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
Haas S. (2004) Active Acoustics: Defining One's Private Acoustic Environment
Soundscape 5(1): 20-22.
Hahn T., Trueman D., Bahn C. (2001) Physicality and Feedback: A Focus on the Body in the Performance of Electronic Music
International Computer Music Conference : 44-51.
Hahn T., Bahn C. (2002) Pikapika - The collaborative composition of an interactive sonic character
Organised Sound 7(3): 229-238.
Haller H.-P. (1995) Das Experimentalstudio der Heinrich-Strobel-Stiftung des Südwestfunks Freiburg 1971-1989 (The “Experimentalstudio” of the Heinrich Strobel Foundation of South West Broadcasting (SWF), Freiburg 1971-1989)
Die Erforschung der Elektronischen Klangumformung und ihre Geschichte, Band 1-2. Baden-Baden: Nomos.
Hamman M. (2002) From Technical to Technological: The Imperative of Technology in Experimental Music Composition
Perspective of New Music 40(1): 92-120.
Hamman M. (2004) On Technology and Art: Xenakis at Work
Interface - Journal of New Music Research 33(2): 115-123.
Hanson S. (1997) Autoanalysis?
Analysis in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 319-321.
Harchanko J. (2003) Spectro-morphology and Structure. An Analysis of Gilles Gobeil's Le Vertige Inconnu
eContact! 6(4).
Harenberg M. (1990) Entre art et commerce : l'ordinateur dans la musique rock et pop
Musiques Électroniques. Contrechamps 11: 89-96.
Harley J. (1994) Generative Processes in Algorithmic Composition: Chaos and Music
Leonardo 24(1): 23-29.
Harrison J. (1998) Sound, Space, Sculpture: Some thoughts on the ‘what', ‘how' and ‘why' of sound diffusion
Journal of Electroacoustic Music 11: 12-20.
Harrison J. (1998) Sound, Space, Sculpture: Some thoughts on the ‘what', ‘how' and ‘why' of sound diffusion
Organised Sound 3(2): 117-127.
Harrison J. (1999) Diffusion: Theories and Practices, with Particular Reference to the BEAST System
eContact! 2(4).
Harrison J. (2000) Imaginary Space - Spaces in the Imagination Australasian Computer Music Conference 1999 Keynote Address
eContact! 3(2).
Harris Y., Bongers B. (2002) Approaches to Creating Interactivated Spaces, from Intimate to Inhabited Interfaces
Organised Sound 7(3): 239-246.
Harris Y. (2004) The Meta-Orchestra: Research by practice in group multi-disciplinary electronic arts
Organised Sound 9(3): 283-294.
Harvey J. (1986) The Mirror of Ambiguity
The Language of Electroacoustic Music. London: Macmillan, 175-190.
Harvey J. (1999) The Metaphysics of Live Electronics
Live Electronics. Contemporary Music Review 18(3): 79-82.
Hasnizam A. W. (2007) Electroacoustic music studies: some thoughts and possibilities
Organised Sound 12(2): 167-169.
Hatanaka M. (2003) Ergonomic Design of A Portable Musical Instrument
International Conference on New Interfaces for Musical Expression : 70-82.
Haus G. (1980) Summing Up the Situation of Computer Music in Italy at the Conference of Milan
Interface - Journal of New Music Research 9(2): 115-121.
Havukainen K., Arrasvuori J., Holm J. (2006) Using MIDI to Modify Video Game Content
International Conference on New Interfaces for Musical Expression : 65-70.
Hawkins S. (2004) Duel Purpose - Introducing the Diamorphone. An Account of Experiments in Sound and Physical Interaction
Diffusion (Journal of Sonic Arts Network) : 2-6.
Haynes S. (1984) Report on the realization of York Höller's Arcus
Contemporary Music Review 1(1): 41-66.
Healey P. G. T., Bryan-Kinns N. (2006) Decay in Collaborative Music Making
International Conference on New Interfaces for Musical Expression : 114-117.
Hegarty P. (2001) Noise Threshold: Merzbow and the end of natural sound
Organised Sound 6(3): 193-200.
Heifetz R. J. (1980) Japanese Analog Electroacoustic Music
Interface - Journal of New Music Research 9(2): 71-82.
Heifetz R. J. (1989) On the Wires of Our Nerves: The Art of Electroacoustic Music
London: Associated University Press.
Heifetz R. J. (1989) Computer Music Warmware: The Human Perspective
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 85-89.
Heikinheimo S. (1972) The Electronic Music of Karlheinz Stockhausen. Studies on the Esthetical and Formal Problems of its First Phase
Helsinki: Sanomapaino Oy.
Heiniger W. (1999) Der Unsichtbare Interpret (The unseen interpreter)
KlangForschung: Symposium zur elektronischen Musik : 191-198.
HEISS H. (1960) Spezialaufnahmeaggregat für Tongemische (Record-and-Playback Heads for Tone Mixtures)
Gravesaner Blätter 15-16: 118-125.
Helmuth M. (1996) Multidimensional Representation of Electroacoustic Music
Interface - Journal of New Music Research 25(1): 77-103.
Helmuth M. (2005) Virtual musical performance and improvisation on Internet2
Organised Sound 10(3): 201-207.
Henry P., Leon G. (1975) Entretien entre Georges Leon et Pierre Henry
Programme Bulletin GRM 13: 16-27.
Herrera S. (2005) Gabriel Brncic: Un primer acercamiento hacia el compositor y maestro chileno en el exilio (Gabriel Brncic: A first approach to the Chilean composer and maestro in his exile)
Revista Musical Chilena 204: 26-59.
Hesmondhalgh D. (2000) International Times: Fusions, Exoticism, and Antiracism in Electronic Dance Music
Western Music and its Others: Difference, Representation, and Appropriation in Music. Los Angeles: University of California Press, 280-304.
Hettergott A. (1999) Human Voice Treatment in Various Types of Electroacoustic Music
International Computer Music Conference : 557-560.
Hewitt D., Stevenson I. (2003) E-mic: Extended Mic-stand Interface Controller
International Conference on New Interfaces for Musical Expression : 122-128.
Hiller L. A. (1966) Musikalische Anwendungen von elektronischen Digitalrechnern(Musical Applications of Electronic Digital Computers)
Gravesaner Blätter 27-28: 46-72.
Hiller L. A. (1989) Electronic Sonata
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 123-132.
Hinkle-Turner E. (2003) Women and Music Technology: Pioneers, Precedents and Issues in the United States
Organised Sound 8(1): 31-47.
Hinojosa Chapel R. (2003) Realtime Algorithmic Music Systems From Fractals and Chaotic Functions: Toward an Active Musical Instrument
Barcelona: Universitat Pompeu Fabra.
Hodgkinson T. (2001) An Interview with Pierre Schaeffer
The book of music and nature: an anthology of sounds, words, thoughts. University: Wesleyan University Press, 34-44.
Hoffmann P. (2001) Analysis through Resynthesis. Gendy3 by Iannis Xenakis
Presences of Iannis Xenakis. Paris: CDMC, 185-194.
Hoffmann P. (2004) Something Rich and Strange: Exploring the Pitch Structure of GENDY3
Interface - Journal of New Music Research 33(2): 137-144.
Holm-Hudson K. (1996) John Oswald's Rubaiyat (Elektrax) and the Politics of Recombinant Do-Re-Mi
Popular Music and Society 20(3): 19-36.
Holm-Hudson K. (1997) Quotation and Context: Sampling and John Oswald's Plunderphonics
Leonardo Music Journal 7: 17-25.
Holmquist L. E., Gaye L., Mazé R. (2003) Sonic City: The Urban Environment as a Musical Interface
International Conference on New Interfaces for Musical Expression : 109-115.
Holmquist L. E., Gaye L. (2004) In Duet with Everyday Urban Settings: A User Study of Sonic City
International Conference on New Interfaces for Musical Expression : 161-164.
Hoopen C. t. (1994) The music of François Bayle from one listener's point of view: re-presentation versus representation
François Bayle parcours d'un compositeur. Lien 3: 128-129.
Hoopen C. t. (1997) Perceptions of Sound: Source, cause and human presence in electroacoustic music
Amsterdam: Universiteit van Amsterdam.
Horner A., Beauchamp J. (1997) Spectral Modelling and Timbre Hybridisation Programs for Computer Music
Organised Sound 2(3): 253-258.
Howard D. M., Tyrrell A. M. (1997) Psychoacoustically Informed Spectography and Timbre
Organised Sound 2(2): 65-76.
Howe H. S. (1972) Compositional Limitations of Electronic Music Synthesizers
Perspective of New Music 10(2): 120-129.
Hufschmitt A. (2001) Continuité ou discontinuité ? Un exemple de perception changeante de la fin de Sud
Jean-Claude Risset. Portraits Polychromes. Paris: INA-GRM, CDMC.
Hufschmitt A. (2001) Continuité ou discontinuité ? Un exemple de perception changeante de la fin de Sud
Jean-Claude Risset. Portraits Polychromes. Paris: INA-GRM, CDMC.
Hughes J. (1990) Introducing Computers and New Technology into a Higher Education Music Course: An Action Plan
Musicus 2(1-2): 113-118.
Hugill A., Hand C., Graves A. (1999) MidiVisualiser: Interactive music visualisation using VRML
Organised Sound 4(1): 15-23.
Hugill A. (2005) From Online Symphonies to MusiMOO: Some Creative Uses of the Internet in Music and Education
Contemporary Music Review 24(6): 527-540.
Humpert H. U. (1999) Elektronische Musik als Hochschulfach: Der elektronische Studio der Musikhochschule Köln (1965-1998) (Electronic Music as conservatorium study: The electronic studio at the Cologne Conservatorium 1965-1998
KlangForschung: Symposium zur elektronischen Musik : 53-65.
Humpert H. U. (2004) L'évolution technologique de la musique électronique au cours des 50 dernières années et son influence sur le travail du compositeur
La musique électroacoustique: un bilan. Lille: Université Charles-de-Gaulle Lille 3, 33-42.
Hunt A., Kirk R. (2000) Mapping Strategies for Musical Performance
Trends in Gestural Control of Music. Paris: IRCAM, Centre Georges-Pompidou.
Hunt A., Wanderley M. M. (2002) Mapping Performer Parameters to Synthesis Engines
Organised Sound 7(2): 97-108.
Hunt A., Kirk R. (2003) MidiGrid: Past, Present and Future
International Conference on New Interfaces for Musical Expression : 135-139.
Huott R. (2002) An Interface for Precise Musical Control
International Conference on New Interfaces for Musical Expression .
Husbands P., Mandelis J. (2003) Musical Interaction with Artificial Life Forms: Sound Synthesis and Performance Mappings
Contemporary Music Review 22(3): 57-67.
Husbands P., Mandelis J. (2004) Don't Just Play it, Grow it! : Breeding Sound Synthesis and Performance Mappings
International Conference on New Interfaces for Musical Expression : 47-50.