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  • Sherburne, Philip (2001). 12k: Between two points.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 171-176.

  • Shibata, Minao (1971). Music and Technology in Japan.

    La Revue Musicale: Music and Technology, Nos 268-269. Paris: Reichard-Masse: 173-179.
    French: La Revue Musicale: Musique et technologie, Nos 268-269. Paris: Richard-Masse: 173-180.

  • Shinohara, Makoto (1979). New Music in Japan.

    Interface - Journal of New Music Research Vol. 8, No. 3. Lisse: Swets and Zeitlinger: 169-185.

  • Shirt Trax, (2001). No More Mind Games.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 185-191.

  • Siegel, Wayne (1999a). Two Compositions for Interactive Dance.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 56-59.

  • Siegel, Wayne, Jacobsen, Jens (1999b). Composing for the Digital Dance Interface.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 276-277.

  • Sigurbjornson, Thörkel (1978). Introduction to the HYBRID IV Working.

    Faire: No. 4-5. Bourges: GMEB: 51-52.

  • Simoni, Mary (2003). Project Lovelace: Unprecedented Opportunities for Music Education.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 57-60.

  • Simoni, Mary (2005). Stop, Look, and Listen.

    eContact!, Vol. 8, No. 2. Montréal: CEC.

  • Simoni, Mary H., Broening, Benjamin, Rozell, Christopher, Meek, Colin, Wakefield, Gregory H. (1999). A Theoretical Framework for Electro-Acoustic Music.

    In Proceedings of the 1999 International Computer Music Conference - Beijing: San Francisco, CA: ICMA: 333-336.

  • Sivuoja-Gunaratnam, Anne (2003). Desire and Distance in Kaija Saariaho’s Lonh.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 71-84.

  • Slawson, Wayne A. (1975). Sound, Electronics, and Hearing.

    In Appleton, Jon H., Perera, Ronald C. (eds.) The Development and Practice of Electronic Music: New Jersey: Prentice-Hall: 22-67.

  • Smalley, Denis (1982a). Problems of Materials and Structure in Electro-Acoustic Music (part 1).

    EMAS (Electro-Acoustic Music Association of Great Britain): Vol. 4, No. 1. London: EMAS: 3-8.

  • Smalley, Denis (1982b). Problems of Materials and Structure in Electro-Acoustic Music (part 2).

    EMAS (Electro-Acoustic Music Association of Great Britain): Vol. 4, No. 2. London: EMAS: 4-8.

  • Smalley, Denis (1986). Spectro-morphology and Structuring Processes.

    In Emmerson, S. (ed.) The Language of Electroacoustic Music. London: Macmillan: 61-93.

  • Smalley, Denis (1989). Pentes: A Conversation with Denis Smalley.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 15-25.

  • Smalley, Denis (1991). Spatial Experience in Electro-acoustic Music.

    L’espace du son, Vol. 2. Ohain: Musiques et Recherches: 121-124.

  • Smalley, Denis (1992). The Listening Imagination: Listening in the Electroacoustic Era.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 514-554.
    Also published in: Contemporary Music Review: Live Electronics, Vol. 13, Part 2. London: Harwood Academic Publishers: 77-107.

  • SMALLEY, Denis (1992a). Can electroacoustic music be analysed? (La musica elettroacustica può essere analizzata?).

    DALMONTE, Rossana, BARONI, Mario (Eds.) (1992). Secondo convegno europeo di analisi musicale. Università degli studi di Trento. Trento, Università degli Studi di Trento

  • Smalley, Denis (1993). Defining Transformations.

    Journal of New Music Research Vol. 22, No. 4. Lisse: Swets and Zeitlinger: 279-300.

  • Smalley, Denis (1994). Defining Timbre - Refining Timbre.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 35-48.

  • Smalley, Denis (1995a). The Listening Imagination: Listening in the Electroacoustic Era.

    Contemporary Music Review: Live Electronics, Vol. 13, No. 2. London: Harwood Academic Publishers: 77-107.
    Also published in: In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 514-554.

  • Smalley, Denis (1997). Spectromorphology: Explaining sound-shapes.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 107-126.

  • Smalley, Denis (2007). Space-form and the acousmatic image.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 35-58.

  • Smith, Ronald B. (2000). An Interview with Tristan Murail.

    Computer Music Journal: Vol. 24, no.1. Cambridge, MA: MIT Press: 11-19.

  • Smith, Sophy (2000). Compositional Strategies of the Hip-hop Turntablist.

    Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 75-79.

  • SMITH, Sophy (2007). The process of ‘collective creation’ in the composition of UK hip-hop turntable team routines.

    Organised Sound: Vol. 12, No. 1. Cambridge: Cambridge University Press: 79-87.

  • Smoliar, Stephen W. (1973). Basic Research in Computer-Music Studies.

    Interface-Journal of New Music Research: Vol. 2, No. 2. Lisse: Swets & Zeitlinger: 121-125.

  • Smoliar, Stephen W. (1994). Computers Compose Music, But Do We Listen?.

    Music Theory Online. Vol. 0, No. 6. Society for Music Theory.

  • Solomos, Makis (1999b). Notes sur François-Bernard Mâche et L’estuaire du temps.

    Méthodes nouvelles, musiques nouvelles. Strasbourg: Presses Universitaires de Strasbourg: 237-249.

  • Solomos, Makis (2001). The Unity of Xenakis’s Instrumental and Electroacoustic Music: the Case for “Brownian Movements”.

    Perspectives of New Music, Vol. 39, No 1. Princeton: Princeton University Press: 244-254.

  • Solomos, Makis (2004). Xenakis’ Thought Through his Writings.

    Journal of New Music Research: Vol. 33, No. 2. Lisse: Swets & Zeitlinger: 125-136.

  • Solomos, Makis (2005). An Introduction to Horacio Vaggione’s Musical and Theoretical Thought.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 311-325.

  • Sonami, Laetitia (2006). On My Work.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 613-614.

  • Soulez, Antonia, Vaggione, Horacio (2005). Composing, Listening.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 335-337.

  • Sousa, John Phillip (1993). Machine Songs IV: The Menace of Mechanical Music.

    Computer Music Journal: Vol. 17, No. 1. Cambridge, MA: MIT Press: 14-18.

  • Souster, Tim (1977). Intermodulation: A Short History.

    Contact: No. 17. London: Goldsmith’s College Department of Music: 3-6.

  • Spain, Martin, Polfreman, Richard (2001). Interpolator: A two-dimensional graphic interpolation system for the simultaneous control of digital signal processing parameters.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 147-151.

  • Spiegel, Laurie (1989). Distinguishing Random, Algorithmic, and Intelligent Music.

    Online article

  • Spiegel, Laurie (1996). That was Then - This is Now.

    Computer Music Journal: Vol. 20, No. 1. Cambridge, MA: MIT Press: 42-45.

  • Spiegel, Laurie (1998). Graphical GROOVE: Memorial for the VAMPIRE, a visual music system.

    Organised Sound: Vol. 3, no. 3. Cambridge: Cambridge University Press: 187-191.

  • Spiegel, Laurie (1999). Music as Mirror of Mind.

    Organised Sound: Vol. 4, no. 3. Cambridge: Cambridge University Press: 151-152.

  • SPRINGER, Anton M. (1961). Rotierende Mehrfachköpfe (Rotating Multiple Magnetic Heads).

    Gravesaner Blätter. No. 21: Mainz: Ars Viva Verlag: 38-47/48-53.

  • Squibbs, Ronald (1996). Images of Sound in Xenakis’s Mycenae-Alpha.

    Journées d’Informatique Musicale. Tatihou: Université de Caen/Institut des Sciences de la Matière et du Rayonnement: 208-218.

  • Stanza, (2002). www.amorphoscapes.com - Online Interactive Audiovisual Generative Digital Paintings.

    Diffusion. February 2002. London: Sonic Arts Network: 2-5.

  • Stefani, Ewan (2002). Commodity Music.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 17-19.

  • Sterken, Sven (2001). Towards a Space-Time Art: Iannis Xenakis’s Polytopes.

    Perspectives of New Music, Vol. 39, No 2. Princeton: Princeton University Press: 262- 273.

  • Sterne, Jonathan (2003). Sounds Like the Mall of America: Programmed Music and the Architectonics of Commercial Space.

    In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 316-345.

  • Stockhausen, Karlheinz (1962). The Concept of Unity in Electronic Music.

    Perspectives of New Music, Vol. 1, No 1. Princeton: Princeton University Press: 39-48.

  • Stockhausen, Karlheinz (1996). Electroacoustic Performance Practice.

    Perspectives of New Music, Vol. 34, No 1. Princeton: Princeton University Press: 74-105.

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