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  • Stout, David (2006). Improvisation with Laptops.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 513-514.

  • Strawn, John (1982). Research on Timbre and Musical Contexts at CCRMA.

    In Proceedings of the 1982 International Computer Music Conference - Venice. San Francisco, CA: ICMA: 437-456.

  • Stroppa, Marco (1984). The analysis of electronic music.

    Contemporary Music Review Vol. 1, No. 1. London: Harwood Academic Publishers: 175-180.

  • Stroppa, Marco (1999). Live Electronics or... Live Music? Towards a Critique of Interaction.

    Contemporary Music Review: Live Electronics, Vol. 18, No. 3. London: Harwood Academic Publishers: 41-77.

  • Stuart, Caleb (2003). The Object of Performance: Aural Performativity in Contemporary Laptop Music.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 59-65.

  • Stuart, Caleb (2003). Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval.

    Leonardo Music Journal: Vol. 13. Cambridge, MA: MIT Press: 47-52.

  • Sturm, Bob L. (2001). Composing for an Ensemble of Atoms: The metamorphosis of scientific experiment into music.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 131-145.

  • Subotnick, Mort, Machover, Tod (1995). Interview with Mort Subotnick.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 3-11.

  • Subotnik, Morton (1999). The Use of Computer Technology in an Interactive or ‘Real Time’ Performance Environment.

    Contemporary Music Review. Vol. 18, No. 3: London: Harwood: 113-117.

  • Szepanski, Achim (2001). A Mille Plateaux Manifesto.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 225-228.

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