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  • Wick, Robert L. (1997). Electronic and Computer Music. An Annotated Bibliography.

    Westport: Greenwood Press.

  • Wiggen, Knut (1972). The Electronic Music Studio at Stockholm, its Development and Construction.

    Interface-Journal of New Music Research: Vol. 1, No. 2. Lisse: Swets & Zeitlinger: 127-165.

  • Wilding, Richard (1998). Listening Spaces/Performance Spaces: The Performance of electroacoustic Music as Cultural Practice.

    Journal of Electroacoustic Music: Vol. 11. London: Sonic Arts Network: 32-33.

  • Wilkerson, Carr, Ng, Carmen, Serafin, Stefania (2002). The Mutha Rubboard Controller.

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

  • Williams, Tom (1993). Vox V by Trevor Wishart: The Analysis of an Electroacoustic Tape Piece.

    Journal of Electroacoustic Music. Vol. 7. London: Sonic Arts Network: 6-13.

  • Wilson, Julie A., Bromwich, Mark A. (2000). Lifting Bodies: Interactive dance - finding new methodologies in the motifs prompted by new technology - a critique and progress report with particular reference to the Bodycoder System.

    Organised Sound: Vol. 5, no. 1. Cambridge: Cambridge University Press: 9-16.

  • Wilson-Bokowiec, Julie, Bokowiec, Mark Alexander (2006). Kinaesonics: The intertwining relationship of body and sound.

    Contemporary Music Review: Vol. 25, Issue 1/2. London: Routledge: 47-57.

  • Windsor, W. Luke (1994). Using Auditory Information for Events in Electroacoustic Music.

    Contemporary Music Review: Vol. 10, No. 2. Chur: Harwood: 85-93.

  • Windsor, W. Luke (1997). Frequency Structure in Electroacoustic Music: Ideology, function and perception.

    Organised Sound: Vol. 2, no. 2. Cambridge: Cambridge University Press: 77-82.

  • Windsor, W. Luke (2000). Through and Around the Acousmatic: The Interpretation of Electroacoustic Sounds.

    In Emmerson, S. (ed.) Music, Electronic Media and Culture. Aldershot: Ashgate: 7-35.

  • Wishart, Trevor (1978). Red Bird: A Document.

    York: (available through) University of York Music Press.

  • Wishart, Trevor (1984). Soundscape Design in the Jorvik Viking Centre Museum.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 1, No. 1. London: EAM: 6-9.

  • Wishart, Trevor (1986a). Sound Symbols and Landscapes.

    In Emmerson, S. (Ed.) The Language of Electroacoustic Music. London: Macmillan: 41-60.

  • Wishart, Trevor (1986b). The Environment for Computer Music Composition.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 2, No. 1-2. London: EAM: 34-37.

  • Wishart, Trevor (1988). The Composition of Vox-5.

    Computer Music Journal: Vol. 12, No. 4. Cambridge, MA: MIT Press: 21-27.

  • Wishart, Trevor (1989). The Function of Text in the VOX cycle.

    Contemporary Music Review: Vol. 5, No, 1. Chur: Harwood: 189-197.

  • Wishart, Trevor (1991). Computer Music and Post-Modernism.

    Journal of Electroacoustic Music. Vol. 5. London: Sonic Arts Network: 2-6.

  • Wishart, Trevor (1992). Music and Technology: Problems and Perspectives.

    In Paynter, J. et al. (eds.) Companion to Contemporary Musical Thought: Volume 1. London: Routledge: 565-582.

  • Wishart, Trevor (1993). From Architecture to Chemistry.

    Journal of New Music Research Vol. 22, No. 4. Lisse: Swets and Zeitlinger: 301-315.

  • Wishart, Trevor (1994). Audible Design: A Plain and Easy Introduction to Practical Sound Design.

    York: Orpheus the Pantomime.

  • Wishart, Trevor (1996a). On Sonic Art - Revised Edition.

    London: Routledge.

  • Wishart, Trevor (1996b). The Situation of the Sonic Arts Today.

    Journal of Electroacoustic Music: Vol. 9. London: Sonic Arts Network: 22-25.

  • Wishart, Trevor (2000). Sonic Composition in Tongues of Fire.

    Computer Music Journal: Vol. 24, no.2. Cambridge, MA: MIT Press: 22-30.

  • Witherden, Barry (1996). The Primer: Karlheinz Stockhausen.

    The Wire. No. 154: London: The Wire Magazine: 40-43.

  • Wolff, Karen Frimkess (1991). Drawing with Sound.

    Leonardo: Vol. 24, No. 1. Berkley, CA: Pergamon: 23-29.

  • Woolf, Sam, Yee-King, Matthew (2003). Virtual and Physical Interfaces for Collaborative Evolution of Sound.

    Contemporary Music Review: Vol. 22, Issue 3. London: Routledge: 31-41.

  • Worby, Rob (2000). Cacophony.

    In Emmerson, S. (ed.). Music, Electronic Media and Culture. Aldershot: Ashgate: 138-163.

  • Worby, Robert (1989). Music Technology in Education.

    Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain: Vol. 4, No. 1-2. London: EAM: 10-14.

  • Worrall, David (1996). Studies in Metamusical Methods for Sound and Image Composition.

    Organised Sound: Vol. 1, no. 3. Cambridge: Cambridge University Press: 183-194.

  • Worrall, David (1998). Space in Sound: Sound of Space.

    Organised Sound: Vol. 3, no. 2. Cambridge: Cambridge University Press: 93-99.

  • Wright, Mary, Cook, Perry (2003). Project Arbol: Deer-B-Gone: Journal of a guerrilla sound installation.

    Organised Sound: Vol. 8 no. 2. Cambridge: Cambridge University Press: 133-137.

  • Wright, Matthew (2005). Open Sound Control: an enabling technology for musical networking.

    Organised Sound: Vol. 10, No. 3. Cambridge: Cambridge University Press: 193-200.

  • Wright, Matthew, Beauchamp, James, Fitz, Kelly, Rodet, Xavier, Röbel, Axel, Serra, Xavier, Wakefield, Gregory (2000). Analysis/Synthesis Comparison.

    Organised Sound: Vol. 5, no. 3. Cambridge: Cambridge University Press: 173-189.

  • Wright, Paul (1992). New Technology in the Classroom.

    Journal of Electroacoustic Music. Vol. 6. London: Sonic Arts Network: 14-16.

  • Wright, Paul (1997). Seven Year Issues.

    Journal of Electroacoustic Music: Vol. 10. London: Sonic Arts Network: 27-29.

  • Wrightson, Kendall (2002). An Introduction to Acoustic Ecology.

    eContact!, vol. 5, no. 3. Montréal: CEC
    Also published in: Journal of Electroacoustic Music: Vol. 12. London: Sonic Arts Network: 11-15.

  • Wyatt, Scott A. (1998). Gestural Composition.

    eContact!, vol. 1, no. 2. Montréal: CEC.

  • Wyatt, Scott A. (1999). Investigative Studies on Sound Diffusion/Projection.

    eContact!, vol. 2, no. 4. Montréal: CEC.

  • Wynne, John (2004). Fallender Ton für 207 Lautsprecher Boxen (Falling tone for 207 loudspeaker boxes).

    Soundscape: The Journal of Acoustic Ecology: Vol. 5, No. 2. Burbury, B. C.: Simon Fraser University: 42-43.

  • Wynne, John (2006). Language ecology and photographic sound in the McWorld.

    Organised Sound: Vol. 11, No. 1. Cambridge: Cambridge University Press: 45-54.

  • Wyse, Lonce (2003). Free Music and the Discipline of Sound.

    Organised Sound: Vol. 8 no. 3. Cambridge: Cambridge University Press: 237-247.

  • Wörner, Karl (1973). Stockhausen: Life and Work.

    London: Faber and Faber.

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