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  • Hiller, Lejaren, A., Isaacson, Leonard M., (1959). Experimental Music: Composition with an Electronic Computer.

    Westport, CT: Greenwood Press.

  • Hinkle-Turner, Elizabeth (2003). Women and Music Technology: Pioneers, Precedents and Issues in the United States.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 31-47.

  • Hinkle-Turner, Elizabeth (2005). Hear Me Now: the implication and significance of the female composer’s voice as sound source in her electroacoustic music.

    eContact!, Vol. 8, No. 2. Montréal: CEC.

  • Hinkle-Turner, Elizabeth (2006). Women Composers and Music Technology in the United States.

    Aldershot: Ashgate.

  • HINOJOSA CHAPEL, Rubén (2003). Realtime Algorithmic Music Systems From Fractals and Chaotic Functions: Toward an Active Musical Instrument.

    Ph.D. Thesis, Universitat Pompeu Fabra, Barcelona, Spain.

  • Hirano, Karl (1996). A Review of Electronic Instruments.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 28-30.

  • Hirst, David (2001). An Echo from Closed Doors.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 39-45.

  • Hodgkinson, Tim (2001). An Interview with Pierre Schaeffer.

    In Rothenberg, D. & Ulvaeus, M. (eds.) The Book of Music & Nature. Middletown, CT: Wesleyan University Press: 34-44.

  • Hoffman, Peter (2001). Analysis through Resynthesis. Gendy3 by Iannis Xenakis.

    Presences of Iannis Xenakis. Paris:CDMC: 185-194.

  • Hoffmann, Peter (2004). Something Rich and Strange: Exploring the Pitch Structure of GENDY3.

    Journal of New Music Research: Vol. 33, No. 2. Lisse: Swets & Zeitlinger: 137-144.

  • Holm, Jukka, Arrasvuori, Juha, Havukainen, Kai (2006). Using MIDI to Modify Video Game Content.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 65-70.

  • Holm-Hudson, Kevin (1996). John Oswald’s Rubaiyat (Elektrax) and the Politics of Recombinant Do-Re-Mi.

    Popular Music and Society: Vol. 20, No. 3. London: Routledge: 19-36.

  • Holm-Hudson, Kevin (1997). Quotation and Context: Sampling and John Oswald’s Plunderphonics.

    Leonardo Music Journal: Vol. 7. Cambridge, MA: MIT Press: 17-25.

  • Holmes, Thom (2002). Electronic and Experimental Music.

    New York: Routledge.

  • Hoopen, Christiane ten (1994a). Issues in Timbre and Perception.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 61-71.

  • Hoopen, Christiane ten (1994b). The music of François Bayle from one listener’s point of view: re-presentation versus representation.

    Lien, François Bayle parcours d’un compositeur. Ohain: Musiques et Recherches: 128-129.

  • Hoopen, Christiane ten (1997). Perceptions of Sound: Source, cause and human presence in electroacoustic music.

    PhD Dissertation, Universiteit van Amsterdam.

  • Howard, David M., Tyrrell, Andy M. (1997). Psychoacoustically Informed Spectography and Timbre.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 65-76.

  • Howe, Hubert S. (1966). Music and Electronics: A Report.

    Perspectives of New Music: Vol. 4, No. 2. Princeton: Princeton University Press: 68-75.

  • Howe, Hubert S. (1972). Compositional Limitations of Electronic Music Synthesizers.

    Perspectives of New Music: Vol. 10, No. 2. Princeton: Princeton University Press: 120-129.

  • Howe, Hubert S. (1975). Electronic Music Synthesis.

    London: J. M. Dent & Sons.

  • Hughes, Jenny (1990). Introducing Computers and New Technology into a Higher Education Music Course: An Action Plan.

    Musicus: Vol. 2, No.1-2. Lanacster, UK: CTI Music: 113-118.

  • Hughes, Stephen, Cannon, Cormac, Ó Modhráin, Síle (2004). Epipe : A Novel Electronic Woodwind Controller.

    In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 199-200.

  • Hugill, Andrew (2005a). Internet Music: An Introduction.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 429-437.

  • Hugill, Andrew (2005b). From Online Symphonies to MusiMOO: Some Creative Uses of the Internet in Music and Education.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 527-540.

  • Hunt, Andy, Kirk, Ross (2000). Mapping Strategies for Musical Performance.

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

  • Hunt, Andy, Kirk, Ross (2003). MidiGrid: Past, Present and Future.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 135-139.

  • Hunt, Andy, Kirk, Ross, Orton, Richard, Merrison, Benji (1998). A Generic Model for Compositional Approaches to Audiovisual Media.

    Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 199-209.

  • Hunt, Andy, Wanderley, Marcelo M. (2002). Mapping Performer Parameters to Synthesis Engines.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 97-108.

  • Huott, Robert (2002). An Interface for Precise Musical Control.

    In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.

  • Hutton, Jo (2003). Daphne Oram; Innovator, Writer and Composer.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 49-56.

  • Hyde, Joseph (2003). Off the Map? - Sonic Art in the New Media Landscape.

    Circuit, Revue Nord-Américaine de Musique du XXe Siècle, vol. 13, no. 3. Montréal: Les Presses de l’Université de Montréal: 33-40.

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