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  • Truax, Barry (1980b). Timbral Construction as a Stochastic Process.

    In Proceedings of the 1980 International Computer Music Conference - New York. San Francisco, CA: ICMA: 43-60.
    Also published in: Computer Music Journal: Vol. 6, No. 3. CA: People’s Computer Company: 72-77.

  • Truax, Barry (1982). Timbral Construction in Arras as a Stochastic Process.

    Computer Music Journal: Vol. 6, No. 3. CA: People’s Computer Company: 72-77.
    Also published in: Proceedings of the 1980 International Computer Music Conference - New York. San Francisco, CA: ICMA: 43-60.

  • Truax, Barry (1985). The PODX System: Interactive Compositional Software for the DMX-1000.

    Computer Music Journal: Vol. 9, No. 1. Cambridge, MA: MIT Press: 29-38.

  • Truax, Barry (1986). Computer Music Language Design and the Composing Process.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 141-153.

  • Truax, Barry (1990). Composing with Real-time Granular Sound.

    Perspectives of New Music: Vol. 28, No. 2: Princeton: Princeton University Press: 120-134.

  • Truax, Barry (1991). Capturing Musical Knowledge in Software Systems.

    Interface-Journal of New Music Research: Vol. 20, No. 3-4. Lisse: Swets & Zeitlinger: 217-233.

  • Truax, Barry (1992a). Electroacoustic Music and the Soundscape: The Inner and Outer World.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 374-398.

  • Truax, Barry (1992b). Musical Creativity and Complexity at the Threshold of the 21st Century.

    Journal of New Music Research Vol. 21, No. 1. Lisse: Swets and Zeitlinger: 29-42.

  • Truax, Barry (1992c). Composing with Time-Shifted Environmental Sound.

    Leonardo Music Journal: Vol. 2. Cambridge, MA: MIT Press: 37-40.

  • Truax, Barry (1994). The Inner and Outer Complexity of Music.

    Perspectives of New Music: Vol. 32, No. 1. Seattle, WA: Perspectives of New Music: 176-193.

  • Truax, Barry (1995a). The Composition of Environmental Sound at Simon Fraser University.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 91-98.

  • Truax, Barry (1996a). Electroacoustic Symbolism in Powers of Two: The Artist.

    Bourges Academy: Analysis in Electroacoustic Music. Bourges: Acteon-Mnemosyne: 379-385.

  • Truax, Barry (1996b). Soundscape, Acoustic Communication and Environmental Sound Composition.

    Contemporary Music Review: A Poetry of Reality, Vol. 15, No. 1-2. London: Harwood Academic Publishers: 49-65.

  • Truax, Barry (1996c). Sounds and Sources in Powers of Two: Towards a contemporary myth.

    Organised Sound: Vol. 1, no. 1. Cambridge: Cambridge University Press: 13-21.

  • Truax, Barry (1996d). Sounds and Sources in Powers of Two Towards a Contemporary Myth.

    Contact!, vol. 9, no. 2. Montréal: CEC.

  • Truax, Barry (1996e). Computer Controlled Diffusion.

    Contact!, vol. 10, no. 1. Montréal: CEC.

  • Truax, Barry (1996f). Computer Music as Commercial or Public Culture: A Personal View.

    Computer Music Journal: Vol. 20, No, 4. Cambridge, MA: MIT Press: 27-28.

  • Truax, Barry (1998a). Composition and Diffusion: Space in Sound in Space.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 141-146.
    Also published in: Journal of Electroacoustic Music. Vol. 11. London: Sonic Arts Network: 6-11.

  • Truax, Barry (1998b). Letter to a 25 year-old electroacoustic composer.

    Bourges Academy: Electroacoustic Music: Reflections and prospects. Bourges: Acteon-Mnemosyne: 230-233.

  • Truax, Barry (1999a). Handbook for Acoustic Ecology.

    CD-Rom. Vancouver: Cambridge Street Publishing.

  • Truax, Barry (1999b). Letter to a Twenty-Five Year Old Electroacoustic Composer.

    Organised Sound: Vol. 4, no. 3. Cambridge: Cambridge University Press: 147-150.

  • Truax, Barry (1999c). Sonology: A Questionable Science Revisited.

    In Tabor, J. (Ed.) Otto Laske: Navigating New Musical Horizons. London: Greenwood: 21-36.

  • Truax, Barry (2000a). The Aesthetics of Computer Music: A questionable concept reconsidered.

    Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 119-126.

  • Truax, Barry (2001a). Acoustic Communication Studies at Simon Fraser University.

    Soundscape: The Journal of Acoustic Ecology: Vol. 2 No. 2. Burbury, B. C.: Simon Fraser University: 11-15.

  • Truax, Barry (2001b). Acoustic Communication - Second Edition.

    London: Ablex.

  • Truax, Barry (2001c). Time and Electroacoustic Music.

    Académie Bourges V: Time in Electroacoustic Music: Paris: Mnemosyne: 182-184.

  • Truax, Barry (2002b). Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 5-14.

  • Truax, Barry (2003). Homoeroticism and Electroacoustic Music: Absence and Personal Voice.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 117-124.

  • Trueman, Dan (2007). Why a laptop orchestra?.

    Organised Sound: Vol. 12, No. 2. Cambridge: Cambridge University Press: 171-179.

  • Turner, Tad (2003). The Resonance of the Cubicle: Laptop Performance in Post-digital Musics.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 81-92.

  • Tutschku, Hans (2002). On the Interpretation of Multi-Channel Electroacoustic Works on Loudspeaker-Orchestras: Some thought on the GRM-Acousmonium and BEAST.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 14-16.

  • Twombly, Kristian (2002). Oppositional Dialectics in Joji Yuasa’s The Sea Darkens.

    In Licata, T. (ed.) Electroacoustic Music: Analytical Perspectives. Westport, Connecticut: Greenwood: 217-235.

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