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Labelle, Brandon (2006). Phantom Music: radio, memory, and narratives from auditory life. Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 19-25.
LaBelle, Brandon, Breitsameter, Sabine (2002). Questionnaire. Soundscape: The Journal of Acoustic Ecology: Vol. 3, No. 1. Burbury, B. C.: Simon Fraser University: 11-14.
Laliberté, Martin (2005). An Analytic Approach to Horacio Vaggione’s Till. Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 351-364.
Lalitte, Philippe (2006). Towards a semiotic model of mixed music analysis. Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 93-100.
Lander, Dan (1999). Radiocasting: Musings on Radio and Art. eContact!, vol. 2, no. 3. Montréal: CEC.
Landy, Leigh (1988). How Often Have you Seen Your Compositions Performed? A Plea for More Audio-visual Collaborations in Experimental Music. Interface: Vol. 7 no. 4. Lisse: Swets & Zeitlinger: 241-249.
Landy, Leigh (1990). Is More than Three Decades of Computer Music Reaching the Public It Deserves?. In Proceedings of the 1990 International Computer Music Conference - Glasgow. San Francisco, CA: ICMA: 369-372.
Landy, Leigh (1991). What’s the Matter with Today’s Experimental Music: Organized Sound too Rarely Heard. Chur: Harwood Academic Publishers
Landy, Leigh (1993). Sound Transformations in Electroacoustic Music. Composers Desktop Project Quarterly. York: 14p.
Landy, Leigh (1994a). Experimental Music Notebooks. Chur: Harwood Academic Publishers
Landy, Leigh (1994b). ‘The Something to Hold on to Factor’ in Electroacoustic Timbral Composition. Contemporary Music Review. Vol 10 No. 2. Chur: Harwood Academic Publishers: 49-60.
Landy, Leigh (1994c). Composition and Performance in the 1990s.. Computer Music Journal. Vol. 18 No.2. Cambridge, MA: MIT Press: 49-58
Landy, Leigh (1996). Quality and Quantity (if we’re lucky) or Marcuse’s problem ain’t been solved yet. Contemporary Music Review Vol. 15 No. 3-4. Chur: Harwood Academic Publishers: 63-70.
Landy, Leigh (1998b). Digital Music Technology Can Aid in Bringing Music Back as a Part of Life. In Bernd Enders and Nies Knolle, eds. KlangArt - Kongreß 1995. Osnabrück: Universitätsverlag Rasch: 175-183
Landy, Leigh (1999a). Reviewing the Musicology of Electroacoustic Music: A plea for greater triangulation. Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 61-70.
Landy, Leigh (1999b). Heightening Access and Cohesion within the Worlds of Electroacoustic Music: The Promotion of Triangulation in Creativity, Development and Scholarship. In Proceedings of the 1999 International Computer Music Conference - Beijing. San Francisco, CA: ICMA: 100-103.
Landy, Leigh (2000a). Music as Organised Notes and Sound: The electronic works of Ton de Leeuw. In Occasional Papers in the Arts and Education. Vol. 8. West Bretton, UK: The National Arts Education Archive: 65-77.
Landy, Leigh (2000b). Co-hear-ence and Electroacoustic Music. In SBC2000 Anais do XX Congresso Nacional da Sociedade Brasileira de Computação. 19p. (CD-ROM)
Landy, Leigh (2001a). From Algorithmic Jukeboxes to Zero-time Synthesis: A potential A-Z of music in tomorrow’s world (a conference provocation). Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 91-96.
Landy, Leigh (2001b). Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis. In Proceedings of the 2001 International Computer Music Conference - Havana: San Francisco, CA: ICMA: 26-29.
Landy, Leigh (2002a). The Emancipation of Sound in that Box We Call a Theatre. Proceedings: MAXIS Symposium. Sheffield: 65-71.
Landy, Leigh (2003a). Voulez-vous changer votre paradigme avec moi ce soir?. MAXIS Symposium Leeds 2003 Proceedings. 73-78.
Landy, Leigh (2004). There’s Good News and There’s Bad News: The impact of new technologies on music since the arrival of household electricity and the phonograph including potential adventures to look forward to. IEEE Conference on the History of Electronics - Conference Proceeduings. IEEE History Center, New Brunswick, NJ: Rutgers University (CD-ROM).
Landy, Leigh (2006a). The Intention/Reception Project. Publ.: in Mary Simoni, ed. Analytical Methods of Electroacoustic Music. Routledge (NY): 29-53 + appendix on DVD.
Landy, Leigh (2007a). Understanding the Art of Sound Organization. Cambridge, Mass.: MIT Press, xiv, 303p.
Landy, Leigh (2007c). The ElectroAcoustic Resource Site (EARS) Approaches Its Next Phase: Going global and addressing the young. International Computer Music Conference 2007 proceedings (Copenhagen): 141–144.
Landy, Leigh (2007d). The ElectroAcoustic Resource Site (EARS). Journal of Music, Technology and Education, Vol 1/1: Intellect: 69–81.
Landy, Leigh, Atkinson, Simon (2003b). Introducing the ElectroAcoustic Resource Site (EARS). In Proceedings of the 2003 International Computer Music Conference - Singapore. San Francisco, CA: ICMA: 115-118
Landy, Leigh, Jamieson, Evelyn (2000). Devising Dance and Music: Idée Fixe - Experimental Sound and Movement Theatre. Sunderland: University of Sunderland Press (book + video).
Landy, Leigh, Jamieson, Evelyn, Ng, Kia (2003). In Transit or Realising One’s Aesthetic when the Technology Finally Catches Up. MAXIS Symposium Leeds 2003 Proceedings. 78-84.
Lane, Cathy (2006). Voices from the Past: compositional approaches to using recorded speech. Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 3-11.
Lane, Cathy, Parry, Nye (2005). The Memory Machine: sound and memory at the British Museum. Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 141-148.
Lange, Art (1998). The Primer: Musique Concrète. The Wire. No. 174: London: The Wire Magazine: 50-55.
Lansky, Paul (1990). A View From the Bus: When Machines Make Music. Perspectives of New Music: Vol. 28, No. 2: Princeton: Princeton University Press: 102-110.
Lanza Alcides, (1998). Music for Voice [Personal Recollection]. eContact!, vol. 1, no. 3. Montréal: CEC.
Lanza, Alcides (2004). The Le Caine Instruments: A Disappearing Technology. eContact!, vol. 7, no. 3. Montréal: CEC.
Lanzalone, Silvia (2000). Hidden Grids: Paths of expressive gesture between instruments, music and dance. Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 17-26.
Laske, Otto (1978). Considering Human Memory in Designing User Interfaces for Computer Music. Computer Music Journal: Vol. 2, No. 4. CA: People’s Computer Company: 39-45.
Laske, Otto (1981). Toward a Definition of Computer Music. In Proceedings of the 1981 International Computer Music Conference - Texas. San Francisco, CA: ICMA: 31-56.
Laske, Otto (1999). Furies and Voices: Composition-Theoretical Observations. In Tabor, J. (Ed.) Otto Laske: Navigating New Musical Horizons. London: Greenwood: 151-167.
Laske, Otto (2002). Subscore Manipulation as a Tool for Compositional and Sonic Design. In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 119-149.
Laske, Otto E. (1977). Toward a Theory of Interfaces for Computer Music Systems. Computer Music Journal: Vol. 1, No. 4. Menlo Park, CA: People’s Computer Company: 53-60.
Laubier, Serge de (1998). The Meta-instrument. Computer Music Journal: Vol. 22, no.1. Cambridge, MA: MIT Press: 25-29.
Laubier, Serge de (2000). The Meta-Instrument. How the project started. CD-Rom. Trends in Gestural Control of Music. Paris: IRCAM/Centre Pompidou.
Lazzarini, Victor E. P. (1998). A Proposed Design for an Audio Processing System. Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 77-84.
Lazzarini, Victor E. P. (2000). The SndObj Sound Object Library. Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 35-49.
LE CORBUSIER, (1957). Der Modulor (The Modulor). Gravesaner Blätter. No. 9: Gravesano (Tessin): Experimental Studio Gravesano: 2 – 3/3 – 5
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Lejeune, Jean-Michel (2004). Robin Minard 4. Heidelberg: Kehrer Verlag.
Leman, Marc, Dierickx, Jelle, Martens, Gaëtan (2001). The IPEM - archive Conservation and Digitalization Project. Journal of New Music Research Vol. 30, No. 4. Lisse: Swets and Zeitlinger: 389-393.
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