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  • Polfreman, Richard (2002). Modalys-ER for OpenMusic (MfOM): Virtual instruments and virtual musicians.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 325-338.

  • Polfreman, Richard, Sheppard, David, Dearden, Ian (2006). Time to re-wire? Problems and strategies for the maintenance of live electronics.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 229-242.

  • Poli, Giovanni De (1996). In Search of New Sounds.

    Computer Music Journal: Vol. 20, No. 2. Cambridge, MA: MIT Press: 39-43.

  • Polli, Andrea (2004). Modelling Storms in Sound: The Atmospherics/Weather Works Project.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 175-180.

  • Pope, Stephen Travis (1993). Real-Time Performance via User Interface to Musical Structures.

    Journal of New Music Research Vol. 22, No. 3. Lisse: Swets and Zeitlinger: 195-212.

  • Pope, Stephen Travis (1995). A Taxonomy of Computer Music.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 137-145.

  • Pope, Stephen Travis (1996). Object-oriented Music Representation.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 55-68.

  • Pope, Steven Travis (1995). Touched by Machine? - Composition and Performance in the Digital Age .

    Computer Music Journal: Vol. 19, No. 3. Cambridge, MA: MIT Press: 13-17.

  • Pope, Steven Travis (Ed.) (1994). Music and Computers: NEMO Composers Panel Discussion.

    Computer Music Journal: Vol. 18, No. 3. Cambridge, MA: MIT Press: 33-44.

  • Pople, Anthony (1990). Computers and Music in Higher Education: Assessing the Priorities.

    Musicus: Vol. 2, No.1-2. Lanacster, UK: CTI Music: 3-17.

  • Potter, John (1979). Electronics and the Live Performer.

    Composer: No. 66 (Spring). London: British Music Information Centre: 19-21.

  • Pottier, Laurent, Stalla, Olivier (2000). Interpretation and Space.

    CD-Rom. Trends in Gestural Control of Music. Paris: IRCAM/Centre Pompidou.

  • Povall, Richard (1995). Compositional Methods in Interactive Performance Environments.

    Journal of New Music Research Vol. 24, No. 2. Lisse: Swets and Zeitlinger: 109-120.

  • Povall, Richard (1996). Adding Video into the (Real)time Domain.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 93-106.

  • Prendergast, Mark (2000). The Ambient Century: From Mahler to Trance - The Evolution of Sound in the Electronic Age.

    London: Bloomsbury.

  • Pressing, Jeff (1990). Cybernetic Issues in Interactive Performance Systems.

    Computer Music Journal: Vol. 14, No. 1. Cambridge, MA: MIT Press: 12-25.

  • Pressing, Jeff (1994). Novelty, Progress and Research Method in Computer Music Composition.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: 27-30.

  • Prins, Gert-Jan (2004). RISK: The Use of High-Frequency Radio Electronics for Audio Recreation.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 64-73.

  • Pritchett, James (2004). David Tudor as Composer/Performer in Cage’s Variations II.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 11-16.

  • Proy, Gabrielle (2002). Sound and Sign.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 15-19.

  • Puckette, Miller (1991). Something Digital.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 65-69.

  • Puckette, Miller (1994). Is There Life After MIDI?.

    In Proceedings of the 1994 International Computer Music Conference - Aarhus. San Francisco, CA: ICMA: p.2.

  • Puckette, Miller (2002). Max at Seventeen.

    Computer Music Journal: Vol. 26, no. 4. Cambridge, MA: MIT Press: 31-43.

  • Puckette, Miller, Settel, Zack (1993). Nonobvious Roles for Electronics In Performance Enhancement.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo. San Francisco, CA: ICMA: 134-137.

  • Pulkki, Ville (1998). Creating Generic Soundscapes in Multichannel Loudspeaker Systems Using Vector Base Amplitude Panning in Csound Synthesis Software.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 129-134.

  • Purwinds, Hendrik, Blankertz, Benjamin, Obermayer, Klaus (2000). Computing Auditory Perception.

    Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 159-171.

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