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  • Leng, Censong (1999). From Timbre Modulation Method to Research Relation Between Electronic Music and Chinese Musical Tradition.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 212-215.

  • Levinas, Michaël (1994). Transients of Attack and Hybrid Sounds: Toward a New Mixity.

    Leonardo Music Journal: Vol. 4. Cambridge, MA: MIT Press: 13-15.

  • Levitin, Daniel J., McAdams, Stephen, Adams, Robert L. (2002). Control Parameters for Musical Instruments: A foundation for new mappings of gesture to sound.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 171-189.

  • Lewin-Richter, Andrés, Lanza, Alcides (2002). On Hugh Le Caine.

    Musicworks: No. 83. Toronto: Musicworks Society of Ontario: 42-51.

  • Lewis, Andrew (1987). Motion and the Analysis of Electro-Acoustic Music: Denis Smalley’s Vortex.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 3, No. 3. London: EAM: 16-22.

  • Lewis, Andrew (1989). Amplitude and Frequency Slope Profiles in Denis Smalley’s Pentes.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 26-32.

  • Lewis, Andrew (1992). The Undiscovery of Electroacoustic Music.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 4-7.

  • Lewis, Andrew (1998). Francis Dhomont’s Novars.

    Journal of New Music Research Vol. 27, No. 1-2. Lisse: Swets and Zeitlinger: 67-83.

  • Lewis, George E. (2000). Too Many Notes: Computers, Complexity and Culture in Voyager.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 33-39.

  • Lewis, Peter Tod (1978). Electronic Music at the University of Iowa.

    Faire: No. 4-5. Bourges: GMEB: 7-15.

  • Li, Tang-Chun (1999). Creating Music in a Machine Age: The Relationships Between Computer Tools, Composers and Music Making Machines.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 204-207.

  • Licata, Thomas (2002a). Luigi Nono’s Omaggio a Emilio Vedova.

    In Licata, Thomas (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 73-89.

  • Licata, Thomas (Ed.) (2002b). Electroacoustic Music: Analytical Perspectives.

    Westport, Connecticut: Greenwood.

  • Ligeti, Lukas (2000). Beta Foly: Experiments with Tradition and Technology in West Africa.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 41-47.

  • Link, Stan (2001). The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 34-47.

  • Lippe, Cort (1994). Real-time Granular Sampling Using the IRCAM Signal Processing Workstation.

    Contemporary Music Review: Vol. 10, No. 2. London: Routledge: 149-155.

  • Lippe, Cort (1996). Real-Time Interactive Digital Signal Processing: A View of Computer Music.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 21-24.

  • Lippit, Takuro Mizuta (2006). Turntable Music in the Digital Era: Designing Alternative Tools for New Turntable Expression.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 71-74.

  • Little, David (1993). Composing with Chaos; Applications of a New Science for Music.

    Journal of New Music Research Vol. 22, No. 1. Lisse: Swets and Zeitlinger: 23-51.

  • Liverani, Massimo (2004). Interpreting a Garden: A Sound environment in the park of Villa Caruso Lastra a Signa, Florence, Italy.

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 2. Burbury, B. C.: Simon Fraser University: 37-38.

  • Livingstone, Hugh (2000). Paradigms for the New String Instrument: Digital and materials technology.

    Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 135-147.

  • Lloyd Anderson, Joseph (1999). What is Ambisonics and How can I get Some??.

    eContact!, vol. 2, no. 4. Montréal: CEC.

  • Lock, Damien, Schiemer, Greg (2006). Orbophone: A New Interface for Radiating Sound and Image.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 89-92.

  • Lockwood, Annea (2004). Sound Mapping the Danube River from the Black Forest to the Black Sea: Progress Report, 2001-2003.

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 1. Burbury, B. C.: Simon Fraser University: 32-34.

  • Lohner, Henning (1986a). The UPIC System: A User’s Report.

    Computer Music Journal: Vol. 10, No. 4. Cambridge, MA: MIT Press: 42-49.

  • Lohner, Henning (1986b). Interview with Iannis Xenakis.

    Computer Music Journal: Vol. 10, No. 4. Cambridge, MA: MIT Press: 50-55.

  • Lokki, Tapio, Hiipakka, Jarmo, Hänninen, Rami, Ilmonen, Tommi, Savioja, Lauri, Takala, Tapio (1998). Realtime Audiovisual Rendering and Contemporary Audiovisual Art.

    Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 219-233.

  • Longton, Michael (1981). Composition After Technology: The Real Time Digital Music System at U. Vic.

    Musicworks : No. 15. Toronto : Musicworks Society of Ontario : p17.

  • Lopez, Francisco (1998). Schizophonia vs. l’object sonore: soundscapes and artistic freedom.

    eContact!, vol. 1, no. 4. Montréal: CEC.

  • López, Francisco (2004). Profound Listening and Environment Sound Behaviour.

    In Cox, Christoph, Warner, Daniel (eds.) Audio Culture: Readings in Modern Music: NY: Continuum: 82-87.
    Also published in: Rothenberg, D. & Ulvaeus, M. (eds.) The Book of Music and Nature: Middletown, CT: Wesleyan University Press, 2001.

  • Lotis, Theodoros (2003). The Creation and Projection of Ambiophonic and Geometrical Sonic Spaces with Reference to Denis Smalley’s Base Metals.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 257-267.

  • Loubet, Emmanuelle (2000). Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere.

    Computer Music Journal: Vol. 24, no.4. Cambridge, MA: MIT Press: 19-32.

  • Lowenstein, Oliver (2000). Return to the Body: Techno-Motion Musician Rolf Gehlharr’s Sound=Space.

    Musicworks: No. 76. Toronto: Musicworks Society of Ontario: 19-24.

  • Loy, Gareth (1981). The Composer Seduced into Programming.

    Perspectives of New Music: Vol. 19, No. 2. Princeton: Princeton University Press: 184-198.

  • Loy, Gareth (1985). About AUDIUM - A Conversation with Stanley Shaff.

    Computer Music Journal: Vol. 9, No. 2. Cambridge, MA: MIT Press: 39-44.

  • Loy, Gareth (1989). Composing with Computers - A Survey of Some Compositional Formalisms and Music Programming Languages.

    In Current Directions in Computer Music Research. Mathews, M. V. & Pierce, J. R. (eds.): Cambridge, MA: MIT Press: 291-396.

  • Lucier, Alvin (1998). Origins of a Form: Acoustical Exploration, Science and Incessancy.

    Leonardo Music Journal: Vol. 8. Cambridge, MA: MIT Press: 5-11.

  • Luening, Otto (1964). Some Random Remarks about Electronic Music.

    Journal of Music Theory: Vol. 8, No. 1. New Haven, Connecticut: Yale University: 89-98.

  • Luening, Otto (1975). Origins.

    In Appleton, Jon H., Perera, Ronald C. (eds.) The Development and Practice of Electronic Music: New Jersey: Prentice-Hall: 1-21.

  • Luening, Otto (1989). Electronic Music.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 28-31.

  • Lydenberg, Robin (1992). Sound Identity Fading Out: William Burroughs’ Tape Experiments.

    In Kahn, D. & Whitehead, G. (eds.) Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, MA: MIT Press: 409-437.

  • Lyons, Michael J., Haehnel, Michael, Tetsutani, Nobuji (2003). Designing, Playing, and Performing with a Vision-based Mouth Interface.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 116-121.

  • Lysloff, René T. A. (2003a). Musical Life in Softcity: An Internet Ethnography.

    In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 23-63.

  • Lysloff, René T. A., Gay, Leslie C. jr (2003b). Introduction: Ethnomusicology in the Twenty-first Century.

    In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 1-22.

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