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

Kaegi W. (1971) Musique et technologie dans l'Europe de 1970
Musique et technologie. La Revue musicale 268-269: 9-30.

Kaegi W. (1971) Music and Technology in the Europe of 1970
La Revue musicale 268-269: 11-31.

Kahn D., Whitehead G. (1993) Wireless Imagination: Sound, Radio, and the Avant-Garde
Menlo Park: MIT Press.

Kahn D. (1999) Noise, Water, Meat: A History of Sound in the Arts
Menlo Park: MIT Press.

Kahn D. (2003) Christian Marclay's Early Years: An Interview
Leonardo Music Journal 13: 17-21.

Kahn D. (2004) A Musical Technography of John Bischoff
Leonardo Music Journal 14: 64-73.

Kahn F. (2002) Une introduction à l'écoute de Subjestuel de Gilles Racot
Gilles Racot. Portraits Polychromes. Paris: INA-GRM, CDMC, 51-61.

Kaltenecker M. (2005) L'en-delà du concret, notes pour une physionomie musicale de Michel Chion
Michel Chion. Portraits Polychromes. Paris: INA-GRM, CDMC, 7-18.

Kane B. (2007) L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction
Organised Sound 12(1): 15-24.

Kanerva A., Mäki-Patola T., Takala T., Laitinen J. (2005) Experiments with Virtual Reality Instruments
International Conference on New Interfaces for Musical Expression : 11-16.

Kankaanpää V. (1996) Displaced Time: Transcontextual references to time in Kaija Saariaho's Stilleben
Organised Sound 1(2): 87-92.

Karkoschka E. (1972) Eine Hörpartitur elektronischer Musik
Musik & Bildung 5: 221-228.

Karkoschka E. (1972) Eine Hörpartitur elektronischer Musik (An electronic music listening score)
Musik & Bildung 5: 221-228.

Karpen R. (2003) An Interview with James Dashow
Computer Music Journal 27(2): 14-29.

Karttunen A., Hoitenga C., Stoianova I., Barrière J.-B., Mathieu J.-B., Saariaho K. (1999) Prisma
Helsinki: Werner Söderström Corporation.

Kaske S. (1985) A Conversation with Clarence Barlow
Computer Music Journal 9(1): 19-28.

Katz M. (2001) Hindemith, Toch and Grammophonmusik
Journal of Musicological Research 20: 161-180.

Kaufman D. (1972) Studio de Vienne. L'Autriche et la musique expérimentale
Faire 1.

Kaufman D. (1978) Uber die Funktion von Experimentalstudios
Faire 4-5: 24-25.

Kavina L. (1996) My Experience with the Theremin
Leonardo Music Journal 6: 51-55.

Keane D. (1979) Some Aspects of Teaching Electronic Music Composition
Interface - Journal of New Music Research 8(1): 1-9.

Keane D. (1980) Tape Music Composition
Oxford: Oxford University Press.

Keane D. (1980) Computer Music: Some Problems and Objectives in Applied Aesthetics
International Computer Music Conference : 512-524.

Keane D. (1981) The Quest for “Musically Interesting” Structures in Computer Music
International Computer Music Conference : 3-18.

Keane D. (1981) The Quest for ‘Musically Interesting' Structures in Computer Music
International Computer Music Conference : 3-18.

Keane D. (1984) The Bourges International Festival of Experimental Music: A Retrospective
Computer Music Journal 8(3): 51-59.

Keane D. (1985) Architecture and Aesthetics: The Construction and the Objectives of Elektronikus Mozaïk
International Computer Music Conference : 199-206.

Keane D. (1986) At the Threshold of an Aesthetic
The Language of Electroacoustic Music. London: Macmillan, 97-118.

Keane D. (1989) Some Practical Aesthetic Problems of Electronic Music Composition
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 43-56.

Keane D. (1989) The Quest for “Musically Interesting” Structures in Computer Music
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 97-110.

Keane D. (1989) The Quest for ‘Musically Interesting' Structures in Computer Music
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 97-110.

Keane D. (2000) Electroacoustic Music in Canada: 1950-1984
eContact! 3(4).

Keller D. (2000) Compositional Processes from an Ecological Perspective
Leonardo Music Journal 10: 55-60.

Keller D., Ferneyhough B. (2004) Analysis by Modeling: Xenakis's ST/10-1 080262
Interface - Journal of New Music Research 33(2): 161-171.

Kendall G. S. (2006) Juxtaposition and Non-motion: Varèse bridges early modernism to electroacoustic music
Organised Sound 11(2): 159-171.

Kennedy K. (2000) A Few Facets of Pamela Z
Musicworks 76: 5-10.

Kerridge A. (1977) Recording and its Modern Application
Composer 61: 17-19.

Kessous L., Arfib D., Couturier J.-M., Verfaille V. (2002) Strategies of Mapping between Gesture Data and Synthesis Model Parameters Using Perceptual Spaces
Organised Sound 7(2): 127-144.

Kessous L., Arfib D. (2003) Bimanuality in Alternate Musical Instruments
International Conference on New Interfaces for Musical Expression : 140-145.

Keyes C. J. (2005) Recent Technology and the Hybridisation of Western and Chinese Musics
Organised Sound 10(1): 51-56.

Kimura M. (1995) Performance Practice in Computer Music
Computer Music Journal 19(1): 64-75.

Kimura M. (1996) Computers for Performers-Crossing the Boundaries for the Future
Computer Music Journal 20(4): 25-26.

Kimura M. (2003) Creative Process and Performance Practice of Interactive Computer Music: A performer's tale
Organised Sound 8(3): 289-296.

Klein G. (2003) From the Sound Installation to the Sound Situation: On my work transition - berlin - junction eine klangsituation
Organised Sound 8(2): 187-193.

Koblyakov L. (1984) Jean-Claude Risset - Songes (1979) (9')
Contemporary Music Review 1(1): 171-173.

Koblyakov L. (1992) Score/Music Orientation: An Interview with Robert Rowe
Computer Music Journal 16(3): 22-31.

Koenig G. M. (1967) Notes on the Computer in Music
The World of Music 3: 3-13.

Koenig G. M., Tempelaars S. (1972) The Computer at the Institute of Sonology, Utrecht
Interface - Journal of New Music Research 1(2): 167-174.

Koenig G. M. (1972) Studium im Studio (1959)
Musique en jeu 8: 11-18.

Koenig G. M. (1972) CEM Fondation Gaudeamus à Bilthoven
Faire 1: 11-13.

Koenig G. M. (1978) My Experiences with Programmed Music
Faire 4-5: 26-30.

Koenig G. M. (1979) Projekt Eins - Modell und Wirklichkeit (Projekt Eins - Model and reality)
Musik & Bildung 12: 752-756.

Koenig G. M. (1983) Integrazione estetica di partiture composte mediante elaboratore - Segmente 99-105 (Aesthetic integration of scores realised with a computer - Segmente 99-105
Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) 3: 29-34.

Koenig G. M. (1987) Genesis of Form in Technically Conditioned Environments
Interface - Journal of New Music Research 16(3): 165-175.

Koenig G. M. (1998) Studium im studio (1959)
Metafonie. Cinquanta anni di musica elettroacustica. Musica/Realtà 42: 197-212.

Kohl J. (2002) Serial Composition, Serial Form, and Process in Karlheinz Stockhausen's Telemusik
Electroacoustic Music: Analytical Perspectives. Westport: Greenwood, 91-118.

Kolber D. (2002) Hildegard Westerkamp's Kits Beach Soundwalk: Shifting Perspectives in real world music
Organised Sound 7(1): 41-43.

Koppelman D., Dobrain C. (2006) The 'E' in NIME: Musical Expression with New Computer Interfaces
International Conference on New Interfaces for Musical Expression : 277-282.

Kramhøft L., Caprani O., Breinbjerg M., Lunding R. (2006) An Acousmatic Composition Environment
International Conference on New Interfaces for Musical Expression : 334-337.

Krefeld V. (1990) The Hand in the Web: An Interview with Michel Waisvisz
Computer Music Journal 14(2): 26-41.

Kröpfl F. (1995) Experiences and Reflexions on Electroacoustic Music
Aesthetic and Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 60-64.

Kröpfl F. (1997) An Approach to the Analysis of Electroacoustic Music
Analysis in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 322-327.

Kröpfl F. (1998) Organizing Sound in Electroacoustic Music, questions and Hints: a Proposal of Exploration for the Young
Electroacoustic Music: Reflections and prospects. Bourges Academy. Bourges: Mnemosyne, 201-205.

Kubisch C. (2002) Digital Arts' Black Sheep
Soundscape 3(1): 20-21.

Kugel P. (1990) Myhill's Thesis: There's More than Computing in Musical Thinking
Computer Music Journal 14(2): 34-46.

Kuivila R. (2004) Open Sources: Words, Circuits and the Notation-Realization Relation in the Music of David Tudor
Leonardo Music Journal 14: 17-23.

Kuljuntausta P. (1997) ‘Charm of Sound': Something new in the Finnish contemporary music scene?
Organised Sound 2(1): 23-24.

Küpper L. (1975) Élaboration de la musique électronique à partir d'un ordinateur musical. Tendance à l'automatisation de la composition. Génération d'un monde sonore autonome par interstimulations d'automates sonores
Faire 2-3: 31-41.

Küpper L. (1975) Élaboration de la musique électronique à partir d'un ordinateur musical. Tendance à l'automatisation de la composition. Génération d'un monde sonore autonome par interstimulations d'automates sonores
Faire 2-3: 31-41.

Küpper L. (1978) New Possibilities of Vocal Music: Phonèmes, Allophones, Phonatomes, Logatomes, Phonetic Microsounds
Faire 4-5: 31-36.

Küpper L. (1991) The Well-tempered Space Sound Instrument a New Musical Instrument
L'espace du son. Lien 2: 93-98.

Küpper L. (1997) Musical Analysis: Inflections Vocales, a Composition for Soprano and DAT
Analysis in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 328-339.

Küpper L. (1998) Expérimentations et prospections
Electroacoustic Music: Reflections and prospects. Bourges Academy. Bourges: Mnemosyne, 85-107.

Küpper L. (2001) Le temps audio-numérique
Time in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 94-115.

Küpper L. (2003) Musiques imaginaires, musiques méta-réelles, musiques matérielles
Musiques nouvelles : sons en mutation. Bruxelles: Ante Post asbl, 110-115.