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  • Kröpfl, Francisco (1996). An Approach to the Analysis of Electroacoustic Music.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 322-327.

  • Kröpfl, Francisco (1998). Organizing Sound in Electroacoustic Music, questions and Hints: a Proposal of Exploration for the Young.

    Bourges Academy: Electroacoustic Music: Reflections and prospects. Bourges: Acteon-Mnemosyne: 201-205.

  • Kubisch, Christina (2002). Digital Arts’ Black Sheep.

    Soundscape: The Journal of Acoustic Ecology: Vol. 3, No. 1. Burbury, B. C.: Simon Fraser University: 20-21.

  • Kugel, Peter (1990). Myhill’s Thesis: There’s More than Computing in Musical Thinking.

    Computer Music Journal: Vol. 14, No. 2. Cambridge, MA: MIT Press: 34-46.

  • Kuivila, Ron (2004). Open Sources: Words, Circuits and the Notation-Realization Relation in the Music of David Tudor.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 17-23.

  • Kuljuntausta, Petri (1997). ‘Charm of Sound’: Something new in the Finnish contemporary music scene?.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 23-24.

  • Kupper, Léo (1991). The Well-tempered Space Sound Instrument a New Musical Instrument.

    L’espace du son, Vol. 2. Ohain: Musiques et Recherches: 93-98.

  • Küpper, Léo (1978). New Possibilities of Vocal Music: Phonèmes, Allophones, Phonatomes, Logatomes, Phonetic Microsounds.

    Faire: No. 4-5. Bourges: GMEB: 31-36.

  • Küpper, Leo (1996). Musical Analysis: Inflections Vocales, a Composition for Soprano and DAT.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 328-339.

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