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  • Haas, Steve (2004). Active Acoustics: Defining One’s Private Acoustic Environment.

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 1. Burbury, B. C.: Simon Fraser University: 20-22.

  • Hahn, David (2002). Creating the Soundscape for Zagreb Everywhere.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 57-63.

  • Hahn, Tomie, Bahn, Curtis (2002). Pikapika - The collaborative composition of an interactive sonic character.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 229-238.

  • Hamman, Michael (2002). From Technical to Technological: The Imperative of Technology in Experimental Music Composition.

    Perspectives of New Music: Vol. 40, No. 1: Princeton: Princeton University Press: 92-120.

  • Hamman, Michael (2004). On Technology and Art: Xenakis at Work.

    Journal of New Music Research: Vol. 33, No. 2. Lisse: Swets & Zeitlinger: 115-123.

  • Hannan, Michael (2006). Intermedia Collaboration for The Flood.

    Contemporary Music Review: Vol. 25, Issue 4. London: Routledge: 327-339.

  • Hansen, Kjetil Falkenberg (2002). The Basics of Scratching.

    Journal of New Music Research: Vol. 31, No. 4. Lisse: Swets & Zeitlinger: 357-365.

  • Hansen, Kjetil Falkenberg, Bresin, Roberto (2006). Mapping Strategies in DJ Scratching.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 188-191.

  • Hanson, Sten (1996). Autoanalysis?.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 319-321.

  • Harchanko, Joseph (2003). Spectro-morphology and Structure. An Analysis of Gilles Gobeil’s Le Vertige Inconnu.

    eContact!, vol. 6, no. 4. Montréal: CEC.

  • Harley, James (1991). Generative Processes in Algorithmic Composition: Chaos and Music.

    Leonardo: Vol. 24, No. 1. Berkley, CA: Pergamon: 23-29.

  • Harley, James (2002). The Electroacoustic Music of Iannis Xenakis.

    Computer Music Journal: Vol. 26, no. 1. Cambridge, MA: MIT Press: 33-57.

  • Harris, Craig R., Pope, Stephen T. (1987). Activities and Resources in Computer Music.

    San Francisco: Computer Music Association.

  • Harris, Yolande (2004). The Meta-Orchestra: Research by practice in group multi-disciplinary electronic arts.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 283-294.

  • Harris, Yolande (2006). Inside-out instrument.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 151-162.

  • Harris, Yolande, Bongers, Bert (2002). Approaches to Creating Interactivated Spaces, from Intimate to Inhabited Interfaces.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 239-246.

  • Harrison, Jonty (1998). Sound, Space, Sculpture: Some thoughts on the ‘what’, ‘how’ and ‘why’ of sound diffusion.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 117-127.
    Also published in: Journal of Electroacoustic Music. Vol. 11. London: Sonic Arts Network: 12-20.

  • Harrison, Jonty (1999). Diffusion: Theories and Practices, with Particular Reference to the BEAST System.

    eContact!, vol. 2, no. 4. Montréal: CEC.

  • Harrison, Jonty (2000). Imaginary Space - Spaces in the Imagination Australasian Computer Music Conference 1999 Keynote Address.

    eContact!, vol. 3, no. 2. Montréal: CEC.

  • Harvey, Jonathan (1985). Electronics in Music: A New Aesthetic.

    Composer: No. 85 (Summer). London: British Music Information Centre: 8-15.

  • Harvey, Jonathan (1986). The Mirror of Ambiguity.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 175-190.

  • Harvey, Jonathan (1999). The Metaphysics of Live Electronics.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 79-82.

  • Harvey, Jonathan, Lorrain, Denis, Barrière Jean-Baptiste, Haynes, Stanley, (1984). Notes on the realization of Bhakti.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 111-129.

  • Harvey, Jonathan, Palmer, John (1999). Jonathan Harvey.

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

  • Harvey, Lawrence (2000). The Occupation of Space; Sound Sites.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 11-16.

  • Hasnizam, Abdul Wahid (2007). Electroacoustic music studies: some thoughts and possibilities.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 167-169.

  • Hatanaka, Motohide (2003). Ergonomic Design of A Portable Musical Instrument.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 70-82.

  • Hatzis, Christos (1998). The Law of One: Recursive structures in composition.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 17-25.

  • Haus, Goffredo (1980). Summing Up the Situation of Computer Music in Italy at the Conference of Milan.

    Interface - Journal of New Music Research Vol. 9, No. 2. Lisse: Swets and Zeitlinger: 115-121.

  • Hawkins, Scott (2001). Duel Purpose - Introducing the Diamorphone. An Account of Experiments in Sound and Physical Interaction.

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

  • Hawkins, Scott (2002). Wudu.

    Diffusion. June 2002. London: Sonic Arts Network: 2-5.

  • Haynes, Stanley (1982). The Computer as a Sound Processor: A Tutorial.

    Computer Music Journal: Vol. 6, No. 1. CA: People’s Computer Company: 7-17.

  • Haynes, Stanley (1984). Report on the realization of York Höller’s Arcus.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 41-66.

  • Hegarty, Paul (2001). Noise Threshold: Merzbow and the end of natural sound.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 193-200.

  • Hegarty, Paul (2001). Full With Noise: Theory and Japanese Noise Music.

    ctheory.net - online magazine

  • Heifetz, Robin Julian (1980). Japanese Analog Electroacoustic Music.

    Interface - Journal of New Music Research Vol. 9, No. 2. Lisse: Swets and Zeitlinger: 71-82.

  • Heifetz, Robin Julian (1989a). Computer Music Warmware: The Human Perspective.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 85-89.

  • Heikinheimo, Seppo (1972). The Electronic Music of Karlheinz Stockhausen. Studies on the Esthetical and Formal Problems of its First Phase.

    Helsinki: Sanomapaino Oy.

  • HEISS, Hermann (1960). Spezialaufnahmeaggregat für Tongemische (Record-and-Playback Heads for Tone Mixtures).

    Gravesaner Blätter. No 15/16: Mainz: Ars Viva Verlag: 118-122/123-125

  • Helmuth, Mara (1996). Multidimensional Representation of Electroacoustic Music.

    Journal of New Music Research Vol. 25, No. 1. Lisse: Swets and Zeitlinger: 77-103.

  • Helmuth, Mara (2005). Virtual musical performance and improvisation on Internet2.

    Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 201-207.

  • Helmuth, Mara, White, Frances, Norman, Katharine, Roberts, Mary, Seltzer, Linda, Kimura, Mari (1994). Gender & Computer Music.

    Journal of Electroacoustic Music. Vol. 8. London: Sonic Arts Network: 9-13.

  • Heon, Laura (2005). In Your Ear: hearing art in the twenty-first century.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 91-96.

  • Hesmondhalgh, David (2000). International Times: Fusions, Exoticism, and Antiracism in Electronic Dance Music.

    In Born, G. & Hesmondhalgh, D. (eds.) Western Music and its Others: Difference, Representation, and Appropriation in Music. Berkeley, CA: University of California Press: 280-304.

  • Hettergott, Alexandra (1999). Human Voice Treatment in Various Types of Electroacoustic Music.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 557-560.

  • Hewitt, Donna, Stevenson, Ian (2003). E-mic: Extended Mic-stand Interface Controller.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 122-128.

  • Higgins, Anna-Marie, Jennings, Kevin (2006). From Peering in the Window to Opening the Door: a constructivist approach to making electroacoustic music accessible to young listeners.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 179-187.

  • HILLER, L. A. (1965). Musikalische Anwendungen von elektronischen Digitalrechnern(Musical Applications of Electronic Digital Computers).

    Gravesaner Blätter. No. 27/28: Mainz: Ars Viva Verlag: 46-61/62-72.

  • Hiller, L. A. (1968). Music Composed with Computers: An Historical Survey.

    University of Illinois, School of Music, Experimental Music Studio.

  • Hiller, Lejaren (1989). Electronic Sonata.

    In Heifetz, R. J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 123-132.

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