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  • Obst, Michaël (1995). We Need New Criteria for the Evaluation of Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 74-78.

  • Obst, Michael (1997). Fábrica - a Structural Analysis.

    Académie Bourges II: Analysis in Electroacoustic Music: Paris: Mnemosyne: 347-350.

  • Okkels, Ingeborg, Conrad, Anders (2000). Bricoleur and Engineer in Computer Music.

    In Proceedings of the 2000 International Computer Music Conference - Berlin. San Francisco, CA: ICMA: 8-11.

  • Oliverio, James, Pair, Jarrell (1996). Design and Implementation of a Multimedia Opera.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 202-203.

  • Oliveros, Pauline (1994). Acoustic and Virtual Space as a Dynamic Element of Music.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 9-22.

  • Oliveros, Pauline (1999). Quantum Improvisation: The Cybernetic Presence.

    Musicworks: No. 75. Toronto: Musicworks Society of Ontario: 14-20.

  • Oliveros, Pauline (2001). The Poetics of Environmental Sound.

    In Rothenberg, D. & Ulvaeus, M. (eds.) The Book of Music & Nature. Middletown, CT: Wesleyan University Press: 133-138.

  • Orcalli, Angelo (2001). On the Methodologies of Audio Restoration.

    Journal of New Music Research Vol. 30, No. 4. Lisse: Swets and Zeitlinger: 307-322.

  • Orga, Ates (1969). Electronic Music in Poland.

    Composer: No. 32 (Summer). London: British Music Information Centre: 22-27.

  • Orton, Richard (1992). Musical, Cultural and Educational Implications of Digital Technology.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 319-328.

  • Osborn, Ed (1991). Local Conditions and Perceptual Concerns.

    Leonardo Music Journal: Vol.1. Cambridge, MA: MIT Press: 89-93.

  • Ostertag, Bob (2002). Human Bodies, Computer Music.

    Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 11-14.

  • Oswald, John (2001). Plunderphonics (a 2 CD set including a 50 page interview with Norman Igma).

    Fony 069/96.

  • Otondo, Felipe (2003). Using the convolution to blend brass timbres.

    Journal of Music and Meaning. Vol. 1.

  • Otondo, Felipe (2005). Some Considerations for Spatial Design and Concert Projection with Surround 5.1.

    eContact!, Vol. 8, No. 3. Montréal: CEC.

  • Otondo, Felipe (2006). Shaping sounds in York Minster.

    Proceedings of the Doctoral DRMN Conference, London (2006)

  • Otondo, Felipe (2007). Creating Sonic Spaces: An Interview with Natasha Barrett .

    Computer Music Journal: Vol. 31, No. 2. Cambridge, MA: MIT Press: 10-19.

  • Otondo, Felipe (2008). Contemporary trends in the use of space in electroacoustic music.

    Organised Sound: Vol. 13, No. 1. Cambridge: Cambridge University Press: 77-81.

  • Otondo, Felipe, Soto, Jorge (2004). Three diagonal strategies for a sound installation.

    Journal of Music and Meaning. Spring 2004.

  • Ouzounian, Gascia (2006). Embodied sound: Aural architectures and the body.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 69-79.


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