|
|
 |
|
Bibliography
Favilla, Stuart, Cannon, Joanne (2006). Fetish: Bent Leather’s palpable, visceral instruments and Grainger. Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 107-117.
Fedorkow, Guy, Buxton, William, Smith, K.C. (1978). A Computer-Controlled Sound Distribution System for the performance of Electroacoustic Music. Computer Music Journal: Vol. 2, No. 3. CA: People’s Computer Company: 33-42.
Feld, Steven, Palombini, Carlos (2001). Thoughts on Recording Soundscapes. The Acoustic Ecology Institute Website.
Fells, Nick (1999). Kendhang, Or and Vug: Three works for performer and live computer system. Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 79-85.
Fells, Nick (2002). On Space, Listening and Interaction: Words on the Streets are These and Still Life. Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 287-294.
Fels, Sidney, Gadd, Ashley, Mulder, Axel (2002). Mapping Transparency through Metaphor: Towards more expressive musical instruments. Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 109-126.
Fels, Sidney, Kaastra, Linda, Takahashi, Sachiyo, McCaig, Graeme (2004). Evolving Tooka: from Experiment to Instrument. In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 1-6.
Fels, Sidney, Vogt, Florian (2002). Tooka: Explorations of Two Person Instruments. In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.
Fennely, Brian (1967). A Descriptive Language for the Analysis of Electronic Music. Perspective of New Music, Vol. 6, No. 2. Princeton: Princeton University Press: 79-95.
FERRARI, Luc (1966). Tautologos I. Gravesaner Blätter. No. 27/28: Mainz: Ars Viva Verlag: 105/106
Ferrari, Luc (1996). I Was Running in So Many Different Directions. Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2
. London: Harwood Academic Publishers: 95-102.
Ferrari, Luc, Warburton, Dan (1998). Luc Ferrari.
Ferraz, Silvio, Aldrovandi, Leonardo (2000). Loop-interpolation-random & Gesture: Déjà vu in computer-aided composition. Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 81-84.
Ferreira, Giselle Martins dos Santos (1997). A Perceptual Approach to the Analysis of J. C. Risset’s Sud: Sound, structure and symbol. Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 97-106.
Ferrington, Gary (2001). Acoustic Ecology and Environmental Studies: A New Academic Home for the Teaching of Ecoacoustics. Soundscape: The Journal of Acoustic Ecology: Vol. 2, No. 2. Burbury, B. C.: Simon Fraser University: 39-40.
Ferrington, Gary (2002/2003). Soundwalking the Internet: Ocean Acoustics - Opportunities to Listen to Underwater Soundscapes. Soundscape: The Journal of Acoustic Ecology: Vol. 3, No. 2./Vol. 4, No. 1. Burbury, B. C.: Simon Fraser University: 41-42.
Field, Ambrose (1996). An Introduction to Discovery Strategy. Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 119-123.
Field, Ambrose (2000). Simulation and Reality: The New Sonic Objects. In Emmerson, S. (ed.) Music, Electronic Media and Culture. Aldershot: Ashgate: 36-55.
Fields, Kenneth (1999). PostFormalism. In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 531-534.
FIELDS, Kenneth (2007). Ontologies, categories, folksonomies: an organised language of sound. Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 101-111.
Fikentscher, Kai (2003). “There’s not a problem I can’t fix, ‘cause I can do it in the mix”: On the Performative Technology of 12-inch Vinyl. In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 290-315.
Fineberg, Joshua (2000). Spectral Music. Contemporary Music Review: Vol. 19, Issue 2. London: Routledge: 1-6.
Fineberg, Joshua (2000a). Guide to the Basic Concepts and Techniques of Spectral Music. Contemporary Music Review: Vol. 19, Issue 2. London: Routledge: 81-113.
Fischman, Rajmil (1994a). Sound Processing in Los Dados Eternos. Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 181-189.
Fischman, Rajmil (1994b). Music for the Masses. Journal of New Music Research Vol. 23, No. 3. Lisse: Swets and Zeitlinger: 245-264.
Fischman, Rajmil (1997a). Phase Vocoder: Theory and Practice. Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 127-145.
Fischman, Rajmil (1997b). Analysis of Crosstalk: A work by Michael Vaughan. Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 225-251.
Fischman, Rajmil (1999). Score of Point-virgule (Electro-clip by Jean-François Denis). eContact!, vol. 2, no. 2. Montréal: CEC.
Fleisher, Tsippi (1998). Structural Aspects of My Music as Illustrated in the Tape Work The Gown of Night and the Cantata Like Two Branches. Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 51-59.
Ford, Peter (1963). History of Sound Recording: The Evolution of Magnetic Recording. Recorded Sound: Vol. 2, No. 10/11. London: British Institute of Recorded Sound: 115-123.
Fourier, Laurent (1994). Jean-Jaques Perrey and the Ondioline. Computer Music Journal: Vol. 18, No. 4. Cambridge, MA: MIT Press: 19-25.
Franco, Enrique, Griffith, Niall J. L., Fernström, Mikael (2004). Issues for Designing a flexible expressive audiovisual system for real-time performance & composition. In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 165-168.
François, Jean-Charles (1990). Fixed Timbre, Dynamic Timbre. Perspectives of New Music: Vol. 28, No. 2: Princeton: Princeton University Press: 112-118.
Frayne, Nigel (2004). Acoustic Design in the Built Environment. Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 1. Burbury, B. C.: Simon Fraser University: 15-19.
Freeman, Jason, Varnik, Kristjan, Ramakrishnan, C., Neuhaus, Max, Burk, Phil, Birchfield, David (2005). Auracle: a voice-controlled, networked sound instrument. Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 221-231.
Freire, Sérgio (2003). Early Musical Impressions from Both Sides of the Loudspeaker. Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 67-71.
Friedl, Reinhold (2002). Some Sadomasochistic Aspects of Musical Pleasure. Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 29-30.
Frisk, Henrik, Yoshida, Miya (2005). New Communications Technology in the Context of Interactive Sound Art: an empirical analysis. Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 121-127.
Fujii, Koichi (2004). Chronology of Early Electroacoustic Music in Japan: What types of source materials are available?. Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 63-77.
Fumarola, Martin A. (1999). Electroacoustic Music Practice in Latin America: An Interview with Juan Amenábar. Computer Music Journal: Vol. 23, no.1. Cambridge, MA: MIT Press: 41-48.
Fumarola, Martin Alejandro (1996). An Approach to a LatinAmerican Computer Music. In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 266-269.
Fumarola, Martin Alejandro (1998). Change and Permanence in LatinAmerican Electroacoustic and Computer Music: A Compositional Approach. In Proceedings of the 1998 International Computer Music Conference - Ann Arbor. San Francisco, CA: ICMA: 80-83.
Furlanete, Fábio P. (1999). Models of Sound Representation in Electroacoustic Composition. Online publication - accessed July 2007
Föllmer, Golo (2005a). Lines of Net Music. Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 439-444.
Föllmer, Golo (2005b). Electronic, aesthetic and social factors in Net music. Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 185-192.
|
|
|