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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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