Bibliography

 

A   B   C   D   E   F   G   H   I   J   K   L   M   N   O   P   Q   R   S   T   U   V   W   X   Y   Z

1-50 | 51-60 | >> Next 50

  • Kaegi, Werner (1971). Music and Technology in the Europe of 1970.

    La Revue Musicale, Nos 268-269. Paris: Richard-Masse: 11-31.
    French: Musique et technologie dans l’Europe de 1970. La Revue Musicale, Nos 268-269. Paris: Richard-Masse: 9-30.

  • Kahn, Douglas (1999). Noise, Water, Meat: A History of Sound in the Arts.

    Cambridge, MA: MIT Press.

  • Kahn, Douglas (2003). Christian Marclay’s Early Years: An Interview.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 17-21.

  • Kahn, Douglas (2004). A Musical Technography of John Bischoff.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 64-73.

  • Kahn, Douglas, Whitehead, Gregory (Eds.) (1993). Wireless Imagination: Sound, Radio, and the Avant-Garde.

    Cambridge, MA: MIT Press.

  • KANE, Brian (2007). L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 15-24.

  • Kankaanpää, Vesa (1996). Displaced Time: Transcontextual references to time in Kaija Saariaho’s Stilleben.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 87-92.

  • Kapur, Ajay, Essl, Georg, Davidson, Philip, Cook, Perry R. (2003). The Electronic Tabla Controller.

    Journal of New Music Research: Vol. 32, No. 4. Lisse: Swets & Zeitlinger: 351-359.
    Also published in: Proceedings of the 2002 Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.

  • Kapur, Ajay, Lazier, Ariel J., Davidson, Philip, Wilson, R. Scott, Cook, Perry R. (2004). The Electronic Sitar Controller.

    In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 7-12.

  • Kapur, Ajay, Wang, Ge, Davidson, Philip, Cook, Perry R. (2005). Interactive Network Performance: a dream worth dreaming?.

    Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 209-219.

  • Karjalainen, Matti, Valimaki, Vesa (1998). Plucked-String Models: From the Karplus-Strong Algorithm to Digital Waveguides and Beyond.

    Computer Music Journal: Vol. 22, no.3. Cambridge, MA: MIT Press: 17-32.

  • Karpen, Richard (2003). An Interview with James Dashow.

    Computer Music Journal: Vol. 27, no. 2. Cambridge, MA: MIT Press: 14-29.

  • Kasdan, Leonard, Appleton, Jon H. (1989). Tradition and Change: The Case of Music.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 17-27.

  • Kaske, Steven (1985). A Conversation with Clarence Barlow.

    Computer Music Journal: Vol. 9 No. 1. Cambridge, MA: MIT Press: 19-28.

  • Katz, Mark (2001). Hindemith, Toch and Grammophonmusik.

    Journal of Musicological Research. Vol. 20. N.V.: OPA: 161-180.

  • Kavina, Lydia (1996). My Experience with the Theremin.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 51-55.

  • Keane, David (1979). Some Aspects of Teaching Electronic Music Composition.

    Interface-Journal of New Music Research: Vol. 8, No. 1. Lisse: Swets & Zeitlinger: 1-9.

  • Keane, David (1980a). Computer Music: Some Problems and Objectives in Applied Aesthetics.

    In Proceedings of the 1980 International Computer Music Conference - New York. San Francisco, CA: ICMA: 512-524.

  • Keane, David (1980b). Tape Music Composition.

    London: Oxford University Press.

  • Keane, David (1981). The Quest for ‘Musically Interesting’ Structures in Computer Music.

    In Proceedings of the 1981 International Computer Music Conference - Texas. San Francisco, CA: ICMA: 3-18.
    Also published in: Heifetz, R. J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 97-110.

  • Keane, David (1984). The Bourges International Festival of Experimental Music: A Retrospective.

    Computer Music Journal: Vol. 8, No. 3. Cambridge, MA: MIT Press: 51-59.

  • Keane, David (1985). Architecture and Aesthetics: The Construction and the Objectives of Elektronikus Mozaïk.

    In Proceedings of the 1985 International Computer Music Conference - Burnaby, BC. San Francisco, CA : ICMA : 199-206.

  • Keane, David (1986). At the Threshold of an Aesthetic.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 97-118.

  • Keane, David (1989a). Some Practical Aesthetic Problems of Electronic Music Composition.

    In Heifetz, R. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Presses: 43-56.

  • Keane, David (1989b). The Quest for “Musically Interesting” Structures in Computer Music.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 97-110.
    Also published in: Proceedings of the 1981 International Computer Music Conference - Texas. San Francisco, CA: ICMA: 3-18.

  • Keane, David (2000). Electroacoustic Music in Canada: 1950-1984.

    eContact!, vol. 3, no. 4. Montréal: CEC.

  • Keller, Damián (2000). Compositional Processes from an Ecological Perspective.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 55-60.

  • Keller, Damián, Capasso, Ariadna (2000). Social and Perceptual Processes in the Installation The Trade.

    Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 85-94.

  • Keller, Damián, Capasso, Ariadna (2006). New concepts and techniques in eco-composition.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 55-62.

  • Keller, Damián, Ferneyhough, Brian (2004). Analysis by Modeling: Xenakis’s ST/10-1 080262.

    Journal of New Music Research: Vol. 33, No. 2. Lisse: Swets & Zeitlinger: 161-171.

  • Kendall, Gary S. (2006). Juxtaposition and Non-motion: Varèse bridges early modernism to electroacoustic music.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 159-171.

  • Kennedy, Kathy (2000). A Few Facets of Pamela Z.

    Musicworks: No. 76. Toronto: Musicworks Society of Ontario: 5-10.

  • Kerridge, Adrian (1977). Recording and its Modern Application.

    Composer: No. 61 (Summer). London: British Music Information Centre: 17-19.

  • Kessous, Loïc, Arfib, Daniel (2003). Bimanuality in Alternate Musical Instruments.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 140-145.

  • Keyes, Christopher J. (2005). Recent Technology and the Hybridisation of Western and Chinese Musics.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 51-56.

  • Kim, Jin Hyun, Seifert, Uwe (2006). Embodiment: The body in algorithmic sound generation.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 139-149.

  • Kimura, Mari (1995). Performance Practice in Computer Music.

    Computer Music Journal: Vol. 19, No. 1. Cambridge, MA: MIT Press: 64-75.

  • Kimura, Mari (1996). Computers for Performers-Crossing the Boundaries for the Future.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 25-26.

  • Kimura, Mari (2003). Creative Process and Performance Practice of Interactive Computer Music: A performer’s tale.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 289-296.

  • Klein, Georg (2003). From the Sound Installation to the Sound Situation: On my work transition - berlin - junction eine klangsituation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 187-193.

  • Koblyakov, Lev (1984). Jean-Claude Risset - Songes (1979) (9’).

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 171-173.

  • Koblyakov, Lev (1992). Score/Music Orientation: An Interview with Robert Rowe.

    Computer Music Journal: Vol. 16, No. 3. Cambridge, MA: MIT Press: 22-31.

  • Koenig, Gottfried Michael (1967). Notes on the Computer in Music.

    The World of Music: Vol.9, No. 3. London: Bärenreiter: 3-13.

  • Koenig, Gottfried Michael (1978). My Experiences with Programmed Music.

    Faire: No. 4-5. Bourges: GMEB: 26-30.

  • Koenig, Gottfried Michael (1987). Genesis of Form in Technically Conditioned Environments.

    Interface-Journal of New Music Research: Vol. 16, No. 3. Lisse: Swets & Zeitlinger: 165-175.

  • Kohl, Jerome (2002). Serial Composition, Serial Form, and Process in Karlheinz Stockhausen’s Telemusik.

    In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 91-118.

  • Kolber, David (2002). Hildegard Westerkamp’s Kits Beach Soundwalk: Shifting Perspectives in real world music.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 41-43.

  • Krefeld, Volker (1990). The Hand in the Web: An Interview with Michel Waisvisz.

    Computer Music Journal: Vol. 14, No. 2. Cambridge, MA: MIT Press: 26-41.

  • Kronland-Martinet, R., Guillemain, Ph., Ystad, S. (1997). Modelling of Natural Sounds by Time-frequency and Wavelet Representations.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 179-191.

  • Kröpfl, Francisco (1995). Experiences and Reflexions on Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 60-64.

    1-50 | 51-60 | >> Next 50

    Top