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  • Roads, Curtis (1985b). Improvisation with George Lewis.

    In Roads, C. (ed.) Composers and the Computer. Los Altos, CA: William Kaufmann: 75-87.

  • Roads, Curtis (1985c). Research in Music and Artificial Intelligence.

    Association for Computing Machinery (ACM) Computing Surveys: Vol. 17, No. 2. NY: ACM. 163-190.

  • Roads, Curtis (1986a). Symposium on Computer Music Composition.

    Computer Music Journal: Vol. 10, No. 1. Cambridge, MA: MIT Press: 40-63.

  • Roads, Curtis (1986b). The Tsukaba Musical Robot.

    Computer Music Journal: Vol. 10, No. 2. Cambridge, MA: MIT Press: 39-43.

  • Roads, Curtis (1987). Interview with Dexter Morrill.

    Computer Music Journal: Vol. 11, No. 3. Cambridge, MA: MIT Press: 11-16.

  • Roads, Curtis (1988a). Interview with Morton Subotnik.

    Computer Music Journal: Vol. 12, No. 1. Cambridge, MA: MIT Press: 9-18.

  • Roads, Curtis (1988b). Introduction to Granular Synthesis.

    Computer Music Journal: Vol. 12, No. 2. Cambridge, MA: MIT Press: 11-13.

  • Roads, Curtis (1992a). Composition with Machines.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 399-425.

  • Roads, Curtis (1993). Musical Sound Transformation by Convolution.

    Proceedings of the International Computer Music Conference 1993, Waseda University, Tokyo.

  • Roads, Curtis (1995). The Golden Age.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 85-87.

  • Roads, Curtis (1996a). Early Electronic Music Instruments: Time Line 1899-1950.

    Computer Music Journal: Vol. 20, No, 3. Cambridge, MA: MIT Press: 20-23.

  • Roads, Curtis (1996b). Materials and Montage in Clang-tint.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 369-375.

  • Roads, Curtis (1996c). The Computer Music Tutorial.

    Cambridge, MA: MIT Press

  • Roads, Curtis (2001a). Microsound.

    Cambridge, MA: MIT Press.

  • Roads, Curtis (2001b). The Time Domain.

    Académie Bourges V: Time in Electroacoustic Music: Paris: Mnemosyne: 153-160.

  • Roads, Curtis (2005). The Art of Articulation: The Electroacoustic Music of Horacio Vaggione.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 295-309.

  • Roads, Curtis (Ed.) (1985a). Composers and the Computer.

    Los Altos, CA: William Kaufmann.

  • Roads, Curtis, Pope, Steven Travis, Piccialli, Aldo, Poli, Giovanni De (Eds.) (1997). Musical Signal Processing.

    Lisse: Swets & Zeitlinger.

  • Roberts, David (1977). Hugh Davies: Instrument Maker.

    Contact: No. 17. London: Goldsmith’s College Department of Music: 8-13.

  • Robindoré, Brigitte (1996). Eskhaté Ereuna: Extending the Limits of Musical Thought-Comments On and By Iannis Xenakis.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 11-16.

  • Robindore, Brigitte (1998). Luc Ferrari: Interview with an Intimate Iconoclast.

    Computer Music Journal: Vol. 22, no.3. Cambridge, MA: MIT Press: 8-16.

  • Robindoré, Brigitte (2005). Forays into Uncharted Territories: An Interview with Curtis Roads.

    Computer Music Journal: Vol. 29, No. 1. Cambridge, MA: MIT Press: 11-20.

  • Robson, Dominic (2002). PLAY: Sound Toys for Non-Musicians.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 50-61.
    Also published in: Proceedings of the 2001 Conference on New Interfaces for Musical Expression (NIME-01). Dublin, Ireland.

  • Rocha Iturbide, Manuel (1995). Unfolding the Natural Sound Object through Electroacoustic Composition.

    Journal of New Music Research Vol. 24, No. 4. Lisse: Swets and Zeitlinger: 384-391.

  • ROCHA ITURBIDE, Manuel (2004). Cronología Comparada de la Historia de la Música Electroacústica en Mexico (Correlated Chronology of Mexican Electroacoustic Music History).

    Pauta. Cuadernos de teoría y crítica musical: vol. XXII, no. 89. Mexico: CONACULTA – INBA: 40-56

  • Rodet, Xavier (1991). What Would We Like to See Our Music Machines Capable of Doing?.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 51-54.

  • Rodet, Xavier (1996). Recent Developments in Computer Sound Analysis and Synthesis.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 57-61.

  • Rodgers, Tara (2003). On the Process and Aesthetics of Sampling in Electronic Music Production.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 313-320.

  • ROEDERER, Juan G. (1979). Introduction to the Physics and Psychophysics of Music.

    United States: Springer-Verlag.

  • Rolfe, Chris (1999). A Practical Guide to Diffusion.

    eContact!, vol. 2, no. 4. Montréal: CEC.

  • Rothenberg, David (1995). Sudden Music: Improvising across the Electronic Abyss.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 23-46.

  • Rowe, Robert (1993). Interactive Music Systems: Machine Listening and Composing.

    Cambridge, MA: MIT Press

  • Rowe, Robert (1995). Incrementally Improving Interactive Music Systems.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 47-62.

  • Rowe, Robert (1999). The Aesthetic of Interactive Music Systems.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 83-87.

  • Roy, Stéphane (1996). Form and Referential Citation in a Work by Francis Dhomont.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 29-41.

  • Roy, Stéphane (1998). Functional and Implicative Analysis of Ombres Blanches.

    Journal of New Music Research Vol. 27, No. 1-2. Lisse: Swets and Zeitlinger pages 165-184.

  • Rubin, Anna (2000). Forêt Profonde by Francis Dhomont - Representations of the Unconscious.

    In Proceedings of the 2000 International Computer Music Conference - Berlin: San Francisco, CA: ICMA: 28-31.

  • Rubine, Dean, McAvinney Paul, (1990). Programmable Finger-tracking Instrument Controllers.

    Computer Music Journal: Vol. 14, No. 1. Cambridge, MA: MIT Press: 26-41.

  • Rudi, Jøran (1996). Electroacoustics in Norway - This Site Under Construction.

    Contact!, vol. 9, no. 2. Montréal: CEC.

  • Rudi, Jøran (1998). Computer Music Animations.

    Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 193-198.

  • Rudi, Jøran (2003). Norge - et Lydrike, Norway Remixed: A sound installation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 151-155.

  • Rudi, Jøran (2005a). Computer Music Video: A Composer’s Perspective.

    Computer Music Journal: Vol. 29, No. 4. Cambridge, MA: MIT Press: 36-44.

  • Rudi, Jøran (2005b). ‘From a musical point of view, the world is musical at any given moment’: an interview with Bill Fontana.

    Organised Sound: Vol. 10, No. 2. Cambridge: Cambridge University Press: 97-102.

  • Rudy, Paul (2001). Separation Anxiety: Metaphoric transmutations from a paradoxical biological instrument, or: What is a cactus doing in our concert hall?.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 125-130.

  • Rudy, Paul (2007). Timbral praxis: when a tree falls in the forest is it music?.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 5-13.

  • Rusch, Simon, Behnke, Julia (2003). Tremblement de terre très doux.

    François Bayle, Portraits Polychromes. Paris: INA-GRM/CDMC.

  • Russcol, Herbert (1972). The Liberation of Sound.

    London: Prentice-Hall.

  • Russo, Marco (2004). Virtual space and cinema: the front-back presentation of sound.

    In R. Parncutt, A. Kessler & F. Zimmer (Eds.) Proceedings of the Conference on Interdisciplinary Musicology (CIM04)

  • Ryan, Joel (2006). Improvising with Others.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 417-423.

  • Ryan, Joel, Salter, Christopher (2003). TGarden: Wearable Instruments and Augmented Physicality.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 87-90.

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