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  • Vaggione, Horacio (1993). Determinism and the False Collective: About Models of Time in Early Computer-Aided Composition.

    Contemporary Music Review: Vol. 7, No, 2. Chur: Harwood: 91-104.

  • Vaggione, Horacio (1994). Timbre as Syntax: A Spectral Modeling Approach.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 73-83.

  • Vaggione, Horacio (1995). About the Electroacoustic Approach: Situations, Perspectives.

    Bourges Academy: Aesthetic and Electroacoustic Music. Bourges: Acteon-Mnemosyne: 99-106.

  • Vaggione, Horacio (1996a). Morphological Transformations Though Analysis and Resynthesis.

    Bourges Academy: Analysis in Electroacoustic Music: 386-387.

  • Vaggione, Horacio (1996b). Articulating Microtime.

    Computer Music Journal: Vol. 20, No. 2. Cambridge, MA: MIT Press: 33-38.

  • Vaggione, Horacio (2001). Some Ontological Remarks about Music Composition Processes.

    Computer Music Journal: Vol. 25, no.1. Cambridge, MA: MIT Press: 54-61.

  • Vaggione, Horacio (2005). Notes on Atem.

    Contemporary Music Review: Vol. 24, No. 4/5. London: Routledge: 339-349.

  • Vail, Mark (1993). Vintage Synthesizers: Groundbreaking Instruments and Pioneering Designers of Electronic Music Synthesizers.

    San Francisco: Miller Freeman.

  • Valsamis, Peter (2001). Machines Drumming.

    Convergence: Vol. 7, No. 1. Luton: University of Luton Press: 61-73.

  • Vandenheede, Jan (1992). Jonathan Harvey’s Ritual Melodies.

    Journal of New Music Research Vol. 21, No. 2. Lisse: Swets and Zeitlinger: 149-183.
    Also published in: Journal of Electroacoustic Music: Vol. 5. London: Sonic Arts Network: 9-25.

  • Vanhanen, Jane (2003). Virtual Sound: Examining Glitch and Production.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 45-52.

  • Varèse, Edgard (1966). The Liberation of Sound.

    Perspectives of New Music: Vol. 5, No. 1. Princeton: Princeton University Press: 11-19.

  • Vaughan, Mike (1994). The Human-Machine Interface in Electroacoustic Music Composition.

    Contemporary Music Review. Vol. 10, No. 2: London: Harwood: 111-127.

  • Velasco, Daniel (2000). Island Landscape: Following in Humboldt’s Footsteps through the Acoustic Spaces of the Tropics.

    Leonardo Music Journal: Vol. 10. Cambridge, MA: MIT Press: 21-24.

  • Ventura, David, Mase, Kenji (2003). Duet Musical Companion: Improvisational Interfaces for Children.

    In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME-03). Montreal, Canada: 91-94.

  • Verma, Tony S., Meng, Teresa H. Y. (2000). Extending Spectral Modeling Synthesis with Transient Modeling Synthesis.

    Computer Music Journal: Vol. 24, no.2. Cambridge, MA: MIT Press: 47-59.

  • Vertegaal, Roel, Ungvary, Tamas (1996). Towards a Musician’s Cockpit: Transducers, Feedback and Musical Function.

    In Proceedings of the 1996 International Computer Music Conference - Hong Kong. San Francisco, CA: ICMA: 308-310.

  • Vickery, Lindsay (2001). The Western Edge: Some recent electronic music from Western Australia.

    Organised Sound: Vol. 6, no. 1. Cambridge: Cambridge University Press: 69-74.

  • Vidolin, Alvise (1997). Musical Interpretation and Signal Processing.

    In Roads, Curtis, et al. (eds.) Musical Signal Processing. Lisse: Swets & Zeitlinger: 439-459.

  • Viñao, Alejandro (1989). An Old Tradition We Have Just Invented.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 33-43.

  • Vincent, Simon (2003). Mixes and Modulations.

    Diffusion. March 2003. London: Sonic Arts Network: 3-4.

  • Viola, Bill (2004). David Tudor: The Delicate Art of Falling.

    Leonardo Music Journal: Vol. 14. Cambridge, MA: MIT Press: 49-56.

  • Visell, Yon (2004). Spontaneous Organisation, Pattern Models, and Music.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 151-165.

  • Vishnick, Martin (2002). Electronic and Electroacoustic Music Composition in Contemporary Education.

    Journal of Electroacoustic Music. Vol. 14. London: Sonic Arts Network: 28-35.

  • Voegelin, Salomé (1999). Audio Sensitisation and Participation in the Soundscape.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 39-43.

  • Voegelin, Salomé (2002). The Anxiety of the Lonely Listener: Some Thoughts on the Production and Perception of Radio.

    Diffusion. October 2002. London: Sonic Arts Network: 2-4.

  • Voegelin, Salomé (2004). How Can You Hear It When You Don’t Know What You Are Listening For? - The Need For a Critical Context of Listening.

    Diffusion: Sonic Arts Network (SAN), March 2004.

  • Voegelin, Salomé (2006). Sonic memory material as ‘pathetic trigger’.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 13-18.

  • Vogt, Florian, McCaig, Graeme, Ali, Mir Adnan, Fels, Sidney (2002). Tongue ‘n’ Groove: An Ultrasound based Music Controller.

    In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression (NIME-02). Dublin, Ireland.

  • Voorvelt, Martijn (1997). The Environmental Element in Barry Truax’s Composition.

    Journal of New Music Research Vol. 26, No. 1. Lisse: Swets and Zeitlinger: 48-69.

  • Voorvelt, Martijn (2000). New Sound, Old Technology.

    Organised Sound: Vol. 5, no. 2. Cambridge: Cambridge University Press: 67-73.

  • Välimäki, Vesa, Takala, Tapio (1996). Virtual Music Instruments - Natural sound using physical models.

    Organised Sound: Vol. 1, no. 2. Cambridge: Cambridge University Press: 75-86.