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  • McCartney, Andra (2000d). Sounding Places with Hildegard Westerkamp.

    Electronic Music Foundation Institute site. Developed from PhD dissertation. York University, Toronto, Canada.

  • McCartney, Andra (2002a). Alien Intimacies: Hearing science fiction narratives in Hildegard Westerkamp’s Cricket Voice (or ‘I don’t like the country, the crickets make me nervous’).

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 45-49.

  • McCartney, Andra (2002b). Sharing Experiences Towards the Possibility of an Electroacoustic Ecology.

    Soundscape: The Journal of Acoustic Ecology: Vol. 3, No. 1. Burbury, B. C.: Simon Fraser University: p. 22.

  • McCartney, Andra (2003). In and Out of the Sound Studio.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 89-96.

  • McCombe, Christine (2006). Videomusicvideo - Composing across Media.

    Contemporary Music Review: Vol. 25, Issue 4. London: Routledge: 299-310.

  • McFarlane, Matthew (2003). The Development of Acousmatics in Montréal.

    eContact!, vol. 6, no. 2. Montréal: CEC.

  • McGinley, Robin (2001). Stockholm Soundscape Project: New Directions in Music Education.

    Soundscape: The Journal of Acoustic Ecology: Vol. 2 No. 2. Burbury, B. C.: Simon Fraser University: 25-29.

  • McLean, Priscilla (1989). Fire and Ice: An Inquiry.

    In Heifetz, R. J. (ed.) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 148-154.

  • McNabb, Michael (1986). Computer Music: Some Aesthetic Considerations.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 141-153.

  • McNutt, Elizabeth (2003). Performing Electroacoustic Music: A wider view of interactivity.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 297-304.

  • Mead, Philip (1986). The Problems of Tape Presentation.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 2, No. 3-4. London: EAM: 24-25.

  • Melby, John (1989). Computer Music or Computer Music.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 90-96.

  • Meloche, Chris (1999). Reflections on Long-Duration Soundworks and Radio.

    eContact!, vol. 2, no. 3. Montréal: CEC.

  • Menezes, Flo (1997). To Be and Not To Be: Aspects of the Interaction Between Instrumental and Electronic Compositional Methods.

    Leonardo Music Journal: Vol. 7. Cambridge, MA: MIT Press: 3-10.

  • Menezes, Flo (2002). For a Morphology of Interaction.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 305-311.

  • Menzies, Dylan (2002). Composing Instrument Control Dynamics.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 255-266.

  • Mermoz, Gérard (2004). Istanbul Sound Diary.

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 1. Burbury, B. C.: Simon Fraser University: 23-25.

  • Merzbow (Masami Akita), (1999). The Beauty of Noise.

    EsoTerra Magazine #8.

  • Metzelaar, Helen (2004). Women and ‘Kraakgeluiden’: The participation of women improvisers in the Dutch electronic music scene.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 199-206.

  • MEYER-EPPLER, Werner (1965). Informationstheoretische Probleme der musikalischen Kommunikation (Musical communication as a problem of information theory).

    Gravesaner Blätter. No. 26: Mainz: Ars Viva Verlag: 93-97/98-102.
    Originally published in: Revue Belge de Musicologie XIII (1959): 44-49.

  • Mikic, Vesna (1996). The Duel as the Answer.

    New Sound: No. 8. Belgrade: Union of Yugoslav Composer’ Organizations: 43-46.

  • Mikic, Vesna (2002). Vris.Krik.exe: A Techno - Music Metaphor of Subject/Body.

    New Sound: No. 19. Belgrade: Union of Yugoslav Composer’ Organizations: 71-74.

  • Miksch, Bonnie, Couch III, Leon W. (1999). ’Blip, Buzz, Blurp’: The Challenge of Teaching New Ways to Listen.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 515-517.

  • Milicevic, Mladen (1996). The Impact of Fractals, Chaos, and Complexity Theory on Computer Music Composition.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 473-476.

  • Milicevic, Mladen (1998). Deconstructing Musical Structure.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 27-34.

  • Milicevic, Mladen (1999a). Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 538-541.

  • Milicevic, Mladen (1999b). How Objective is Music?.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 34-38.

  • Milicevic, Mladen (2001). Cyberspace Memes.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 117-120.

  • Miller, Paul D. (aka. Dj Spooky that Subliminal Kid) (2004). Rhythm Science.

    Cambridge, MA: MIT Press.

  • Mion, Philippe (2007). Analytical commentaries of Les voix de Pierre Schaeffer by Christian Zanési.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 267-276.

  • Miranda, Eduardo Reck (1994). From Symbols to Sound: AI-based Investigation of Sound Synthesis.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 211-232.

  • Miranda, Eduardo Reck (1994). The Role of Artificial Intelligence in Computer Aided Sound Composition.

    Journal of Electroacoustic Music. Vol. 8. London: Sonic Arts Network: 6-8.

  • Miranda, Eduardo Reck (1998). The Role of Speech Synthesis in Requiem per un veu perdida.

    Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 235-240.

  • Miranda, Eduardo Reck (1999c). Music, Machines, Intelligence and the Brain.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 32-33.

  • Miranda, Eduardo Reck (2001). Composers and Computer Music Technology in Brazil.

    New Sound: No. 17. Belgrade: Union of Yugoslav Composer’ Organizations: 13-26.

  • Miranda, Eduardo Reck (2005). Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 8-16.

  • Mittendorf, Hans (1996). Music Topology.

    Journal of Electroacoustic Music: Vol. 9. London: Sonic Arts Network: 21-22.

  • MOLES, Abraham A. (1962). Das neue Verhältnis zwischen Musik und Mathematik (The new relationship between music and mathematics).

    Gravesaner Blätter. No. 23/24: Mainz: Ars Viva Verlag: 98-103/104-108

  • Monahan, Gordon (1995). Kinetic Sound Environments as a Mutation of the Audio System.

    Musicworks: No. 63. Toronto: Musicworks Society of Ontario: 6-9.

  • Monro, Gordon (1997). This is Art, Not Science.

    Leonardo Music Journal: Vol. 7. Cambridge, MA: MIT Press: 77-80.

  • Monro, Gordon (2001). Computer Music in New South Wales.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 55-61.

  • Monroe, Alexi (2003). Ice on the Circuits/Coldness as Crisis: The Re-subordination of Laptop Sound.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 35-43.

  • Montague, Stephen (1991). The German Scene: Mesias Maiguashca Interviewed by Stephen Montague.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 197-203.

  • Montague, Stephen (1994). Rediscovering Leon Theremin.

    Journal of Electroacoustic Music: Vol. 8. London: Sonic Arts Network: 14-21.

  • Moore, Adrian (1994). An Interview with Neil B. Rolnick.

    Journal of Electroacoustic Music. Vol. 8. London: Sonic Arts Network: 4-6.

  • Moore, Adrian, Moore, Dave, Mooney, James (2004). M2 Diffusion - The Live Diffusion of Sound in Space.

    eContact!, vol. 7, no. 4. Montréal: CEC.
    Also published in: Proceedings of the 2004 International Computer Music Conference - Miami: San Francisco, CA: ICMA: 316-320.

  • Moore, F. Richard (1981). The Futures of Music.

    Perspectives of New Music: Vol. 19, No. 2. Princeton: Princeton University Press: 212-226.

  • Moore, F. Richard (1987). The Dysfunctions of MIDI.

    In Proceedings of the 1987 International Computer Music Conference - Illinois. San Francisco, CA: ICMA: 256-263.
    Also published in: Computer Music Journal: Vol. 12, No. 1. Cambridge, MA: MIT Press: 19-28.

  • Moore, F. Richard (1988). The Dysfunctions of MIDI.

    Computer Music Journal: Vol. 12, No. 1. Cambridge, MA: MIT Press: 19-28.
    Also published in: Proceedings of the 1987 International Computer Music Conference. San Francisco, CA: ICMA: 256-263.

  • Moore, F. Richard (1992). A Technological Approach to Music.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 329-354.

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