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  • Packer, Randall (2004). The Pavilion: Into the 21st Century: A space for reflection.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 251-259.

  • Packer, Randall (2005). Composing with Media: Zero in Time and Space.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 509-525.

  • Paine, Garth (1999). Immersive Virtual Environments: A Social Perspective.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 24-26.

  • Paine, Garth (2002). Interactivity, Where to from here?.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 295-304.

  • Paine, Garth (2003). Reeds: A responsive environmental installation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 139-149.

  • Paine, Garth (2004). Gesture and Musical Interaction: Interactive Engagement Through Dynamic Morphology.

    In Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME-04). Hamamatsu, Japan: 80-86.

  • Paine, Garth (2005). Endangered Sounds: a sound project.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 149-162.

  • Palmer, John (1999). Daniel Teruggi - in Conversation with John Palmer.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 44-50.

  • Palmer, John (2000). Luc Ferrari - In Conversation with.

    Journal of Electroacoustic Music. Vol. 13. London: Sonic Arts Network: 36-44.

  • Palombini, Carlos (1993). Pierre Schaeffer, 1953: towards an Experimental Music.

    Music and Letters: Vol. 74, No. 4. Oxford: Oxford University Press: 547-557.

  • Palombini, Carlos (1993a). Pierre Schaeffer: from Research into Noises to Experimental Music.

    Computer Music Journal: Vol. 17, no. 3. Cambridge, MA: MIT Press: 14-19.

  • Palombini, Carlos (1993b). Pierre Schaeffer’s Typo-Morphology of Sonic Objects.

    PhD thesis. University of Durham, UK.

  • Palombini, Carlos (1998). Technology and Pierre Schaeffer: Pierre Schaeffer’s Arts-Relais, Walter Benjamin’s technische Reproduzierbarkeit and Martin Heidergger’s Ge-stell.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 35-43.

  • Palombini, Carlos (1998b). Pierre Schaeffer, 1953: Towards an Experimental Music.

    Electronic Musicological Review. Vol. 3. Federal University of Paraná.

  • Palombini, Carlos (2000). The Brazilian Group for Computer Music Research: A Proto-History.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 13-20.

  • Palombini, Carlos (2001). Ideas for a Musicology of Electroacoustic Musics: Notes to a Reading of Landy.

    Electronic Musicological Review: Vol. 6. Federal University of Paraná

  • Palombini, Carlos (2001a). Pierre Schaeffer: a Survey of the Literature.

    Leonardo On-Line Bibliography Project.

  • Palombini, Carlos (2002). Musique Concrète Revisited.

    Music of the Twentieth-Century Avant-Garde: a Biocritical Sourcebook. Westport and London: Greenwood: 432-45

  • Pape, Gerard (2002). Iannis Xenakis and the ’Real’ of Musical Composition.

    Computer Music Journal: Vol. 26, no. 1. Cambridge, MA: MIT Press: 16-21.

  • Pape, Gerard (2004). Varèse the Visionary.

    Contemporary Music Review: Vol. 23, no. 2. London: Routledge: 19-25.

  • Paradiso, Joseph (1998). Electronic Music Interfaces.

    Online article

  • Paradiso, Joseph, Hsiao, Kai-Yuh, Hu, Eric (1999). Interactive Music for Instrumental Dancing Shoes.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 453-456.

  • Parent, Nil (1994). Play. The decline of a Musical Culture.

    Contact!, vol. 8, no. 1. Montréal: CEC.

  • Patrick, Howard P. (1970). Composer, Computer, and Audience.

    Composer: No. 35 (Spring). London: British Music Information Centre: 1-3.

  • PATTON, Kevin (2007). Morphological notation for interactive electroacoustic music.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 123-128.

  • Paul, David (2001). Karlheinz Stockhausen.

    Diffusion. October 2001. London: Sonic Arts Network: 1-9.

  • Pearson, Mark (1996). TAO: A physical modelling system and related issues.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 43-50.

  • Pecquet, Frank (1996). Music and Technology.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 487-490.
    Also published in: Journal of Electroacoustic Music. Vol. 9. London: Sonic Arts Network: 13-20.

  • Pecquet, Frank (1999). From the Model to Its Algorithmic Application.

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 73-80.

  • Peebles, Sarah (1996). High-tech Versus My-tech.

    Musicworks: No. 65. Toronto: Musicworks Society of Ontario: 4-13.

  • Pellarin, Lars, Böttcher, Niels, Olsen, Jakob Mejner, Gregersen, Ole, Sarafin, Stefania, Guglielmi, Michel (2005). Connecting Strangers at a Train Station .

    In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada: 152-155.

  • Pellegrino, Ronald (1983). The Electronic Arts of Sound and Light.

    New York: Van Nostrand Reinhold Compagny.

  • Pennycook, Bruce (1984). Electro-Acoustic Music in the University: A New Paradox.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 1, No. 2. London: EAM: 18-22.

  • Pennycook, Bruce (1986). Language and Resources: A New Paradox.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 119-137.

  • Pennycook, Bruce (1992). Composers and Audiences: New Relationships in the Technological Age.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 555-564.

  • Pennycook, Bruce (1997). Live Electroacoustic Music: Old Problems, New Solution.

    Journal of New Music Research Vol. 26, No. 1. Lisse : Swets and Zeitlinger.

  • Pennycook, Bruce W. (1985). Computer-Music Interfaces: A Survey.

    Association for Computing Machinery (ACM) Computing Surveys: Vol. 17, No. 2. NY: ACM. 267-289.

  • Perloff, Nancy (2004). Hearing Spaces: David Tudor’s Collaboration on Sea Tails.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 31-39.

  • Perry, Jeffrey (1996). The Inner Voices of Simple Things: A Conversation with Paul Lansky.

    Perspectives of New Music: Vol. 34, No. 2: Princeton: Princeton University Press: 40-60.

  • Piché, Jean (1981). Thoughts, Contentions, and Composition: Electronic Music 1981.

    Musicworks : No. 15. Toronto : Musicworks Society of Ontario : 18-19.

  • Pierce, John R. (1996). Computer Music, Coming and Going.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 49-51.

  • Pignon, Paul (1978). A Philosophy of Music Systems - A Cybernetic Approach.

    Faire: No. 4-5. Bourges: GMEB: 38-48.

  • Piszczalski, Martin (1979a). Spectral Surfaces from Performed Music: Part 1.

    Computer Music Journal: Vol. 3, No. 1. CA: People’s Computer Company: 18-24.

  • Piszczalski, Martin (1979b). Spectral Surfaces from Performed Music: Part 2.

    Computer Music Journal: Vol. 3, No. 3. CA: People’s Computer Company: 25-27.

  • Piszczalski, Martin, Galler, Bernard A. (1977). Automatic Music Transcription.

    Computer Music Journal: Vol. 1, No. 4. Menlo Park, CA: People’s Computer Company: 24-31.

  • Poepel, Cornelius, Overholt, Dan (2006). Recent Developments in Violin-Related Digital Musical Instruments: Where Are We and Where Are We Going?.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 390-395.

  • Polansky, Larry (1983). Interview with David Rosenboom.

    Computer Music Journal: Vol.7, No. 4. Cambridge, MA: MIT Press: 40-44.

  • Polansky, Larry (1998). Signing Together, Hacking Together, Plundering Together: Sonic Intellectual Property in Cybertimes.

    Paper written for Humanities Research Institute 98, ’The Tangled Web’.

  • Pole, Giovanni de, Rocchesso, Davide (1998). Physically Based Sound Modelling.

    Organised Sound: Vol. 3, no. 1. Cambridge: Cambridge University Press: 71-76.

  • Polfreman, Richard (1999). A Task Analysis of Music Composition and Its Application to the Development of Modalyser.

    Organised Sound: Vol. 4, no. 1. Cambridge: Cambridge University Press: 31-43.

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