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  • Gordon, John W. (1996). Psychoacoustics in Computer Music.

    In Roads, C. The Computer Music Tutorial. Cambridge, MA: MIT Press: 1053-1069.

  • Goto, Suguru (2000). Virtual Musical Instruments: Technological Aspects and Interactive Performance Issues.

    CD-Rom. Trends in Gestural Control of Music. Paris: IRCAM/Centre Pompidou.

  • Goto, Suguru (2006). The Case Study of An Application of The System, “BodySuit” and “RoboticMusic” - Its Introduction and Aesthetics.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 292-295.

  • Goudeseune, Camille (2002). Interpolated Mappings for Musical Instruments.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 85-96.

  • Go▀mann, Joachim (2006). The ZKM Klangdom.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 140-141.

  • Grabˇcz, Marta (1997). Survival or Renewal? Structural imagination in recent electroacoustic and computer music.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 83-95.

  • Graves, Alan, Hand, Chris, Hugill, Andrew (1999). MidiVisualiser: Interactive music visualisation using VRML.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 15-23.

  • Gray, D’ Arcy Philip (2004). David Tudor in the Late 1980s: Understanding a Secret Voice.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 41-47.

  • Green, Tona (1991). Interview with Jean-Claude Eloy.

    Computer Music Journal: Vol. 15, No. 1. Cambridge, MA: MIT Press: 14-19.

  • Gresham-Lancaster, Scot (1998). The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music.

    Leonardo Music Journal: Vol. 8. Cambridge, MA: MIT Press: 39-44.

  • Griffiths, Paul (1979). A Guide to Electronic Music.

    London: Thames and Hudson.

  • Griffiths, Paul (1979). A Guide to Electronic Music.

    London: Thames and Hudson.

  • Griffiths, Paul (1984). Three works by Jonathan Harvey: the electronic mirror.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 87-109.

  • Grimley, Daniel (2005). Hidden Places: Hyper-realism in Bj÷rk’s Vespertine and Dancer in the Dark.

    Twentieth-Century Music. Vol. 2, No. 1. Cambridge :Cambridge University Press: 37-51.

  • Gunther, Eric, O’Modhrain, Sile (2003). Cutaneous Grooves: Composing for the Sense of Touch.

    Journal of New Music Research: Vol. 32, No. 4. Lisse: Swets & Zeitlinger: 369-381.
    Also published in: Proceedings of the 2002 Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.

  • Gurevich, Michael (2006). JamSpace: Designing a Collaborative Networked Music Space for Novices.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 118-123.

  • Gurevich, Michael, Muehlen, Stephan von (2001). The Accordiatron: A MIDI Controller For Interactive Music.

    In Proceedings of the 2001 International Conference on New Interfaces for Musical Expression (NIME-01). Seattle, USA.

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