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

Gaburo K. (1985) The Deterioration of an Ideal, Ideally Deteriorized: Reflections on Pietro Grossi's Paganini Al Computer
Computer Music Journal 9(1): 39-44.

Gaburo K. (1989) Murmur
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 37-42.

Galeyev B. M. (1996) Light and Shadows of a Great Life: In Commemoration of the One-Hundredth Anniversary of the Birth of Leon Theremin, Pioneer of Electronic Art
Leonardo Music Journal 6: 45-48.

Gallet B. (2002) Le boucher du prince Wen-houei
Paris: Musica Falsa.

Garcia D. (1998) “Concert multiphonie” : l'espace différencié
Ars Sonora 7: 99-122.

Garcia D. (2000) Body Representations in the Electroacoustic Music
International Computer Music Conference : 16-19.

Garcia X. (1988) Géométrie de l'image acoustique
L'espace du son. Lien 1: 40-42.

Garnett G. E. (2001) The Aesthetics of Interactive Computer Music
Computer Music Journal 25(1): 21-33.

Gaudin J.-Y. (1988) Pédagogies nouvelles pour nouvelles technologies... ?
Marsyas 7: 9-17.

Gauthier P.-A. (2004) Sound Reproduction Using Multi Loudspeakers Systems
eContact! 7(2).

Gayou É., Racot G. (2002) Devant le son que prennent les choses
Gilles Racot. Portraits Polychromes. Paris: INA-GRM, CDMC, 17-44.

Gayou É., Parmegiani B. (2002) Mots de l'immédiat
Bernard Parmegiani. Portraits Polychromes. Paris: INA-GRM, CDMC, 17-38.

Gayou É., Chowning J. M. (2005) Entretien entre John Chowning et Évelyne Gayou
John Chowning. Portraits Polychromes. Paris: INA-GRM, CDMC, 7-24.

Gayou É. (2006) Analysing and Transcribing Electroacoustic Music: the experience of the Portraits polychromes of GRM
Organised Sound 11(2): 125-129.

Gayou É. (2007) The GRM: landmarks on a historic route
Organised Sound 12(3): 203-211.

Gelling R. (2000) Turntablism
Webpage.

Gentilucci A. (1990[1972]) Introduzione alla Musica Elettronica (Introduction to electronic music)
Milan: Universale Economica Feltrinelli.

Genuys F. (1990) L'informatique musicale
Xenakis. L'Arc : 41-46.

Georgaki A. (1999) À la recherche de la voix-Protée: penser la voix de synthèse aujourd'hui
Journées d'Informatique Musicale : 97-108.

Georgaki A. (1999) Proteïc Voices in the Computer Music Repertory (1972-1997)
International Computer Music Conference : 553-556.

Georgaki A. (2004) Virtual Voices on Hands: Prominent Applications on the Synthesis and Control of the Singing Voice
Sound and Music Computing (2004) .

Gertich F. (1999) Klangskulpturen (Sound sculptures)
Klangkunst: Tönende Objekte und klingende Räume. Laaber: Laaber Verlag, 135-190.

Gerwin T. (1993) The International Digital ElectroAcoustic Music Archive – A new source for research into the history of electroacoustic music
International Computer Music Conference : 324-327.

Gerwin T. (1997) In Acoustic Ecology and Integral Art: Outlining a Concept of Today's Music
Contact! 10(2).

Gerwin T. (1997) On Acoustic Ecology and “Integral Art”
International Computer Music Conference : 59-61.

Gerzso A. (1984) Reflexions on Répons
Contemporary Music Review 1(1): 23-34.

Gerzso A. (1992) De nouveaux environnements musicaux
Les Cahiers de l'IRCAM 1: 49-55.

Gerzso A. (1992) Paradigms and Computer Music
Leonardo Music Journal 2: 73-79.

Geslin Y. (1991) L'informatique musicale au CNSMDP
Marsyas 20: 35-39.

Geslin Y. (2001) Le studio 123
Jean-Claude Risset. Portraits Polychromes. Paris: INA-GRM, CDMC.

Geslin Y. (2002) Digital Sound and Music Transformation Environments: A Twenty-year Experiment at the “Groupe de Recherches Musicales”
Interface - Journal of New Music Research 31(2): 99-107.

Geslin Y. (2005) John Chowning: de l'informatique à la composition musicale
John Chowning. Portraits Polychromes. Paris: INA-GRM, CDMC, 61-66.

Ghazala Q. R. (2004) The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut
Leonardo Music Journal 14: 96-104.

Giannakis K., Smith M. (2000) Auditory-Visual Associations for Music Compositional Processes: A Survey
International Computer Music Conference : 12-15.

Giannakis K. (2006) A comparative evaluation of auditory-visual mappings for sound visualisation
Organised Sound 11(3): 297-307.

Gillham O. (2000) The Crossover of Electroacoustic and Popular Music Culture
Journal of Electroacoustic Music 13: 7-10.

Giner B., Malec I. (1996) Entretien avec Ivo Malec
Ars Sonora 3: 57-65.

Giner B., Malec I. (2003) Rencontres avec Ivo Malec
Ivo Malec. Portraits Polychromes. Paris: INA-GRM, CDMC, 31-55.

Giomi F. (1995) The Work of Italian Artist Pietro Grossi: from Early Electronic Music to Computer Art
Leonardo 28(1): 35-39.

Giomi F. (1996) An Early Case of Algorithmic Composition in Italy
Organised Sound 1(3): 179-182.

Giomi F., Ligabue M. (1998) Understanding Electroacoustic Music: Analysis of narrative strategies in six early compositions
Organised Sound 3(1): 45-49.

Giomi F., Ligabue M. (1998) Evangelisti's Composition Incontri di Fasce Sonore at WDR: Aesthesic-Cognitive Analysis in Theory and Practice
Interface - Journal of New Music Research 27(1-2): 120-145.

Giomi F. (2002) Scuole storiche italiane di musica elettronica (Historical electronic music schools in Italy)
Musica/Realtà 51: 73-91.

Giomi F., Schwoon K., Meacci D. (2003) Electroacoustic Music in a Multi-Perspective Architectural Context: A sound installation for Renzo Piano's Auditorium of Rome
Organised Sound 8(2): 157-162.

Giomi F., Schwoon K., Meacci D. (2003) Live Electronics in Luciano Berio's Music
Computer Music Journal 27(2): 30-46.

Giomi F., Schwoon K. (2005) Il continuo mutevole: Altra voce di Luciano Berio (The mutable discourse: Altra voce by Luciano Berio)
Il suono trasparente. Analisi di opere con live electronics (Transparent sound. Analyses of live electronic works). Rivista di Analisi e Teoria Musicale 11(2).

Giorgio B. (2007) Tecnologia e drammaturgia (Technology and dramaturgy)
Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia. Rome: CIDIM, 33-35.

Glandien K. (2000) Art on Air: A Profile of New Radio Art
Music, Electronic Media and Culture. Media: Ashgate, 167-193.

Glanville R. (2001) Between Now and Then: The Auto-Interview of a Lapsed Musician
Leonardo Music Journal 11: 35-42.

Glinsky A. (2000) Theremin: Ether Music and Espionage
Chicago: University of Illinois Press.

Gluck R. J. (2005) Fifty years of electronic music in Israel
Organised Sound 10(2): 149-162.

Gluck R. J. (2005) eSaz: A non-Western instrument in the context of a live electronic performance system
Organised Sound 10(1): 21-29.

Gluck R. J. (2005) Sounds of a Community: Cultural Identity and Interactive Art
Leonardo Music Journal 15: 37-43.

Godman R. (2002) Ambient Sound and Resonating Spaces
eContact! 5(3).

Godman R. (2004) The Enigma of Vitruvian Resonating Vases and the Relevancs of the Concept for Today
eContact! 7(2).

Godman R. (2004) Recreating the Real, Realizing the Imaginary - A Composers Preoccupation with Acoustic Space
eContact! 7(2).

Godøy R. I. (2006) Gestural-Sonorous Objects: embodied extensions of Schaeffer’s conceptual apparatus
Organised Sound 11(2): 149-157.

Goebel J. (1988) Man-Machine Interaction
International Computer Music Conference : 41-48.

Goebel J. (1991) My Dream (Machine?)
Computer Music Journal 15(4): 47-50.

Goebel J. (1996) “Freedom and Precision of Control”
Computer Music Journal 20(1): 46-48.

Goebel J. (2001) IDEAMA - The International Digital Electroacoustic Music Archive
Interface - Journal of New Music Research 30(4): 375-380.

Goethals L. (1978) Considerations
Faire 4-5: 22-23.

Goldsmith K. (1999) It was a bug, Dave: The Dawn of Glitchwerks
New York: New York Press. Webpage.

Goléa A. (1957) Tendances de la musique concrète
La Revue musicale 236: 36-44.

Gontcharoff P. (2001) Présentation générale et éléments d'analyse
L'Éducation Musicale 484-485: 45-60.

Gordon J. W. (1996) Psychoacoustics in Computer Music
Composers and the Computer. Menlo Park: MIT Press, William Kaufmann, 1053-1069.

Goto S. (2000) Virtual Musical Instruments: Technological Aspects and Interactive Performance Issues
Trends in Gestural Control of Music. Paris: IRCAM, Centre Georges-Pompidou.

Goto S. (2006) The Case Study of An Application of The System, “BodySuit” and “RoboticMusic” - Its Introduction and Aesthetics
International Conference on New Interfaces for Musical Expression : 292-295.

Goudeseune C. (2002) Interpolated Mappings for Musical Instruments
Organised Sound 7(2): 85-96.

Goßmann J. (2006) The ZKM Klangdom
International Conference on New Interfaces for Musical Expression : 140-141.

Grabócz M. (1997) Survival or Renewal? Structural imagination in recent electroacoustic and computer music
Organised Sound 2(2): 83-95.

Gray D. A. P. (2004) David Tudor in the Late 1980s: Understanding a Secret Voice
Leonardo Music Journal 14: 41-47.

Green T. (1991) Interview with Jean-Claude Eloy
Computer Music Journal 15(1): 14-19.

Gresham-Lancaster S. (1998) The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music
Leonardo Music Journal 8: 39-44.

Grey J., Moorer J. A., Snell J. (1977) Lexicon of Analyzed Tones - Part 1
Computer Music Journal 1(2): 39-45.

Griffith N. J. L., Fernström M., Franco E. (2004) Issues for Designing a flexible expressive audiovisual system for real-time performance & composition
International Conference on New Interfaces for Musical Expression : 165-168.

Griffiths P. (1979) A Guide to Electronic Music
London: Thames and Hudson.

Griffiths P. (1979) A Guide to Electronic Music
London: Thames and Hudson.

Griffiths P. (1984) Three works by Jonathan Harvey: the electronic mirror
Contemporary Music Review 1(1): 87-109.

Grimley D. (2005) Hidden Places: Hyper-realism in Björk’s Vespertine and Dancer in the Dark
Twentieth-Century Music 2(1): 37-51.

Grintsch J. S. (2006) La fonction perceptive de l'espace composé dans l'œuvre de François Bayle
Analyse perceptive des musiques électroacoustique. Lien 4: 102-106.

Gripp R. (1975) La musique expérimentale en Suède
Faire 2-3: 113-117.

Grossmann R. (2008) The tip of the iceberg: laptop music and the information-technological transformation of music
Organised Sound 13(1): 5-11.

Guerin F. (1991) Un espace mental à favoriser
L'espace du son. Lien 2: 127-130.

Guillemain P., Kronland-Martinet R., Voinier T. (1999) Agir sur le son musical avec la baguette radio
Les nouveaux gestes de la musique. Marseille: Parenthèses, 181-193.

Gurevich M. (2006) JamSpace: Designing a Collaborative Networked Music Space for Novices
International Conference on New Interfaces for Musical Expression : 118-123.

Guérin F. (1993) Aperçu du genre électroacoustique au Québec
Circuit 4(1-2): 9-31.

Guérin F. (2000) Aperçu du genre électroacoustique au Québec
eContact! 3(4).