Tape Music

Genres and Categories [G&C]  ]

Musical compositions created with tape recorders and magnetic tape using a variety of sources, both electronic and natural. Activities in tape music began in both Europe and America after the Second World War.

Various techniques such as splicing, tape loops, tape echo, sound-on-sound, tape feedback, speed changes, tape reversal and mixing are used in the making of this kind of music, all of which are usually simulated by contemporary digital editing techniques. (Source - Barry Truax Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 - CSR-CDR 9901)


See also:

Electroacoustic Music, Musique Concrète




- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 3 - Du sonore à l’artistique: le timbre musical reconsidéré ( French )



English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Appleton, Jon H., Perera, Ronald C. (1975). The Development and Practice of Electronic Music
Austin, Larry (1991). Live-electronic Music on the Third Coast
Bossis, Bruno (2003a). Introduction à l’histoire et à l’esthétique des musiques électroacoustiques
Boulanger, Richard (1984). Interview with Roger Reynolds, Joji Yuasa and Charles Wuorinen
Burt, Warren (1995). Listening to the Ten Tape Pieces by Kenneth Gaburo
Chion, Michel (1982). La musique électroacoustique
Chowning, John, Roads, Curtis (1985). John Chowning on composition
Clark, Thomas (1989). Coasts: On the Creative Edge with Composer Larry Austin
Cross, Lowell (1968). Electronic Music, 1948-1953
DE LA VEGA, Aurelio (1965). En torno a la música electrónica
Decroupet, Pascal (1994). Timbre Diversification in Serial Tape Music and its Consequence on Form
Desantos, Sandra (1997). Acousmatic Morphology: An Interview with François Bayle
Di Scipio, Agostino (2002a). A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset’s {Contours}
Di Scipio, Agostino (2004). The Orchestra as a Resource for Electroacoustic Music: On some works by Iannis Xenakis and Paul Dolden
Dirks, Patricia Lynn (2006). An Analysis of Jonathan Harvey’s “Mortuos Plango, Vivos Voco”
Emmerson, Simon (1982). Analysis and the Composition of Electro-Acoustic Music
Garnett, Guy E. (2001). The Aesthetics of Interactive Computer Music
HEISS, Hermann (1960). Spezialaufnahmeaggregat für Tongemische (Record-and-Playback Heads for Tone Mixtures)
Hiller, Lejaren (1989). {Electronic Sonata}
Holmes, Thom (2002). Electronic and Experimental Music
Keane, David (1985). Architecture and Aesthetics: The Construction and the Objectives of {Elektronikus Mozaïk}
Licata, Thomas (Ed.) (2002b). Electroacoustic Music: Analytical Perspectives
LINTZ MAUÉS, Igor (1989). Música Eletroacústica no Brasil. Composição utilizando o meio eletrônico (1956 - 1981) (Electroacoustic Music in Brazil: Composition using the electronic media (1956 - 1981))
Loy, Gareth (1985). About AUDIUM - A Conversation with Stanley Shaff
Lydenberg, Robin (1992). Sound Identity Fading Out: William Burroughs’ Tape Experiments
Malsky, Matthew (2003). Stretched from Manhattan’s Back Alley to MOMA: A Social History of Magnetic Tape Recording
Mead, Philip (1986). The Problems of Tape Presentation
Obst, Michaël (1995). We Need New Criteria for the Evaluation of Electroacoustic Music
Palombini, Carlos (1993). Pierre Schaeffer, 1953: towards an Experimental Music
Palombini, Carlos (1993b). Pierre Schaeffer’s Typo-Morphology of Sonic Objects
Reich, Steve (1995). My Life with Technology
Roads, Curtis (1988a). Interview with Morton Subotnik
Rowe, Robert (1999). The Aesthetic of Interactive Music Systems
Schaeffer, Pierre (1959a). Situation actuelle de la musique expérimentale
Toop, David (2005). Sound Body: The Ghost of a Program
Ussachevsky, Vladimir (1957). La “tape music” aux États-Unis
Wishart, Trevor (1988). The Composition of {Vox-5}
Yuasa, Joji (1987). The Shadow of Tape Music on Instrumental Music


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