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  • Radovanovic, Vladan (1974). The Radio Belgrade Electronic Studio.

    Interface-Journal of New Music Research: Vol. 3, No. 2. Lisse: Swets & Zeitlinger: 169-176.

  • Radovanovic, Vladan (1980). The Composer Between Man and Music.

    Interface-Journal of New Music Research: Vol. 9, No. 3-4. Lisse: Swets & Zeitlinger: 207-209.

  • Raes, Godfried-Willem (1992). A Personal Story of Music and Technologies.

    Leonardo Music Journal: Vol.2. Cambridge, MA: MIT Press: 29-35.

  • Rai, Takayuki (1996). Analysis of Electroacoustic Music.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 258-259.

  • Ramel, Sylvie (2004). Conservation and Restoration of Electroacoustic Musical Instruments at the Musée de la Musique, Paris.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 87-90.

  • Rebelo, Pablo (2003). Performing Space.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 181-186.

  • Rebelo, Pedro (2002). e-music.pt.

    Diffusion. November 2002. London: Sonic Arts Network: 2-3.

  • Rebelo, Pedro, Renaud, Alain B. (2006). The Frequencyliator - Distributing Structures for Networked Laptop Improvisation.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 53-56.

  • Reddell, Trace (2003). Laptopia: The Spatial Poetics of Networked Laptop Performance.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 11-22.

  • Regelski, Thomas A. (2002). Sound Compositions for Expanding Musicianship Education.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 29-40.

  • Reich, Steve (1995). My Life with Technology.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 13-21.

  • Reimers, Lennart (1997). A Sound Education.

    Journal of Electroacoustic Music: Vol. 10. London: Sonic Arts Network: 20-22.

  • Reynolds, Simon (2000). Krautrock.

    In Shapiro, P. (Ed.) Modulations: A History of Electronic Music. NY: Caipirinha: 26-34.

  • Rice, Tom (2002). Soundselves: An Acoustemology of Sound and Self within the Edinburgh Royal Infirmary.

    Diffusion. April 2002. London: Sonic Arts Network: 2-7.

  • Richard, Dominique (1996). Code - notes - music: An epistemological investigation of algorithmic music.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 173-177.

  • Richard, Dominique (1997a). The Beast’s Glove: The Tactile and the Digital in Computer Music.

    In Proceedings of the 1997 International Computer Music Conference - Thessaloniki. San Francisco, CA: ICMA: 149-151.

  • Richard, Dominique (1997b). Voices in the Desert: An ontology of the electroacoustic community.

    Organised Sound: Vol. 2, no. 1. Cambridge: Cambridge University Press: 5-11.

  • Richard, Dominique (2000). Holzwege on Mount Fuji: A doctrine of no-aesthetics for computer and electroacoustic music.

    Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 127-133.

  • Richard, Dominique M. (1994). Computer Music and the Post-modern: A Case of Schizophrenia.

    Computer Music Journal: Vol. 18, No. 4. Cambridge, MA: MIT Press: 26-34.

  • Richards, John (2006). 32kg: Performance Systems for a Post-Digital Age.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 283-287.

  • Riddell, Alistair M. (1996). Music in the Chords of Eternity.

    Contemporary Music Review: Vol. 15, No. 1. London: Routledge: 151-171.

  • Riikonen, Taina (2003). Shaken or Stirred - Virtual reverberation spaces and transformation gender identities in Kaija Saariaho’s NoaNoa (1992) for flute and electronics.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 109-115.

  • Riikonen, Taina (2004). Shared Sounds in Detached Movements: Flautist identities inside the ‘local-field’ spaces.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 233-242.

  • Rimbaud, Robin (a.k.a. Scanner) (2001). Remembering How to Forget: An Artist’s Exploration of Sound.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 65-69.

  • Risset, Jean-Claude (1971). Synthesis of Sound by Computer and Problems concerning Timbre.

    La Revue Musicale, Nos 268-269. Paris: Richard-Masse: 117-128.
    French: Synthèse des sons à l’aide d’ordinateurs. La Revue Musicale, Nos 268-269. Paris: Richard-Masse: 113-123.

  • Risset, Jean-Claude (1978). Concerning the Synthesis of Musical Sounds by Computer.

    Faire: No. 4-5. Bourges: GMEB: 49- 50.

  • Risset, Jean-Claude (1985a). Computer Music Experiments 1964-.

    Computer Music Journal: Vol.9, No. 1. Cambridge, MA: MIT Press: 11-18.

  • Risset, Jean-Claude (1985b). Digital Techniques and Sound Structure in Music.

    Composers and the Computer. Los Altos: William Kaufmann: 112-138.

  • Risset, Jean-Claude (1991a). Some Comments About Future Music Machines.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 32-36.

  • Risset, Jean-Claude (1991b). Timbre, Analysis by Synthesis: Representations, Imitations, and Variants for Musical Composition.

    Representations of Musical Signals. Cambridge: Massachusetts Institute of Technology: 7-43.

  • Risset, Jean-Claude (1992a). Composing Sounds with Computers.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 583-621.

  • Risset, Jean-Claude (1992b). The Computer as an Interface: Interlacing Instruments and Computer Sounds; Real-time and Delayed Synthesis; Digital Synthesis and Processing, Composition and Performance.

    Journal of New Music Research Vol. 21, No. 1. Lisse: Swets and Zeitlinger: 9-19.

  • Risset, Jean-Claude (1994). Sculpting Sounds with Computers: Music, Science, Technology.

    Leonardo: Vol. 24, No. 1. Berkley, CA: Pergamon: 23-29.

  • Risset, Jean-Claude (1995). A few Remarks on Electroacoustic Music.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 82-84.

  • Risset, Jean-Claude (1996a). Problems of Analysis and Computer Music.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 360-368.

  • Risset, Jean-Claude (1996b). Real-World Sounds and Simulacra in my Computer Music.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2. London: Harwood Academic Publishers: 29-47.

  • Risset, Jean-Claude (1999a). Composing in Real-time?.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 31-39.

  • Risset, Jean-Claude (2000). Temps et musique numérique.

    Bourges Academy: Time in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 141-152.

  • Risset, Jean-Claude (2002). Examples of the Musical Use of Digital Audio Effects.

    Journal of New Music Research: Vol. 31, No. 2. Lisse: Swets & Zeitlinger: 93-97.

  • Risset, Jean-Claude (2003). Computer Music: Why?.

  • Risset, Jean-Claude (2004). The liberation of sound, art-science and the digital domain: contacts with Edgard Varèse.

    Contemporary Music Review: Vol. 23, no. 2. London: Routledge: 27-54.

  • Risset, Jean-Claude (2005b). Horacio Vaggione: Towards a Syntax of Sound.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 287-293.

  • Rizzardi, Veniero (1999). Notation, Oral Tradition and Performance Practice in the Works with Tape and Live Electronics by Luigi Nono.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 1. London: Harwood Academic Publishers: 47-56.

  • Roads, Curtis (1978). An Interview with Gottfried Michael Koenig.

    Computer Music Journal: Vol. 2, No. 3. CA: People’s Computer Company: 11-15.

  • Roads, Curtis (1979). Grammars as Representations for Music.

    Computer Music Journal: Vol. 3, No. 1. CA: People’s Computer Company: 48-55.

  • Roads, Curtis (1980a). Artificial Intelligence and Music.

    Computer Music Journal: Vol. 4, No. 2. CA: People’s Computer Company: 13-25.

  • Roads, Curtis (1980b). Interview with Marvin Minsky.

    Computer Music Journal: Vol. 4, No. 3. CA: People’s Computer Company: 25-39.

  • Roads, Curtis (1980c). Interview with Max Matthews.

    Computer Music Journal: Vol. 4 No. 4. Cambridge, MA: MIT Press: 15-22.

  • Roads, Curtis (1982). A Conversation with James A. Moorer.

    Computer Music Journal: Vol. 6 No. 4. Cambridge, MA: MIT Press:

  • Roads, Curtis (1983). Interview with Paul Lansky.

    Computer Music Journal: Vol. 7, No. 3. Cambridge, MA: MIT Press: 16-24.

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