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  • D’Arcangelo, Gideon (2002). Creating a Context for Musical Innovation: A NIME Curriculum.

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

  • D’Arcangelo, Gideon (2004). Recycling Music, Answering Back: Toward an Oral Tradition of Electronic Music.

    In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 55-58.

  • D’Escrivan, Julio (1989). Reflections on the Poetics of Time in Electoacoustic Music.

    Contemporary Music Review: Vol. 3, No, 1. Chur: Harwood: 197-201.

  • D’Escriván, Julio (2006). To sing the body electric: Instruments and effort in the performance of electronic music.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 183-191.

  • Dack, John (1993). A la Recherche de l’Instrument Perdu.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 7. London: Sonic Arts Network.

  • Dack, John (1994). Pierre Schaeffer and the Significance of Radiophonic Art.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 3-11.

  • Dack, John (1997). Pedagogy and the Studio.

    Journal of Electroacoustic Music: Vol. 10. London: Sonic Arts Network: 10-11.

  • Dack, John (1998a). Strategies in the Analysis of Karlheinz Stockhausen’s Kontakte für elektronische Klänge, Klavier, und Schlagzeug.

    Journal of New Music Research Vol. 27, No. 1-2. Lisse: Swets and Zeitlinger: 84-119.

  • Dack, John (1998b). Systematising the Unsystematic.

    In Proceedings of the Arts Symposium of the International Conference for Advanced Studies in Systems Research and Cybernetics, Baden-Baden: Windsor, Ontario: The International Institute for Advanced Studies in Systems Research and Cybernetics: 53-58.

  • Dack, John (1999a). Karlheinz Stockhausen’s Kontakte and Narrativity.

    eContact!, vol. 2, no. 2. Montréal: CEC.

  • Dack, John (1999b). The Creative Power of the Machine.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 12. London: Sonic Arts Network.

  • Dack, John (2000). Ludwig Van Henry - An Interview with Pierre Henry.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 27-30.

  • Dack, John (2001). Diffusion as Performance.

    Systems Research in the Arts. Vol. 3. Music, Environmental Design and the Choreography of Space. The International Institute for Advanced Studies in Systems Research and Cybernetics.

  • Dack, John (2002a). Histories and Ideologies of Synthesis.

    Online Article.

  • Dack, John (2002b). Abstract and Concrete.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 2-7.

  • Dack, John (2003a). Can the Analogue Past Inform the Digital Present? .

    Online Article.

  • Dack, John (2003b). Sound, Installations and Music.

    In MAXIS II: Proceedings of the 2nd International Festival and Symposium of Sound and Experimental Music, 2003. Sheffield: University of Sheffield Hallam Press.

  • Dack, John (2003c). Ear-training using the computer and PROGREMU.

    Recueil des actes, 10e Journées d’Informatique Musicale.

  • Dack, John (2004). “Open” Forms and the Computer.

    Music, Arts, Technologies, Toward a Critical Approach. Paris: L’Harmattan: 401-412.

  • Dahlstedt, Palle (2001). A MutaSynth in Parameter Space: Interactive composition through evolution.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 121-124.

  • Dal Farra, Ricardo (1996). A Southerner’s Perspective.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 36-37.

  • Dal Farra, Ricardo (2003). Electroacoustic music in Latin America.

    UNESCO DigiArts: Music using technology - online resource

  • Dal Farra, Ricardo (2003a). Historical aspects of Electroacoustic Music in Latin America: From the Pioneering to the Present Days.

    France: UNESCO, Digi-Arts (online).

  • Dal Farra, Ricardo (2006a). A Journey of Sound through the Electroacoustic Wires. Art and New Technologies in Latin America (Un voyage du son par les fils électroacoustiques : L’art et les nouvelles technologies en Amérique Latine).

    Ph.D Thesis - Canada: Université du Quebec à Montréal.

  • Dal Farra, Ricardo (2006b). Something Lost, Something Hidden, Something Found: electroacoustic music by Latin American composers.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 131-142.

  • Dallet, Sylvie, Brunet, Sophie (1996). Pierre Schaeffer. A Career in Research.

    Paris: Centre d’étude et de recherche Pierre Schaeffer.

  • Dannenberg, Roger B. (1996). A Perspective on Computer Music.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 52-56.

  • Dannenberg, Roger B. (2005). Interactive Visual Music: A Personal Perspective.

    Computer Music Journal: Vol. 29, No. 4. Cambridge, MA: MIT Press: 25-35.

  • Dart, William, Elmsly, John, Whalley, Ian (2001). A View of Computer Music from New Zealand: Auckland, Waikato and the Asia/Pacific Connection.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 11-20.

  • Dashow, James (2002). Looking into Sequence Symbols.

    In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 187-216.

  • Dashow, James, Roads, Curtis (1985c). Interview with James Dashow.

    Composers and the Computer. Los Altos: William Kaufmann: 26-45.

  • Daubresse, Eric, Assayag, Gerard (2000). Technology and Creation - The Creative Evolution.

    Contemporary Music Review: Vol. 19, Issue 2. London: Routledge: 61-80.

  • Davies, Hugh (1964). A Discography of Electronic Music and Musique Concrète.

    Recorded Sound: No. 14. London: British Institute of Recorded Sound: 205-224.

  • Davies, Hugh (1966). A Discography of Electronic Music and Musique Concrète: Supplement.

    Recorded Sound: No. 22/23. London: British Institute of Recorded Sound: 69-224.

  • Davies, Hugh (1968). International Electronic Music Catalog.

    Paris/New York: Groupe de Recherches Musicales/Independent Electronic Music Center.

  • Davies, Hugh (1992). New Musical Instruments in the Computer Age: Amplified Performance Systems and Related Examples of Low-level Technology.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 500-513.

  • Davies, Hugh (1996a). A History of Sampling.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 3-11.

  • Davies, Hugh (2001). The Preservation of Electronic Musical Instruments.

    Journal of New Music Research Vol. 30, No. 4. Lisse: Swets and Zeitlinger: 295-302.

  • Davies, Hugh (2001a). Gentle Fire: An Early Approach to Live Electronic Music.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 53-60.

  • Davies, Hugh (2003). Daphne Oram: Tribute to a Pioneer.

    Diffusion. February 2003. London: Sonic Arts Network: 3-4.

  • Davis, Deta (1996). Aesthetics in Computer Music: A Bibliography.

    Contemporary Music Review: Vol. 13, No. 2. London: Harwood Academic Publishers: 147-157.

  • Davis, Deta S. (1988). Computer Applications in Music: A Bibliography.

    Madison, Wisc.: A-R Editions.

  • Davis, Randal (2003). ‘... and what they do as they’re going ...’: Sounding space in the work of Alvin Lucier.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 205-212.

  • De Ritis, Anthony (1999). Cathedral: An Interactive Work for the Web.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 224-227.

  • DEAN, Roger T., BAILES, Freya (2007). ‘Human understanding’ in imagining and organising sound: some implications of John Locke’s Essay for ecological, cognitive and embodied approaches to composition.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 89-95.

  • Dean, Roger T., Whitelaw, Mitchell, Smith, Hazel, Worrall, David (2006). The Mirage of Real-Time Algorithmic Synaesthesia: Some Compositional Mechanisms and Research Agendas in Computer Music and Sonification.

    Contemporary Music Review: Vol. 25, Issue 4. London: Routledge: 311-326.

  • Decroupet, Pascal (1994). Timbre Diversification in Serial Tape Music and its Consequence on Form.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 13-23.

  • Decroupet, Pascal, Ungeheuer, Elena (2002). Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of Gesang der Jünglinge.

    In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 1-39.

  • Dedman, Malcolm (1984). Electronic Instruments.

    Composer: No. 81 (Spring). London: British Music Information Centre: 1-4.

  • Delalande, François (1998). Music Analysis and Reception Behaviours: Sommeil by Pierre Henry.

    Journal of New Music Research Vol. 27, No. 1-2. Lisse: Swets and Zeitlinger: 13-66.

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