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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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