Bibliography

 

A   B   C   D   E   F   G   H   I   J   K   L   M   N   O   P   Q   R   S   T   U   V   W   X   Y   Z

Previous 50 << | 1-50 | 51-100 | 101-109 | >> Next 50

  • Delalande, François (2007). The technological era of ‘sound’: a challenge for musicology and a new range of social practices.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 251-258.

  • DeLaurenti, Christopher (2004). Intermissions with the orchestra.

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 2. Burbury, B. C.: Simon Fraser University: 22.

  • DeLio, Thomas (2002). Diamorphoses by Iannis Xenakis.

    In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 41-57.

  • Dellaira, Michael (1995). Some Recorded Thoughts on Recorded Objects.

    Perspectives of New Music: Vol. 33, No. 1-2: Princeton: Princeton University Press: 192-207.

  • Desantos, Sandra (1997). Acousmatic Morphology: An Interview with François Bayle.

    Computer Music Journal: Vol. 21, no.3. Cambridge, MA: MIT Press: 11-19.

  • Deutsch, Herbert A. (1976). Synthesis: An Introduction to the History, Theory, and Practice of Electronic Music.

    New York: Alfred Publishing Co.

  • Dhomont, Francis (1995b). Acousmatic Update.

    Contact!, vol. 8, no. 2. Montréal: CEC.
    Also published in: Journal of Electroacoustic Music: Vol. 5. London: Sonic Arts Network: 9-25.

  • Dhomont, Francis (1996). Is There a Québec Sound?.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 23-28.
    French and English: 2003. eContact!, vol. 6, no. 2. Montréal: CEC.

  • Di Scipio, Agostino (1994a). Formal Processes of Timbre Composition Challenging the Dualistic Paradigm of Computer Music: A Study in Composition Theory (II).

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 202-208.

  • Di Scipio, Agostino (1994b). Micro-time Sonic Design and Timbre Formation.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 135-148.

  • Di Scipio, Agostino (1995a). Inseparable Models of Materials and of Musical Design in Electroacoustic Music.

    Journal of New Music Research Vol. 24, No. 1. Lisse: Swets and Zeitlinger: 34-50.

  • Di Scipio, Agostino (1995b). Centrality of Techné for an Aesthetic Approach on Electroacoustic Music.

    Journal of New Music Research Vol. 24, No. 4. Lisse: Swets and Zeitlinger: 369-383.

  • Di Scipio, Agostino (1995c). On Different Approaches to Computer Music as Different Models of Compositional Design.

    Perspectives of New Music, Vol. 33, No 1-2. Princeton: Princeton University Press: 360-402.

  • Di Scipio, Agostino (1996). Interactive Composing with Granular Time-shifting of Sound.

    Journées d’Informatique Musicale. Tatihou: Université de Caen/Institut des Sciences de la Matière et du Rayonnement: 74-78.

  • Di Scipio, Agostino (1997). The Problem of 2nd-order Sonorities in Xenakis’ Electroacoustic Music.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 165-178.

  • Di Scipio, Agostino (1998). Compositional Models in Xenakis’s Electroacoustic Music.

    Perspectives of New Music, Vol. 36, No 2. Princeton: Princeton University Press: 201-243.

  • Di Scipio, Agostino (2000). An Analysis of Jean-Claude Risset’s Contours.

    Journal of New Music Research Vol. 29, No. 1. Lisse: Swets and Zeitlinger: 1-21.

  • Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music.

    Presences of Iannis Xenakis. Paris: CDMC: 71-84.

  • DI SCIPIO, Agostino (2002). Tecnologia dell’esperienza musicale nel Novecento (The technology of musical experience in the 20th century).

    Rivista Italiana di Musicologia. Le discipline musicologiche: prospettive di fine secolo. (The musicological disciplines: end-of-century prospects) (Volume realizzato in collaborazione con il Progetto «Musica nel ’900 italiano»), n. XXXV, 1-2, 2000, Firenze, Leo S. Olsckhi (bilingual edition).

  • Di Scipio, Agostino (2002a). A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset’s Contours.

    In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 151-186.

  • Di Scipio, Agostino (2002b). Systems of Embers, Dust, and Clouds: Observations after Xenakis and Brün.

    Computer Music Journal: Vol. 26, no. 1. Cambridge, MA: MIT Press: 22-32.

  • Di Scipio, Agostino (2003). ‘Sound is the Interface’: From interactive to ecosystemic signal processing.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 269-277.

  • Di Scipio, Agostino (2004). The Orchestra as a Resource for Electroacoustic Music: On some works by Iannis Xenakis and Paul Dolden.

    Journal of New Music Research: Vol. 33, No. 2. Lisse: Swets & Zeitlinger: 161-171.

  • Dickinson, Kay (2001). ‘Believe?’ Vocoders, Digitalised Female Identity and Camp.

    Popular Music: Vol. 20, No. 3. Cambridge: Cambridge University Press: 333-347.

  • Dietze, Lena (2000). Learning is Living: Acoustic Ecology as Pedagogical Ground - A Report on Experience.

    Soundscape: The Journal of Acoustic Ecology: Vol. 1 No. 1. Burbury, B. C.: Simon Fraser University: 20-22.

  • Ding, Shiau-Uen (2006). Developing a rhythmic performance practice in music for piano and tape.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 255-272.

  • Dirks, Patricia Lynn (2006). An Analysis of Jonathan Harvey’s “Mortuos Plango, Vivos Voco”.

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

  • Divilbiss, J. L. (1964). The Real-Time Generation of Music with a Digital Computer.

    Journal of Music Theory: Vol. 8, No. 1. New Haven, Connecticut: Yale University: 99-111.

  • Dixon, Martin (2006). Echo’s body: Play and representation in interactive music software.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 17-25.

  • DOATI, Roberto (1984). Symmetry, Regularity, Direction, Velocity.

    Perspective of New Music: Vol. 38, No 1. Princeton: Princeton University Press.

  • Doati, Roberto (1991). György Ligeti’s Glissandi: An Analysis.

    Interface-Journal of New Music Research: Vol. 20, No. 2. Lisse: Swets & Zeitlinger: 79-87.

  • Dobrain, Christopher, Koppelman, Daniel (2006). The ’E’ in NIME: Musical Expression with New Computer Interfaces.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 277-282.

  • Dobson, Richard (2005). Beckmesser revisited?.

    eContact!, Vol. 8, No. 4. Montréal: CEC.

  • Dodge, Charles (1989). On Speech Songs.

    In Current Directions in Computer Music Research. Mathews, M. V. & Pierce, J. R. (eds.): Cambridge, MA: MIT Press: 9-17.

  • Dodge, Charles (1995). Aesthetic Situation and Actual View of Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 43-47.

  • Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance.

    New York: Schirmer Books.

  • Doherty, Douglas, Berry, Ron (1998). Sound Diffusion of Stereo Music over a Multi Loudspeaker Sound System: From First Principles Onwards to a Successful Experiment.

    Journal of Electroacoustic Music: Vol. 11. London: Sonic Arts Network: 9-11.

  • Dolson, Mark (1986). The Phase Vocoder: A Tutorial.

    Computer Music Journal: Vol. 10, No. 4. Cambridge, MA: MIT Press: 83-88.

  • Dominique, M. Richard (1992). Short Circuit: The Computer Music’s Edison Complex.

    In Proceedings of the 1992 International Computer Music Conference - San Jose. San Francisco, CA: ICMA: 482-485.

  • Donin, Nicolas (2004). Towards Organised Listening: Some aspects of the ‘Signed Listening’ project, Ircam.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 99-108.

  • Doornbosch, Paul (2002a). Composers’ Views on Mapping in Algorithmic Composition.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 145-156.

  • Doornbusch, Paul (2002b). A Brief Survey of Mapping in Algorithmic Composition.

    In Proceedings of the 2002 International Computer Music Conference - Gotëborg: San Francisco, CA: ICMA: 205-210.

  • Doornbusch, Paul (2004). Computer Sound Synthesis in 1951: The Music of CSIRAC.

    Computer Music Journal: Vol. 28, no.1. Cambridge, MA: MIT Press: 10-25.

  • Dorin, Alan (2001). Generative Processes in the Electronic Arts.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 47-53.

  • Dow, Robert J. (2003). Sound Diffusion and the Sonic Image.

    Diffusion. September 2003. London: Sonic Arts Network: 2-6.

  • Drever, John Levack (1999). The Exploitation of ‘Tangible Ghosts’: Conjectures on soundscape recording and its reappropriation in sound art.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 25-29.

  • Drever, John Levack (2001). Sounding Soundscape Composition.

    Diffusion. November 2001. London: Sonic Arts Network: 2-6.

  • Drever, John Levack (2002). Soundscape Composition: The convergence of ethnography and acousmatic music.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 21-27.

  • Driscoll, John, Rogalsky, Matt (2004). David Tudor’s Rainforest: An Evolving Exploration of Resonance.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 25-30.

  • Droumeva, Milena (2004). The music must always play: redefining the public and private.

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 2. Burbury, B. C.: Simon Fraser University: 23-25.

    Previous 50 << | 1-50 | 51-100 | 101-109 | >> Next 50

    Top