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  • MacCormac, Sylvi (1999). Reflections on Hildegard Westerkamp’s Talking Rain.

    Musicworks, No 74. Toronto: Music Gallery: 9-13.

  • MacDonald, Alistair (1995). Performance Practice in the Presentation of Electroacoustic Music.

    Computer Music Journal: Vol. 19, No. 4. Cambridge, MA: MIT Press: 88-92.
    Also published in: Journal of Electroacoustic Music. Vol. 11. London: Sonic Arts Network: 21-24. [1998]

  • Machover, Tod (1984). Computer Music with and without Instruments.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 203-230.

  • Machover, Tod (1985). Thoughts on Computer Music Composition.

    Composers and the Computer. Los Altos: William Kaufmann: 88-111.

  • Machover, Tod (1986). A Stubborn Search for Artistic Unity.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 191-215.

  • Machover, Tod (2002). Instruments, Interactivity, and Inevitability.

    In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.

  • MADDEN, Charles (1999). Fractals in Music. Introductory Mathematics for Musical Analysis.

    United States: High Art Press.

  • Maggiolo, Daniel (2002/2003). Soundscape Research in Uruguay.

    Soundscape: The Journal of Acoustic Ecology: Vol. 3, No. 2/Vol. 4, No. 1. Burbury, B. C.: Simon Fraser University: 51-52.

  • Magnusson, Thor (2006). Screen-Based Musical Interfaces as Semiotic Machines.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 162-167.

  • Makan, Keeril (2003). An Interview with Gerard Pape.

    Computer Music Journal: Vol. 27, no. 3. Cambridge, MA: MIT Press: 21-33.

  • Makan, Keeril (2004). An Interview with Edmund Campion.

    Computer Music Journal: Vol. 28, No. 4. Cambridge, MA: MIT Press: 16-24.

  • Malham, D. G. (1998). Approaches to Spatialisation.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 167-177.

  • Malham, David G. (2001). Toward Reality Equivalence in Spatial Sound Diffusion.

    Computer Music Journal: Vol. 25, no. 4. Cambridge, MA: MIT Press: 31-38.

  • Malsky, Matthew (2003). Stretched from Manhattan’s Back Alley to MOMA: A Social History of Magnetic Tape Recording.

    In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 233-263.

  • Mandelis, James, Husbands, Phil (2003). Musical Interaction with Artificial Life Forms: Sound Synthesis and Performance Mappings.

    Contemporary Music Review: Vol. 22, Issue 3. London: Routledge: 57-67.

  • Mandelis, James, Husbands, Phil (2004). Don’t Just Play it, Grow it! : Breeding Sound Synthesis and Performance Mappings.

    In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 47-50.

  • Manning, Peter (1979). Invention and Innovation: A Vital Partnership.

    EMAS (Electro-Acoustic Music Association of Great Britain): Vol. 1, No. 2. London: EMAS: p9.

  • Manning, Peter (1992). Towards a New Age in the Technology of Computer Music.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 355-373.

  • Manning, Peter (2003). The Influence of Recording Technologies on the Early Development of Electoacoustic Music.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 5-10.

  • Manning, Peter (2004). Electronic and Computer Music - Revised and Expanded Edition.

    Oxford: Oxford University Press.

  • Manning, Peter (2006). The significance of techné in understanding the art and practice of electroacoustic composition.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 81-90.

  • Manning, Peter D. (1999). The Evolution of Interactive Graphical Control Interfaces for Music Applications.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 45-59.

  • Manoury, Philippe (1984). The Arrow of Time.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 111-129.

  • Manzolli, Jonatas, Moroni, Artemis, Zuben, Fernando von, Gudwin, Ricardo (1999). Palatal Sound: An Evolutionary Approach to Algorithmic Composition.

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 121-125.

  • Maratti, Adriana (1996). Music and Science: An Interview with Martino Traversa.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 14-19.

  • Marcenaro, Odilon (1997). Max and Tabula Vigilans: Two programs for algorithmic and rule-based composition.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 43-56.

  • Marclay, Christian (1998). Christian Marclay [in interview].

    Perfect Sound Forever - Online Music Magazine. March edition.

  • Marino, Gérard, Serra, Marie-Hélène, Raczinski, Jean-Michel (1993). The UPIC System: Origins and Innovations.

    Perspectives of New Music, Vol. 31, No 1. Princeton: Princeton University Press: 258-269.

  • Marrin, Teresa, Paradiso, Joseph (1997). The Digital Baton: A Versatile Performance Instrument.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 313-316.

  • Marrin, Teresa, Picard, Rosalind (1998). The “Conductors Jacket”: A Device for Recording Expressive Musical Gestures.

    In Proceedings of the 1998 International Computer Music Conference - Ann Arbor. San Francisco, CA: ICMA: 215-219.

  • Marsh, Charity, West, Melissa (2003). The Nature/Technology Binary Opposition Dismantled in the Music of Madonna .

    In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 182-203.

  • Martin, Jean (2000). An Interview with Trevor Wishart.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 31-35.

  • Mase, Kenji, Yonezawa, Tomoko (2001). Body, Clothes, Water and Toys: Media Towards Natural Music Expressions with Digital Sounds.

    In Proceedings of the 2001 International Conference on New Interfaces for Musical Expression (NIME-01). Seattle, USA.

  • Masri, Paul, Bateman, Andrew, Canagarajah, Nishan (1997a). A Review of Time-frequency Representations, with Application to Sound/Music .

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 193-205.

  • Masri, Paul, Bateman, Andrew, Canagarajah, Nishan (1997b). The Importance of Time-frequency Representations, with Application to Sound/Music Analysis-Resynthesis.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 207-214.

  • MATHEWS, M. V., PIERCE, J. R., GUTTMAN, N. (1962). Musikalische Klänge von Digitalrechnern (Musical Sounds from Digital Computers).

    Gravesaner Blätter. No. 23/24: Mainz: Ars Viva Verlag: 109-118/119-128.

  • Mathews, Max (1995). The Esthetic Situation and Actual View of Electroacoustic Music Performance.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 65-73.

  • Mathews, Max V. (1991). The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 37-46.

  • Maubrey, Benoît (1995). Audio Jackets and Other Electroacoustic Clothes.

    Leonardo: Vol. 28, No. 2. Berkley, CA: Pergamon: 93-97.

  • Maurer IV, John A. (1999). A Brief History of Algorithmic Composition.

    Online article

  • McAlpine, Kenneth, Miranda, Eduardo, Hoggar, Stuart (1999). Making Music with Algorithms: A Case-Study System.

    Computer Music Journal: Vol. 23, no.2. Cambridge, MA: MIT Press: 19-30.

  • McCartney, Andra (1995a). A Prelude to Ea Gender Issues.

    Contact!, vol. 8, no. 2. Montréal: CEC.

  • McCartney, Andra (1995b). The Ambiguous Relation (1/2).

    Contact!, vol. 9, no. 1. Montréal: CEC.

  • McCartney, Andra (1995c). Inventing Images: Constructing and Contesting Gender in Thinking about Electroacoustic Music.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 57-66.

  • McCartney, Andra (1996). The Ambiguous Relation (2/2).

    Contact!, vol. 9, no. 2. Montréal: CEC.

  • McCartney, Andra (1998a). Soundwalk in the Park with Hildegard Westerkamp.

    Musicworks, No 72. Toronto: Music Gallery: 6-15.

  • McCartney, Andra (1998b). Where water meets.

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

  • McCartney, Andra (2000a). Soundwalking Interactions.

    Soundscape: The Journal of Acoustic Ecology: Vol. 1 No. 1. Burbury, B. C.: Simon Fraser University: p.31.

  • McCartney, Andra (2000b). Hildegard Westerkamp’s Moments of Laughter: Recording Childhood, Performing Motherhood, Refusing to Shup Up, and Laughing.

    Perspective of New Music, Vol. 38, No 1. Princeton: Princeton University Press: 101-128.

  • McCartney, Andra (2000c). Soundscape Composition and the Subversion of Electroacoustic Norms.

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

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