A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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Adamo M. (2005) Danse de mort
Michel Chion. Portraits Polychromes. Paris: INA-GRM, CDMC.

Adams R. L., McAdams S., Levitin D. J. (2002) Control Parameters for Musical Instruments: A foundation for new mappings of gesture to sound
Organised Sound 7(2): 171-189.

Adkins M. (1999) Acoustic Chains in Acousmatic Music
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Aharonian C. (1975) Processus de création musicale en Amérique latine
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Airy S., Parr J. M. (2001) MIDI, Music and Me: Students’ Perspectives on Composing with MIDI
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Aitken J. (2003) MIDI Turns 20: How a Brilliant Idea Changed the Music Industry Forever
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Akita M. (1999) The Beauty of Noise
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Alcázar Aranda A. (2006) Analyse de la musique électroacoustique, genre acousmatique, à partir de son écoute : bases théoriques, méthodologie et but de la recherche, conclusions
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Aldrovandi L., Ferraz S. (2000) Loop-interpolation-random & Gesture: Déjà vu in computer-aided composition
Organised Sound 5(2): 81-84.

Allen J. A. (2004) Playing with Fire: An unexpected collaboration
Organised Sound 9(3): 229-232.

Alles H. G. (1977) A Portable Digital Sound Synthesis System
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Allick K. A., Mulder R. (1993) Skyharp: An Interactive Electroacoustic Instrument
Leonardo Music Journal 3: 3-10.

Allick K. A., Mulder R. (2002) Fragrances of Time and Space: An Omniscape Installation
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Alsop R. (1999) Exploring the Self Through Algorithmic Composition
Leonardo Music Journal 9: 89-94.

Alvarez J. (1989) Rhythm as Motion Discovered
Contemporary Music Review 3(1): 203-231.

Alvarez J. (1993) Compositional Strategies and Contexts
Journal of Electroacoustic Music 7: 20-25.

Alves B. (2005) Digital Harmony of Sound and Light
Computer Music Journal 29(4): 45-54.

Ames C. (1983) Automatismi stilistici di Gradient (Stylistic automatism of Gradient)
Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) 3: 11-19.

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Anderson B. (1979) Electro-Acoustic Music: Open or Closed Circuit
Composer 66: 9-12.

Anderson C. (2005) Dynamic Networks of Sonic Interactions: An Interview with Agostino Di Scipio
Computer Music Journal 29(3): 11-28.

Anderson E. (2006) Ce qu'a vu le vent d'Est (d'après Debussy) by Annette Vande Gorne: Compositional Strategies. A Bridge with the Past in the Acousmatic Field
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Ang M. K. (2001) Recent and Emerging Work in Music Technology in Southeast Asia
Organised Sound 6(1): 3-9.

Appleton J. H. (1969) Re-evaluating the Principle of Expectation in Electronic Music
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Appleton J. H., Perera R. C. (1975) The Development and Practice of Electronic Music
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Appleton J. H., Jones C., Alonso S. (1975) Description d'un système digital spécifique pour l'enseignement, la composition et l'exécution de la musique
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Appleton J. H. (1984) Live and In Concert: Composer/Performer Views of Real-Time Performance Systems
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Appleton J. H. (1986) The Computer and Live Musical Performance
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Appleton J. H. (1989) 21st-Century Musical Instruments: Hardware and Software
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Appleton J. H., Kasdan L. (1989) Tradition and Change: The Case of Music
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Appleton J. H. (1989) ‘Otahiti: The Evolution of a Personal Style
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Appleton J. H. (1989) Aesthetic Direction in Electronic Music
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 69-75.

Appleton J. H. (1990) Composer pour des nouveaux instruments
Musiques Électroniques. Contrechamps 11: 9-20.

Appleton J. H. (1996) Musical Storytelling
A Poetry of Reality. Contemporary Music Review 15(1-2): 67-71.

Appleton J. H. (1999) Reflexions of a Former Performer of Electroacoustic Music
Live Electronics. Contemporary Music Review 18(3): 15-19.

Archer P., Bowers J. (2005) Not Hyper, Not Meta, Not Cyber but Infra-Instruments
International Conference on New Interfaces for Musical Expression : 5-10.

Arias R. (1998) From the Margins of the Periphery: Music and Technology at the Outskirts of the West - A Personal View
Leonardo Music Journal 8: 49-54.

Arnell R. (1984) Sixteen Years in the Electronic Maze
Composer 83: 8-9.

Arriagada J., Vuarnet J.-N. (1972) Euterpe 72 de l'instrumentale à l'électro-acoustique instrumentale
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Ascione P. (1988) Pour une écriture de l'espace
L'espace du son. Lien 1: 67-69.

Ascione P. (1991) La polyphonie spatiale
L'espace du son. Lien 2: 66-72.

Ascott R. (1992) The Connectivist Paradigm: Art in Electronic Space and Molecular Time
Journal of Electroacoustic Music 6: 9-11.

Ashley R. (1991) Two Reponses
Computer Music Journal 15(4): 55-61.

Ashline W. H. (2003) The Pariahs of Sound: On the Post-Duchampian Aesthetics of Electro-acoustic Improv
Contemporary Music Review 22(4): 23-33.

Asuar J. V. (1959) En el umbral de una nueva era musical (At the doorstep of a new musical era)
Revista Musical Chilena 64: 11-55.

Asuar J. V. (1963) Música electrónica: poética musical de nuestros días (Electronic music: musical poetics of nowadays)
Revista Musical Chilena 86: 12-20.

Asuar J. V. (1972) Música con Computadores: ¿cómo hacerlo..? (Music with computers: how to do it..?)
Revista Musical Chilena 118: 36-66.

Asuar J. V. (1972) La segunda generación de música electrónica (The electronic music second generation)
Revista Musical Chilena 134: 75-110.

Asuar J. V. (1975) Recuerdos (Memories)
Revista Musical Chilena 132: 5-22.

Asuar J. V. (1980) Un sistema para hacer musica con un Microcomputador (A music-making system using a Microcomputer)
Revista Musical Chilena 151: 5-28.

Atkinson S. (2007) Interpretation and musical signification in acousmatic listening
Organised Sound 12(2): 113-122.

Augoyard J.-F. (1999) L'objet sonore ou l'environnement suspendu
Ouïr, entendre, écouter, comprendre après Schaeffer. Paris: INA-GRM, Buchet/Chastel, 83-106.

Austin K. (2005) Why do you want so many Loudspeakers?
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Austin L., Serra X., Boone C. (1991) Transmission Two: The Great Excursion (TT:TGE) - The Aesthetic, Art and Science of a Composition for Radio
Leonardo Music Journal 1: 81-88.

Austin L. (1991) Live-electronic Music on the Third Coast
Live Electronics. Contemporary Music Review 6(1): 107-129.

Austin L., Waschka II R. (1996) Computer Music for Compact Disc: Composition, Production, Audience
Computer Music Journal 20(2): 17-27.

Austin L. (2000) Sound Diffusion in Composition and Performance: An Interview with Denis Smalley
Computer Music Journal 24(2): 10-21.

Austin L. (2001) Sound Diffusion in Composition and Performance Practice II: An Interview with Ambrose Field
Computer Music Journal 25(4): 21-30.

Auzet R. (2000) Gesture-following Devices for Percussionists
Trends in Gestural Control of Music. Paris: IRCAM, Centre Georges-Pompidou.

Ayers L. (2005) Synthesising Chinese Flutes Using Csound
Organised Sound 10(1): 37-49.