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  • SALA, Oskar (1962). Mixtur-Trautonium und Studio-Technik (Mixtur-Trautonium and Studio Technique).

    Gravesaner Blätter. No. 23/24: Mainz: Ars Viva Verlag: 42-52/53-61.

  • Salluce, Antonio (2005). Phoné.

    John Chowning, Portraits Polychromes. Paris: INA-GRM/CDMC.

  • Samuels, Robert (1995). Using the Digidesign Sound Tools Environment in an Undergraduate Music Technology Course.

    Musicus: Vol. 4. Lanacster, UK: CTI Music: 11-24.

  • Sangild, Torben (2002). The Aesthetics of Noise.

    Datanom: Copenhagen.

  • Sani, Nicola (1995). Perspectives on Electroacoustic Music Today.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 88-90.

  • Sani, Nicola (1996). Reflexions on the Analysis of Electroacoustic Music.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 260-262.

  • Sani, Nicola (1997). Analysis of Wassererinnerungen, Part II, The Pool.

    Académie Bourges II: Analysis in Electroacoustic Music: Paris: Mnemosyne: 376-378.

  • Sani, Nicola (1998). Fifty Years of Electroacoustic Music: Where do we go from here?.

    Bourges Academy: Electroacoustic Music: Reflections and prospects. Bourges: Acteon-Mnemosyne: 220-224.

  • Sanjek, David (2003). Fairly Used: Negativeland’s U2 and the Precarious Practice of Acoustic Appropriation.

    In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 358-378.

  • Sapir, Sylviane (2002). Gestural Control of Digital Audio Environments.

    Journal of New Music Research: Vol. 31, No. 2. Lisse: Swets & Zeitlinger: 119-129.

  • Savage, Jonathan, Challis, Mike (2001). Sound Reflections: The Influence of Acoustic Ecology on Classroom Composition.

    Soundscape: The Journal of Acoustic Ecology: Vol. 2 No. 2. Burbury, B. C.: Simon Fraser University: 36-38.

  • Savage, Jonathan, Challis, Mike (2002a). A Digital Arts Curriculum? Practical ways forward.

    Music Education Research: Vol. 4, No. 1. London: Routledge: 7-23.

  • Savage, Jonathan, Challis, Mike (2002b). Electroacoustic Composition: Practical Models of Composition with New Technologies.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 8-13.

  • Savouret, Alain (1996). Analysis in Electroacoustic Music.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 263-267.

  • Savouret, Alain (1998). To young “Discovers” of music....

    Bourges Academy: Electroacoustic Music: Reflections and prospects. Bourges: Acteon-Mnemosyne: 225-229.

  • Scavone, Gary P. (2003). THE PIPE: Explorations with Breath Control.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 15-18.

  • SCHACHTER, Daniel (2007). Towards new models for the construction of interactive electroacoustic music discourse.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 67-78.

  • Schaefer, Janek (2001). AudiOh!: Appropriation, Accident and Alteration.

    Leonardo Music Journal: Vol. 11. Cambridge, MA: MIT Press: 71-76.

  • Schaeffer, Myron (1963). The Electronic Music Studio of the University of Toronto.

    Journal of Music Theory: Vol. 7, No. 1. New Haven, Connecticut: Yale University: 73-81.

  • Schaeffer, Pierre (2004). Acousmatics.

    In Cox, Christoph, Warner, Daniel (eds.) Audio Culture: Readings in Modern Music: NY: Continuum: 76-81. (Extract from Traité des Objets Musicaux: Paris: Éditions du Seuil, 1966. Translated by Daniel W. Smith)

  • Schaeffer, Pierre, Reibel, Guy, Ferreyra Beatriz, (1998 (1967)). Solfège de l’objet sonore.

    Book with 3 CDs. Paris: Ina-GRM.

  • Schafer, Murray R. (1991). Acoustic Space.

    L’espace du son, Vol. 2. Ohain: Musiques et Recherches: 15-20.

  • Schafer, R. Murray (1993). Voices of Tyranny Temples of Silence.

    Ontario: Arcana Editions

  • Schafer, R. Murray (1994). The Soundscape: Our Sonic Environment and the Tuning of the World.

    Rochester, Vermont: Destiny Books.

  • Schafer, R. Murray (2001). Music and the Soundscape.

    In Rothenberg, D. & Ulvaeus, M. (eds.) The Book of Music & Nature. Middletown, CT: Wesleyan University Press: 58-68.

  • Schedel, Margaret (2002). Anticipating Interactivity: Henry Cowell and the Rhythmicon.

    Organised Sound: Vol. 7, no. 3. Cambridge: Cambridge University Press: 247-154.

  • Schedel, Margaret Anne (2004). Alternative Venues for Computer Music: SoundGallery_Living Room_ARTSHIP.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 301-303.

  • Schell, Michael (1996). Unlikely Persona: Jerry Hunt (1943-1993).

    Musicworks: No. 65. Toronto: Musicworks Society of Ontario: 18-23.

  • SCHERCHEN, Hermann (1960). Methoden elektroakustischer Schallaufnahmen (Methods of three-dimensional sound recording).

    Gravesaner Blätter. No. 15/16: Mainz: Ars Viva Verlag: 147-151/152-155.

  • Schiemer, Greg (1994). Interactive Radio.

    Leonardo Music Journal: Vol. 4. Cambridge, MA: MIT Press: 17-22.

  • Schloss, W. Andrew, Jaffe, David A. (1993). Intelligent Musical Instruments: The Future of Musical Performance or the Demise of the Performer?.

    Journal of New Music Research Vol. 22, No. 3. Lisse: Swets and Zeitlinger: 183-193.

  • Schloss, W.Andrew (2003). Using Contemporary Technology in Live Performance: The Dilemma of the Performer.

    Journal of New Music Research Vol. 32, No. 3. Lisse: Swets and Zeitlinger: 239-242.

  • Schnell, Norbert, Battier, Marc (2002). Introducing Composed Instruments, Technical and Musicological Implications.

    In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.

  • Schrader, Barry (1982). Introduction to Electro-acoustic Music.

    London: Prentice-Hall.

  • Schrader, Barry (1991). Live/Electro-acoustic Music - a Perspective from History and California.

    Contemporary Music Review: Live Electronics, Vol. 6, No. 1. London: Harwood Academic Publishers: 91-106.

  • Schryer, Claude (1998). Electroacoustic Soundscape Composition.

    eContact!, vol. 1, no. 4. Montréal: CEC.

  • Schryer, Claude (1999). Entre ici et là. A Radio Piece in Eight Movements.

    eContact!, vol. 2, no. 3. Montréal: CEC

  • Schryer, Claude (2001). The Sharawadji Effect.

    In Rothenberg, D. & Ulvaeus, M. (eds.) The Book of Music & Nature. Middletown, CT: Wesleyan University Press: 123-129.

  • Schütze, Stephan (2003). The Creation of an Audio Environment as Part of a Computer Game World: The design for Jurassic Park - Operation Genesis on the XBOX™ as a broad concept for surround installation creation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 171-180.

  • Schäfer, Sabine, Krebs, Joachim (2003). Sound - Time - Space - Movement: The space-soundInstallations of the artist-couple .

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 213-225.

  • Sear, Walter (1972). A Guide to Electronic Music and Synthesizers.

    London: Omnibus Press.

  • Seddon, Frederick A., O’Neill, Susan A. (2003). Creative Thinking Processes in Adolescent Computer-based Composition: an analysis of strategies adopted and the influence of instrumental music training.

    Music Education Research: Vol. 5, No. 2. London: Routledge: 125-137.

  • Sedes, Anne (2005). Aspects of Time in the Music of Horacio Vaggione.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 327-334.

  • Semegen, Daria (1989). Electronic Music: Art Beyond Technology.

    In Heifetz, R. J. (ed,) On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press: 32-36.

  • Senn, Dan (1997). Pendulum-based Instruments, Percussive Video, Sound Art, and the Permanence of Ephemeral Public Art.

    Organised Sound: Vol. 2, no. 3. Cambridge: Cambridge University Press: 151-163.

  • Serafin, Stefania, Götzen, Amalia de, Böttcher, Niels (2006). Synthesis and Control of Everyday Sounds: Reconstructing Russolo’s Intonarumori.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 240-245.

  • Serafin, Stefania, Kojs, Juraj (2005). Computer Models and Compositional Applications of Plastic Corrugated Tubes.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 67-73.

  • Serra, Marie-Hélène (1993a). Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis.

    Perspectives of New Music, Vol. 31, No 1. Princeton: Princeton University Press: 236-257.

  • Settel, Zack, Lippe, Cort (1994). Real-time Timbral Transformation: FFT-based Resynthesis.

    Contemporary Music Review: Vol. 10, No. 2. London: Routledge: 171-179.

  • Shapiro, Peter (2000). Interview: Genesis P-Orridge.

    In Shapiro, P. (Ed.) Modulations: A History of Electronic Music. NY: Caipirinha: 64-67.

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