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  • Tabor, Jerry (1999). A Pioneer in Composition and Research.

    In Tabor, J. (Ed). Otto Laske: Navigating New Musical Horizons. London: Greenwood: 1-18.

  • Tagney, Philip (1992). An Interview with Alejandro Viñao.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 7-8.

  • Tanaka, Atau (1993). Musical Technical Issues in Using Interactive Instrument Technology with Application to the BioMuse.

    In Proceedings of the 1993 International Computer Music Conference – Tokyo. San Francisco, CA: ICMA: 124-126.

  • Tanaka, Atau (2000). Musical Performance Practice on Sensor-based Instruments.

    CD-Rom. Trends in Gestural Control of Music. Paris: IRCAM/Centre Pompidou.

  • Tanaka, Atau, Gemeinboeck, Petra (2006). A Framework for Spatial Interaction in Locative Media.

    In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 26-30.

  • Tanzi, Dante (2001). Music Negotiation: Routes in user-based description of music.

    Organised Sound: Vol. 6, no. 2. Cambridge: Cambridge University Press: 111-115.

  • Tanzi, Dante (2003). Musical Experience and Online Communication.

    Crossings - eJournal of Art and Technology: Vol. 3, No. 1. University of Dublin.

  • Tanzi, Dante (2004). Information Technology and Communication of Musical Experience: Categories, conflicts and intersections.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 27-34.

  • Tanzi, Dante (2005). Language, Music and Resonance in Cyberspace.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 541-549.

  • Tarabella, Leonello (2004). Improvising Computer Music: An Approach.

    Sound and Music Computing. Paris: IRCAM/Centre Pompidou.

  • Taylor, Gregory (2002). An Interview with Carl Stone.

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

  • Taylor, Timothy D. (2001). Strange Sounds: Music, Technology and Culture.

    London: Routledge.

  • Teitelbaum, Richard (2006). Improvisation, Computers and the Unconscious Mind.

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 497-508.

  • Tempelaars, Stan, Koenig, G.M. (1972). The Computer at the Institute of Sonology, Utrecht.

    Interface-Journal of New Music Research: Vol. 1, No. 2. Lisse: Swets & Zeitlinger: 167-174.

  • TENNEY, James C. (1965). Die physikalischen Korrelate der Klangfarbe (The physical correlates of timbre).

    Gravesaner Blätter. No. 26: Mainz: Ars Viva Verlag: 103-105/106-109.

  • Teruggi, Daniel (1993). What About Acousmatics?.

    Journal of Electroacoustic Music. Vol. 7. London: Sonic Arts Network: 17-20.

  • Teruggi, Daniel (2001a). Preserving and Diffusing.

    Journal of New Music Research Vol. 30, No. 4. Lisse: Swets and Zeitlinger: 403-405.

  • Teruggi, Daniel (2001c). Electro-acoustic Music in Italy.

    Avidi Lumi, No. 12. Palerm: Teatro Massimo: 149-151.

  • Teruggi, Daniel (2004a). Electroacoustic Preservation Projects: How to move forward.

    Organised Sound: Vol. 9 no. 1. Cambridge: Cambridge University Press: 55-62.

  • Teruggi, Daniel (2007). Technology and musique concrète: the technical developments of the Groupe de Recherches Musicales and their implication in musical composition.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 213-231.

  • Teruggi, Daniel, Romano, Marta (2001). Interview with Daniel Teruggi Director of Groupe de Recherches Musicales (GRM).

    Avidi Lumi, No. 12. Palerm: Teatro Massimo: 155-156.

  • Thaemlitz, Terre (2001). Operating in Musical Economies of Compromosie (or ... When do I get paid for writing this?).

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 177-184.

  • Thaemlitz, Terre (2003). GLOBULE of NON-STANDARD: An attempted clarification of globular identity politics in Japanese electronic ‘sightseeing music’.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 97-107.

  • Thaemlitz, Terre (no date). The Go Between/Notions of Betweenness.

    Internet Article.

  • Théberge, Paul (1997). Any Sound You Can Imagine: Making Music/Consuming Technology.

    Hanover, NH: Wesleyan University Press.

  • Théberge, Paul (2003). “Ethnic Sounds”: The Economy and Discourse of World Music Sampling.

    In Lysloff, René T. A. and Gay, Leslie C. Jr. (eds.) Music and Technoculture. Middletown, CT: Weslyan University Press: 93-108.

  • Theremin, Leon S. (1996). The Design of a Musical Instrument Based on Cathode Relays.

    Leonardo Music Journal: Vol. 6. Cambridge, MA: MIT Press: 49-50.

  • Thieberger, Ed M. (1995). An Interview with Charles Dodge.

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

  • Thies, Wolfgang (1985). Notationsmöglichkeiten für elektronische Musik (Possibilities of Electronic Music Notation).

    Interface - Journal of New Music Research Vol. 14, No. 3-4. Lisse: Swets and Zeitlinger: 185-235.

  • Thies, Wolfgang (1987). Vorschläge für eine physikalisch-akustische Notation elektronischer Musik.

    Interface - Journal of New Music Research Vol. 16, No. 4. Lisse: Swets and Zeitlinger: 247-264.

  • Thomas, Jean-Christophe (2007). Nature and the GRM.

    Organised Sound: Vol. 12, No. 3. Cambridge: Cambridge University Press: 259-265.

  • Thome, Diane (1995). Reflections on Collaborative Process and Compositional Revolution.

    Leonardo Music Journal: Vol. 5. Cambridge, MA: MIT Press: 29-32.

  • Thomson, Phil (2004). Atoms and Errors: Towards a history and aesthetics of microsound.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 207-218.

  • Thomson, Phil (2005). Soundscape Composition, Globality, and Implicated Critique.

    eContact!, Vol. 8, No. 3. Montréal: CEC.

  • Thoresen, Lasse, Hedman, Andreas (2007). Spectromorphological analysis of sound objects: an adaptation of Pierre Schaeffer’s typomorphology.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 129-141.

  • Thorington, Helen (2005). Breaking Out: The Trip Back.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 445-458.

  • Thorington, Helen (2006). The networked_performance blog.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 193-197.

  • Thywissen, Kurt (1999). GeNotator: An environment for exploring the application of evolutionary techniques .

    Organised Sound: Vol. 4, no. 2. Cambridge: Cambridge University Press: 127-133.

  • Tjepkema, Sandra L. (1981). A Bibliography of Computer Music. A Reference for Composers.

    Iowa City: University of Iowa Press.

  • Tono, Tanami (1996). The Synthesis of Tradition and Technology.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 17-20.

  • Toop, David (1995). Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds.

    London: Serpent’s Tail.

  • Toop, David (2000). Hip Hop: Iron Needles of Death and a Piece of Wax.

    In Shapiro, P. (Ed.) Modulations: A History of Electronic Music. NY: Caipirinha: 90-101.

  • Toop, David (2005). Sound Body: The Ghost of a Program.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 28-35.

  • Toop, Richard (1981). Stockhausen’s Electronic Works: Sketches and Work-Sheets from 1952-1967.

    Interface - Journal of New Music Research Vol. 10, No. 3-4. Lisse: Swets and Zeitlinger: 149-197.

  • Traub, Peter (2005). Sounding the Net: Recent Sonic Works for the Internet and Computer Networks.

    Contemporary Music Review: Vol. 24, No. 6. London: Routledge: 459-481.

  • Trayle, Mark (1999). Free Enterprise: Virtual Capital and Counterfeit Music at the End of the Century.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 19-22.

  • Trowell, Ian (2001). Auto-synthesis.

    Organised Sound: Vol. 6, no. 3. Cambridge: Cambridge University Press: 215-223.

  • Truax, Barry (1976). A Communicational Approach to Computer Sound Programs.

    Journal of Music Theory: Vol. 20, No. 2. New Haven, Connecticut: Yale University: 227-300.

  • Truax, Barry (1977). The Soundscape and Technology.

    Interface-Journal of New Music Research: Vol. 6, No. 1. Lisse: Swets & Zeitlinger: 169-176.

  • Truax, Barry (1980a). The Inverse Relation Between Generality and Strength in Computer Music Programs.

    Interface - Journal of New Music Research Vol. 9, No. 1. Lisse: Swets and Zeitlinger: 49-57.

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