society of Ontario: 20-25.

  • Cross, Lowell (1968). Electronic Music, 1948-1953.

    Perspectives of New Music: Vol. 7, No. 1. Princeton: Princeton University Press: 32-65.

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

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

  • Cross, Lowell M. (1967). A bibliography of electronic music.

    Toronto: University of Toronto Press.

  • 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.

  • 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.

  • Cutler, Chris (2000). Plunderphonics.

    In Emmerson, S. (ed.) Music, Electronic Media and Culture. Aldershot: Ashgate: 87-114.
    Also published in: Cox, Christoph, Warner, Daniel (eds.) Audio Culture: Readings in Modern Music: NY: Continuum: 138-156.

  • Cutler, Chris (2004). Pluderphonia.

    In Cox, Christoph, Warner, Daniel (eds.) Audio Culture: Readings in Modern Music: NY: Continuum: 138-156.
    Also published in: Emmerson, S. (ed.). Music, Electronic Media and Culture. Aldershot: Ashgate: 87-114.

  • Cuzzucoli, Giuseppe, Lombardo, Vincenzo (1999). A Physical Model of the Classical Guitar, Including the Player’s Touch.

    Computer Music Journal: Vol. 23, no.2. Cambridge, MA: MIT Press: 52-69.

  • Cvejic, Bojana (2001). Near and Far. A Nocturne of Belgrade Spring 1999 for Chamber Ensemble, Live Electronics and Audio Tape, by Srdjan Hofman.

    New Sound: No. 17. Belgrade: Union of Yugoslav Composer’ Organizations: 57-63.

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