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  • Clarke, Eric (1997). Perception and Critique: Ecological Acoustics, Critical Theory and Music.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 19-22.

  • Clarke, Michael (1996). Composing at the Intersection of Time and Frequency.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 107-117.

  • Clarke, Michael (1998). Extending Contacts: the Concept of Unity in Computer Music.

    Perspectives of New Music, Vol. 36, No 1. Princeton: Princeton University Press: 221-246.

  • Clarke, Michael (1999a). Composing with Multi-channel Spatialisation as an Aspect of Synthesis.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 17-19.

  • Clarke, Michael (1999b). Revisiting Kontakte: Issues of History, Performance and Intuition.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 535-537.

  • Clarke, Michael, Hunter, Stuart (1995). Educating the Next Generation: Integrating Technological Skills with Artistic Creativity in Computer Music Courses in Higher Education.

    Musicus: Vol. 4. Lanacster, UK: CTI Music: 47-52.

  • Clozier, Christian (1978). Notes for a Criticism of Musical Economy: Prolegomena (Reflexion - References - propositions).

    Faire: No. 4-5. Bourges: GMEB: 53-70.

  • Clozier, Christian (1981). The Gmebaphone Sound Diffusion Instrument.

    EMAS (Electro-Acoustic Music Association of Great Britain): Vol. 3, No. 3. London: EMAS: 5-7.

  • Clozier, Christian (1995). The Aesthetic Situation and Outlook of Electroacoustic Music. Related Question: a Definition of Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 31-42.

  • Clozier, Christian (1996a). The aesthetic situation and outlook of electroacoustic music - Related question: a definition of electroacoustic music.

    Académie Bourges: Aesthetics and electroacoustic music, edited by Curtis Roads. Bourges: Acteon-Mnemosyne.

  • Clozier, Christian (1996b). Analysis in Electroacoustic Music.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 236-254.

  • Clozier, Christian (2001). The Gmebaphone Concept and the Cybernéphone Instrument.

    Computer Music Journal: Vol. 25, no. 4. Cambridge, MA: MIT Press: 81-90.

  • Code, David Loberg (1990). Observations in the Art of Speech: Paul Lansky’s Six Fantasies.

    Perspectives of New Music: Vol. 28, No. 1: Princeton: Princeton University Press: 144-169.

  • Cody, Joshua (1996). An Interview with Paul Lansky.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 19-24.

  • Coelho de Souza, Rodolfo (2005). The Use of Brazilian Folk Instrument Sounds in a Concerto for Computer and Orchestra.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 31-36.

  • Coenen, Alcedo (1997). NEAR - The Netherlands Electro-Acoustic Repertoire Centre.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 19-21.

  • Cogan, Robert (1984). New Images of Musical Sound.

    Cambridge, MA: Harvard University Press.

  • Cogan, Robert (1986). Imaging Sonic Structure.

    In Proceedings of the 1986 International Computer Music Conference - The Hague. San Francisco, CA: ICMA: 407-412.

  • Cohen, David (1967/68). Computer-generated music.

    Composer: No. 26 (Winter). London: British Music Information Centre: 29-30.

  • Cole, Bruce (1996). MIDI and Communality.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 51-54.

  • Collins, David (1990). Future Issues for Software Development in Music Education.

    Musicus: Vol. 2, No.1-2. Lanacster, UK: CTI Music: 87-97.

  • Collins, Nick (2002a). Experiments with a New Customisable Interactive Evolution Framework.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 267-273.

  • Collins, Nick (2002b). Relating Superhuman Virtuosity to Human Performance.

    In Proceedings of MAXIS, Sheffield Hallam University, April 12-14.

  • Collins, Nick (2002c). Impossible Music.

    Noisegate, 10.

  • Collins, Nick (2003a). Generative Music and Laptop Performance.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 67-79.

  • Collins, Nick (2003b). Recursive Audio Cutting.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 23-29.

  • Collins, Nick, McLean, Alex, Rohrhuber, Julian, Ward, Adrian (2003c). Live Coding in Laptop Performance.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 321-330.

  • Collins, Nicolas (1991). Low Brass: The evolution of Trombone-Propelled Electronics.

    Leonardo Music Journal: Vol.1. Cambridge, MA: MIT Press: 41-44.

  • Collins, Nicolas (2003d). Groove, Pit and Wave.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 37-40.

  • Commission on Electronic Music, (1977). Electronic Music in Sweden.

    Stockholm: Commission on Electronic Music.

  • Cook, Nicholas (1998). Analysing Musical Multimedia.

    Oxford: Oxford University Press.

  • Cook, Perry (2001a). Principles for Designing Computer Music Controllers.

    Proceedings 2001 International Conference on New Interfaces for Musical Expression (NIME)

  • Cook, Perry (2004). Remutualizing the Musical Instrument: Co-Design of Synthesis Algorithms and Controllers.

    Interface-Journal of New Music Research: Vol. 33, No. 3. Lisse: Swets & Zeitlinger: 315-320.

  • Cook, Perry (Ed.) (2001b). Music, Cognition and Computerized Sound: An Introduction to Psychoacoustics.

    Cambridge, MA: MIT Press

  • Cook, Perry R. (1996). Singing Voice Synthesis: History, Current Work and Future Directions.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 38-46.

  • Cope, David (1999). Facing the Music: Perspectives on Machine-Composed Music.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 79-87.

  • Copeland, Darren (1995). Cruising For A Fixing in this “Art of Fixed Sounds”.

    Musicworks, No 61. Toronto: Music Gallery: 51-53.

  • Copeland, Darren (1998). Vers une conscience d’associations/For An Awareness Of Associations.

    eContact: Vol. 1, No. 4. Montréal: CEC.

  • Copeland, Darren (1999). Is it Indifference or Ambiguity?.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 6-8.

  • Copeland, Darren (2003). Survival Strategies for Electroacoustic Music.

    Circuit, Revue Nord-Américaine de Musique du XXe Siècle, vol. 13, no. 3. Montréal: Les Presses de l’Université de Montréal: 59-65.

  • Corino, Gianni, Miranda, Eduardo Reck (2003). Digital Music: online tutorials on computer music.

    UNESCO DigiArts: Training - online tutorial

  • Corringham, Viv (2003). Vocal Strolls: Voicing the Soundscape.

    Musicworks: No. 86. Toronto: Musicworks Society of Ontario: 22-27.

  • Corringham, Viv (2006). Urban Song Paths: place resounding.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 27-35.

  • Cory, Mark E. (1992). Soundplay: The Polyphonous Tradition of German Radio Art.

    In Kahn, D. & Whitehead, G. (eds.) Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, MA: MIT Press: 331-371.

  • Couprie, Pierre (1999). Three Analysis Models for L’oiseau moqueur, one of the Trois rêves d’oiseau by François Bayle.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 3-14.
    French version: Trois modèle d’analyse de L’oiseau moqueur, un des Trois rêves d’oiseaux de François Bayle. 1998. Les Cahiers de l’OMF, no. 3. Paris: OMF: 50-70.

  • Couprie, Pierre (2004b). Graphical Representation: An analytical publication tool for electroacoustic music.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 109-113.

  • Couprie, Pierre (2006). (Re) Presenting electroacoustic music.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 119-123.

  • Courchene, Kim S. (2001). A Conversation with Beatriz Ferreyra.

    Computer Music Journal: Vol. 25, no. 3. Cambridge, MA: MIT Press: 14-21.

  • Couturier, Jean-Michel (2004). Etheraction: Playing Musical Piece Using Graphical Interfaces.

    Sound and Music Computing. Paris: IRCAM/Centre Pompidou.

  • Cox, Christoph, Warner, Daniel (2004). Audio Culture: Readings in Modern Music.

    NY: Continuum.

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