Under this header can be found studies of electroacoustic music from historical perspectives. Historical surveys have tended to follow traditional lines, of tracing the development of particular individuals, artistic movements or trends, and institutions.
Bibliography: Battier, Marc (2004). Electroacoustic Music Studies and the Danger of Loss
Battier, Marc (2007). What the GRM brought to music: from musique concrète to acousmatic music
CARDI, Mauro, CECCARELLI, Luigi (2007). “Live electronics”
Chadabe, Joel (2004a). Electronic Music and Life
Dart, William, Elmsly, John, Whalley, Ian (2001). A View of Computer Music from New Zealand: Auckland, Waikato and the Asia/Pacific Connection
Delalande, François (2007). The technological era of ‘sound’: a challenge for musicology and a new range of social practices
Fujii, Koichi (2004). Chronology of Early Electroacoustic Music in Japan: What types of source materials are available?
Gayou, Évelyne (2007). The GRM: landmarks on a historic route
Hinkle-Turner, Elizabeth (2003). Women and Music Technology: Pioneers, Precedents and Issues in the United States
Hirst, David (2001). An Echo from Closed Doors
Hutton, Jo (2003). Daphne Oram; Innovator, Writer and Composer
Landy, Leigh (2004). There’s Good News and There’s Bad News: The impact of new technologies on music since the arrival of household electricity and the phonograph including potential adventures to look forward to
Monro, Gordon (2001). Computer Music in New South Wales
Mountain, Rosemary (2004a). Theories Market: Open for Trading
Teruggi, Daniel (2004a). Electroacoustic Preservation Projects: How to move forward
Teruggi, Daniel (2007). Technology and musique concrète: the technical developments of the Groupe de Recherches Musicales and their implication in musical composition
Thomson, Phil (2004). Atoms and Errors: Towards a history and aesthetics of microsound
Trowell, Ian (2001). Auto-synthesis
Weber-Lucks, Theda (2003). Electroacoustic Voices in Vocal Performance Art - A Gender Issue?
Wyse, Lonce (2003). Free Music and the Discipline of Sound