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  • Wagstaff, Gregg (1999). What is Acoustic Ecology’s ’Ecology’?.

    Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 16-19.

  • Waisvisz, Michel (1999). Riding the Sphinx - Lines about ’Live’.

    Contemporary Music Review. Vol. 18, No. 3: London: Harwood: 119-126.

  • Walker, Lisa (2002/2003). Listening Underwater.

    Soundscape: The Journal of Acoustic Ecology: Vol. 3, No. 2./ Vol. 4, No. 1. Burbury, B. C.: Simon Fraser University: 35-36.

  • Wallin, Eric, Williams, Ronald D., Salinas, Maximo H. (1999). Delta-Sigma Waveguides for Music Synthesis.

    Computer Music Journal: Vol. 23, no.4. Cambridge, MA: MIT Press: 33-47.

  • Wanderley, Marcelo, Orio, Nicola (2002). Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 62-76.

  • Warde, Ann (1999). Change Over Time: Responsibility and Power in the Midst of Catastrophe.

    Leonardo Music Journal: Vol. 9. Cambridge, MA: MIT Press: 95-101.

  • Waschka II, Rodney (1992). Computer-Assisted Composition and Performance: The Creation of A Noite, Porém, Rangeu E Quebrou.

    Leonardo Music Journal: Vol.2. Cambridge, MA: MIT Press: 41-44.

  • Waters, Simon (1994). Timbre Composition: Ideology, Metaphor and Social Process.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 129-134.

  • Waters, Simon (2000a). The musical process in the age of digital intervention.

  • Waters, Simon (2000b). Beyond the Acousmatic: Hybrid Tendencies in Electroacoustic Music.

    In Emmerson, S. (ed.) Music, Electronic Media and Culture. Aldershot: Ashgate: 56-83.

  • Waters, Simon (2003). H-H-H-H-Hybrids.

    ARiADAtexts (Advanced Research in Aesthetics in the Digital Arts): No. 3. University of East Anglia, Norwich.

  • Waters, Simon (2006). Making the Archive and Archiving the Making: insights and outcomes from a major research project.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 143-147.

  • Waters, Simon, Ungvary, Tamas (1990). The Sonogram: A Tool for Visual Documentation of Musical Structure.

    In Proceedings of the 1990 International Computer Music Conference - Glasgow. San Francisco, CA: ICMA: 159-162.

  • Watson, Ben (1996). Frank Zappa as Dadaist: Recording Technology and the Power to Repeat.

    Contemporary Music Review. Vol. 15, No. 1-2: London: Harwood: 109-137.

  • Watts, Christopher (2004). Mixing Things Up: Collaboration, converging disciplines, and the music curriculum.

    Organised Sound: Vol. 9 no. 3. Cambridge: Cambridge University Press: 295-299.

  • Waugh, Ian (2000). Quick Guide to Analogue Synthesis.

    Kent: PC Publishing.

  • Weale, Rob (2005a). The Intention/Reception Project: Investigating Composer Intention and Listener Response in Electroacoustic Compositions.

    Conférences et Séminaires Series, No. 19. Paris: Observatoire Musical Français: 71-81.

  • Weale, Rob (2005b). The Intention/Reception Project: Investigating the Relationship Between Composer Intention and Listener Response in Electroacoustic Compositions.

    PhD Thesis. De Montfort University, Leicester, UK.

  • Weale, Rob (2006). Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception project.

    Organised Sound: Vol. 11, No. 2. Cambridge: Cambridge University Press: 189-200.

  • Weale, Rob (2007). Mapping perception across the communitive continuum as a prelude to analysis.

    In Proceedings of the 2007 Electroacoustic Music Studies Conference. Leicester, UK.

  • Weber-Lucks, Theda (2003). Electroacoustic Voices in Vocal Performance Art - A Gender Issue?.

    Organised Sound: Vol. 8 no. 1. Cambridge: Cambridge University Press: 61-69.

  • Wee, Cecilia (2002). Discussing Some Effects of Technology on Musical Participation in Contemporary Society.

    Diffusion. August 2002. London: Sonic Arts Network: 2-6.

  • Weidenaar, Reynold (1995). Magic Music from the Telharmonium.

    London: The Scarecrow Press.

  • Weidenaar, Reynold (2002). Composing with the Soundscape of Jones Street.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 65-72.

  • Weinberg, Gil (2002a). Playpens, Fireflies and Squeezables: New Musical Instruments for Bridging the Thoughtful and the Joyful.

    Leonardo Music Journal: Vol. 12. Cambridge, MA: MIT Press: 43-51.

  • Weinberg, Gil (2002b). The Aesthetics, History, and Future Challenges of Interconnected Music Networks.

    In Proceedings of the 2002 International Computer Music Conference - Gotëborg: San Francisco, CA: ICMA: 349-356.

  • Weinberg, Gil (2005a). Interconnected Musical Networks: Toward a Theoretical Framework.

    Computer Music Journal: Vol. 29, No. 2. Cambridge, MA: MIT Press: 23-39.

  • Weinberg, Gil (2005b). Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration.

    Leonardo Music Journal: Vol. 15. Cambridge, MA: MIT Press: 23-26.

  • Weinberg, Gil (2005c). Local Performance Networks: musical interdependency through gestures and controllers.

    Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 255-266.

  • Weinberg, Gil, Aimi, Roberto, Jennings, Kevin (2002). The Beatbug Network - A Rhythmic System for Interdependent Group Collaboration.

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

  • Weinberg, Gil, Driscoll, Scott (2005). iltur - Connecting Novices and Experts Through Collaborative Improvisation.

    In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada: 17-22.

  • Weinland, John David (1969). Electronic Music Primer.

    Journal of Music Theory: Vol. 13, No. 2. New Haven, Connecticut: Yale University: 250-275.

  • Welsh, John (1985). Music in the Air. A Radio Landscape - Here and There.

    Interface-Journal of New Music Research: Vol. 13, No. 4. Lisse: Swets & Zeitlinger: 199-223.

  • Werner, Hans U. (2002). MetaSon #5 Skruv Stockholm: Turning schizophonic sound into audiovirtual image.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 73-78.

  • Wessel, David (1979). Timbre Space as Musical Control Structure.

    Computer Music Journal: Vol. 3, No. 2. CA: People’s Computer Company: 42-52.

  • Wessel, David (1991). Instruments That Learn, Refined Controllers, and Source Model Loudspeakers.

    Computer Music Journal: Vol. 15, No. 4. Cambridge, MA: MIT Press: 82-86.

  • Wessel, David (2006). David Wessel [on improvisation].

    Contemporary Music Review: Vol. 25, No. 5-6. London: Routledge: 425-428.

  • Wessel, David, Wright, Matthew (2002). Problems and Prospects for Intimate Musical Control of Computers.

    Computer Music Journal: Vol. 26, no. 3. Cambridge, MA: MIT Press: 11-22.
    Also published in: Proceedings of the 2001 Conference on New Interfaces for Musical Expression (NIME-01). Seattle, WA.

  • Westerkamp, Hildegard (1985). Acoustic Ecology and the Zone of Silence.

    Musicworks : No. 31. Toronto : Musicworks Society of Ontario : 8-9.

  • Westerkamp, Hildegard (2002). Linking Soundscape Composition and Acoustic Ecology.

    Organised Sound: Vol. 7, no. 1. Cambridge: Cambridge University Press: 51-56.

  • Westerkamp, Hildegard (2003). Soundwalking: Bridging Disciplines and Cultures?.

    Soundscape: The Journal of Acoustic Ecology: Vol. 4, No. 2. Burbury, B. C.: Simon Fraser University: 31-33.

  • Westerkamp, Hildegarde (2001). Speaking from Inside the Soundscape.

    In Rothenberg, D. & Ulvaeus, M. (eds.) The Book of Music & Nature. Middletown, CT: Wesleyan University Press: 143-152.

  • Wetzel, David Brooke (2006). A model for the conservation of interactive electroacoustic repertoire: analysis, reconstruction, and performance in the face of technological obsolescence.

    Organised Sound: Vol. 11, No. 3. Cambridge: Cambridge University Press: 273-284.

  • Whalley, Ian (1999). Beyond Pitch/Duration Scoring: Towards A System Dynamics Model Of Electroacoustic Music.

    In Proceedings of the 17th International Conference of the Systems Dynamics Society - Wellington, New Zealand.

  • Whalley, Ian (2000). Applications of System Dynamics Modelling to Computer Music.

    Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 149-157.

  • Whalley, Ian (2004). PIWeCS: Enhancing human/machine agency in an interactive composition system.

    Organised Sound: Vol. 9 no. 2. Cambridge: Cambridge University Press: 167-174.

  • Whalley, Ian (2005). Traditional New Zealand Mäori Instruments, Composition and Digital Technology: Some recent collaborations and processes.

    Organised Sound: Vol. 10 no. 1. Cambridge: Cambridge University Press: 57-65.

  • Whistlecroft, Lisa (2000). Women in Music Technology in Higher Education in the UK.

    eContact!, vol. 3, no. 3. Montréal: CEC.

  • Whitelaw, Mitchell (2003). Sound Particles and Microsonic Materialism.

    Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 93-100.

  • Whitney, John (1994). To Paint on Water: The Audiovisual Duet of Complementarity.

    Computer Music Journal: Vol. 18, No. 3. Cambridge, MA: MIT Press: 45-52.

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