Bibliography

 

A   B   C   D   E   F   G   H   I   J   K   L   M   N   O   P   Q   R   S   T   U   V   W   X   Y   Z

Previous 50 << | 1-50 | 51-100 | 101-126

  • Moore, F. Richard (1996). Dreams of Computer Music - Then and Now.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 25-41.

  • Moorefield, Virgil, Weeter, Jeffrey (2004). The Lucid Dream Ensemble: A laboratory of discovery in the age of convergence.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 271-281.

  • Moorer, James A. (1977). On the Transcription of Musical Sound by Computer.

    Computer Music Journal: Vol. 1, No. 4. Menlo Park, CA: People’s Computer Company: 32-38.

  • Moorer, James A., Grey, James, Snell, John (1977). Lexicon of Analyzed Tones - Part 1.

    Computer Music Journal: Vol. 1, No. 2. Menlo Park, CA: People’s Computer Company: 39-45.

  • Moorer, James, Grey, J, Strawn, J (1978). Lexicon of Analyzed Tones - Part 2.

    Computer Music Journal: Vol. 2, No. 2. CA: People’s Computer Company: 23-31.

  • Morgan, Nigel (1990). Access for All or Toys for Enthusiasts? Strategies for Demystifying the Computer in Music Education.

    Musicus: Vol. 2, No.1-2. Lanacster, UK: CTI Music: 99-111.

  • Morrill, Dexter (1981). Loudspeakers and Performers: Some Problems and Proposals.

    Computer Music Journal: Vol. 5, No. 4. Cambridge, MA: MIT Press: 25-29.
    Also published in: Heifetz, R.J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 155-162.

  • Morrison, Kenneth (1999). Toward the Creation of an Intelligent Machine Improvisor.

    Open Space Magazine. Red Hook, NY: 110-114.

  • Morthenson, Jan W. (1989). Aesthetic Dilemmas in Electronic Music.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 57-68.

  • Mountain, Rosemary (2001a). Caveats from a Dyed-in-the-wool Futurist.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 97-102.

  • Mountain, Rosemary (2001b). “Sculpting” Sound: The Story of the CEC.

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

  • Mountain, Rosemary (2003). Creating and Contributing. The Expensive Spirit of Marcelle Deschênes.

    Musicworks, No 86. Toronto: Music Gallery: 14-21.

  • Mountain, Rosemary (2004a). Theories Market: Open for Trading.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 15-26.

  • Mountain, Rosemary (2004b). Marketing Strategies for Electroacoustics and Computer Music.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 305-313.

  • Mountain, Rosemary (2004b). Marcelle Deschênes.

    eContact!, vol. 7, no. 3. Montréal: CEC.

  • Mountain, Rosemary (2005). The Internet: The Untended Garden.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 541-549.

  • Mulder, Axel (1996). Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 33-40.

  • Mulder, Robert, Allick, Kristi (2002). Fragrances of Time and Space: An Omniscape Installation.

    Soundscape: The Journal of Acoustic Ecology: Vol. 3, No. 1. Burbury, B. C.: Simon Fraser University: 8-10.

  • Mumma, Gordon (1975). Live-Electronic Music.

    The Development and Practice of Electronic Music. London: Prentice-Hall: 286-335.

  • Murail, Tristan (1984). Spectra and pixies.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 157-170.
    Also published in: Contemporary Music Review: Vol. 24, No. 2/3. London: Routledge: 137-147.

  • Murail, Tristan (2005a). Spectra and Sprites.

    Contemporary Music Review: Vol. 24, No. 2/3. London: Routledge: 137-147.
    Also published in: Contemporary Music Review: Vol. 1, No. 1. London: Harwood Academic Publishers: 157-170.

  • Murail, Tristan (2005b). Target Practice.

    Contemporary Music Review: Vol. 24, No. 2/3. London: Routledge: 149-171.

  • Myatt, Tony (2002). Strategies for Interaction in Construction 3.

    Organised Sound: Vol. 7, no. 2. Cambridge: Cambridge University Press: 157-169.

  • Mäkelä, Tapio (2006). As We May Network: Shifting sound and media art practices.

    eContact!, Vol. 9, No. 2. Montréal: CEC.

  • Mäki-Patola, Teemu, Laitinen, Juha, Kanerva, Aki, Takala, Tapio (2005). Experiments with Virtual Reality Instruments.

    In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada: 11-16.

    Previous 50 << | 1-50 | 51-100 | 101-126

    Top