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  • Gaburo, Kenneth (1985). The Deterioration of an Ideal, Ideally Deteriorized: Reflections on Pietro Grossi’s Paganini Al Computer.

    Computer Music Journal: Vol. 9, No. 1. Cambridge, MA: MIT Press: 39-44.

  • Gaburo, Kenneth (1989). Murmur.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 37-42.

  • Galeyev, Bulat M. (1996). Light and Shadows of a Great Life: In Commemoration of the One-Hundredth Anniversary of the Birth of Leon Theremin, Pioneer of Electronic Art.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 45-48.

  • Garcia, Denise (2000). Body Representations in the Electroacoustic Music.

    In Proceedings of the 2000 International Computer Music Conference - Berlin. San Francisco, CA: ICMA: 16-19.

  • Garnett, Guy E. (2001). The Aesthetics of Interactive Computer Music.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 21-33.

  • Gartland-Jones, Andrew, Copley, Peter (2003). The Suitability of Genetic Algorithms for Musical Composition.

    Contemporary Music Review: Vol. 22, Issue 3. London: Routledge: 43-55.

  • Gasior, Lisa, McCartney, Andra (2004). From Mixing Board to Museums: Diane Leboeuf, Sound Designer.

    Musicworks: No. 90. Toronto: Musicworks Society of Ontario: 44-51.

  • Gates, Philippa, Rudy, Paul (2005). Spectromorphology Hits Hollywood: Morphology, Objectification and Moral Messages in the Sound Design of ‘Black Hawk Down’.

    eContact!, Vol. 8, No. 3. Montréal: CEC.

  • Gauthier, Philippe-Aubert (2004). Sound Reproduction Using Multi Loudspeakers Systems.

    eContact!, vol. 7, no. 2. Montréal: CEC.

  • Gaye, Lalya, Holmquist, Lars Erik (2004). In Duet with Everyday Urban Settings: A User Study of Sonic City.

    In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 161-164.

  • Gaye, Lalya, Mazé, Ramia, Holmquist, Lars Erik (2003). Sonic City: The Urban Environment as a Musical Interface.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 109-115.

  • Gaye, Layla, Holmquist, Lars Erik, Behrendt, Frauke, Tanaka, Atau (2006). Mobile Music Technology: Report on Emerging Community.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 22-25.

  • Gayou, Évelyne (2006). Analysing and Transcribing Electroacoustic Music: the experience of the Portraits polychromes of GRM.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 125-129.

  • Gayou, Évelyne (2007). The GRM: landmarks on a historic route.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 203-211.

  • Gelling, Randy (2000). Turntablism.

    Perfect Sound Forever - Online Music Magazine. June edition.

  • Georgaki, Anastasia (1999b). Proteïc Voices in the Computer Music Repertory (1972-1997).

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 553-556.

  • Georgaki, Anastasía (2004). Virtual Voices on Hands: Prominent Applications on the Synthesis and Control of the Singing Voice.

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

  • Georgaki, Anastasia, Loufopoulos, Apostolos (2000). Spirituality in Electroacoustic Works Apokalypsis, Tetelestai and Kratima of Greek composer Michael Adamis.

    New Sound: No. 16. Belgrade: Union of Yugoslav Composer’ Organizations: 116-123.

  • Gerwin, Thomas (1993). The International Digital ElectroAcoustic Music Archive – A new source for research into the history of electroacoustic music.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo, Japan. San Francisco: ICMA: 324-327.

  • Gerwin, Thomas (1997a). In Acoustic Ecology and Integral Art: Outlining a Concept of Today’s Music.

    Contact!, vol. 10, no. 2. Montréal: CEC.

  • Gerwin, Thomas (1997b). On Acoustic Ecology and “Integral Art”.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 59-61.

  • Gerzso, Andrew (1984). Reflexions on Répons.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 23-34.

  • Gerzso, Andrew (1992b). Paradigms and Computer Music.

    Leonardo Music Journal: Vol. 2. Cambridge, MA: MIT Press: 73-79.

  • Geslin, Yann (2002). Digital Sound and Music Transformation Environments: A Twenty-year Experiment at the “Groupe de Recherches Musicales”.

    Journal of New Music Research: Vol. 31, No. 2. Lisse: Swets & Zeitlinger: 99-107.

  • Ghazala, Qubais Reed (2004). The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 96-104.

  • Giannakis, Kostas (2006). A comparative evaluation of auditory-visual mappings for sound visualisation.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 297-307.

  • Giannakis, Kostas, Smith, Matt (2000). Auditory-Visual Associations for Music Compositional Processes: A Survey.

    In Proceedings of the 2000 International Computer Music Conference - Berlin: San Francisco, CA: ICMA: 12-15.

  • Gillham, Owen (2000). The Crossover of Electroacoustic and Popular Music Culture.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 7-10.

  • Giomi, Francesco (1995). The Work of Italian Artist Pietro Grossi: from Early Electronic Music to Computer Art.

    Leonardo: Vol. 28, No. 1. Berkley, CA: Pergamon: 35-39.

  • Giomi, Francesco (1996). An Early Case of Algorithmic Composition in Italy.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 179-182.

  • Giomi, Francesco, Ligabue, Marco (1998). Evangelisti’s Composition Incontri di Fasce Sonore at WDR: Aesthesic-Cognitive Analysis in Theory and Practice.

    Journal of New Music Research Vol. 27, No. 1-2. Lisse: Swets and Zeitlinger: 120-145.

  • Giomi, Francesco, Ligabue, Marco (1998a). Understanding Electroacoustic Music: Analysis of narrative strategies in six early compositions.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 45-49.

  • Giomi, Francesco, Meacci, Damiani, Schwoon, Kilian (2003). Electroacoustic Music in a Multi-Perspective Architectural Context: A sound installation for Renzo Piano’s Auditorium of Rome.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 157-162.

  • Giomi, Francesco, Meacci, Damiano, Schwoon, Kilian (2003a). Live Electronics in Luciano Berio’s Music.

    Computer Music Journal: Vol. 27, no. 2. Cambridge, MA: MIT Press: 30-46.

  • Glandien, Kersten (2000). Art on Air: A Profile of New Radio Art.

    In Emmerson, S. (ed.) Music, Electronic Media and Culture. Aldershot: Ashgate: 167-193.

  • Glanville, Ranulph (2001). Between Now and Then: The Auto-Interview of a Lapsed Musician.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 35-42.

  • Glinsky, Albert (2000). Theremin: Ether Music and Espionage.

    Chicago: University of Illinois Press.

  • Gluck, Robert J. (2005a). eSaz: A non-Western instrument in the context of a live electronic performance system.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 21-29.

  • Gluck, Robert J. (2005b). Sounds of a Community: Cultural Identity and Interactive Art.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 37-43.

  • Gluck, Robert J. (2005c). Fifty years of electronic music in Israel.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 149-162.

  • Godman, Rob (2002). Ambient Sound and Resonating Spaces.

    eContact!, vol. 5, no. 3. Montréal: CEC.

  • Godman, Rob (2004a). Recreating the Real, Realizing the Imaginary - A Composers Preoccupation with Acoustic Space.

    eContact!, vol. 7, no. 2. Montréal: CEC.

  • Godman, Rob (2004b). The Enigma of Vitruvian Resonating Vases and the Relevancs of the Concept for Today.

    eContact!, vol. 7, no. 2. Montréal: CEC.

  • Godøy, Rolf Inge (2006). Gestural-Sonorous Objects: embodied extensions of Schaeffer’s conceptual apparatus.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 149-157.

  • Goebel, Johannes (1988). Man-Machine Interaction.

    In Proceedings of the 1988 International Computer Music Conference - Kologne. San Francisco, CA: ICMA: 41-48.

  • Goebel, Johannes (1991). My Dream (Machine?).

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 47-50.

  • Goebel, Johannes (1996). “Freedom and Precision of Control”.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 46-48.

  • Goebel, Johannes (2001). IDEAMA - The International Digital Electroacoustic Music Archive.

    Journal of New Music Research Vol. 30, No. 4. Lisse: Swets and Zeitlinger: 375-380.

  • Goethals, Lucien (1978). Considerations.

    Faire: No. 4-5. Bourges: GMEB: 22-23.

  • Goldsmith, Kenneth (1999). It was a bug, Dave: The Dawn of Glitchwerks.

    New York Press - Online Magazine.

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