Strumenti elettroacustici

Sound Production and Manipulation [SPM]  ]

Nel glossario dui presente, la categoria comprende tutti i tipi di strumenti utilizzati nella musica elettroacustica.

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-120 | 121-173 | >> 60 next

Hawkins, Scott (2001). Duel Purpose - Introducing the Diamorphone. An Account of Experiments in Sound and Physical Interaction
Heinrich, Marie-Noëlle (2003). Création musicale et technologies nouvelles
Hughes, Stephen, Cannon, Cormac, Ó Modhráin, Síle (2004). Epipe : A Novel Electronic Woodwind Controller
Hunt, Andy, Kirk, Ross (2003). MidiGrid: Past, Present and Future
Huott, Robert (2002). An Interface for Precise Musical Control
INA-GRM, (2000). La musique électroacoustique
Jordà, Sergi (2002b). Improvising With Computers: A Personal Survey (1989-2001)
Jordà, Sergi (2003). Sonigraphical Instruments: From FMOL to the reacTable
Jordà, Sergi (2004). Digital Instruments and Players: Part I - Efficiency and Apprenticeship
Jordà, Sergi (2005). Multi-user Instruments: Models, Examples and Promises
Kaegi, Werner (1971). Music and Technology in the Europe of 1970
Kapur, Ajay, Essl, Georg, Davidson, Philip, Cook, Perry R. (2003). The Electronic Tabla Controller
Kapur, Ajay, Lazier, Ariel J., Davidson, Philip, Wilson, R. Scott, Cook, Perry R. (2004). The Electronic Sitar Controller
Kapur, Ajay, Wang, Ge, Davidson, Philip, Cook, Perry R. (2005). Interactive Network Performance: a dream worth dreaming?
Keane, David (1980b). Tape Music Composition
Kessous, Loïc, Arfib, Daniel (2003). Bimanuality in Alternate Musical Instruments
Kim, Jin Hyun, Seifert, Uwe (2006). Embodiment: The body in algorithmic sound generation
Laliberté, Martin (1992). À la recherche du nouvel instrument
Laliberté, Martin (1999). Archétypes et paradoxes des nouveaux instruments
Laliberté, Martin (2002). L’inéluctable percussion : archétypes et instruments
Laliberté, Martin (2004). Aux origines des “nouvelles technologies musicales” : virtuosités et archétypes
Laubier, Serge de (1999). Le Méta-Instrument a-t-il un son ? Émergence de lois ou de constantes dans le développement d’instruments virtuels
Leng, Censong (1999). From Timbre Modulation Method to Research Relation Between Electronic Music and Chinese Musical Tradition
Livingstone, Dan, Miranda, Eduardo (2005). Orb3 - Adaptive Interface Design for Real time Sound Synthesis & Diffusion within Socially Mediated Spaces
Luening, Otto (1975). Origins
Lyons, Michael J., Haehnel, Michael, Tetsutani, Nobuji (2003). Designing, Playing, and Performing with a Vision-based Mouth Interface
Machover, Tod (2002). Instruments, Interactivity, and Inevitability
Malt, Mikahil (1999). Reflexiones sobre el acto de componer (Thoughts on the act of composing)
Mandelis, James, Husbands, Phil (2004). Don’t Just Play it, Grow it! : Breeding Sound Synthesis and Performance Mappings
Mase, Kenji, Yonezawa, Tomoko (2001). Body, Clothes, Water and Toys: Media Towards Natural Music Expressions with Digital Sounds
Mathews, Max (1995). The Esthetic Situation and Actual View of Electroacoustic Music Performance
Merlier, Bertrand (2002b). Qu’est-ce que l’informatique musicale ?
Moles, Abraham A. (1959). Instrumentation électronique et musique expérimentales
Mumma, Gordon (1975). Live-Electronic Music
Mäki-Patola, Teemu, Laitinen, Juha, Kanerva, Aki, Takala, Tapio (2005). Experiments with Virtual Reality Instruments
Oliveros, Pauline (1994). Acoustic and Virtual Space as a Dynamic Element of Music
Osborn, Ed (1991). Local Conditions and Perceptual Concerns
Paine, Garth (2004). Gesture and Musical Interaction: Interactive Engagement Through Dynamic Morphology
Pape, Gerard (2004). Varèse the Visionary
Pascal, Michel (1999). Le studio instrumental : les données d’une virtuosité à l’intérieur même du son
Pennycook, Bruce (1997). Live Electroacoustic Music: Old Problems, New Solution
Poepel, Cornelius, Overholt, Dan (2006). Recent Developments in Violin-Related Digital Musical Instruments: Where Are We and Where Are We Going?
POUSSEUR, Henri (1976). La musica elettronica (Electronic music)
Prins, Gert-Jan (2004). RISK: The Use of High-Frequency Radio Electronics for Audio Recreation
Raes, Godfried-Willem (1992). A Personal Story of Music and Technologies
Ramel, Sylvie (2004). Conservation and Restoration of Electroacoustic Musical Instruments at the Musée de la Musique, Paris
Reibel, Guy (2001). À la recherche d’une musique fondamentale
Richards, John (2006). 32kg: Performance Systems for a Post-Digital Age
Risset, Jean-Claude (1992b). The Computer as an Interface: Interlacing Instruments and Computer Sounds; Real-time and Delayed Synthesis; Digital Synthesis and Processing, Composition and Performance
Risset, Jean-Claude (1999d). Nouveaux gestes musicaux : quelques points de repère historique
Risset, Jean-Claude (2004). The liberation of sound, art-science and the digital domain: contacts with Edgard Varèse
Rothenberg, David (1995). Sudden Music: Improvising across the Electronic Abyss
Rowe, Robert (1995). Incrementally Improving Interactive Music Systems
Scavone, Gary P. (2003). THE PIPE: Explorations with Breath Control
Schaefer, Janek (2001). {AudiOh!}: Appropriation, Accident and Alteration
Schnell, Norbert, Battier, Marc (2002). Introducing Composed Instruments, Technical and Musicological Implications
Schrader, Barry (1982). Introduction to Electro-acoustic Music
Stockhausen, Karlheinz (1974). Die Zukunft der elektroakustischen Apparaturen in der Musik (The future of electronic apparatus in music)
Stockhausen, Karlheinz (1996). Electroacoustic Performance Practice
Subotnick, Mort, Machover, Tod (1995). Interview with Mort Subotnick

 

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